Skip to main content

Full text of "The Musical world, Volume 42"

See other formats 


This is a digital copy of a book that was preserved for generations on library shelves before it was carefully scanned by Google as part of a project 
to make the world's books discoverable online. 

It has survived long enough for the copyright to expire and the book to enter the public domain. A public domain book is one that was never subject 
to copyright or whose legal copyright term has expired. Whether a book is in the public domain may vary country to country. Public domain books 
are our gateways to the past, representing a wealth of history, culture and knowledge that's often difficult to discover. 

Marks, notations and other marginalia present in the original volume will appear in this file - a reminder of this book's long journey from the 
publisher to a library and finally to you. 

Usage guidelines 

Google is proud to partner with libraries to digitize public domain materials and make them widely accessible. Public domain books belong to the 
public and we are merely their custodians. Nevertheless, this work is expensive, so in order to keep providing this resource, we have taken steps to 
prevent abuse by commercial parties, including placing technical restrictions on automated querying. 

We also ask that you: 

+ Make non-commercial use of the files We designed Google Book Search for use by individuals, and we request that you use these files for 
personal, non-commercial purposes. 

+ Refrain from automated querying Do not send automated queries of any sort to Google's system: If you are conducting research on machine 
translation, optical character recognition or other areas where access to a large amount of text is helpful, please contact us. We encourage the 
use of public domain materials for these purposes and may be able to help. 

+ Maintain attribution The Google "watermark" you see on each file is essential for informing people about this project and helping them find 
additional materials through Google Book Search. Please do not remove it. 

+ Keep it legal Whatever your use, remember that you are responsible for ensuring that what you are doing is legal. Do not assume that just 
because we believe a book is in the public domain for users in the United States, that the work is also in the public domain for users in other 
countries. Whether a book is still in copyright varies from country to country, and we can't offer guidance on whether any specific use of 
any specific book is allowed. Please do not assume that a book's appearance in Google Book Search means it can be used in any manner 
anywhere in the world. Copyright infringement liability can be quite severe. 

About Google Book Search 

Google's mission is to organize the world's information and to make it universally accessible and useful. Google Book Search helps readers 
discover the world's books while helping authors and publishers reach new audiences. You can search through the full text of this book on the web 

at http : //books . google . com/| 



Digitized by 



Google 



nr .'. /S./l -^ 



THIS BOOK IS FOR USE 
WITHIN THE LIBRARY ONLY 




l^arbarti College l,ii)raro 



PROM THE 



ELKAN NAUMBURG 
FELLOWSHIP FUND 



By the terms of the gift the income of this Fund 
in any year when the Fellowship is not 
assigned is to be used for the Library 
of the University for the purchase 
of works, preferably pertain- 
ing to Music. 



UUSIC LIBRARY 



Digitized by 



Google 



r 



li 



Digitized by 



Google 



Digitized by 



Google 



Digitized by 



Google 



Digitized by 



Google 



THE 



MUSICAL WOELD 



YOL. XLIL 



LONDON: 
PUBLISHED BY DUNCAN DAVISON & CO., 

'iU, REGENT STREET. • 

1864. 

■ Digitized by VjOOQIC 



MM. 16. loai 

W»T*r-ir Vellowsliip food 



n-?rwjj^ M«. i6.i«ai 



Loin>oir 

HEMDEBSON, RAIT AND FEMTON, GENERAL PRIMTEIIS, 
38, «M«»M STUST, OZrOBO 8TKBET. 



Digitized by 



Google 



INDEX. 



A composing machine, 661 

A cackle from a correspondent (PuncA), 21 

A dream of the opera (Taxton Last), 808 

A delicate demonstration, 183 

A French riow of English enterprise {Preut 

ThialTdU), 221 
A German critic on a French composer's 

ope^^809 
A hint to managers, 809 
A letter from Joachim to Ernst, 299 
A letter \p Angostus Mayhew, 106 
A new oratorio, Ahahf by Dr. G. B. Arnold, 

205 
A poet in a net (PuncK)^ 173 
A school of dramatic art rCorentry Fish), 270 
A trifle from India (Punch). 46 
A trifle too smart (>iiacA), 460 
A letter from Garibaldi to Arditi, 362 
A letter from Weber, 645 
A volume of made of Mozart, 517 
A new dramatic poet, 682 
A hundred years of the Berlin theatre, 523 
A letter from The Owl to Owain Ap'Mut- 

ton, 645 
A tremendooB tenor, 777 
A letter from Zamiels Owl, Esq., to Dlshley 

Peters, 820 
An opera by Rossini, 203 
An organ-grinder's colony, 549 
Adams, Mr. Charles, 647 
Agricultural Hall, 679 
AH Ben Jenkins, 634 
Allison, Master H. C, 68 
Amateur performance, 442 
Anderson, Professor, 556, 588, 791 
Andrews, Mr. J. Uolman, 122 
Ancient musical instruments, 780 
AnthropoglossoB, The, 472 
Aptommas at home and abroad, 556 
Arabella and Adelina, 603 
Artistes remuneration, 594 
ArdiU's " Tic tac," 844 
Artot. Mdlle., 827 
Aspull, Mr. W., 441 

Bach, J. S. (iVew American Ettcyclop<edia\ 658 

Bach^ J. S., 667 

Baptism of H.R.H. The Prince Albert Victor 

of Wales, 171 
Bamum on a holiday, 14 
Balfe, Mr. W. M., 727 
Balfe, Miss Victoire, 665 
BeethoTen*s portrait by Steber, 508 
Beethoven and the editions of his works 

(Ifiederrheiniaehe Mutik-Zeitung), 227 
Beethoven as seen by a painter, 457 
Beethoven's epitaph, 770 
Begrez, The late Signor, 9 
Benedict, Mr., 729 
Beoefit concert! (lUader), 407 



Berlioz, M. Hector, 205 

Bernard's, M., entertainment^ 245 

13ettelheim, Caroline, 311 

Birmingham Musical Festival, 528, 578, 584, 

596, 699. 612, 651, 788 
Bishop, Madame Anna, 649 
Broadwood Company of Bifle Volunteers, 549, 

666 
Boucicault, Mr. Dion, 181 
Boucicault v. Webster, 327 
Buckley, Death of Mr. F., 684 
Byron, M. W. J., 205 

C. C. C. Christy Minstrels, 780 

Callcott's witches, 183 

Carpenter's, Mr. J. £., entertainment, 63 

Case, Mr. and Mrs. George, 311 

Castri, Madame, 29, 155 

Cathedral preferment, 1 22 

Charity children at St. Paul's, 874 

Choir of St. James's, Westminster, 475 

Choral Wedding, 859 

Christmas Waits, by William Chappell, 817, 

833 
Church Choral Society, 451 
Cramer and Co., Robbery at, 467 
Claqae (The) in Germany and France, 573 
Cojlege of Organists, 355, 443 
Ciemow's, Mr., readings, 772 
Cooke, T. P., 489 
Concordia Choir, 493 

CONCEBTS : — 

Aguilar. Jttr., 23, 46, 60, 93, 142, 158, 183. 
238, 391, 430, 444, 697, 731, 780, 793. 
Aloof, 46. Aptommas, 142, 382, 429. 
Arditi, Signor, 379, 405. Armstrong, Miss 
Eleanor, 406. Ascher, Mons., 429. Austin, 
Mr., 295. Bamett,Mr. J.F.,381. Baumer, 
Mr. Henry, 395, 445. Beauvoisin, Mdlle. 
Mariot de, 317. Benedict, 405. Bido, 
Mdlle. Amely, 445. Bloomsbury Volunteers, 
856. Boscovitch, Herr F., 348. Busby. 
Miss, 381. Ciabatti, Signor, 427. Clark 
rScotson),. 63. Cottell, JMr. G. L.. 476. 
Coenen, Herr W., 295. Cooper, Wilb}'e, 
810. Corfield, Miss Fanny, 348. Cowen, 
Master F. H., 396. Crystal Palace, 261, 
405. 520, 572, 665. 715, 738, 760, 779. 
Cronin, Mdlle. Madelena, 42a Cusins, W. 
G., 406. Deacon, Mr. H. C, 281, 832, 375. 
Deichman, Herr, 444, 476. Enequist, 
Mdlle., 444. Ernst, Herr, 395, 405. 
Fowler, Mr. Charles, 406. Ganz, Herr W., 
429. Gear, Mr. Handel, 142, 460. Georgi, 
Mdlle., 318, 332. Gibsone. Mr. Ignace, 
459. Glover, Mr. Howard, 28, 396, 686, 648. 
Goldschmidt, Madame Lind, 23. Gordon, 
Miss Kate, 356. 430, 476. Griesbach, H., 
111. Halle, Mr. Charles, 331, 443. Harp 
Concerts, 215. Hersee, Miss Hose, 310. 



Hogarth, Miss Helen, 459. Holmes and 
Hammond, Messrs., 317, 476. HoUoway 
. Choral Society, 827. Euhe, Herr W., 459. 
Leslie's, Mr. "Henry, Choir, 86, 847. Ley, 
Madame Shepherd, 459. London Academy 
of Music, 456. London Surgical Home, 
847. Macfarren, Mrs. John, 318, 356, 381, 
396, 406, 427. Macfarren, Walter, 357. 
Marchesi, Signor and Madame, 382, 407. 
Manss, Herr T., 348. Merest, Mrs., 318, 459, 
Mondav Popular. 10, 77. 108. 125, 142. 156, 
171, 186, 246, 281, 814, 380, 346, 373. 443, 
Do, Mozart Night ( Tima, &c.). 83. Morri- 
son, Miss Kate, 318. Moss, Miss Marion, 
407. Musical Society of London, 78, 124, 
140, 187, 263, 330, 863, 440. Musical 
Union, 237, 26C, 316, 832, 357, 443. 
National Choral Society. 13, 90, 158, 234, 
825. National Harp Concerts. 186. New 
Philharmonic Concerts, 247, 281. 330, 356. 
427. New Philharmonic Society, 142, 190, 
270. 330, 332, 396, 779. Oberthttr, Herr 
Carl, 293. O'Learj', Mr. Arthur, 348. 
Pape, Master Willie, 332, 896. Partridge. 
Miss Fanny, 317. Paner, Herr Ernst, 347. 
Philharmonic, 166. 186, 263, 801, 330. 
363, 395. 443. Poole, Miss Mina, 348. 
i'uzzi, Madame, 6 >, 107, 317, 406. 
Bandegger, 237. Ransford, 284. Re- 
gondi, Signor, 429. Boyal Academy of 
Muric, 356, 468, 824. Royal Society of 
Musicians, 301, 316. Royal Society of 
Female Musicians, 804. Russell, George, 
7. Ryan, Mr. Desmond, 444. 
Sacbed Harmoic 10 SociETT : — 
Judas Maeeabceus, 803. Mendelssohn's 
Lobgttang, 86, 108. St, Paul, 250. 
267,779. i/M«uiA,825. Rossini's /9to6j^ 
MaUr, 86, 108. Sanuon, 356. 
Sainton, l^ladame, 356. Schuster, Mdlle. 
Isabella, 444. SedlaUek. Mdlle., 393. 
Schallehn, Herr, 158. Sheffield inundation, 
348, 359. St. George's Rifle Volunteers, 28, 
St. Marylebone Eye Institute, 460. Stev. 
enson. Miss, 333, 367. 407, 469. St. Mar- 
tin's Hall, Messiah, 844. Sossex Jewii^ 
Literary Club, 158. Tedder. Mr. George, 
525. 717. Third Volunteer Artillery, 672. 
Thomas, Mr. John, 458. Vinning, Madame 
Louise, 847. Van Noorden, Mr. P. E., 235. 
Wandering Minstrels, 302, 866. Watson, 
Mr. John, 429. Ward, Miss, and Roden, 
Miss, 476. Westboume Hall, 196. Wilson, 
Miss Lizzie, 407. Winter, Madame, 332. 
Ymbert, Signor Don, 14. 

Con8er\'ative Land Society, 46, 247, 445, 466 

619, 649, 780 
Coote, Banquet to Mr. Charles. 506 
Cooke, The late Mr. T. P., 252 



Digitized by 



v^oogle 



IV 



INDEX. 



COBREfFONDENCE I — 

A letter from Tidbury How, 141. A pretty 
publisher's Song, 126. 7 A Travers Paris, 891, 
538. Astley's Pantomime, 44. Audi 
Alteram Partem (i?0 Misses iiamett at 
Milan), 843. Balfe Frenchiaed, 107. 
Baumer, Mr. Henry's Matin^s, 411. Beet- 
hoven's Waltzes, 802. Birmingham Fes- 
tival. 608. BridgmaD--(J.) v. Bridg(e)man, 
11, 80. Brown Mrs. (Tidbury How), 125. 
Ce qui se passe i Paris (Museaa de Chevet), 
199. Chichester CathednO, 638. Costa, 
M., 697. Criticesmis on new masic, 802. 
Crystal Palace Concerts, 740. Davenport- 
ism, 696, 697. Doncaster Organ, 14. 
Dragonetti and Lumley, 616. Engel at 
Vienna, 882, 891. English Opera Asnocia- 
tion rSimon HalQ. 299. English Opera 
Association (Band), 728. Fish at the Opera, 
«5rc., Ac, 491, 632, 740. Flowers ». Flowers, 
80, 55. Good reasons for bad organs, 811. 
Goodeve, J. F. Erskine, M.A., on ** The 
Oxford Professor of Music," 75. Gordon, Miss 
Kate, 491. Green, Mr. Verdant, on the 
Theatres, 10. Grogg (Abel) and Punch , 
39. Harris, Mr. J. Thorne at Edinburgh, 
87. Harp, The, 438, 458, 466, 490, 505. 
517, 632, 661, 713, 732, 761, 777, 842. 
Hearing v. Reading, 649. International 
musical contest, 29. Ironbridge criticism, 
54. Lagrua, Madame, and La Fona del 
Dettino, 381. Leeds organ, 381. Mario, 
Signor, as Fautt^ 779. Mayhew, Horace, 30. 
Menddssohn scholarship,728. Mendelssohn's 
St. Paul (D. Peters), 779. Mozart and the 
Monday Popular Concerts, 80. Multum in 
Parvo (Yaxton Last). 245, 267, 278. Music 
of the future and ** Anticipation " (Bos- 
konsa), 244. Musical Society of London, 
106. National Opera, 411, 565, 602. New 
College of Organists, 764. No encores or 
applause, 8-18. Norwich Monks, 612. On 
the disadvantage of having a pretty wife 
(Verdant Green, Jun.), 189. Opera 
chatterers. 391. Patti, Adelina, 467. Hea, 
Jlr. W. of Newcastle, 311. Right and left, 
619. liogen, Mr., of Doncaster, 311. 
Rossini's •* Petite Messe Solonelle" (P. A. 
Fiorenlini), 198. Rossini, Fete for, 490. 
Ro\al Academy of Music (Dishley Peters), 
488. Bchachner's "Israel's Return," 140. 
Bchnapp not Schachner, 125. Shakespeare's 
Art (W. Bartholomew), 286. Shakespeare 
Foundation School, 831. Shakespeare 
(Coventry Fish), 859. Shake-^peare National 
Fund, 437. Smart'd, Henry, Bride of Dun- 
kfrron^ 812. Sunday in Paris (Anteatcr), 
123. The Kirk Attuned, 843. Tonic Sol- 
fa V. Dotted line, 492, 505. Un Francai^ i 
PariH, 107. Uii Francais ^ Hambourg, 107. 
Un peu de tout, 741. Vocal Education 
(Nonsense' sound), 802. Wardell, Robert, 
491. Weber (F. W. Jahns), 488. V\ or- 
ce!*ter Ccithcdral Services, 311 

CoMta, Mr., and his oratorio, Naamnn 548, 731 

Cramer, Beale, & Co. (Limited), 426 

Crystal Palace, 859, 460, 540, 827 

Courcv, Miss Florence de, 60 

Cowell, Mr. Sam, death of, 191 

nelK>rah (Leah) in England, 625 

De beriot, 6 

Dietriohstein, 580 

Dragonette. 604 

Dramatic Almanack, 14 

Ducci, Sipnor Carlo, 266 

Duinai«, M. Al*»xandre, 205, 740 

Dyce, Air., 103 

Kli/al>ethan Muhic and Poetry, 549 

El de»den con el Desden, 52 

Enpel at Vienna, 881, 393, 741 

Englihh Opera Association, 371. * 

Erntt^ Herr W., 27, 107, 170, 180, 231, 305 



Errors of tlie Krunch Fresi*, 91 
Faust, from a Stockport poiut of view, 778 
Fechter, Mr., and the Stratford Committee, 237 
Fechter v. Shakespere (Coventry Fiah), 262 
Fiorentini, Death of, 868 
Fish at the Concerts, &c., 624 (Coventry, Esq.,) 
506, 524, 531, 681,715, 748, 791, 826, 811. 

FoBBiOK : — 
Aiz-la-Chapelle, 841, 507, 773. Alexan- 
dria, 844. Algien, 222. America, 85, 109, 
160, 834, 418, 471, 524, 589, 667,729. Am- 
sterdam, 818, 340, 553. Antwerp, 150,540, 
Arras. 844. Baden, 149,846, 457, 5QB, 581, 
604. 764. Bamberg, 508. Barcelona, 15, 
80. 46, 94, 126, 166,191, 214, 219, 446,700, 
748,809.844. Basle, 82 1. Bergamo, 652. 
Berlin, 122, 219. 476. 603, 731. Bielefield, 
821. Bombay, 885. Bourdeaux, 47. Bou- 
logne-Fur-mer, 421. Bremen. 94, 133, 
849. Breslau. 180, 834, 530, 604. Bruns- 
wick, 15, 36, 277, 818, 346, 764. Brussell.-", 
15, 36, 501, 530, 604. 667. Buenos Ayrc8, 
795. Cadiz, 540. Carlsruhe, 47, 94, 318, 

484, 681, 597, 836. Cassell, 507, 667, 844. 
Coburg, 15, 149. 818, 616, 651. Cologne, 
111, 166, 180, 244, 285, 277, 849, 506, 616. 
645, 756, 795, 821. Darmstadt, 231, 318. 
616,844. Dresden, 12, 94, 149, 229, 318, 
460, 466, 583, 604, 65, 700, 7W, 795. 
Dusseldorff, 167, 849. Ems, 349, 457. 571, 
604. Erfurt, 118. Florence, 86, 418, 659, 
700, 835. Frankfort>on.the-Maine. 538. 
Geneva, 222, 341. Genoa, 87, 556, 620. 
Ghent, 219. Hague, The. 52. Hamburgh, 
86, 85, 94, 607, 645, 740, 794. Hanover, 
167, 221, 667, HermansUdt, &SS. Ham- 
burgh, 457, 507, 795. Iserlohn, 604. 
Eosnigsberg, 167. Leipidc, 15, 47, 52, 84, 
111, 119, 150, 183, 205, 212, 318, 486, 501, 
656, 595, 700, 763, 811, 835. Leyden, 222. 
Liege, 52, 119. Lisbon, 94.212, 684,700, 744, 
770. Lubeck,795.821. Lvon«,780. Madrid, 
94, 111, 667, 764, 772, 809, 828. Malta, 
164. Mannheim, 94, 457, 584. Mayence, 
154. 199, 349, 531. 616, 821. Mexico, 277, 

666. Melbourne, 684. 756. Milan, 15. 37, 
94, 142, 235. 302, 507, 583, 635, 651, 745, 
764, 773, 844. Monaco, 802. Moscow, 94, 
HI, 167, 757. Munich, 47, 52, 229, 302, 
849, 421, 457, 604, 666, 700, 738, 773, 821, 
835. Nancv, 165. Naples, 47, 457, 501, 
540, 626, *659, 700, 795. Nassau, 764. 
Nice, 724. Oldenburg, 821. Olmutz, 167. 
Ostend. 603. Palermo, 835. Paris, 10, 
235, 250, 426, 825. Parma, 15. Penzing, 
302. Pesaro, 135, 538. Pesth, 507, €16. 
Potsdam, 167. Prague, 87, 149, 442, 507, 
737. Rome, 111, 159, 212, 457, 691, 835. 
Rostock, 47. Rotterdam, 30, 36. 881, 341. 
Schwerin, 165. St. Peteraburgh, 12, 85, 
111, 160, 166, 191, 212, 302, 331, 740. 773, 
844. Sidney, 15. Si)a, 531. Stockholm, 
154. Stuttgardt, 52, 191, 235, 8-40. 445, 
533. The Hague, 167. Toulouse, 46, 1 1 1. 
Treviso (Venezia), 15. Trieste, 556, 626. 
Turin, 47, 52, 92. 143, 180, 507, 604, 652. 
Utrecht, 165. Vienna, 15, 84, 118. 302, 
343, 436, 556, 626, 764, 795, 844. Warsaw. 

667. Weimar, 94, 126, 133, 158, li 7, 236, 

485. Wiesbaden, 349, 486, 5^. 

Foster, Mr. Stephen C. (of New Tork) Death, 

90 
French benevolent Society, 300 

Gaehrich. Wenzel, 665 
German theatrical statistics, 467 
Galers^'The) at the Polygraphia Hall, 14, at 

St. Jameses Hall, 348 
Garibaldi at the Crystal Palace, 253 
Georgi, The Misses, 793 
Germany Charivaried, 158 



Glynn, Miss, at Edinburgh, 222, 269 
Go<I(lard, Ma^limu Arab'ella, 87,91,635 679, 

7::9, 772, 791. 830 
Godfrey, The late Mr., 14 
Gordon, Madame, 110 
Goss, Mr., and Cooper, Mr., 59 
Gounod's, M., MireUa, 171 
Gounod and Arditi, 4S8 
Great sale of Jewels, 14 
GnerrabelU, Madame, 23, 781 

Halls of Harmony, 794 

Han Bouker*s Clavichord, 722 

Haydn, 205 

Heine, Bfr. Joseph, The Uind ylolinisi, 151 

Hereford Cathedral, 581 

Hereford Musical Festival, 568, 576, 793 

Hoffmann, Mr. R, 135 

Holographs and Dr. John Bull, 60 

Improvising, 836 

Italian Opera in Eg^'pt, 69 

Japan, The first public concert in, 61 
Joachim, Herr Joseph, 442, 729 
Judith, Madlld., 394 

JuUieQ'd concerts, Mr. Louis, 571, 617, 688, 
648, 665, 681 

Kean, Mr. Charies. 888, 897 
Kennedy's, Mr., Entertainment, 215, 329 
Knox, Accident to Colonel, 394 

Lagrua, Madame, 108 

Lauterbach, Herr Johann, 247 

Law: — 
Leader v. Rhys, 46. Brown v, E. T. 
Smith, 46. Peckwood v, Austin, 61. 
CoUard v. Venn, 61. Hutchings v. Leader, 
841. Knox V, Qy^ 841, 397. Missing v. 
Wood, 358. Cheltham v. Wood. 381. 
Liebhart v, Samuels, 381. New Theatre 
Company, v. Bloxam, 897. Telbin v. 
Fechter, 492. Chope v. Mackenzie, 492 

Leech, Death of Mr. John, 705, 7B5 

Leech and Thackeray, 729 

Leading Articles : — 
A growl from Transatlantic land, 822. A 
letter from Dishley Peters, 75, 153, 186. 
A letter from Abiram T. Potts, 90. A 
letter from Lavender Pitt, 104, 139, 201. 
A letter from a Grey Head of the Profession, 
106. A letter from Verdant Green, 121, 
170. A letter from Rippington Pipe, 122, 
139, 152, 201. A letter irom Groker 
Roorep, 200. A Singer and a Symphony 
(P.S.), 202. A voice from Prague, 454. 
Aaber's La Fiancie du Roi de Garhe, 57. 
Albrechteberger, 486, 568, 534, 560, 567, 
582, 598, 614, 630, 678, 694, 710. An 
episode on the Birmingham Festival, 599. 
Anders, Death of Herr Aloys, 889. Ben- 
nett, Professor W. S., Lecturer, 122. 
Birmingham Festival Rehearsals, 502. 
Brahms, Herr Johannes (Groker Roores), 
297. Cathedral Organists. 25, 43. Cheru- 
hini'd C minor Requiem, 360. Conservatoire 
of Paris prizes, 550. College of Organihtx, 
232, 248, 264. Cramer, Beale ii Co., 
Limited, 454. Decay of Italian Song 
(Rippington Pipe), 249. Dresden Grand 
Musical Festival, 502. Electro-Magnetic 
Phonograph (Otto Beard), 280. Eller (a 
memoir of Ii0ui8), 470. English 0))era 
Association. 312, 328. Engli.<<h Oi)era 
Company, Limited, 662, 678, 694. ErnRt. 
727. Father Schmifs organ at St. Paul's, 
518. Fiorentini, P. A., 440. Flowers. G. 
F., and Rippington Pipe, 42. Garibaldi** 
visit to the Opera (Dishley PeterH), 265. 
German music in Italy, 441. Goddani, 
Madame Arabella, 615. Goldschmidt'a 



Digitized by V^riOOQlC 



INDEX. 



Madame Lind, concert (Rippington Pipe), 
24. Good reasons for bad organs, 136. 
Gounod's, M.. MireilU (Dishley Peters), 216. 
Gounod's, M., MireilU (Fiorentini), 218. 
Gonnod night at Mellon's concerts, 614. 
Harp:»ony and melody (Dwight), 600. Here- 
ford festival, 600, 631. Her Majesty's 
Theatre, 695. Hiller's, Herr F., lecture on 
mnaic and the pablie (Groker Boores\ 281. 
History of musical discovery, 806. Italian 
musical affairs, 40. Kustner, Herr Theodor 
Ton, 742. Lagnia, Madame (Rippington 
Pipe), 217. Langert*s (Herr) opera, Det 
SangerM Fluch, 791. Leech, John, 726. 
Ijealie, Mr. Henry (Rippington Pipe), 9. 
Macfarren's, Mr. G. A., opera of She Stoopt 
to Qmquer, 162. Mendelssohn, Two un- 
pobliahed letters of, 776. Meyerbeer, 296, 
344,441. Mozart's Jiequiem, 774. Mozart 
and the Ghost story, 535. Music, 662. 
Music at St. Petersburgh, 486. Music in 
Italy by A. S. C, 75. Music in Vienna, 
218. 238, 775. Alusical Festival (4l8t) of 
the Ix>wer Rhine, 376, 392. Musical Society 
of London, 89, 440. Musical taste in Italy, 
823. Musical matters in Holland, 806. 
Numbering of the Psalms, &c., 646. Pas- 
sages from the life of Rossini, 424. Patti, 
Adelina, 710. Punch and the Bombay 
musical critic, 56. Roores (Groker) at 
Hamburgh , 807 . Rossini's statue at Pesaro, 
59, 89, 566. Rossini's «' Petite Messe 
Solennelle " (L. Engel). 185. SanUey, Mr. 
Charles, 838. Schopenhauer, Herr Arthur 
(Otto Beard), 742. Scudo, Pierre, 726. 
binging an Institution (Lavender Pitt), 631 . 
Some more Berlin truths (about Mdlle. 
Lucca). 42u. Stratford Shakespeare Festi- 
val, 578. Thackeray ( W illiam Makepeace), 
8, 776. Thayer, Mr., at Vienna, 823. The 
Italian Opera season, 168, 184. Tietjens in 
Leonora, 408. Wal^toin, Death of Mr. T. 
W., 550. Weber's biography, 758. 

Li»t, Franz. 202 

LevasBor, M., 314 

Liebhart, Mdlle., 565, 588 

Liverpool Philliarmonic Society, 39, 87 

Lonsdale, Mr. J. J., Death of, 379 

Lucca, Mdlle. Pauline, 408, 729 

Lumley, Mr. B., 330 

Lumley reminiscences, 545 

M*KorkeU's, Mr. Chailes, new cantatn, 349 
Mac&rren's, Mrs. John, enCertaiunMiit, 83, 

666, 827, 804 
Mantalini, Mr., in hyt«teric4s {Punch), 828 
Marvhesi, Signer, as Mephistophelei*, 1 13 
llartiiiV, Mr., Shakespeare Choir, 45 
Maj-seder. Joseph, 4 
Mellon's. Mr. Alfrtd, concerts, 617, 682 
Mendelssohn, 604 
Mendelssohn's birthday, 76 
Mendelssohn's letterf>, 'l33, 163, 181, 435 
Meyerlieer. 291, 300, 313, 325, 404, 4G8, 483, 

562, 564, 810 
Meyerbeer exhibition for young composers, 

436 
Miranda, Mr., 60 
Mendelssohn scholarships, 808 
Mirtlla (M. Gounod's oj^era of), by P. A. 

Fiorentino, 450 
Moli^re, 69 

Morgan, Mr. John, 792 
Mnrhka, Mdlle., 729 
iiusfcal farmer (Punch), 634 
Musical degrees in London, 365 
Mojeic at Church service (Punchy, 46 
Aiutdc and cookery, 22 

Alttsic and the Italians (Ferdinand Hiller), 276 
Mu.Hc and the American war (Vwiffht), 547 
Music iu Amsterdam, 37, 693 
Muaic at Antwerp, 585 



Music at Brussels, 699 

Music in Berlin, 101, 118, 148, 183, 211, 293, 

340, 409, 564, 708, 801 
Music in Boston, 197 
Music in Bremen, 150 
Music in Brescia, 603 
Music in Cologne, 36, 84, 244 
Music at Dusseldorf, 747 
Music at Florence, 769) 
Music in Hamburgh, 275 
Music in Frankfort, 834 
Music at Liverpool, 30, 619 
Music at " The Lizard," 26, 38 
Music at Manchester, 712, 739, 826, 843 
Music at Melbourne, 643 
Music at Milan, 84, 123, 190, 294, 343, 426, 

634, 664. 789, 804 
Music in New York, 617 
Music in Paris, 43, 59, 76, 91, 107, 122, 140, 

164, 219, 266, 282, 362, 379, 894, 466, 472, 

504, 520, 635,'651,' 588, 601, 615, 631, 647, 

663, 680, 696, 711, 728, 744, 745, 769, 776, 

778, 792, 804, 824 
Music at Prague, 421 
Music at Tumut, 517 
Music at Venice, 166 
Muwc at Vienna, 37, 166 
Music at York. 597 
Music in Zurich, 276 
Musical Fish, 205 
Musical Society of London*8 balaqce-sheet, 68, 

76, 93, 456 
Muttoniana, 22, 39, 62, 69, 92, 109, 126, 134, 

157, 172, 188, 204, 220, 237, 263, 269, 283; 

317, 331, 342, 864, 389, 412, 430, 438, 462, 

473, 489, 607, 521, 636, 553, 682, 698, 714, 

730, 746, 762, 809, 819, 841. 

Nadaud, The late M., 156 

Napoleon, Mr. Arthur, 122 

New opera-house at Liverpool, 472 

New Philharmonic Society, 1863 (The consti- 
tution of), 13 

Niemann, Herr, 533 

Nonsensical rhvmes, 382, 397, 413, 446, 458, 
489, 539, 666' 

Norfolk' and Suffolk Church Choral Festiyal, 
532 

Norwich Musical Festival, 28 

Oberthttr, Mr. C, 27, 63 

Olla podrida (The Reader), 693 

Old, new, and no munic, 723, 754 

Operas de Camera, Mr. German Reed's, 587. 
690, 793 

Operatic expenditure in Germany, 060 

Opera season. The (Daily Telegraph'), 6b^ 

Opera Company, Limited, The, 772 

Opera in the United States ( Trovatore), 136 

Opera in Vienna (Hecentionen)^ 818 

Uroam : — 
Organ at Go^ton (America), 6. Organ at 
Alnwick, 53. Organs at Bradford, 21. 
Organ at Carlton in Suaith, 22. Organ at 
Charlton l!oad Congregational Chapel. 187. 
Organ at Crot>land Church, 301. Organ at 
Dundee, 467. Organ at Hanley (Staftbrd- 
shire), 613. Organ at Leeds, 29, 38, 608. 
Organ at Preston, 71. Organ at St. Pancras, 
700. Organ at St. Paul's, 520. Organ at 
Selby, 21. Organ at Shipley, 368. Organ 
at St. Sulpice, 778. Organ Record ( Dwight), 
644. 

Original Ophideide, The, 731 

Paer and Bernadotte, 63 

Palmer, Miss MiUy, 445, 583, 695, 729 

Pantagrueliome, 802 

Pape, Master Willie, 13, 151, 800, 795 

Patti, Adelina, as Amina (Horning Star)^ 824 

Patii, Adelina, as Margaret, 389, 412 

Patti, Adelina, 636, 616 

Patti and New York Mutical Review, 389 



Patti at Lyons, 616 

Patti, Signora Amalia, 394 

Patti, Mdlle. Carlotta, 439, 725, 792 

Patti, Millions of the Sisters, 693 

Patti in Paris and Madrid, 46 

Paul, Mr. Howard, Entertainment, 186, 216, 
604. 

Pfeiffer, M. Georges, 122, 731 

Philharmonic Society, 620 

Phelpe, Mr., and the Stratford-on-Avon Com- 
mittee, 115 

Phelps V, Fechter, 229 

Pianoforte Music, 684 

Piatti, Signor, 68 

Pips from Punch, 62 

Poetry : — 
A visit to the Promenade Concerts (Punch), 
Brayvo Bass (Putich), 327, Come where 
the Hawthorn (Mrs. V. Roberts). 94. 
Faotaisie sur Shakespeare, 263. Glyun. to 
Miss, 119. In menioriam (Bass), 475. 
Patti, Adelina, 61, 85, 334, 373. Patti, 
Carlotta, 620. Shakespeare's Art, 268. 
Thackeray, W. M. (Punch, &c.), 19. The 
Gallows Tree, 764. 

Pbovijjcial : — 
Aberdeen, 800. Alcester, 187. Arundel, 
636. Barnard Castle, 843. Bath, 760. 
Belfast, 63, 71. 316, 349, 588, 795. Birken- 
head, 93, 732, 804. Blackheath, 46. 
Bolton, 61. Bradford, 804. Bredon, 269. 
Brighton, 55, 91, 103, 111, 142, 216, 263, 
268, 294. 349, 634, 696, 700, 731, 780, 808, 
844. Brook Green, 773. Cardiff, 123. 
Cariisle, 119. Chalfont, St. Peters. Chal- 
font, St. Giles, 235. Cheltenham, 63, 793, 
804. Chertsey. 142. Clifton, 638. Cork, 
44. Christchurch, 68. Croydon, 338. 
Dawlish, 729. Deal, 773^. Devonport, 68, 
168, 711. Dublin, 93, 367, 635, 636, 649, 666. 
Dundee, 158, 697, 636, 827. Durham, 837. 
Edinburgh, 61, 700, 811. Eton, &.5, 804. 
Evesham, 237. Exeter, 13. Glasgow, 81, 
46, 837. Gloucester, 167, 831. Green- 
wich, 858, Guerubey, 697. Halifax, 101. 
Harelield, 71. Ha.Mings, 793. Hereford, 
222. Hudderbiield, 13, 89. Leicester, 649, 
731, 793, 844. Leeds, 29, 71, 294, 639, 
740, 810. Litherland, 118. Liverpool, 10, 
14, 108, 135, 222. 236, 364, 619. 636, 650, 

' 666, 684. 693, 700, 782, 760, 763, 827, 844. 
Llandudno, 665, 660, Londonderry, 634. 
Manchester, 14, 141, 613, 636, 649, 680, 
739, 773, 837. Margate, 717. Mari- 
boroqgh, 158. Maryi)ort, 684. MiddU- 
horough, 196. Mor'ixjth, 672. Newark, . 
349. Newbur>', 837. Newcastle, 682. 
Nottingham, 41. 181, 196. Oldham, 15. 
Oxford, 633. 613. 680, 713. Pewsey, 44. 
Plymouth, 53, 126, 215, 764. Preston, 55, 
7i7. Reigate, 716. Rickmansworth, 11. 
Salesbury, 93, 237, 821. gcarborougli, 
671. Sheffield, 61. Shrewsbury, 92. 
Slough, 111. rfpennymoor, 260. Staley 
Bridge, 100. Stanmore, 14. Staines, 142. 
Stratford-on-Avon, 94. St. Leon«i\ls-on- 
Sea, 771. Sunderland, 93, 316. Swansea, 
333. Tetbury, 94.* Tunbridge Wells, 795. 
Torquay, 71, 333. Truro, 68, 763. Ux- 
bridge, 318, 712. Weymouth, 349. Wick. 
635. Windsor, 14, 158, 595, 695. 744, 844. 
Wolverhampton, 636. Woolwich, 181. V^ or- 
cester. 111. York, 780. 

Pyne, presentation of plate to Miss Louisa, 
472 

Pyne and HaiTison concert tour, 140 

Randegger, Signor, operetta, The Rival 

Beauties, 284, 315 
Randegger, Signor, 729, 789 
Recitatives of Beethoven's Ninth Symphony, 

343 

Digitized -by vriOOQlC 



VI 



INDEX. 



Reed's, Mr. and IVIrs. German, EntertainmeutSi 

86, 216, 247, 445, 604, 679, 690, 780 
Reichardt Herr, .202, 284 
Reeyea, Mr. Sims, in Faust, 93, 741 
Review : — Hamilton* t {D,), remarkt on organ- 

huUding, 179 
Rhenish Vocal Association, 642 
Ries, Ferdinand, 108 
Roberti's, Signor, Mass, 15, 647 
Rossi (Sontag), Count, Death of, 142 
Robson, Mr., 638, 648 
Robinson^ Mrs. Joseph, 68, 119, 748 
Rossini's birthday, 99 
Rossini's new mass, 190, 202 
Round, Catch and Glee Club, 46 
Rossini, passages from the life of, 425, 437 
Uoyal aramatic college pte, 429 
Royal Gallery of Illustration, 687 
Royal Society of Musicians, Anniversary 

Festival, 187 
Royal Academy of Music, King's scholarship, 

826 
Rubinstein, Herr Anton, 727 
RudersdorfT, Madame, 284, 647 
Ruling pa&«>ion strong in death, 608 

Sacred Harmonic Society, Benevolent fund, 

68 
SanUey, Mr. C, 827 
Sainton, M. and Madame, 103 
^alieri (Antonio), from D wight's Journal, 196, 

279, 420, 661, 618, 626, 607, 683, 785 
Schmidt, Dr., Biography of, 422 
Schachner's, M., oratorio, 90 
Serjeant, Death of the Rev. Robert, 887 
Schini'.s, Signer, new opera, 268 
Sclmmanu (Robert), and Clara Wieck, 499, 

614, 646 

Schott, Mr. Francois, 27 

Schubert, 316 

Sliakespeare, something for, 390 

Shakespeare Tercentenary Festival, 285, 28G, 

331 
Shakespeare moniorial, 492 
Shakesperiau relic, 263 
Shake8|)eare in his relation io music, 486, 600, 

615, 632 

Shakespeare in Germany, 62, 469, 484 
Sivori, yignor. 807 

Shakespeare National Committee, 66, 119 
Shakespeare at the Crystal Palace, 262 
Sharp, Mr. R., 266 

Silence those street organs (Punc/i), 833 
Sir Giovanni Falstaff (PtmcA), 833 
Skctchley's, Mr. Arthur, Entertain msnt, 86, 
167 



Smart's Bride of Dunkerron, 628, 633, 771 
Smart and Spark, 467 
Slesvig-Holstein question, The, 61 
Society for the encouragement of the Fine 

Arts, 816 
Society of British Musicians, 426 
SomerviUe, Miss, 278 
Spark, Dr., performance at Leeds Town HalL 

167 
Strand Musick Hall, 679 
Street music biU, 422, 428,' 488, 446, 461, 

683 
St. David's Cathedral, 528 
Stockport Choral Society, 716 

Tamberlik, Signor, 468 

Theatres v. Gin Palaces, 760 

Thackeray (W. M.). 8, 19, 20, 87, 764 

Thalberg, M., 27 

Thayer, M., 893 

Theatres at Christmas (The), 41 

Theatres : — 

^(/f/pAt.— Leah, 888 

-4«c'Ztfy«.— Might of Right, 94 

Drnry Lane. — Henry the Fourth, 840 

IIaymarh€t. — Sunny Vale Farm, 760, 771 

Her Majeety'i Theatre. — Prospectus of the 
season ( Times), 213. Garibaldi's virit, 269. 
Barbiere, 846, 355, 863. Falstaff, 300, 
307, 824, 839, 863. Faust (in English), 
70, 126, 140, 171, 329. 855, 369. 363, 690. 
Fidelio, 411. 419, 442, 713. Huguenots, 
346, 866, 363, 380, 4 1 1. Lucia, 346, 355. 
Lucrezia Borgia. 269, 282, 620, 690. 
Martha, 268, 271, 380. 403, 411. Mirella, 
442, 449, 4r»6. Rigoletto, 243, 246. 
Robert le Diable, 388, 394, 407. Traviata, 
329. Trovatore, 268, 277. 300, 839, 863. 
620. The extra cheap nights, 513, 529. 

Her Majesty' t Theatre (Mr. Harrison's Eng- 
lish Opera). — You know who. 724. Don 
Giovanni, 760. Faust, 724. Lucia, TGO, 
Sonnambula, 793. TraviaU, 724, 738,700. 

Princest^s. — Donna Diana, 63 

Royalty, — Snowdrop. 757 

Royal English Opera (Coven t Garden). — 
Fanchette, 30, 60, 158, 171. She stoops 
to conquer, 109. 124, 142, 161, 171. 
Maritana, 171. Close of the Pyne and 
Harrison season, 214 

Rcf*jal English Opera Company, Limited 
(Coven t Garden).— Masanielio. 673, 689, 
696, 825. Martha, 096, 825. Helvellvn, 
706, 729, 737, 755. Rose, or Love's 
Ransom, 786. Sonnambula, 767. Tro- 
vatore, 804 



Royal Italian Opera (Covent Garden). — 
Prospectus of the season (Timet), 212. 
Barbiere di Seviglia. 308. 3^6, 303,411. 
Faust, 829, 339, 340, 873, 880. 887, 411, 
471. Favorita, 251, 269. Figlia del 
Regimento, 403, 411 , 442. Don Giovanni, 
303, 380, 411. Garibaldi's visit, 261. 
Guillaumo Tell, 259, 268, 346. Hugue- 
nots, 823, 846, 860. L'lle enchantoe, 355. 
L'Elisir d'amore, 442, 450. L'Etoile du 
Nord, 481. Mafaniello, 280, 236, 261, 
208. Norma, 219, 230, 236, 251, 208. 
Otello, 887, 394. Prophete, 295, 900, 
823, 442. Robert le Diable, 323, 329. 
Sonnambula, 855, 863. Stradclla, 372, 
380. Trovatore, 231, 236.261. Traviata, 
442. Dn Ballo in Maschera, 277, 282. 
Season (1864), 497. jMdlon's. (Mr. 
Alfred), concerts, 513, 625, 640. 652 
Saddlers fTeZ^.— Duchess of Malfi. 94 
^iranrf.— Opening night, 004. Wilful Ward 
(The), 745 
Theatres burnt down the la^t 100 years, 324* 
Tietjens, Madame, B5, 171, 485, 697 
Triennial Festival of the Tliroe Choirs, 216 
Two leaves from the last century, 020 
Turner, Mr. J. Bradbury, 382 
Two Veterans, 649 

Ullman, Herr, 488 

Un' opera nuova del Maestro Cavallere F. 
Schira, 800 

Vienna Opera-house, The, 260 

Vieuxtemps. M., 186 

Vitall, ^[adame, 868 

Voices of the night (Pt/ncA), 443 

Volpini, Madame, 780, 809, 827 

Wachtel„ Herr, 373 

Wagner, Herr Richard, 167 

Wallace, W. Vincent, 825, 886 

Weber's, C. M. von, Biography, 669, 676, 092, 
707. 721, 753 

Weber, C. ai. von, 35, 51, 67. 100. 116 

Welsh liards, commission granted by Eliza- 
beth to, 695 

Which is right {Reader), 407 

AVhat is A hymn, 604 

Whittington club, 191 

Wilkinson, Mr. Ralph, 6<'.5 

Winter Exhibition of Artiste, The, 772 

Wood, The late Mrs., 667 

Wyldo (Professor), Lectures, 12, 106, 181, 
147,161 

Zelger, Death of M., 468 



Digitized by 



Google 




*'ThB WOBTB of AbT AFPSAB8 MOCRT BMIlfBHT IH MuBZO, SIHGB IT BBQUIBB8 RO HATEBIAL, NO SUBJECT-HATTBB, WH08B BFFBCT 
MUST as DKDUOTBD: it » WBOLLT FOBX AUD TOWE&f AND IT BAIBB8 AND BiniOBLBS WHATEVBB IT SXTBESSBS.** — Offthe. 



8UB80BIFTI0N, FBXB BY POST, 20b. FEB ANNXTM 

Pajyable In advanoe by Gash or PoBt-OfAoe Order to DUNCABT DAVISON ds CO^M^ Begent Straet^ Iiondoxu 

{BeguUndfor Tremmuium AJbnad,'] 



YoL. 42— No. 1. 



SATURDAY, JANUARY 2, 1864. 






POLTGBAPHIC HALL, 
KIHQ WILLIAM STSEET, CHABINQ OBOSS. 



ME/. ELLIOT C3-j^.LElie;, 
FANNY REEVES, 

OPEBA LTBIQnE"iNTEBTAINMENT. 

Eteat Eysnino at Eight ; Satubdat at Thbbb. 



The Entertainment trill oommenee with 

••COUSIN KATE/' 

Aw oiitf Ot^AmI ifiiiie »y Lob. 
After which, 

••THE HAUNTED MILL.'* 

Jhuk (y H ALLDAoia. 

Pianist, Kr. 8. NA7L0B.-Manageri Mr. MOWBSAT. 
Pri?iteBozflt,iai.«d.and£lls.; 8telto,3i.; BeMrred Seetf, li. ; Pit,UL 

MAT>AMW LIND-GOLDSOHMIDT. 



SXETEB HALL, TUESDAY EVENING NEXT, Jan. 5. 

ORASD PSBFOBMANCE OF HANDEL'S OBATORIO, 

"THE MESSIAH," 

FOR THE EBNEFIT OP 

TffiB 7BIENI> OF THE CLEBGY COBPOBATION. 



The CoHMnm hsfv ^Ihe «nUifloeti(m to annoonee that Hr. mm! lledame 
iOJ^^EMWT having kindlj granted their serrioee, a GRAND PERFOR. 
MAKCE of Bandera Oratorio, **THE MESSIAH,** under meet dittingniehed 
ftraoage, will be ttlrim at EXETER HALL, on TUESDAY EVBNINa NEXT. 
Jaa. 9, in AID of £e FUNDS of the CORPORATION. 

MRctpal V<miHtt$ - Iffedem e Lnm-OoLDsoBMiDT, Madame Saiiitoh.I>olbt, Mr. 
Wnjn Coopaaand Mr. W. H. Waus. Band end Chorus of SM Peribimen. 
rmdMfiMwMr. Otto GoLOiciuaoT. 

8t^ (anmbered and reMrred), one guinea ; reterred Mate (aot nnmbered) in the 
vte aad western gallerjr. halt-a-gninea { baok seato Ys.; a fiw seats have been 
fi>Mtmeted in the orohestra, 6s. each; to be obtained at Mr. Mitohell*s Boyal 

*^;.^ ^^ ^'^^ Street; of the priaoipal Libraries and MosioseUerst and at 
Szeicr HbU. 



MADAME LAURA BAXTER wiU sing "The Fairy's 
» J ^^^r^1.S??'K^^ ?f"" ^*'^*'» »* ^' Howard aioyer'i Goneert, 
0t Jtmei*! Hall, THIS DAY, 2nd January. ^ 



oaetM 



riSS ROSE HERSEE and Miss EMMA HEYWOOD 

L will sing the Duet, " O GLORIOUS AGE OF CHIVALRY ** (Charming 
letcs, dear romanoes), from Howabd OLoraa'a popular Operetta of Ones too ^tm^ 
« the Compoeer'k Grand Morning Concert. St. Jameses HaU, THIS DAY. 






ISS EMMA HEYWOOD wiU sing a new Song, written 



ind ezpresslj oonpoeed for her l^ CiuaLBs J. HAaom, " R£sT THEE. 
(LnUab7),at Mr. Howard GlOfsr'k Gzaad Conoert, THIS DAY. ^^ 



MISS EMMA HEYWOOD wffl sing "Love is a 
GaiiTLB THnro,** from HowAao Glotsu's Popnlat Operetta of ** Ones too 
,** at the Composer's Grand Morning Conoert, THIS DAY, 2nd Jannary. 



Moral 



ISS FLORENCE DE OOUROY will sing "THE 

SONG OFJjfAY,^ opposed by W. Y^WAUUOi, at Mr. Howard Glover's 



[orning Conosrt, THIS DAY, at St. JamsiM Hall. 



MDLLE. FLORENCE LANCIA wiU sing '' THE OLD 
HOUSE BY THE LINDENS/* oompoaed by HowAao Oloybb, at the Grand 
srt, THIS DAY. at StT James's HaU. 

MR. WILLIAM CUMMIN6S wiU sing Reiohardt's 
popular Ksi. "THOU ABT SO NBAB AND YBT SO FAB,** at Mr. 
^rd GloTor's Coneert, THIS DAY. 



M 

St. Js 



R. SIMS REEVES will sing Blumbnthal's celebrated 

Lf JL Song, •• THE MESSAGE," at tl)e St. George's Blfle Band Conoert, in the 
t. James's HaU, Tuesday Erening, January 5th. 



R. SANTLEY wiU mg "THE SULIOTE WAR 

;. SOMG,"oomposedinrBainjir BioBAixM, atthaOooeertto be givenbythe 
It. George's Bifle Band, at St. James*B Hall, Tuesday Evening, Jan. 6. 



Ringwood, 



FRED. PENNA will sing at Blandford (Shroton), 



Itth January; Brldport, 12th; Shrewsbury, 14th; Christohuroh, 19th; 
_ K>d, 20th ; Newmarket, 2iih; Liycrpool, Stth, and let February t and is free 
to aocept engagemeots sa rm^ for Conoerts or Oratorios. 81 Talbot Terrace, West- 
bourae Park. 



SIGNOB EMAIirUEL BILETTA bogs to umounce his 
return to Town for the Season. Professional address— f 6 Harley Street, 
Cayendish Square. 



WILLIE PAPE'S PLABTOFOBTE BBCITALa 

WILLIE PAPERS engagements are in the following 
order :— Hastings, Chatham. Lynn, Norwich,Weymouth, Truro, ^nsanee, 
Redmtth, Camborne, St Aiaphs,Liskeard.8otthsea, Winchester, Torquay, Swansea, 
Huddersfield and tliree aiUoining towns, Preston, Northampton. Leamlosfton, Chel- 
tenham, Cambridge, Notttngham, Stourbridge, Shefleld, KiwoaStte-under-Lynne, 
Stafford, Stoke, Longton, Hanley, Bnnlem, Birkenhead, Chester, Liverpool, Man. 



Chester, Stockton-on-Tees, SnnderUnd, Carlisle, Dumfries. Dundee. Wiixia' Pin 

' rteeiTe a fow eogagemente for neighbeuring towns. haTtng a fow days not 

An early appUcation is requested. Address— W. 0. Pape, 9 Soho Square. 



is open to rteeive a lliw eog 
flUedup. 



TO CONGEBT FABTDBS VTSxl-lNG- THE FBGYINOES. 

WILLIAM FISH (late Agent for Bbnjamin Luicley 
and S. Thalbibo) baring completed his engagement with the great Pianist, 
is open to an engagement in town or country. 

Concert Tours organised and superintended, either on oopknission «f reMpli, 
salary, or stated sum. 

Letters, pre-paid, addressed 19 Whitebsrt Street, Kenningi^n Ciosf, 8., wUl niMk 
with erery attention. 

Third Edition. 
B. MOLIQUE'8 

<' STUDIES IN HABMONT,'' 7s. 6d. 

KEY TO THE STUDIESi 4b. 0d 

•« A better book could not easUy be named.**— iiOsaaiim. 

•« There is no better work of the kind eztaiit.'*-Jfcli0B/ ITerM. 

To be had of the Author, SO Harrington Sqaara; aadatBim * Co.*9, 87 Beg«Dt8t 



OEL ; an Old English Carol. Transcribed for the Piano, 

by B. Anoaaws. Sent post tn» for !• stamps. 
As a Song, •« A HAPPY, HAPPY CHBISTMAS, AND A ItBBBY BBIOHT 
NEW YEAB.** Words by Dr. MonSLk 7 stamps. 



N' 



AiMiwa'9, 144 Oxford BoAd, MiBtfufttr. 

Digitized by 



Google 



THE MUSICAL WORLD. 



[January 3^ 1864. 



JSmW aAGBJID VOCAIi MX78IC FOB CHBI8T1CA& 

Jnst pnbllahed, price 3i., 
A CHU1STMA8 PASTOBALB, 

« SLEEP, SLEEP, MY BEAUTIFUL BABE." 

The Poetry by the Late FATHER FABER, D.D. 
The Music by WILHELM 8CHULTHE8. 
*' In two ninnben back of oar paper, we mentioned some mosioal compositions well 
adapted for the approachlnsr holy season. Wo now inform our readers of a new 
Christmas Pastoral, which has only been published a few days, and which is likely 
to prove doubly welcome to lovers of sacred music, since the words are taken flrom *n 
anpQblkhed, and therefore quite unknown, hymn of the late Father Faber. Herr 
Schulihes, the conductor of the Oratory Choir has been fo. tunate enough to obtain a 
copy of the words and the permission of the Fathers of the Oratory to set it to 
Music. He has treated it as a song for messo soprano, and has produced a simple and 
very darotional composition, the merits of which will not Ikil to be appreciated, 
since the composer has so carefhlly studied to adapt his melody to the spirit ot the 
words. The few bars of Introduction on the pianoforte may serre to represent the 
pastoral music of the shepherds until the voice of the Divine Mother enters with the 
words—** Sleep, sleep, my beautlfhl Babe.** We are glad to see that the publishers, 
Messrs. Duncan Davison, have printed the whole Hymn at ihll length at the com- 
mencement ot the piece. The song Is known by its first words—** Sleep, sleep, my 
beantiftil Babe .'**— fFMUy BtgitUr. 

London: Dmnuv Datisox A Co., au Regent Street, W, 
Jnst Published, Price 3s. 

''PEACEFULLY SLUMBEB" 

(Cradle Song), 

Composed and Dedicated to Miss Bamkb, by Albbuo Raxdbooib. 

A Yiolonoello part to the above, as played by Slgnor Plattt, Is published, prioa M. 

LoBdon : DuaoAH Datxsov, A Co., au Begent Street 

A 80NQ FOR CHRISTMAS. 
''THE OHBISTMAS BOSK" 

SONG. 

Compoicd by LOYBLL PHILLIPS. 

Price as. 6d., handsomely illnstrated. 

London : Dnoav Datibox A Co., 344 Begent Street. 

SACRED PIANOFORTE MUSIC FOR CHRISTMAS. 



Drax bonbons tli^ de la •• CREATION.'* de HATDN. 

Ko. 1. "With Terdiire dlad,'* price !■• 

No. 2. " In native worth," „ Is. 

Transcriptions IhcUosjtar EMILB BBBQEB. 

London : Dusoav Dayuoit * Co., au Bsffsnt Street, W. 



CABLOTTA PATTI. 



"I WOU D HEAR YOU, WARBLER" 
(L'Usignuolo— The Nightingale), 

Composed by E. MUZIO. 

This popnlar Song, sang at Mr. Alfred Mellon*s Concerts and at St. James's Hall by 
Mdlle. Carlotta Pattl, with distinguished snocess, Is pabUshed, wtth EnglUh and Italian 
Words (the English Version of the Words by Jobh JiaroBP, EfqOf u>d * Portrait 
of Carlotta Pattl, price 4s., by Duvoav Darisoir A Co., 244 Frgent Street, W. 



80th Edition. 

ALICE, WHEBE ABT THOUP 

A SOHER'S Popular Song, "Alice, Where art Thou?*' 



obtained 



The twentieth edition of this celebrated song Is now ready, and may be 
* of the PabUshers, Dukoah Datxsoh * Co., 244 Ragant Street, W. 



Prioel28. 

THE VOICE AND SINGING 

(The fonnation and CultiTation of the Yoioe for Singing). 

BT ADOLFO FEBBABL 

** One of the most scientific and practical maslcal works that has appeared, la one 
entitled * The Formation and Cnlti?ation of the Voice fbr Singing,"^ by Adolpho 
Ferrari.— JBn^isA (Naial) N§in, 

London : Draoiv Datuov * Co. 2U Regent Street. 



W. H« HOLMBS'S POITB 8AGBIID FXHOBS Ibr the 
Pianoforte. 

"SUNDAY AT HOME;" Introducing "Awake, my 

soul, and witti the snn,*' O thou that tallest good tidings to Zion,** {Me$sUth) 
** How beaatlAil are the ftet of them that preach the Gospel of Peace,** and 
Eyenlng Hymn, ** Glory to Thee my God this night." 3s. 

" CHRISTMAS ; " Introducing " Ohristians Awake," Pas- 
toral Symphony from the Mesmah ("The shepherd's playing an their pipes** 
Ac.), Chorus, ** For unto us a child is bom'* (JfcmoA), and " Lo, he comes on 
olonds descending.** 3s. 

"NEW YEARNS EVE;" Introducing " Hark ! the vesper 

hymn is stealing,*' ** Adeste Fldeles," and the Sicilian mariner's hymn.** 3s. 

''EASTER ;" Introducing Easter Hymn "Jesus Christ is 

risen to day,** «* But thou did'st not leave his soul in heU ** (JfswtaA), '* Halle- 
li^ah chorus,** Handel. 3s. 

DowuM Dayhox A Co., 344 Ragant Street, W. 
Where alio may be obtained :— Highland Echo, 3s. { and SelaettOM from the 
Drawing Boom of GooLposltions, \jy Bminent Compoaot:— *No. 1. ** Inspiration,** by 
B.Wolft,u.}No.J.«»aiJrty,"byHandfI,U. 



Jnst pablisbed, price is., 
WILHELM aAKZ*8 

" VOOLI AN A," 

Masurka de Ck>no6rt» poor Fiaaa 

Dedle6 h son ami Monsieur SDWABDS, de Fkris, 
Pab 

WILHELM QANZ. 

London : DuxoAx Dat»ox A Co., M4 Bagtnt Street, W. 



ii 



Jnst pobUsfaed, price 4s., 

LA CO STANZA," 

Trolsleme Imprompta pour Piana 

Compostf et dedift h 

MISS CONSTANCE BBYAN. 

Par 

WILHBLM SCHULTHES. 

London : DimoAx Datisox A Co., 344 Begent Street, W. 



ADELINA PATTL 



''LB BAV Di giojalinfloUta, 

Walts, snng by Mdlla. Adellna Pattl with Diatinguishad Soeaesa. 

Composed by MAUBICB STBAKOSCH. 

With French and Italian Words. 

Price as. 
DuvoAX DATmox * Co., 344 Begant Street 



Jnst Published, price 48., 

" FROLIC," 

Deuxieina Impromptu pour Fiaaa 

Compoa6 et dedl6 k 

MISS ALICE CUBITT, 

Par 

WILHELM SCHULTHES. 

London : Ddxoak Datisox A Co., 244 Begent Street 



ARIE D'ANNETTA'S DANCE MUSIO 



JVL Characteristically Illustrated. 

** The Lily of the lliames Qoadrille/* with comet accompaniment ... 
"What Next Quadrilles *' (UobIn*s Last), with comet aecompanimoat 
** The Spirit Bapping Polka/' dedicated to all spirit-rappers* mediums 
'* The Ltewellyn Walts,'' dedicated to Mr. Backwell, B. M. 3rd B. W. M. 

" Beautiful Spirit Waltz,** dedicated to Mods. Louis JuUieu 

London : Doxoax Datisox A Co., 344 Begent Street W. 



9. d. 
4 • 
4 O 
8 O 

3 O 

4 tt 



Just Published, Price 9S. ed. 

"THE VOICE IN THE SHELL." 

Ballad written by Jamxa Bkotox. Compt^ed by Jaxes Lxa Somxbbs. 

** This plalntlTO ballad is a very Interesting one, and shows it to be the work of a 
good musidan. We have no doubt it will bo on every one*s plaim in a abort time, 
for it is now brluir snng by Mdlle. Parepa, the Quoeu of Song, whose exquisite ren- 
dering of it, th« uUier evening, at St James's Hall, caused a psrikct /Ww, and » 
ndwa»ndr—JMt0^«rd.<m-Av» mraUL 

London: Duxoax Davisox A Co. 2U Begent StrMt, W. 



Digitized by 



Google 



Janoaiy 2, 1864.] 



THE MUSICAL WOBLD. 



3 



DSAfTH OF MB. TKAOKERAY. 

SuDDXVLT one of oar greatest literary men has departed. Never 
more shall the fine head of Mr. Thackeray, with ito mass of 
silvery hair, be seen towering among us. It was bat two days ago, 
that he might be met with at his club, radiant and buoyant with 
glee. On Thursday morning he was found dead in his bed. With 
all his high spirite he did not seem well ; he complained of illness ; 
bot he was often ill, and laaghed off his present attack. He said 
ho was about to undergo some treatment which would work a per- 
fect cure in his system ; and so made light of his malady. He 
was soffering from two distinct complaint^ one of which has now 
wiDOght his death. More than a dozen years ago, while engaged 
on pMdbviw, the publication of that work was arrested by serious 
iUnees. Broaght to death's door, Mr. Thackeray was saved fix)m 
death hv Dr. £lliotaon, to whom, in gratitade, he dedicated the 
novel men finished. But since Ihat idlment he has been subject 
every month or six weeks to attacks of sickness, attended with 
violeai retching. Congratulating himself the other day on the 
fidlure of his old enemy to return, he stopped short, as if he ought 
not to be too sure of a release. On Wednesday morning the com- 
plaint reappeared, and he was in great suffering all day. He was 
no better m the evening, and his servant, about leaving for the 
night, proposed to sit up with him. This Mr. Thackeray declined. 
He was h^ucd moving about midnight, and must have died between 
two and three in the morning of Thursday. His medical attendante 
attiibato death to Muum on the brain. They add that he had a 
very large brain, weighing no less than 68^ oz. Thus he died of the 
oomplaani which seemed to trouble him least. He died full of 
strength and rejoicing, full of plans and hopes. On Monday last 
he was speaking with satisfaction of having finished four numbers 
of a new noveL He had the manuscript in his pocket, and with 
boyish firankness showed the last pages to a friend, asl^g him to 
read them and see what he could make of them. Wnen four 
numbers more were completed, he said, he would subject himself to 
the skill of a very clever surgeon, and be no more an invalid. In 
the fulness of his powers he has fallen before a malady which gave 
him no alarm. 

The prominent incidents of a literary man's life are not numerous ; 
aid so many memoirs of Mr. Thackeray have been published in 
biographical dictionaries and other works, that we need not 
have recourse to much detail in recording dates. He belonged to a 
Yorkshire fiimily, and was descended from that Dr. Thackeray who, 
for some time Head Master at Harrow, was the first to introduce 
the Etonian system. His father— in the Civil Service of the East 
India Company — was born at Calcutta in 1811. Mr. Thackeray 
himself was educated at the Charterhouse, which he loved to 
describe in lus novels. Thence he went to Cambridge, but left the 
University without taking a degree, and repaired to the Continent 
with a view of studying art. He might in those days be seen at 
Borne, Weimar, and Paris, enjoying every kind of society, but 
chiefly that of artists. He has described this sort of life abundantly 
in his tales. It was some years after that he turned his atten- 
tion to literature. He had begun life with what might be con- 
sidered a good fortune, but losing his money he was obliged to 
work. He be^n as a writer in Frofer's Magagine, in the days when 
Maginn was its ruling spirit, and, under the name of Michael 
AngeLo Titeoarsh, wrote scores of essays, reviews, tales, sketehes, 
poems, of unequal merit, which brought him little renown and not 
much emolument. He contributed to other periodicals, wrote 
vmrioos books of travel, and worked for publishers— any that came to 
hiDi, as a barrister takes his brief firom any respectable attorney. 
The mass of work which he ^ot through in this way was very 
great, but much of it is chiefly mteresting as the early practice of 
one whcf before long rose to be a master of English. The very high 
opinion which his friends entertained of him must have heia due 
more to personal intercourse than to his published works. It was 
not until 18i6 that Mr. Thackeray iairly showed the world what 
was in him, Then began to be publiehea, in monthly numbers, the 
siory of Vanity Fair, It took London by surprise — ^the picture was 
BO true, the satire so trenchant, the style so finished. It is difiicult 
to say which of his three great works is best — Vaniijf Faxr^ Semy 
Etmtmdf or The Newcomu, Men of letters may give their preference 
to the second of these, which is indeed the most finished of all his 
writinga. But there is a vigour in the first-named, and a matured 
beauty in the last, which to the throng of readers will be more 
attractive. At first reading, Vanity Fair has given too many the 
impfeasion that its- author is cynical. There was no man less ill- 
natured than Mr. Thackeray, and. if anybody doubts this, we may 
point to The Heweomee, and ask whether that book could have been 
written by a cynic. One of the greatest miseries Mr. Thackeray had 



to endure grew out of the sense that he, one of the kindest of men, 
was regarded in this light. 

He produced many works besides those we have mentioned, and 
among them, perhaps, PmdennU ou^ht to be cited as standing on a 
nearly equal level. Some of his minor works are perfect in their 
way. There is, moreover, a prose tale— ^arry jLyndifi,— which 
ardent lovers of Thackeray's writing regard as his master-piece. 
We have mentioned enough, however, to justify the opinion that 
no modem English novelist ranks higher than William Makepeace 
Thackeray. As studies of human nature, and as specimens of pure 
idiomatic English, nothing better has been written than that which 
we have under his name. There is rich humour, too, in his writing ; 
and, for play of fimcy what can be better than his poems? They 
are, indeed, amon^ the cleverest Uiings in tiie language. Highly 
polished as was his style, he composed, at least in his latter (bys, 
with infinite ease. He wrote like print, and made very few cor- 
rections. What he had to sav (»me naturally ; he never made an 
effort in writing ; and rather despised writing which is the result of 
effort. This naturalness he earned into daily life. He had in him 
the simjklicity of the child with the experience of the man. It 
was cunous to see how warmly his friends loved, and how fervently 
his enemies hated him. The hate whi(^ he excited among those 
who but half knew him will soon be forgotten ; the warmth of affec- 
tion by which he was endeared to many fiiends will long be re- 
membered. He had foibles, and so have we all. Some of these, 
such as sensitiveness to criticism, aJways excited the good- 
humoured mirth of his friends. But his foibles were as nothing 
beside the true greatness and tfoodness of tiie man. It was im- 
possible to be long with Thackeray without noting his truthful- 
ness, his gentleness, his humility, his sympathy with all suffering, 
his tender sense of honour ,* and one felt these moral qualities idl 
the more on coming to know how clear was his insight into human 
nature, how wide his experience of life, how hur ge his acquaintance 
with books, how well he had thought upon all he had seen, and how 
clearly and graceftdly he expressed hixnself. A man in all the qua- 
lities of inteUect, he was a diild in all the qualities of heart ; and 
when his life comes to be laid before the public in a biography, 
whatever intellectual rank may be assigned to him, no man of 
letters with anything like &e same power of mind will be 
regarded as nobler, purer, better, kinder than he.— TVnisf, 
Dec. 25, 1868. 



THB VUNEBAIi. 

On Wednesday at noon Mr. Thackeray was buried in the 
cemetery of Kensal-green. The day was so fine that, notwith- 
standing the distance from town, a vast concourse of his friends 
were, enabled to surround his grave, and to pay him the last honor. 
Many hundreds must have bemi present of almost every rank and 
class. Mr. Thackeray had the gift of associating with a wonderfU 
variety of persons ; to be in his company was in the case of most 
persons to be entirely at ease with him ; and it was impossible not to 
pass from easy intercourse to affection and regard. Among the 
great throng of mourners were noticeable nearly all the foremost 
men of letters and artiste of the day, some of them having travelled 
fiur to be present on the sad occasion. It may be enough to state this 
in general terms, and we forbear to mention names/oecause in so 
large and promiscuous a crowd in which there were no signs of 
arrangement or precedence it is difficult not to overlook some 
eminent men who might be entitled to mention. Only a very few 
of Mr. Thackeray's most intimate friends were expresdv invited to 
the funeral. The hundreds on hundreds who attended came of 
their own accord to bear witness to the worth of a dear friend and a 
niuch admired man ; and of all these we venture to refer to but one 
name— that of Mr. Charles Dickens. We do so because he is the 
author most frequently remembered in connexion with Mr. 
Thackeray, and because he has sometimes been regarded as a rival. 
In point of fact, there can be no rivalry between these two great 
noveUste, and any special comparison between them must proceed 
on superficial grounds. No one had a greater admiration for Mr. 
Dickens than Mr. Thackeray' himself, or more unaffectedly rejoiced 
in his exceeding popularity. On the other hand, to no one could 
all thought of rivalry with Mr. Thackeray be more distastefhl than 
to Mr. IHckens, who always recognized Thackeray's genius, and 
came a long journey to testify to the love and the esteem which he 
felt for his great literary brother. 

For one so distinguished it has been suggested that Westminster 
Abbey is the only fit resting-place. It must be remembered how- 
ever, that Mr. Thackeray deored to be interred in the simplest 
manner at Kensal-green. He has been laid in a brick-built grave 
beside one of his duldren ; and his family affections were so strong 



Digitized by 



Google 



36 



THE MUSICAL WORLD. 



[January 16, 1864. 



nervous anxiety good news from hinif Weber, without departing 
from the actuiu truth, often affectionately made matters appear in a 
more pleasing light than that which, now and then, they really emitted. 

" With regiurd now to the outward form of representing the life- 
picture to be produced from this mass of materials, it appeared to me 
that an artist s ought to be narrated in a different tone, and described 
in a different style, to that of a hero or a scholar. I have endeavoured 
to impart to my narrative the local tone of the period of life described, 
though letting the whole stream on in that ien^ in which Weber's 
short life, eagerly, hurriedly, and restlessly, wore itself out. In con- 
sequence of this endeavour on my part, combined with the fact of my 
having availed myself of the unusual mass of separate particulars at 
my disposal, the narrative, as I do not conceal from myself, has, hero 
and there, assumed a peculiar character, as though the gaps in the 
course of the historic%lly authenticated facts had been filled up by 
fictitious details, and thus that this or that portion had been rounded 
off into a romance-like story. But such ia^inno iiutanee, the ceue I Even 
in details I have never consciously swerved from the facts, and though 
I have not given any of my authorities, I am most ready, in answer to 
any reasonable questions which may be addressed me, to mention the 
authorities from which I took each fact, or, as is allowable, cautiously 
drew ray inferences. 

"To carry out consistently the principle of my narrative, it was 
requisite that— and I shall, perhaps, be blamed by prudish and fanatic 
admirerfi of discretion — I should cast a stronger and clearer light than it 
has hitherto been the fashion to cast upon that sphere of the life of 
Weber's soul, which, as primum mobde comprised his world, the 
working of his heart, and the objects of it. But it struck me, although 
most biographers, with a misconceived feeling of delicacy, have omv 
dared to give in the way of hints timid and pale reflections of this 
sunshine in the world of an artist's soul, that sacn a course was equiva- 
lent to painting a panorama without a sky. 

" I, therefore, hazarded the experiment, as I think I was entitled to 
do, for as great men always grow after their death, while little ones 
disappear like will-o'-the-wisps, the feeling which in the case of human 
nonentities is called sentimental enthusiasm and youthful folly, 
becomes in that of great men, mighty, creative, and plastic power. 
Besidea, it was no part of my intention to write a panegyric on my 
father." 
' Finally, Herr von Weber, with the same impartiality, and irrespec- 
tive of the persons concerned, promises togive an account, also, of 
his father's official relations in Dresden. W eber's position there was 
a painful one ; he was not able to gain, either in an artistic or politi- 
cal sense, tiie confidence of those placed above him. Count Vitzthum 
excepted. His importance as an artist was so little valued there, 
*^ that, on one occasion his last officisJ chief, observing, aa he tra- 
yelled with him, the manifestations of high esteem which were 
offered him on all sides, exclaimed, in deep astonishment : * Weber, 
are you really then a celebrated man ? ' '* 
( 7b &s continued,) 

BaimswicK. — The new society called the Association for Concert 
Music lately gave its fifth concert. The primary object of the society 
was to give twelve concerts— tour with a full band (8infonie-Soir6en), 
and eight for chamber.music. The following artists have already ap- 
peared : — Herr Hans von Bttlow, Madame Uara Schumann, Joachim 
and Madame Joachim, Herr Carl Reinecke, HejT Ferdinand David, and 
Herr Lubeck. Herr A. Franz Abt is the conductor. At the fiflh con- 
cert the proceedings commenced with Schubert's D minor quartet, 
executed oy Herren Blumensteugel, Sommer, Eygeling, and Kiuder- 
mann. In the course of the evemng MadUe. Sara Magnus, from Stock- 
holm, performed Chopin's " fantaisie-impromptu," Jensen's <'Stille 
Nacht '^ and Liszt's " Migoletto fantasia." 

Bbusbkls. — ^The mana^ of the Th^&tre de la Monnaie has been ex- 
ceedingly unforttmate this season, owing to the frequent indisposition 
of the leading members of his company. At present, Madame Mayer- 
Boulard is again laid up, and, had it not been for the kind offer of 
Madame Meillet to sing the part of Rezia, at a very short notice, 
Weber's Oberon, which was drawing money, would, of necessity, have 
been taken out of the bills. The third concert given by the " Grande 
Harmonie " took place on the 26th ult., when Madlle. Marie Sax sang 
three airs; Madame Qraever-Johnson performed Litolff*s fourth con- 
certo and a capriccio, by Mendelssohn ; and M. Leonard executed two 
fantasias of his own composition. 

Hambuboh. — Mdlle. Tietjens has left. As she resolutely refused 
to accept any pecuniary recompence for singing in St. Michael's 
Church, the building committee of the St. Nicholas Church have 
presented her with a bracelet worth a hundred louis d'or, and a view 
of the church for which she so nobly gave her services. 



MUSIC m COLOGNE.* 

The fiflh Gesellschafls-Concert, under the direction of Herr Ferdinand 
Hiller, took place on Tuesday, the 29th ult., when the following was 
the programme : — Part I. — Symphony, No. 6, Niels W. Gade ; Soprano 
air firom SauL Ferdinand Hiller (sung by Mdlle. Pauline Wiesemann) ; 
Concerto in C minor Mozart, (Mad. Clan Schumann). Part II. Overture 
to Ijodoiekaf Chenibini ; Pianoforte solo, R. Schumann and Ferdinand 
Hiller (Mad. Schumann) ; EichendorfTs "Flucht der heiligen Familie," 
for ohoms and orchestra. Max Bruch; Songs, Schumann (Mdlle. 
P. Wiesemann) ; Fantasia for Pianoforte, chorus and orchestra, Op. 80, 
Beethoven (pianoforte. Mad. Schumann). 

Gade's symphony was exceedingly well played, but only the third 
movement ana the conclusion succeeded in eliciting signs of approbation 
frem the audience. Nor does this work of the celebrated composer 
quite satisfy ourselves. The third movement produces an imposing 
effect by its rhythm, and the last contains a few brilliant passages ; but 
on the whole we miss decided melodic design in palpable outhnes that 
that can be firmly retained, and even the coloring, usually Glide's 
forte, compared to his previous tone-pictures, strikes us as being &r 
less attractive than usual. Cherubini's overture, admirably performed 
by the orchestra, was warmly applauded. Mad. Schumann played 
Mozart's Concerto, remarkable for the prominent employment of the 
wind instruments, in capital style, but it strikes us that this kind of 
music is not exactly that in which she surpasses other pianists. In the 
beautifhl Canon in A flat m%jor, on the contrary, from the Studies for 
the Pedal-Grand, by R. Schumann, in the sparkling and difficult Im- 
promptu in D minor, Op 80, and in the charming little picture : " Zur 
Guitarre," by Ferdinand Hiller, her playing was, in every respect, 
so perfect that, for characteristic expression, whether the latter required 
complete independence of the fingers in the melodic strain ; a magic 
stream of costly tone- pearls gushing, rapidly as a bird's flight, over the 
animated key-board ; or the most delicate grace and feeling, no one, 
perhaps, could equal her. We are not fond, as is well-known, of using 
extravagant terms, but to designate the effect of such playing we are 
fully justified in employing the word " entrancing," Mdlle, Pauline 
Wiesemann, who is indebted for her professional education to Pro- 
fessor B5hme, teacher of singing at the Conservatory here, took part 
for the firbt time at these concerts, and experienced a very kind 
reception, of which her singing proved her to be deserving. To an 
extremely pleasing personal appearance she unites a voice exceedingly 
rich in the upper notes, though not so full in the middle ones. By her 
management of it she has succeeded in rendering herself more and 
more capable of satisfying unusually high expectations, as she 
showed by the way in wliich she gave Schumann's song, " Die 
Nonne." Her execution of this was finely graduated, and distinguished 
by deep feeling of expression. It was justly rewarded by the most 
hearty applause, which, by the way, was not wanting, either, after the 
air from Sault or Schumann's second song, " Du, meine Seele." 

A new composition, by Max Bruch, of EichendorfTs pleasing poem, 
''Die Flucht der heiligen Familie," is worked out with the same 
happy talent which the gifted composer of the opera of Lorelei has 
already exhibited most satisfactorily in several smiuler vocal pieces for 
chorus and orchestra. The work consists of only two movements in 
£ flat major, an Andante, 6-8 time, which modulates into an Adagio, 
4-4 time, at the words " Und das Kindlein hob die Hand." It is a 
charming picture of feeling, an Idyll, in which the tones stream fra- 
grantly forth, and a profound sentiment of devotion is gently cradled 
upon soft pinions. No rhythmical jerk, no harsh modulation, in fact, 
no trace of aflectation of any kind disturbs the pure, quiet flow of 
the melody, which is supported by agreeable harmony and charming 
instrumentation. The young composer met with a most firiendly re- 
ception on making his appearance, and was honored at the conclusion 
of his work with long continued applause. A very good performance 
of Beethoven's well-known, but always effective, Fantasia, brought the 
concert to an end. 



Flobenoe. — Sig. Basevi has offered two prizes, the first of 400, and 
the second of 200 francs, for the best string quartet, to consist of four 
separate movements. The prizes are open to musicians of aU nations. 
Candidates can address their compositions to the Secretary of the Royal 
Institute of Music here up to the 16th August next. No composition 
must bear the name of its composer, but each one must be distinguished 
by a motto. The latter must be repeated on a sealed envelope con- 
taining the flUl name and address of tne sender. Only the envdlopoa of 
the successful candidates will be opened. 

Rotterdam. — Herr Ferdinand Hiller's opera, Die Katakomhen, has 
been produced with great success. The singers were repeatedly called 
on. Tiie same compliment was paid the composer at the conclusion of 
each act. 

* fVom the Ni§derrh4mKhe MuHk-ZeUmig, 



Digitized by 



Google 



January 16, 1864.] 



THE MUSICAL WORLD, 



87 



MUSIC IN AMSTERDAM.* 

The ** Popular Concerts " have recommenced under the direction of 
Herr VerhtllBt, At the first, we had Gade's Symphony, No. IV.; 
Beethoven's Eroica : Mendelssohn's overture, "Meeres-Stille und gliiok- 
liche FaJirt;" and M^hul's overture of La Ohasu dujeune IlenrilV, 
The orchestra, thanks to its excellent conductor, was animated by the 
best spirit, but its playing did not seem to us so free from reproach as 
at last year's concerts. M^hul's overture — ^which had to be repeated — 
was i^en too rapidly, while the delicate beauties of Beethoven's 
masterpiece were not brought out with the same care as usual. Mdile. 
SchrecK, from Bonn, achieved a flattering success, as she could not fail 
to do, after singing some airs of Handel and Eossi in a style formed 
entirely on the true principles of Art. 

At the second '* Poptdar Concert " the public were presented with 
a new Symphony by F^tis, written by the worthy master at the age 
of 78, and performed, two years ago, with great success, at the Con- 
servatory of Brussells. It bears &e character of French music ; the 
form is pure and clear, while the whole production exhibits a degree 
of freshness almost incomprehensible in a composer of nearly 
eighty, a proof that even old age can be fertile in mental creations. 
Although ^ere is not idwavs sumoient originality of invention for the 
Symphony to mark an epoch in the musioal annals of the present day, 
the elegant style, the melodic charm, and the genuine perfume of 
youth, permeating it, captivate the hearer. The work must be re- 
garded as a most interesting one. The AUegro and the Adagio seem to 
us the weakest portions. The Inlermestzo and the £<mdo were very well 
executed ; they afforded general satisfaction, and were applauded by a 
very severe pubUc, who, as a rule, never deny their predilection for 
Qerman music, and listen only with prejudice to the music of a French 
composer. 

At the same concert, Beethoven's Symphony, No. V. ; the over- 
ture : •» Im Hochland," by Oade, and that to Ferdinand Chrtet, by 
Spontinl, were executed with great precision. 

The most attractive features of the concerts given by the " Felix 
Meritis" Institution are generally the solo performances. Mad. 
Madeleine Gr&ver and Herr Ernst Lttbeck, both children of HoUand, 
as waU as Bazzini, have exhibited their talent there. Herr Ernest 
Ldbeck achieved an immense success by his masterly rendering of 
Mendelssohn's concerto, while Madame Gr&ver, also, proved herself 
an excellent pianist, though she did not move the audience to enthu- 
siasm. Bazzini played a new concerto, of his own composition, for 
violin and orchestra ; it was most favourably received by the public. 

The annual concert of the St. Cecilia Association attracted a very 
numerous audience, so that the room was inconveniently full. 
Schubert's grand — ^but very louff — symphony, and Beethoven's magni- 
fioent overture to E^mont carried off the honours of the evening. 

On the 5th January, the Society for the Promotion of Musical Art 
will give its first festival concert, when Handel's oratorio of Jothua will 
be |»rformed, under the direction of Herr VerhtQst, and with the 
eo-operation of Madlle. Shreck, from Bonn; Madlle. Bothenberger, 
from Cologne; Dr. Gunz, from Hanover; and Herr Behr, from 
Bremen. 

Signer- Merelli's Italian Operatic Company have commenced their 
performances. The famous Ddsiree Artdt, who left behind her suoh 
nattering reminiscences in Germany, has been very successful in 
Holland also. She is a great artist, but here she was so badly supported 
by the mediocrity of those around her, and by a chorus to whom 
no one could listen, that the public did not precisely flock in shoals to 
admire her. 

Bladlle. Carlotta Patti is awaited. Herr Ullman, a master in his 
way, has inundated every hole and comer with announcements in the 
American fashion. Well, we shall hear the lady, and judge for our- 
felves. 

The progranmie of the next "Popular Concert" will consist of 
Beethoven's Symphony, No. VII.; Mozart's smaller D major Symphony; 
Weber's overture to Oberon^ and Edward de Hartog's overture of Pomps- 
jut. The little violinist De Graan, a Dutch infant phenomenon, 
deveft years old, and a pupil of Herr Coenen, will play on the occasion. 

Matiho. 



Pbaoui. — The Arion Vocal and Instrumental Association lately got 
up a Commemoration Concert in honor of Beethoven. The rooms, 
tastily decorated with flowers, and with the bust of the great composer, 
were scarcely spaeious enough to contain the numerous audience. The 
proceedings were opened with a poetical prologue, written by Herr Ad. 
Frank, a lawyer of this city, and recited by Herr Oi)erlftnder. Among 
the indiramental works selected for performance were Beethov^i's C 
minor trio, and the adagio from his C sharp minor sonata. 



'*' FrQm the IfiederrMnitche M\mk-Z«ittmg. 



JOTTINGS FROM VIENNA. 

There were 826 performances at the Imperial Opera House during the 
year just passed. The repertoire, which was pretty well the same as 
usual, consisted of: Die ZauberflOiej\ Le Nosae di Figaro, Don Juan and 
Weibertreue (Mozart) ; Fiddio (Beethoven) ; Let Huguenott, Robert, and 
UEtoiU du nord (Meyerbeer) ; La Juive and Let Moutquetairet de la 
Beine (Halevy) ; Jiutonda (Spohr) ; Le PottiUon de Lonjumtau (Adam) ; 
La Dame Blanche (BoYeldieu) ; Norma (Bellini) ; Lee deux Joumeet 
(Cherubini) ; Lucretia Borgia^ Maria di Rohan, Lueia, Dom Sebattianf 
and Belitario (Donizetti) ; Lohengrin, Tannhdueer, and Der Flie^en de 
Hollander (Wagner) ; Fausi (Gounod) ; Emani, Irovaiore, and Rigdetto 
(Verdi) ; Martha, StradeUa (Flotow) ; ffant Heiling, and Templer und 
Judin (Marschner) ; Wanda (Dop^r) ; Lalla Rookh (David) ; Der 
FreieehuU, Euryanthe, und Oberon (Weber); The Bohemian 6?iWCBalfe); 
Guillaume Tell (Rossini); Die luttigen Weiber (Nicolai); and Dat 
Naehtlager in Oranada (Ereutzer). This list contains the names of 
twenty-three composers and thirty-eight operas. To render it com- 
pdete we have still to hear the best works of Auber, BoTeldieu, Bellini, 
Donizetti, Gluck, Lortzing, Rossini, Spontini and Schubert. In the 
rather long period of an entire twelvemonth Lalla Rookhvfas produced for 
the first time, while Weibertreue, Ten^Ur und Judin, and Let Afoutquitairet 
de la Reine, were revived. There was also a new ballet entitled Jotta. 
Of a truth the good Viennese are perfectly right in asserting that neither 
the manager nor the artists shall kiU themselves by over-work. 
Indeed the public are not at all satisfied with the mode in which things 
are conducted. For instance, Herr Ander, who was unable to appear 
during more than six months last year, is again laid up with an anec- 
tion of the throat. It is reslly high time that he should retire, for 
his continuance on the list of the effective members of the company 
causes only frequent disapnointment and confusion. Much dissatis- 
&ction is manifested, also, by the press with other artists connected 
with the same establishment. It is said that when three singers, to 
wit: Mad. Dustmann, Herr Beck, and Herr Walter, receive respec- 
tively an annual salary of 14,000, 18,000, and 10,000 florins, they 
ought to possess some power of attraction. This, it is pretty evident, 
they do not possess, for, at the last performance of ffant ffeiling, in 
which they sustained the leading characters, the house was absolutely 
deserted. 

In the way of concerts, I beg to state that Herr Ernst Pauer, from 
Ijondon, will give a concert on the 10th inst. He will shortly be admitted 
to an audience of the Emperor, to thank the latter for the Order of 
Francis- Joseph recently bestowed on him by that august personage. — 
Leopold de Meyer has announced a concert for the 10th inst. — ^On 
New Year's Eve, the members of the Mltnnergesang-Verein executed 
a comic quartet entitled the **Markthallen-Quiartet" (the '* Market- 
Quartet*'), the singers, or rather actors, being dressed as four market- 
women. The performance was greeted with shouts of laughter and 
elicited continuous applause. — Herr Laub has brought his series of 
Quartet-Evenings to a termination for the present, by an admirable 
performance of Haydn's F minor quartet, Bach's difficult Violin solo, 
and Beethoven's quartet in C sharp minor. His farewell concert took 
place on the 8rd inst. The next day he set out for Bmssells for the pur- 
pose of playing at a concert there on the 7th. 

The results obtained at the examination of the pupils belonging to 
tiie Imperial Operatio School are not very encouraging. Some people 
object to the method of teaching employed by Mad. BochkobE- 
Falconi, while others lay the blame on ner pupils. Some day, the 
true state of the ease will be known. MeanwhUe, let lUbd. Bochkolz- 
Falconi look to her laurels aad her position, for Mad. Palm-Spatzer, 
who enjoys a great reputation, has also settled here as a teadier ot 
singing. 

Herr Schmid of the Imperial Opera House has been about as 
severely tried lately as a man well can be. After he had received 
intelligence, not long since, that his father had become blind, he 
learned, within a short period subsequently, that his sister was for 
ever stretched on her bed, in consequence of an incurable i^ection of 
the spine, and at the last rehearsal of La MueUe, he had a telegraphic 
message to announce the death of his mother. To render the measure 
of his woe complete, his wife is now lying dangerously ill, and is not 
expected to recover. 

The well-known Brothers Strauss have applied for permission to 
establish a music-publishing house. Accoraing to all appearance, 
however, they do not intend to carry it on themselves, as they are 
engaged in negotiations with Herr Spina, music-publisher to the 
Emperor. 



Milan.-— The grand Carnival season at the Scala began with Verdi's 
Ballo m Matehera, — The opera of The New Figaro, by Bicci, has been 
highly successful at the Santa Radagonda. 

Gbmoa.— ^g. Novaro has established a singing-Bchool for the people. 
It already numbers iSty pupils. 



Digitized by 



Google 



38 



THE MUSICAL WORLD. 



[January 16, 1864. 



THE LEEDS ORGAN. 

We quoted, last week, an extract from a York paper req)ecti|ig 
the merits of the grand organ in the Leeds Town Hall ; and we 
now refer to it for the purpose of noticing an assertion to the 
effect that latterly the tone of the instrument has greatly im 



proved. Were this an isolated statement, we should let it pass 
lor what it is worth, as a mere expreesion of the writer^s opinion. 
But we hear, from a variety of sources, that the same idea is very 
prevalent in Leeds and its neighbourhood. It has become quite 
a fashion, indeed, to give extraordinaay praise to the Town HiJl 
organ, with the subsidiary caution that ** its tone has been greatly 
improved and mellowed." Now, this either is, or is not, a preju- 
dice. Doubtless, there is something in the York critic's suggestion, 
that Dr. Spark is now more compfetely master of the resources of 
his instrument than he could have been at the outset of his ap- 
pointment. But all this has nothing to do with tone ; the most 
skilful performance can have no effect in ^^ improving " an originally 
harsh style of voicing. Again, we may state as a fact that not a 
pipe in the organ has been changed or altered in any way Tsave by 
tuning) since the day of its completion ; consequently, tne builders 
can have done nothing to " improve " the tone of their work. 
Eliminating, then, these first chances in favor of the opinion 
referred to, it remains to enquire as to the fact asserted; and 
next, as to the probable reasons for it. 

We all know how much some kinds of musical instruments are 
said to gain by age. Very specially is this kind of improvement 
attributed to instrumentr of the violin tribe. And it is not di^- 
cult to understand that such improvement may really take plaoe. 
The action of time in desiccating the thin wood of which these 
instruments are formed may, and probably does, greatly increase 
their power of lending brilliancy and sonority to the vibration of 
their strings. One thing, at least, is certain. No modern copy of 
a fine old violin, however scrupulously accurate in following the 
kind, proportions, and dimensions of its materials, has ever been 
found to approach the excellence of its original. In this case, 
certainly, age seems to govern the entire difference. Next to 
the violin, according to general opinion, the organ seems to come 
in for the largest share of time's benevolence. Eveiyone has 
heard of the inimitable qualities imputed to some dd organs. 
Everyone must be familiar with the dilletante talk about the 
** sweet cathedral tone " of diapasons of a certain date (say from 
Father Smith down to Greene), and of how much they are in- 
debted to the " mellowing hand of time." Now, without either 
admitting or denying the fact here implied, it may be as well to 
state certain diflftculties in the way of its acceptance. No doubt, 
wood pipes may be affected by time in the same manner as are 
violins, but, owing to their proportionably greater thickness of 
material, in a far sEghter degree. But wood pipes do not consti- 
tute a sixth part of the stops of an ordinary English organ ; and in 
what way, then, are the remainder, the metal stops, influenced ? 
M'^e can see no ready answer to the question. Time can have no 
nower to decompose the alloy of which metal pipes are made. We 
believe that an analysis of one of Father Smith's pipes would 
yield precisely the proportions of lead and tin used by tiie maker. 
The pores of even the least dense metals are much too close and 
rigid in their arrangement to permit of further contraction by 
mere agency of time. Nothing short of mechanical force could 
effect this. The only conceivable operation of age on metal pipes 
is the deposition of small patches of corrosion about the lips and 
inner surfaces of the tubes; and this, if acting at all to check 
vibration, must be counted rather a serious d^ect than an im- 
provement. Difficult, however, as the thing may be to explain 
there may yet be some slight and imperceptible action going on, in 
the case of old organs, to justify the ordinary opinion. Mean- 
while, be it observed that this action, if really existing, is so slow 
of progress that, as universally admitted, nothing e£ort of such 
periods as eighty or a hundred years will suffice for its exhibition. 
But in what way can such an operation be imagined to apply to 
the Leeds organ? If, as we have shown, the player can do 
nothing, and the builders liave done nothing to alter it, how can 
time have worked such wonders in *' mellowing " the tone of an 
instrument just six years old? The truth of the matter is that 
time has done nothing, since nothing has been done. There has 
been no change— no ** improvement." Wo can vouch, at least, 
tor our own impressions, very lately and carefully gathered, that 



th Leeds organ retains precisely the same rich, grand tone it had 
the first day it was heard. 

The reason for the alleged alteration must, we conclude, be 
sought for, not in the instrument, but in its auditors. The 
^^ improvanent" is in the ears of its critics, rather than in the thing 
criticised. In fact, the Leeds people are beginning to understand 
and appreciate the tone of their organ. It is just one of those cases 
in which the education of taste comes prominentiy into notice. 
For many years past the people of the West Riding have bem so 
nearly exclusively accustomed to the poor, feeble, and timid voicing 
of the Booths and Greenwoods of the district, as to have 0rown up, 
perhaps, in the belief that this was the only admiasable kind of 
organ-tone. And especially would this be the case with the older- 
fashioned members of the community. No doubt there are hundreds 
of people still living in most resolute faith that such an instrument 
as that in Brunswick Chapel represents the perfection of organ - 
building. It is no matter for surprise if an audience thus educated 
should, on a first introduction to the Town Hall organ, be rather 
taken aback — ^not to say alarmed — by the out-spoken style of their 
new acquaintance. Here was everything to which they had not 
been accustomed : an organ saying what it had to say with the 
most unequivocal freedom of spe«^ ; with eveij stop accurately 
scaled for its work, every pipe proportionately winded to its scale, 
and each taught to bear its allotted pressure without flinching; 
and, lastly, reeds having a knack of assarting their presence with as 
much decisive individuality as do the trombones of an orchestra. 
All this was strange, and no wonder, then, it was not at first either 
generally understood or liked. But time, though it has not altered 
the organ, has doubtless done much towards teaching its hearers 
that feebleness is not beauty, any more than is the grand musical 
tone they are now accustomed to hear in the Victoria Hall the harsh 
noise they at first thought it. Meanwhile, critics of all kinds must 
be allowed the usual difficulty in altering their opinions, lliey 
must be let down easily. Some salve must be provided for wounded 
vanity, — so the organ is '* greatly improved." 

There remains another ckss of objectors to whom we desire to 
allude as tenderly as possible. Leeds, though a very large, is still 
a provincial town ; and there are few places in England in which 
party warfare is more bitterly waged. If we now recur to the fact 
that tiie Town Hall organ made its appearance in the midst of the 
deadliest hostility between two rival musical factions, and that this 
circumstance was eagerly converted by one side into an additional 
casus helli^ it is only for tlie purpose of remarking that, though, 
happily, most of this strife has ceased, there still remains something 
for our old friend " time" to do in removing the last leaven of dis- 
cord. No doubt, most of the fiercest calumniators of the organ 
begin to discover that they went too far ; and that, in spite of all 
their detraction, it is quite capable of standing its ground as not 
an atom less than it professed to be. But this, in the nature of 
men, cannot be at once confessed. Some locus penitentice^ some 
place of shelter during the ^* turning" process must be found, — so, 
once again, the organ is ^^ greatiy improved." 

But the organ is not '* improved," nevertheless ; — though, 
creditably to their honesty and discernment, there is a great change 
for the better in the tastes and feeiings of its hearers. 



Music at *' The Lizard." — (From a Corrtsp<mdent.)'^A most 
successful concert was lately given by the members of *' 'J he Grade 
and Ruan Minor Choral Society," in the school-room, tastefully 
decorated with flowers and evergreens. The part-songs and glees 
were admirably sung, oijpecially "All among the barley," "The 
month of maying," and "Foresters somid the Skeerful horn." Two 
duets were prettily rendered by the Misses Jackson ; Mr. and Mrs. 
Nunn from Penzance also assisted. After tiie concert the whole 
choir repaired to the recti »ry, where a most elegant supper was 
given by the Reverend Mr. Jackson, rich and poor mingling 
together and perfect good feeling prevailing. The best thanl^ are 
due to Mrs. Jackson for 4ier »(reat exertions in instructing the choir, 
"^rhe management devolve.! entirely ujjon her, and it is hoped that 
another concert will soon be «zivoii at •-'ITie LiztaiNl."" 



Rtde, Isle of Wight.— On Christmas day and the Sunday 
following, a Mass by Dr. A. Ilolloway, (of Saliihury), was per- 
formed, with the accompaniment of certain orchestral instruments, 
at St. Marie*s Catholic Church. 



Digitized by 



Google 



Jmauj 16, 1864.] 



THE MUSICAL WORLD. 



39 



UVEBPOOL FHILHABMQSnC fiOCI£1ET. 

(From our own SUnogramt), 

Lwtrfwdf JamuKry 12M. 

llondij afterDOOQ, Mnraai neetiiig of PfailbirmoBicSooie^ held 
in Cotton Sale-room, Exohaiige BuikUngs. A. G. Kivtsprended. 
Nnmflrons attendaQce. Beport of committee^ taken m laad, was 
as foQowB :-* 

*'From staiement of aecounts (audited, as aaual, by Harwood, 
fiaimer and Son), it will be seen that, although ordinary reoeipta of 
paat year have not saffioed to meet expenditure, aftars of floelety con- 
tinue to itt|iiove-*fiust not lau gratifying to oommittee than to 
propcietora. Whilai repute of aooiety'a oonoerte ia undimioiehed, 
oommittee haa been enaUed, by increase of resources, to produoe several 
worics of first-rate excellence in style hitherto unattainable, to vhlch 
nay be attributed increased encouragement of local public, evidenced 
by large fttteadancea at ooncerta, and oontinued denoaoullbr stalls at 
advMioad prices. Number of at^ held by sooiety reduoed ftom 206 
to 124 ; boxes now all disposed of. In accordance with suggestion made 
at last aonoal meeting, committee applied proceeds of Ses of stalls, 
during laat two years, to formation of^ reserve fund, credit balance in 
which amoonta to £2,315 Ss. 8d. This ftmd, commMtee arapoeas to 
inoreaaa, as ihrther sales take place, to meet incidental expenses 
required for repair or decoration of hall, or for renewal of lease. 
Committee recommends resolution, embodying thanks of society to 
pnelical members for services rendered during past year; also to 
txfnm to Mr. Henry Sudlow approval of seal and eAciency with which 
he haa peribrmed dutaea aa secretaiy and traasurer. Committee 
rsoommends that twelve full dress coneerts be given during present 
year, and that subscription be : — Proprietors : Boxes and stalls, £3 3s. 
each teat. Annual subscription to non-proprietors: Stalls, £5 5s.; 
gallefj alalia, £2 26. ; gaUeiy, £1 la Also recommended that pro- 
prielara shall be allowed to transfer right of tMtrie for season to leiident 
gentlemen on payment of 6s. as before ; and that resident gentJbKnen, 
approved by committee, and not in business for self, should be allowed 
fK9fXmg% of pnrohaaing ticket, or making use of member's ticket at 
nfaandption ooncerta, on payment of 10s. 6d., for year, in acooidaDce 
with Tooolotion of annual meeting, January 185& Members of 
QODiinittee who retire by rotation^ but re-eligiUe :«— 0. J. Forget, 
Louis GrOning, James Holmes, Ben. Heywood Jones, H. W. Meade 
King, A. O. Kurts, James Lister, John Moore and C. W. Neumann : 
baiaa fgantical members, in accordance with privilege, have nominated 
Mr. Moare to r^firesent them on committee, only eight other gnntleman 
can be elected." 

Genenl Iwlance aheet showed, on debit «idB.->-Bank of liverpool, 
£504; dock bonds, £1,900; oash bal&noe, £2 4a. 5d; on credit 
ade, — to credit of profit and loss account, £694 IQs. ; lees trans- 
ferred to reserve tund, £529 48. ;— leaving £165 6s.: deducted 
SM 11b. 2d., debit of profit and loes account,— giving £68 12b. lOd. ; 
luwa i t fond aoooont^ £2,315 5b. 8d. ; subaoiptions for present 
year ia advaBoe, £23 2b. ; total £2,407. Iliare aro mm 479 
proprifltaca, holdiiig 1,226 seats. 

Chakmaa said most nresiDt iMid been pot in pooBenon of repc^ 
aoeiaty ; but at desire of any gentLeman, he wouid'provose it be read. 
It most be gratifying to all to notice progress made this year in 
society; the^ had been enabled to invest considerable sum, in 
aocordaiioe with suggestion made at last general meeting ; and all 
would agree that concerts had not fallen off, but rather improted 
dsrinjg past year. True they had not managed to keep within 
working expenses, but exceeded income by something under £100 
a-year ; bat it would be seen by engagements that they had more 
than oompenaated for deficiency in pecuniary affairs. If they 
looked at brilliancy of talent, and character of concerts, it would 
be seen that deficiency was more than made up by bill of fare. 
Committee proposed to ndse price of stalls to non -proprietors ; 
tUs, after oonsiaeration, had been decided necessary, in consequence 
of wy great advance in price of stalls ; otherwise, it would be 
more profitable not to be proprietors, for then they would be able 
to oome in with advantage over proprietors. He proposed, *^ That 
Kport of oommittee ai^ accounts as audited be adopted and 
passed." 

Ronnie seconded motion, which was carried. Chairman next 
proposed, ^^ That best thanks of meeting be presented to practical 
members for very valuable services during past season.'* Cunliffe 
BMonded proposition, which was adopted. 

(2b he continued in otir n^t). 



MDTTONIANA. 

[Mr. Owain Ap* Mutton invites contributions to this department 
of the Musical Worlds henceforth pUced under his sole direction, 
and wUoh he haa witii beoonuag modesty christened Muttoniana. Ko 
subject connected with the Art and its Professors is excluded, — 
and all queries inserted one week will be answered not later than 
the week following, either by Mr. Ap* Mutton, or, when his know- 
ledge fails, by some more competent authority.] 

BCFBOAOB TO ▲ PUVSTEK. 

Mk. Ap' Mutton. — Sir, — A singer, who was sadly given to puns, 
used to pester sadly a fiddler, also sadly given to puns, and who was 
» sadly jealous of the'talent of his rival punster. One day the singer 
wrote a letter in French to the tiddler, which letter was wholly com- 
posed of puns too subtle for the not over-quick apprehenflion of the 
nddler, which latter, nevertheless, having a ** poetical " turn, answered 
him in the lyrioal composition subjoined : — 

OcanoM ^ ire. 



^^ 

%/ 



^ 



* 



zdz 



4= 



IQI 



Ke fais Ja • mais da 



- lem - - bourgs, , 




Ha sont si b6 • tes que to! seul peat les de-vi-ner. 



:fi 



S 



^^P 



r5 



Pas de oa - Ism - boorgs poor la - monr de IMea ! 
*•* Given to find oat wbers the lint **aDawor** comet in, and then where the 



The singer being unable to reply tn kind— that is, in canon— aban- 
doned pumaing iVom that moment, and left the field of wit in undisputed 
possession of the ** poetical fiddler." Gbokbb Roobes. 

New Opkbas Repbesektbd in Italy in 1863 — Rierm^ comj^sed by 
Lucilla, pcodnoed at fieggio. H Ferruedot by MagUoni, at b lorence. 
CUntiea SimMntk, by Brindangoli, at Assisi. Zaira^ by Dei Corona, at 
Leghorn. Pieearda Donatit by Moscuzza. at Florence. Beatrice Cenci, 
by Rota, at Parma. ViUoria, by Bona, at Gtenoa, Ivanhoe, author un- 
known, at Bastia. Orio Sorania, by Zescevich, at 'IVieste. H Oiotno 
di SL MieheU, by Quarenghi, at Milan. J?uiui, by Eashperoff, at Flor- 
enee. Oiowmna di Oattigliay by Battista, at Naples. La Fidanzata di 
Maree Botiari, by Frontini, at Catania. Eudino da Rrnntmot by Nobe- 
rasco, at G^oa. StradeUat by Sinico, at Lugo. / Profughi Fiamminghi, 
by Faecio, at Milan. Aldmn, by Qandolfi, at Milan. II Raptmenio, by 
Picherle, at Perugia. LadiUa^t by Pisani, at Florence (first at Con- 
stantinople); and n GatUUo MaledeUo, by Lamelet, at Corfu.— [YTiM 
can^imentt to Ap' Mutton, Eag.— C. C] 



7b the JBdStor qf the Musical Woblo. 

Sir,— I beg to eall your aMantion to the subjoined paragraph, 
which Mr. Pundi has quoted, and commented on appravingly in 
his last issue : — 

** It is utteriy ignored that harmonj ia aa exact science, that, a given note 
being sounded, it ia a mars miaitr ef trttbla and time to produce every variety 
of chord or accompaniment of which it is capable. That the modolatious, 
firom oae key to aaotheri can be reduoed to a table, like any other calculation, 
and that Verdi is a perfect master of this sort of thing, bat neglects it occa- 
sionally for a strain of melody, which sometimes equals that of Mozart. And 
yet it is faaeied often tbat Plotow, because he is a Qerman, is profound, and 
Verdi uneducated as a masieian ! Flotow simply writes ballad operas, how- 
ever. Meyerbeer has written more in the Italian melodic style than in the 
harmonic, so called German, and without his ravishing melodies all the har- 
mony ia tbt world eoold aot have made him what he is. Melody is the sum 
of musical genius. This is qoite uncontested amongst those who know any- 
thing of the subject. Beethoven's, Mozart's, Haydn's melodies are just as 
muc£ Italian as they are German." 

I trust that Mr. Dishley Peters, Mr. Groker Rooree, Mr. J. Y. 
Bridg(e)man, Mr. Henry Smart, Mr. Rippington Pipe, or one of 
your numereus staff of comic writers, wul see to tJbds, and that 
speedily, and without fear or dread of Punchy or Fun^ or any 
other serioas atrial. En atttndanty I remain, Abel Grooo. 

Fhe Wq^ limf OkucetUrt /an, 14, 



Digitized by 



Google 



40 



THE MUSICAL WORLD. 



[January 16, 1864. 



MONDAY POPULAR CONCERTS. 

ST. JAMESES HALL. 
ONB HX7in>BEI> AND FOUBTEBTH CONCBBT. 



MONDAY EVENING, JANUARY 26. 1864. 



FIRST AFPEABANCE OF 

M. VIEUXTEMPS. 



PABT I. 

QUABTET, in A minor, for two Violins, Viol* uid Violoncello 

M. M. VzxuzTKMPB, L. Riis, H. Webb and FiQUi. 

SERENADE, ** Qtumd ta chantos beroie**— Madame Pakkpa 

SONQ, ** The Fllgrim " (" Joif Errant **)— Mr. Samtlst . 



Oounod, 



SONATA, Appasionata (in F minor— Op ft7) for Fianoforte alone-- 

Mr. CharI'SB Halli BuOiouit, 

PART II. 

SONATA, In B flat mi^or, for Violin and Pianoforte (dedicated to 

Mile. Sirinassacobi) 

M. ViBUXTiMPS and Mr. Charles Hallb. 

SONO, "What shall I sing r**— Madame Pabbpa .... BtMdici, 

BONO, **TheStirrap-cap">-Mr. Saktlbt ArdUL 

QUARTET, in B flat, for two Violins, Viola and Violoncello . . iToydn. 
M. M. ViBUXTBMPS, L. RiKS, H. Wkbb and Faqub. 



Condootor . MR. BENEDICT. 



NOTICE.— It if respeotftiliy suggested that saoh persons as are not desirous of 
remaining Ull the end of the performauce can leave either b^crt the eommeneemmt qf 
the last instrumental piece, or heiveen any tteo qf the movementi, so that thuse who wish 
to hear the whole may do so without interruption. Between the last vocal piece and 
the Quartet for two Violins, Viola, and Violoncello, an interval of rivB minotks will 
be allowed. 

Soih Stalls, 6s. ; Balcony, 38. ; Admission, is. ; To be had of Mr. Austin, at 
the Hall, 28 Piccadilly ; Messrs. Chappkll ft Co., 60 New Bond Street, Ac., Ac. 



ST. JAMES'S HALL. — NEW PHILHARMONIC 
CONCERTS.— Director, Professor WYLDE, Mus. Doc.— The Subscribers are 
respectfhily informed that the Concerts will cooihience early in next seasoa The 
Prospectus for 1864 will shortly be issued. 

W. GRAEPF NICHOLLS, Hon. Seo. 



irOTICES. 

To Advertisers.— 27ic Ojffice of The Musical World is at 
Messrs. Duncan Davison & Co*s., 244 Regent Street^ comer 
of Little Argyll Street (First Floor), Advertisements received 
as late as Three o'clock p.m., on Fridays — hut not later. Pay- 
ment on delivery. 

To Publishers and Composers— Jfiutc for Review must he for- 
warded to the Editor^ care o/Messrs. Duncan Davison & Co., 
244 Regent Street. 

To Concert Givers.— iVb Benefit' Concert y or Musical Perform^ 
ance, except of general interest^ unless previously Advertised^ can 
he reported in I'he Musical World. 



MiLAv. — Yes. 



TO CORRESPONDENTS. 



LONDON: SATURDAY, JANUARY 16, 1864. 

ITALIAN MUSICAL AFFAIRS. 
(^From a Correspondent,) 

ILLNESS and other causes having prevented me frojp 
sending a detailed account of the principal musical events 
that were occurring in the various cities I have visited since 
my last letter, I must beg of your readers to accept a 
short r6sum6 of what has passed during the last two months. 
At Genoa, at the Carlo Felice, I found a very excellent 
Opera Buffa Company — though, as is often the case, sadly 
deficient in the tenor department. Among the artists com- 
posing the Company were three who have already received 
the approbation of a London i^udience, Ciampi, Fioravanti, 



and Mile. Fumagalli ; the two latter having, it will be re- 
membered, been the main props of the St. Jameses Theatre 
when Mr. Mitchell, some six years ago, endeavoured to 
make Opera Buffa acceptable to the English public. Although 
at that time some of the best works were produced, and 
many of the artists were, in their way, inimitable, I think 
the sequel proved that Opera Buffa is not adapted to the 
taste of us cold and phlegmatic Englishmen, though doubtless 
the non-success which attended its production in England 
may, in a great measure, be attributed to the ignorance of the 
language, to which the generality of my countrymen must 
plead guilty, not even excepting the majority of the many 
" Misses," who do not deign to exhibit their vocal qualifica- 
tions in anything less than an Italian scena. I have been 
told — and, judging from the extreme frigidity of the audience, 
it is probably true — that in this respect the Genoese take 
after the English, and not only much prefer " Opera Seria," 
but are absolutely averse to " Opera Buffa," and will not 
support it. Personally I must beg to differ from my own 
countrymen and from the Genoese, for I acknowledge that 
" Opera Buffa " has, in its peculiar line, a great charm for 
me, and during my visit to Genoa I spent many a pleasant 
evening at the Carlo Felice. The autumn season began 
with Dan Pasquale which, owing to the incapacity of the 
tenor, made a rei^l " fiasco," and had but a short existence. 
Giorza*8 Don Checco followed, but notwithstanding the 
extreme prettinessof the music— to higher claims the Maestro, 
who writes the music of about a dozen ballets every year, 
does not aspire — and the unctuous humour of Fioravanti, who 
in the principal part proved himself to be an exceedingly 
clever actor, if not a very refined singer, it was received 
with but little better favour than its predecessor. This was 
followed by Petrella's Le FrecaiLztoni, an opera I was very 
glad to have an opportunity of hearing, as Sig. Petrella is 
one — and by some considered the best — of the three only 
composers who have been able to establish a reputation 
throughout Italy since M. Verdi — the other two being 
Signers Peri and Pedrotti. Judging from this opera alone 
I am not prepared to say that Petrella's music bears the 
stamp of unguestiQuahle originality, but I have no hesitation 
in affirming that the Maestro is possessed in a high degree 
of the great gift of melody, and that he is a more profound 
and slolled musician than the majority of the numberless 
Italians who write ''pretty music." There is a charm- 
ing freshness and elegance pervading the opera, and parts 
of it are exceedingly striking, particularly a serenade 
for the tenor, with an original and peculiarly graceful 
accompaniment. The cabaletta of the prima donna's 
air, and a magnificent chorus for male voices, give 
evidence that Petrella is as capable of writing in the serious 
as in the comic school. In this opera, as is the case in the 
greater part of Italian Opere Buffe, the onus of the piece 
falls on the buffo, the soprano being almost a nonentity, the 
tenor and the baritone quite so — indeed it is rather by their 
absence that these individuals are rendered conspicuous. In 
small provincial theatres this is ofteQ not to be regretted, as 
a good buffo is, at the present day, more easily obtainable 
than other singers. However, in the case under notice, 
where there are three Buffi, and these Buffi were Ciampi, 
Fioravanti and Borella, (the last the most celebrated Doctor 
Bartolo this side of the Alps — and the only one since 
Lablache whom the difficult public of La Scala has not 
hissed) perhaps the three best in Italy — notwithsUnding the 
queer whimsicality and buffoonery which th^y infused into 
their performance, the audience would isillingly have dis- 
pensed with their almost entire occupation of the sta^e, to 



Digitized by V^riOOQlC 



January 16, 1864] 



THE MUSICAL WORLD. 



41 



have had an opportunity of hearing a little more of Mile. 
Giovannoni and Sig. Brignoli, the baritone — the former of 
whom displayed a fresh well trained voice and considerable 
ability, particularly in the cahcUetta, of which I have spoken 
before, and which deserved not only high praise, but some 
acknowledgment from the audience, who, however, perhaps 
from their dislike to Opera Buffa, withheld it Of the 
tenor, Sig. Andreoli, who appeared in this opera, the less 
■aid ike better. 

The failure which inevitably attended every genuine pro- 
duction of the Opera Bu£fa school set the -impresario 
thinking, and. remembering the great success which Marta 
obtained in the spring, he decided upon at once putting in 
rehearsal Stradella, Accordingly in the short space of 
something less than a month — in Italy an opera is often 
rehearsed one season in order to be performed during the 
next — Stradella was performed for the first time in Italy, 
in the presence of an immense concourse of '^ conoscienti " 
whose expectations were raised to the highest pitch. To 
Bay that these expectations were realised would be an 
untruth, for Stradella is inferior to and less interesting than 
Marta-. — and evidently the public was disappointed, and 
contented neither with the music nor the execution, which 
suffered not a little from an insufficiency of rehearsals. 
This opera has been so often promised by Mr. Gye, that 
I suppose some day, Mario **voiente posiente,'* it will be 
heard in England, when its merits will be discussed by those 
capable of doing so. I shall confine myself to a very few 
remarks. Although M. Flo tow cannot lay claim to much 
originality or individuality in his music, without doubt he is 
& learned musician and capable of treating any subject with 
a loasterly hand ; but, in this opera, compared with Marta, 
there is a less facile flow of melody, to atone for the absence 
of which the composer, in endeavoring to prove the excel- 
lence to which he has attained in the imitative branch of his 
art, has overloaded his instrumentation, and has produced a 
work which to the " Oi Polloi" doubtless oppears heavy 
and unsatisfactory, and is never likely to become as popular 
iB Marta, though it cannot be denied that in some of the 
concerted pieces, and particularly in the overture, the critic 
and the cultivated musician will find beauties of the highest 
order. The singers exerted themselves to the utmost, but 
failed to make any great impression, while Ciampi and 
Brignoli alone obtained applause, which, however, on the first 
night was aomewhat scant. From accounts I have received 
unce I left Genoa, I understand that after a few auditions 
the new work was better appreciated ; but it entirely failed 
to make a furore, and sooh was withdrawn in favor of // 
Fario90, 

During the autumn season at Turin the rivalry which has 
for so long a time existed between the two principal lyric 
theatrey has by no means subsided. The Garignan, the 
Government Theatre, which is in receipt of a large subven- 
tion from the State, has been so badly administered that 
usually very second-rate artists have been engaged at a very 
large salary, and the performances have been scarcely above 
mediocrity; whereas the Vittor Emmanuel, being in the 
hands of a private individual, who has had the good sense 
to secure first-rate artists and to produce the operas with 
a completeness to which the Italians are unaccustomed, has 
always been more liberally supported by the public. This 
year, however, from a change in the administration of the 
theatres, or from some other cause, things have changed '' in 
ti>td." This season the Garignan has had the good fortune 
to have Mad. Spezia, her husband Aldighieri and Sig. Landi, 
a tenor of considerable ability, and consequently the season 



has been a succession of triumphs ; if I except the produc- 
tion of Pacini's Saffo, in which Mdlle. Demi-^whose name 
is so suggestive of the expression that Mr. Qye (according 
to Punch), is said to have used, when he witnessed her 
performance of Martha at Govent Garden some months since 
—^appeared* At Turin this yoimg lady was not so 
completely paralysed by fear as she was in London, and, 
though unable to make any decided impression, was able to 
do herself more justice, and succeeded in satisfying Sig. 
Pacini — ^it a letter from the maestro to the prima donna 
expressing his admiration for her "6ct mezzV (Anglice 
" splendid talents *') which was published in many of the 
journals, is to be believed. At the Vittor Emmanuel the 
director, not having been fortunate in the choice of his 
artUti di canto, engaged the fascinating dancer Mdlle. 
Salvioni, and made ballet play first fiddle and opera second ; 
although, in the principal musical theatre in the capital of a 
country eminently musical, such a proceeding must be highly 
injurious to Art and is to be strongly condemned. Had the 
director shown more judgment in the selection of his operas, 
the season might not perhaps have been so unfortunate as it 
was, but finding that Norma, La Traviata and Rigoletto at 
the Garignan were drawing the town, he most injudiciously 
produced his artists in the same operas ; seenungly uncon- 
scious that his prima donna, a Mdlle. Stolz, and his baritone, 
Sig. Quinti^Leoni, could not bear comparison with Spezia and 
Aldighieri — the ifbrmer of whom in JSforma the Turinese 
declare to eclipse all her predecessors, and it should be 
remembered that they have seen both Mdlle. Titiens and 
Madame. Penco — while the latter (Aldighieri), as the Court 
Jester, proved that he is possessed of talents of a higher 
order than we gave him credit for when he was in England. 
Before taking leave of him I must not forget to mention that 
among thd artists at the Garignan a tenor, Sig. Babacini, 
deserves a word of praise. He is still a very young man, 
and being possessed of a remarkably sweet voice, and what 
so many young singers are sadly deficient in, '' Brains," he 
may study wi^ advantage to himself in particular and to 
the musical world in general. 

At Milan, at the Scala, during the past season, with tlie 
exception of Mdlle. Ronzi, (a young prima donna possessed 
of a good voice and unusually clear neat execution), and 
Signor Gotogni, a baritone, of whom I shall have to speak 
later, the artists were not worthy of the first theatre in the 
world ; nor- did the management show much energy in the 
production of something new which was worth hearing, for 
excepting / Profaghi Fiamminghl — the first attempt of a 
Signor Faccio, on which great expectations were raised, 
which were not however realised — the repertoire consisted 
of the most worn out and the least interesting operas of 
Bellini and Donizetti. During the autunm the Scala never 
shines, for at that time usually the performances are not 
much above mediocrity, and are but badly attended ; for 
the Milanese aristocracy (to whom the majority of the 
boxes belong) scarcely ever put in an appearance before 
Ghristmas, and they are far too particular to lend the keys to 
their friends ; and the paying public of Milan is far too critical 
to go to the Scala, unless the performances are first-rate ; 
wherefore, the hundreds of English who pass through 
Milan at that time of year can form no idea of the magnifi- 
cent spectacle which the house presents during the Carnival, 
when artists of European reputation are engaged. The 
operas and ballets are produced on a scale of great splen- 
dour, and the six tiers of private boxes teem with youth 
and beauty, while bright eyes and lovely faces, sparkling 
jewellery and rich toilettes, with the accessories of light 



Digitized by V^riOOQlC 



42 



THE MUSICAL WOBLD. 



[Jannaiy 16, 1864. 



and mueic, combine to produce a t&ut ememble which for 
brilliancy I have never seen surpassed in any other theatre 
in the world. The ''musical event" of the last three 
months at Milan was the annual performance in aid of the 
funds of the " Mutuo Saccorso per gli artisti teatraii." In 
addition to the third act of Maria di Rohan, a selection from 
/ Puritani, a ballet produced on that scale of magnificence 
for which the Scala is justly celebrated — ^in which (among 
others) Mdlle. Lamoureux, late of Her Majesty's Theatre, 
appeared — two very attractive, interesting and important 
novelties (t.«., novelties for Milan) were produced — the 
overture to Dinorah and the march from Gounod's Eeine 
de Saha. Judging from a single audition, or rather from 
two performances, as it was encored, of this splendid music, 
it struck me that although Gounod has not shown himself so 
thoroughly independent and unexceptionably new as he 
has done throughout Faust, the march is most poetically 
conceived, and proclaims him a master of his art, and is 
aiiuther proof (were one wanting) of the extraordinary 
genius of which he is possessed. It was magnificently 
played, and received with enthusiasm, as was the lovely 
overture to Dinorah, in which the " Ave Maria" chorus, 
BO skilfully introduced, failed not to obtain a most flattering 
reception, which at the Scala is of more value than else- 
where ; the audience being, as is well-known, hypercritical 
and always very careful in pronouncing their verdict of 
approval. In the selection from the Puritani, in which 
Mdlle. Ronzi sustained the part of Elvira, a hitherto un- 
known tenor, Signor Bertolini, appeared and displayed so 
charming a quality of voice, and so much tenderness and 
expression in his singing, that he made a perfect furore, 
and was at once engaged for the Carnival. However, the 
great coup of the evening was the third act of Maria di 
Rohan, in which Signor Cotogni sustained (he principal 
part, which admirably displays his fine qualities both as an 
actor and as a singer. This gentleman — for whom, at the 
time of his debut, some years ago, at Turin, your readers 
may remember I prophecicd a brilliant career— ^has 'steadily 
and conscientiously worked his way up to the top of the 
tree — overcoming the many obstacles which besiege the 
artist like him — without friends or money, and relying on his 
own merits and \\\a determination alone, until now he is 
esteemed as holding the very first rank in the musical 
profession, equally distinguished for his profound know- 
ledge of the theory of his art as for the powers he pos- 
sesses of faithfully representinp^ the various passions, as 
well as the tenderest emotions to which the human heart 
is sensible. In every way he is superior to any baritone I 
have heard in England for many a day, and it will be 
long before the impression his highly cultivated per- 
formance produced on me will be cflaced from my memory. 
In my next letter, I shall have to speak of Signor Big- 
nardi, a tenor quite hon ligne, and of a most simpatica Mar- 
ghcrite, who has not a little contributed to the immense 
rtuccens which has attended the production of Gounod's 
chef dceuvre at Florence. A. S. C. 



To the Editor of the Musical World. 

SIR, — I presume that I am the individual alluded to as 
" your facetious correspondent " by Mr. French Flowers 
in his last letter. Well, I am glad to know, which I did not 
know before, that I am sometimes the cause of mirth in 
others ; ft)r it cannot be denied — as your readers must liave 
long since fuund out, I fear to their cost — that I am of a 
naturally serious turn of mind, and by no means prone to 



merriment; and I invariably write, moreover, with a grave 
and settled purpose. If, in my remarks on Mr. French 
Flowers's ''Ohalk Poem on Muscular Vocalization," there 
be discovered any faoetiouaness, the facetiousness must 
belong to the subject, not to my expressions ; for, as £sr as 
I know, I was endeavouring to expose a delusion, not 
to provoke a smile. I do not underrate Mr. Flowers'i 
talents. Far from it. Without reference to the *^ opmious 
of Gherubini, Dr. Spohr, or Mendelssohn," I confidently 
believe that he is, as he himself expresses it, *' a better musi- 
cian than a poet," for I have read his poem, though I have 
not heard his music. Mr. Flowers hopes the public will 
excuse his first essay in rhyme. I will show him the means 
by which he can assure himself of an excuse; let him 
promise to write no more. This is a very serious matter 
— I trust Mr. Flowers will see nothing in it to excite his 
risibility. He is hurt, it seems, and irritated that I should 
have taken exceptionp to his essay for " not being instinct 
with logic," and ofiFers me, '' or any other man, £20 identic 
fically," if he or I can disprove that his theory is not 
founded on the physical laws of Nature. Is that sentence 
'' instinct with logic," Mr. Flowers ? I am ready to stake 
" £20 icientificaUy " with you, or any other man, that it ii 
not. Possibly I may have deviated from the strict line of 
criticism when asserting that the '' Chalk Poem " was " not 
instinct with logic," not having, after carefully reading it, 
the most remote idea of what it meant. I should, indeed, 
have understood clearly before pronouncing judgment 
definitively. Now, upon reconsideration and wishing to 
mitigate what the author thinks excessive harshness, I 
withdraw the assertion, and merely affirm the " Poem on 
Chalk" to be matter without sense expressed in language 
without meaning. If Mr. Flowers will publish a key to 
his Chalk Essay — a key, be it understood, that requires 
no explanation — I may be further inclined to soften my 
censure; and indeed I would do much to uphold a man 
who exhibits such remarkable ability in playing a fugue 
with one hand on the pianoforte, which transcends by many 
degrees the vaunted performance on two instruments by Mr. 
Bridgman of Glasgow. " Give unto Cassar that which is 
Caesar's," shall be my motto; and Mr. French Flowers 
may rest satisfied that, however much I may underrate 
him as a poet and laugh at the silliness of his chalk 
theories, I will still stand by him for his matchless instru- 
mental one-handed achievement Few men are acquainted 
with their special powers, or know in what direction their 
greatness lies. Homer preferred the Odynei/ to the Iliad, 
and Milton pronounced Samson Agonistes a grander work 
than Paradiie Loit. Mr. Flowers tells us he has written 
an Essay on Fugue which obtained the approval of three 
of the greatest musicians of the epoch. No doubt, too, he 
has composed fugues, perhaps operas and oratorios. Upon 
these, in all probability, he sets a high value, and may hold 
in still greater estimation his '' Chalk Poem " and his muscu- 
lar theories. Haply in his longings for renown he ponders 
upon the efforts of his brain and never gives a thought to 
that loftier exhibition of genius — his single-handed display. 
Is not this another instance of man's weakness in judgin«j 
of his ow)i capabilities? Mr. French Flowers may write 
poems on Chalk until his fingers ache; he may fill his study 
shelves with MS. compositions, written undeniably afttr 
the manner of the classics ; but with what resuU ? Will 
any one be induced to read horn his pen a secoi d 
metrical attempt? Will anyone believe in Mr. Flowers' 
operas, oratorios or fugues ? His theory indeed, had it 
been indited in prose, might have conunanded some at- 



Digitized by 



Google 



January 16, 1864.] 



THE MUSICAL WORLD. 



43 



tendon, quackery and its defenders being as much in 
Togae in our own times as they were in the days of St. 
John, or Logier. If, however, Mr. Flowers pants for glory 
he must pursue another course. Let him give a concert, 
play a fugue with one hand and challenge the world to 
competition. I am ready to stake my existence that he will 
not have a sbgle answer to his challenge, and he may then 
proclaim himself the greatest artist living of his kind. The 
utility to art from this proceeding I can hardly estimate, as 
I must confess I do not clearly perceive the benefit to be 
derived from playing the pianoforte, never so well, with 
half the means within one's power. Mr. Flowers, of course, 
is aware of its immense advantage and utility, or he would 
never have expended so much time and pains in mastering 
the difficulty. 

Mr. Flowers asserts that he never stated his " chalk" or 
"muscular" exercises — I really don't know which epithet to 
use, not understanding what either means — would cure con- 
sumption ; but he stroDgly maintains that it will prevent it. 
Now, copying Mr. French Flower's offer, I will give " any 
man £20 KxenHJkally " who can prove to me the logic of 
this. The cure of consumption is a fact; its prevention 
is a matter of supposition. Even though the heredi- 
tary taint were strong in a patient, and die disease kept 
under by a particular course of treatment, the knowledge 
of the prevention could not be immediate or instinctive, 
as it would take a long time to discover, with anything 
approaching to certainty, that it had been hindered from 
meroaching on the system. And yet, after a few weeks' 
ooDBideration and a few fancied experiments, a musician, 
not profoundly skilled even in his own art, comos forward 
and loudly declares that his " chalk system " can effect 
thAt which the medical world, founded on the wisdom and 
experience of ages, has pronounced an impossibility. 

1 love an enthusiast — ^none indeed else could have dreamt 
of learning to play a fugue with one hand — and I make 
every allowance for Mr. French Flowers, who I believe to 
be a most humane gentleman, one who, even to support 
Lis theory, would not do Christian or Heathen wrong. I 
wish therefore to tender him an honest piece of advice. If 
he desire seriously to have his system succeed, let him 
refrain from writing in its behalf. Prose or poetry such as 
he indites and logic such as he employs would ruin the 
best cauae that ever claimed attention from universal man- 
kind. There may be a vast deal of good in " Ohalk " or 
" Muscles," or both — I do not deny it for a moment. But 
the first thing neoesswry to a system is that it should be 
clearly understood. Mr. Flowers has attempted the ex- 
pounding of his theory in prose and verse, and yet no one 
under^stands what he expounds. This would prove fatal 
to any speculation; and consequently the best thing he 
eould do would be to begin de novo, and to entrust the 
elucidation of his chalk treatment to one who can write and 
reason without transgressing the rules of grammar, or 
violadn^ the obligations of common sense. 

RlPPINOTON PiPB. 



doubt. Sir, that at some of our country Cathedrals good 
players could be found, who, but for the well-known 
difficulty of proJUahljf publishing musical works of a iolid 
character, would be recognised as composers of genius. 
With your remarks upon Sir F. G. Ouseley I entirely agree. 
If any one man is to be set up as judge in matters of this 
sort, it should surely be a man who has done iomething. 
Now what Sir F. G. Ouseley has done beyond composing 
third-rate anthems is matter of wonderment to. 
Sir, — Your obedient Servant, 

An Occasional Corbbbfondsnt. 



CATHEDRAL ORGANISTS. 
To the Editor of the Musical World. 

IR, All honor to Dr. S. S. Wesley, who is indeed a great 

_' man. But is he really the only one who " honors his 
appointment much more than he is honored by it?" 
Decidedly he is not. Surely at our own St. Paul's Cathe- 
dral we have a great player in Mr. George Cooper, and a 
(»>mpo8er of no mean pretensions in Mr. Goss. I make no 



s 



PARIS. 

(From our own OorrupondenL) 
The only event of consequence since I wrote is the reprise of 
Malse, on Monday 28th ult. at the Grand Op^ra, which has been 
effected with extraordinary care and magnificence. The perform- 
ance was received with enthusiasm. This enthusiasm, however, 
in my opinion, was chiefly for the music, as I failed to discover 
anything remarkable in the sineers. Of one thing I am certain — 
the Derformance would not have altogether satisfied Covent 
Garden audiences, more especially those who remembered TamberHk, 
Tamburini, Castellan, Zelger and others, when the Opera was 
brought out by Mr. Gye, in 1850, under the name of Zora. The 
band and chorus were, as you may suppose, gocd, and the ballet 
BDlendid. Mdlle. Battu sustained the character of Anais; M. 
Warot that of Amenophis ; M. Faure, Pharaon ; and M. Obin, 
Moise. Unfortunately, M. Warot, doubtless over-anxious about 
his music, was incapable of singing on the second night, and thus 
Moise was laid aside until the tenor had recovered. Meanwhile, 
all the Parisian talk in musical circles was about Rossini^s music, 
which is indeed in his grandest and most inspired manner, and 
only surpassed— if surpMBed— by his GuUlaurm TeH Moist, as 
the majority ,of vour readers are aware, is an adaptation of 
Mose in Bgitto, which was produced in Naples in 1818. When, 
some twelve years afterwards, Rossini was at Paris he made ffreat 
alterations in Mosi and numerous additions, in order to befit it for 
the French stage. Among the pieces newly written were the 
introduction — not excelled in beauty and variety by any similar 
piece from his pen ; the chorus without accompaniment, ^' Dieu de 
la paix, dieu de la guerre,*^ and another chorus in the first act 
(nearly the entire first act, indeed, was re- written) ; all the ballet 
music--^ow delicious, it is not for me to say ; the splendid soprano 
air, ^^ Quelle horrible destin^,** and, far finer than all, the grand 
Jirnxk to the third act, which transcends even that to the first act of 
Semiradmide, and would be Rossini^s most masterly achievement 
had he not composed the meeting of the Cantons in Ouillaume Tell. 
This^JMi^, when well executed, never fails to create an immense 
effect; and to give the ^* Academy** all the credit it deserves, it has 
put forth its whole strength to do the '^ composer of its idolatry " 
justice. But its stren^h scarcely suffices for Rossini^s music. 
I missed those high vibrating tones which wi%h Tamberlik had such 
an electric effect, and which seem to be necessary to the music. 
M. Warot exerted himself to the utmost, but he was either incom- 
petent or unwell — ^possibly the latter. 

Mdlle. Battu agreeably surprised those who had heard her at 
the ItaHens. She sang the music of Anais extremely well, and may 
be said to have made a hit. M. Faure was excellent in Pharaon, 
except in the celebrated duet with Amenophis, ^^ Parlar, Spiegar, 
non posBO,** in which his want of flexibility was even more appa- 
rent than in Fernando (La Gazza Ladra.) This duet, you may 
remember, was one of the unequalled achievements of Rubini and 
Tamburini in the old days of Her Majesty's Theatre, and was 
wont to bring down the whole house in a storm of applause. By 
the way it has iust come back to me through a long vista of recol- 
lections, that the name given to Mouse, or Mose in Egitto, when it 
was first produced at Her Majesty's Theatre, was Pietro VEremita. 
No opera has gone so varied a baptismal round as this ; Mose iu 
Egitto — Mofise — Pietro VEremita — Zora — ^the last two for fear 
of your Lord Chamberlain. Should any musical Brough, Bur- 
nand, or Byron, take it into his head to burlesque Rossini's opera, 
I would recommend him to take for its title Moses and Sons. Mdlle. 



Digitized by V^riOOQlC 



44 



THE MUSICAL WORLD 



[Janmary 16^ 1864. 



Fioretti, an Italian dancer of celebrity, made a highly sacceBEfal 
delmt in the ballet, and was well supported by MdSe. Fonta and 
M dlle. Vernon. A pas de trou by the three artiste was enthu- 
siastically applauded. After — to the disappointment of all mnsical 
Paris-^a suspension of a whole week, the performances of M<^se 
were resumed on Monday night, and I need hardly say that the 
attendance was one of the most numerous and brilliant ever seen 
at the Opera. I have been assured that every ^^ace in the house is 
secured up to the tenth representation. The singing of M. 
Warot, who had entirely recovered, and seemed, moreover, all the 
better for his rest, was quite another affair than that of the first 
night, and no doubt he will improve further still, after a few per- 
formances. I consider the success of MoUe a grand triumph for 
music, and hope, for the sake of you, poor Londoners, who are 
obliged to put up with so many indifferent works during the 
season at Covent Garden and- Her Majesty's Theatre, that Mel- 
pomene may inspire Mr. Mapleson or Mr. Gye to bring out 
Kofisini's magnificent opera this year. 

At the Theatre Italien the last representations of Madame De La 
Grange (--De Lagrange — La Grange— or Lagrange — I wish the 
lady would signify to the public the correct mode of writing her 
name-—) and Signor Fraschini have at length been given. The 
production of Bigoletto has sadly reflected on M. Bagier*s manage- 
ment, and the subscribers are grievously offended. The public 
simply ignore the performance at the Italiens and go to hear the 
opera at the Th^tre-Lyrique, where it is much bett^ done. It is 
ill for the theatre of wmch the manager has more money than 
brains. 

Mdlle. Adelina Patti made her rentree on Sunday in the Sonnam- 
bula^ and had an uproarious reception. Her coming may tend to 
allay the indignation of the subscribers. Now, indeed, the real 
season of the Italiens may be said to have commenced. 



THE ASTLEY'S PANTOMIME, 



PBOVINCL^ 

Cork. — The Cork Examiner of the Slst ult. contains the fol- 
lowing notice of a performance of the Barhiere^ which was given 
on the 80th, at the Theatre Boyal, by the Madame Tonnelier 
^mpany : — 

" Every production of the Barber qf Seville in Cork must be regarded 
with the greatest delight, and that it was felt so the crowded house 
last night warmly testified. Every part of the building was filled to 
overflowing, and the audience seemed heartily to appreciate the merits 
of the performance. The manner in which the opera was produced 
was creditable to the company. The principal singers gave high satis- 
faction, and in many cases were loualy applauded. The I&sina of 
Mftdame Tonnelier displayed her powers as a vocalist in a school of 
music she had not this season tried — that of the most brilliant ficri- 
turist who ever wrote. Her rendering of " Una voce vceo fa " showed 
that her powers were fully equal to the task,— a proof stiil more fully 
given in tlie duet, *- Dunque io son." The Figaro of Mr. Durand a 
Cork audience is well acquainted with, and it is needless to say more 
than that it was as lively and comic in acting and as excellent in 
singing as ever. The cavatina went well, while in the " All* idea," 
and the duet wiUi Rofeina, Mr. Durand was better than good. Mr. 
Bowler continues fo give satisfaction. His Almaviva exhibited proofs 
of talent as an actor and ability as singer. The Bartolo of Mr. Sum- 
mers was good, and Basil — imfortunately reduced to a nonentity — was 
personated by Mr. Connell. A great deal of the success of the opera 
was due to the orchestra, which assumes in the Barber an especial 
prominence. Under the able direction of Mr. Cooper, it gave satis- 
faction, from the first note of the overture to the end of the finale. 
The chorus too — who have, however, pr<»pcrly speaking, no existence 
ill the opera— were all up in the incidental bits entrusted to them ; 
and t!ie curtain fell on a performance, taken altogether, satislactor)' " 

If Examiner examined more closely he would find that the 
chorus in the Barbiere have an existence, and a most important 
one— -*' properly speaking.'' His hearing must have been dull 
and his intelligence duller on the 30th ult., to have allowed 
him to ovorlock in the performance the opening chorus, tlie 
" Grazie" chorus, and the Grand Finale to the firbt act, in which 
the chorus is employed with Mozartean power. Let Examiner 
examine more closely the next time the Barbiere is played. He 
will find the chorus have an existence, properly speaking, even ^^ in 
the incidental biu entrusted to them," 



To the EdUof of ike Musioal Wobld. 

SfB, — Ifr. £. T. Smith accomplishes every thing he undertakes with 
the magical alacrity of Harlequin. In a twinkle of his quick eye, and 
a shake of his big purse, things assume life which before existed not. 
Thus sprung up the famous music-hall in Leicester Square, the superb 
resiauranl in Coventry Street, and other brilliant establishments tco 
numerous to mention. Mr. Smith never does any thing slowly or 
deliberately. It is his idiosyncracy to be in a hurry, and so strong is 
this point of character, that he is never successful unless he dashes at 
an enterprise with apforently no time to carry it out. His new scheme 
— the management of Astley's — which he seems to have viewed as a 
diversion for the Christmas holidays — ^is no exception to this rule. 
Three weeks before Christmas Mr. Smith signed the lease, and in this 
short time the capital pantomime was written, the scenery painted, the 
dresses made, the large and excellent company engaged and drilled to 
produce a result that may favourably compare with all the other panto- 
mimes conceived at Midsummer. 

Friar Bacon owes its authorship, I believe, to the same unabashed 
pen that has served for Smith so often and so well at Dnuy Lane. 
Nothing can be gayer, nothing more exciting. The ** peripetie** never 
flags. New scenes, new figure?, succeed each other with giddy rapidity, 
the interest being so artfully sustained that the story can be understood 
by merely an occasional glance at the stage. The action is hindered 
by no snoiall talk, there being just sufficient verse and song to uncover 
the plot. It is a pantomime proper of the genuine old cast, and the 
company are well trained to give effect to its author's imaginings. The 
dresses are as various as splendid. At one instant the tempting corps 
de ballet appear as a fairy array, and at the next surprise us in their 
natural costume, as *• angels of the transparent realm of bliss/' I 
cannot allow myself to speak of the ladies — they are all so unspeak- 
ably indescribable ; * and I should hardly recommend any gentleman 
to vivit the theatre whose matrimonial " proclivities " are not of a firm 
and uncompromising character. The principal parts in the pantomime 
are well filled. Miss Craven especially makes a capital Chaucer ; but 
when I remember the representatives of Oberon, Robin Goodfellow 
and Imagination, I can merely refer my readers (with a sigh) to the 
playbills. It is with regret I saw those angels disappear in blue fire, 
and the " realms of bliss " hidden from view by the shutters of an 
advertising and detestable tradesman. Mr. Smith's Harlequinade 
quintet is as good as the rest of his company ; but I must decline being 
enthusiastic about Clown and Pantaloon, after spending the evening 
with fairies, and so conclude with a round assertion that they knocked 
each other about with unperturbed and unrelenting vigor. — I am, Sir, 
your obedient servant, Chopp£RFIeld Coombe. 



NoTTiKGHAM — (From a Correspondent, Jan. 5<A).— llie 48th 
Concert of Chanober Music took place at the Assembly Rooms, 
when the subscribers were treated to an entire Spohr night. The 
following was the programme: — 

Quartet — Two Violins, Viola, and Violoncello. — Op. 46, £ minor; Duo — 
Piano and Violin, in E, Op. 112 ; Qointetto— Piano, Two Violins, Viola, and 
Violoncello. 

The executants in the quartet were Messrs. Henry Farmer, Kirkby, 
Myers and Selby ; in the duo, Messrs. Shelmerdineand H. Farmer ; 
and in the quintet, all five. The entire concert wss a success, and 
the elaborate music of Spohr was exceedingly well rendered by the 
whole of the performers, and thoroughly enjoyed by the subscribers. 
It is a most cnajming as well as a masterly composition. We have 
had a ^' Mendelssohn,^' a *^ Beethoven " and a ^^ Spohr'* night dur- 
ing this sesson. The next will be a miscellaneous programme and 
include the names of Mendelssohn, Niels Gade and Marschner. 
These concerts are most interesting to musicians and are much 
appreciated by subscribers. It is to be hoped they will go on and 
prosper. 

— 

Pewset.— Amatfub Concert. — On Wedne.-day evening week, the 
members o( the. Pewsey Choral Association gave the first Conceit of 
the season, in aid of various local cli.vrities. The attendance wan 
exL-ellent, the programme was most judiciou.<!ly arranged, and the 
performance in every way moHt admirable. A perionnance .'iiid 
attendance f>o encouraging as this will, it is to be hopid, rest It in 
another Concert, at no very remote i)eriod. 

♦ •• Oh ! Mr. Coombe V*^Prinier*a DevH 



Digitized by 



Google 



January 16, 1864.] 



THE MUSICAL WORLD. 



45 



PATTI IN PARIS. 

(Au BidMteur du Musical Wokld). 

MoniKCK. — Adelina Patti a fait dimanche n rentr^e aux lialiens 

dans la Samiambula, En choisiasaDt, i bod retour au milieu de nous, le 

rdl« d^Amiiia, Adelina Patti c^dait en qudque sorte Ik la sapereiition 

da euGcea: elle iStait an heureux annivenaire et semblait dire aux 

faal>itu^ de Ventadour : *' G'est dans ce rdle que vous m*ayez applaudie 

poor la premiere fois : en le reprenant, Je me souviens." Et en effet, 

h fianote d'EIvino n*avait en qu' a se montrer Tan dernier au public 

pvisien poor le conqu^rir et lui toumer la tdte. Deux grands veux 

^V)cm€9, an sourire p6tillant d'intelligence, les premiers accents d'une 

fotx jeone comme le printerops, velout^e comme la p6che, pure comme 

le cristal, il n'en fallut pas davantage. Ce fut une surprise et ce fut 

en d^lire ! Pour employer Timage d'un po^te latin, '* les filches d'un 

eiifmt frapp^rent au but sans d^vier: certat habuit puer tile aoffiUat." 

En&nt, et enfant gat^, Adelina Patti eut cette joie de Tdtre apres avoir 

ehaate la pre 7.i^re cavatine d'Amina. A la v^rit^, les ^tounieries de 

Tocalisation de la jeane cantatrice scandalis^rent quelques esprits trop 

fltrieox oa trop exigeants. lis trouv^rent que la turbulence de ses 

/oeoto d*argue aUait un peu loin, notamment dans le Barhier de Seville, 

oil Rosine ne se botnait pas Ik jouer avec les vocalises de Rossini, mais 

l«it mettait en pieces : le public laissa oes trouble-fdte hocher la tdte et 

boodfY dans lear coin ; leur toumant le dos, il redoubla de sourirea et 

d'applaodiaseniientB pour la chanteose terriUe. Quand bien mdme la 

oitiqae, si difficile i satisfaire, aurait eu cent fois raison contre la Patti 

et contre la public, elle avait tort. A quoi bon, i Tinstar des truites, 

remonter le oourant d*un grand succ^s? Homme ou poisson, c'est 

latigner son esprit ou ses nageoires en pure perte. Gela n*emp6che ni 

I'eau de eouler, ni le courant de pr^cipiter Tenthousiasme. Et puis, 

t est un bieo petit argument que celui qui consiste i venir dire aux 

gent ravis par les accents d*une voix jeune, cliaude, sympathique: 

** Preoez gtfde ! vousavez tort d'etre ravis.'* Au fond, c'est pu6ril, car 

ctA jooer la sc^ne du p6dant du Marriage force; ^ rexemple 

de Harphorius, c*est venir dire i Sganarelle, dont les oreilles 

tintenx de plaisir: '*I1 m'apparait que la Patti est U, 11 me 

■en^^ qa*elle chante; mais u n'est pas assur6 que sela soit." 

Ta ntme temps qae cette portion de la critique dont je parle faieait une 

BuUdRaK, elle commettait une injustice. Elle reprenait, chez une 

virtuoso de vingt ans, des hearts contre le goiit propuits par la fermen- 

tadoo de la jeunnesse, et afficliant un d^dain suberbe pour les dons 

astuneJs, elle contemplait la pettite Patti du haut des quarante ann^es 

de teUe cva idle cantatrice, nitire au point de tomber ! Parce que, rien 

qu^en ftisant smmer sa voix au timbre irresistible, Amina, Lucie ou 

Bostne trainait des foules apr^s soi, comme si elle se f(it appel^e Mali- 

hr^n oo i3ootag, et la critic^ue se courroU9ait fort qu'une jeune fille i ses 

debuts n'edt pas le m^canisme de Sontag et la passion de Malibran ! — 

Eh ! cb^re dame critique, ne soyez ni plus exigeante ni plus pressd^ 

({ue la nature, qui nous donne ses fleurs en Mai et ses fruits en Octobre : 

Dre voos plaignez done point de ce que les roses ne sont pas bonnes i 

icacger! 

Adelina Patti a retrouv6 le public de Tan dernier fidMe \ son en- 
;i?iiement. £31e a ^t^ accueillie i son entree en sc^ne par cinq ou six 
Skives d'applaudissements et rappel^e quatre fois dans la soiree. Seuls 
MB bouquets n'^taient point de la f&te, et je Ten f^licite, car les pluies 
d^ ^eors me sont suspectes. Let cantatriees u chhrgerU vdUmtiert eUea- 
mema dr fm au thddlre la pluie et le beaux temper— eX le beau temps, 
:'&n la ploie des roses, des camelias et des lilas printaniers. On a jet^ 
ijcce booqoets i Mme. de la Orange, — U toir de eon d^rty—ei^ cette 
%J'*. je oooiprends et j'approuve la ^ilanterie du public pariiden. Les 
ICsJntenes, sur ce point d^cat, sont loin d*avoir notre poutesse ; quand 
1^ talent d'un dumteur leur agr^e peu ou pw du tout : "A Paris, i 
Pdria r crient-ila de iafon i 6tre entendus de M. Bagier, leur directeur 
e: 1-9 notare. 

La Ritti a chants, avec T^n juvenile que vous lui connaissez, sa 

-VTasine et son rondo final. Outre le charme suave et p^n^trant de sa 

T.itx. ce qoi m'en plait, c'est la justesse dans Taudace: je puis gotiter 

'ajQ ptaikir en toute sdret^ Peut-dtre pourrait-on reprocher ^ la 

chaateoae de ne pas toujours finir un morceau aussi bien qu'elle I'a 

^odcienc^; ce d^faut m'a paru sensible dans la cabalette de son 

;f^xnier air. C'est dans I'art de dire I'audante et de finir un morceau 

^s» le I>iable est incomparable. La Patti joue avec un naturel plein 

^icesse son role de viUageoise On ne pourrait rendre avec plus de 

^•^te qa'eUe ne le fait la sc^ne de somnambulisme qui am^ne le 

i^aoument^ ni dire avec un charme plus po^tique les phrases ^ demi- 

^ix oDOpe«s par le dialogue de I'orchestre. Le gros du public ne sent 

l^i ce qu'il y a dans cette sc^ne de simplicity et de v6rit6 ; mais on 

-^ {^raod artiste qu'& la condition de chanter un peu pour soi. 

Parif, Jan. 12, 1«64. Un Fran^ais a Paris. 



ffr. PcTKUBUBGH. — The reheanals of M. Qounod's Fautt have 
'nnaeaced. Tbe opera will be produced in a week or ten days. 



ADELINA PATTI AT MADRID. 



Addlina*8 farewell 
roondent, will read 



[The following enthunastic account of 
benefit at Madrid, forwarded to ub by a corre 
best as it stands — ^iu pure Castiliaa. — Ed. M. ' 

El mi^rcoles se verifico el benefido de la Senorita Patti en el teatro 
Real representl^ndose, oomo hahiamos anundado, el primer y tercer 
acto de Sonndmbxda y i)rimero de Traviata, Esta funcion fu6 de lo 
mas brilUnte que ha tenido lugar en el r^gio Coliseo, y formariC ^poca 
gloriosa para la jdven y encantadora artista. Todas las dases de la 
oorte, acudieron i tributarla homenage, y el vasto rednto oompleta- 
mente lleno, ostentando en los palcos las mas hermosas damas, presen- 
taba un magnifico especticulo. Cant<5 la beneficiada de un modo mas 
que nunca admirable los mendonados actos de la Sonndmbula, y en 
ambos laovacion que recibi(^, fu^ estraordinaria 6 imponente. Aplausos 
y bravos atronadores que estidlaban por todas partes; monstruosos 
ramos de riqulsimas flores que continuamente caian en el escenario ; 
palomas, p^&ros, canarios hermosisimos que volaban en todas direcd- 
ones ; composidones po^ticas de todas clases y colores que llovian de 
las altas regiones 6 inundaban la |>latea y el escenario ; un jtibilo, una 
alegria, una satisfaccion que se plntaba en el semblante de los especta- 
dores, y el entusiasmo, en fin, que avasallaba i todo el mundo, formaban 
un todo tan bello y tan agradable, que bien se puede sentir, pero no 
espresar. 

La Diva de la fiesta se escedid i si misma ; nunca cant<5 con mas 
dulzura y gusto, nunca con mayor sentimiento se hizo int^rnrete de las 
sublimes inspiraciones de Bellini. Pero lo que acabamos de decir y 
que no es mas que una ptflida sombra de la realidad en lo que concier- 
ne i la Sonndmbula^ es bien poca cosa aun, ue comparacion dd triunfo 
que alcanzd la Adelina Patti en el primer acto ae la Traviata. La 
jdven y candorosa Amina, se trasformo en la elegante y coqueta Dama 
de las Camelias, en la beUa y seductora Vtoletta ; la cual, aunque pudo 
dar oido i las lisonjas de sus adoradores, no pudo, sin embargo, barrar 
el candor de su rostro, espejo fiel de los nobles sentimientos que aun 
reinaban en su alma. Una Vid^ta como la Patti, bien se la puede 
ver, oir, admirar y aplaudir, en cualquier escena, sin asociar i ella idea 
alguna que pueda afear la hermosura dd cuadro. En el fiunoso brindis, 
hizo portentos de agilidad esta sublime cantora, y en d iria final 
consiguid d mas gran triunfo i que puede aspirar cualquier artista por 
c^lebre que sea. 

No tuvo llmites d eutusiasmo del ptiblico, que con palmada% bravoa 
y fren^ticos gritos, victoreaba ii la jdven artista y la cubrxa do flores y 
de' poesias, renov^ndose con mas colosales propordones d espectlCculo 
descrito arriba. Varias coronas cayeron i sus pies, y otras, como antes, 
le fueron presentadas desde los palcos iumediatos al proscenia Llamada 
no sabemos cu&ntas veces, tuvo que presentarse A redbir las mas vivas, 
las mas esponttoeas y sinceras demoetradones de agrado, de carinoy 
entusiasmo, dd escogido y numerosidmo ptiblico. Honda impresioy 
ha hecho esta fiesto en d corazon de todos los que asistieron a ella, y 
podemos asegurar, que no seborrani tan fdcilmente de la artista i quiea 
m^ dedicada, pues quedd sumamente conmovida. 

En d lugar correspondiente, reprodudmos algunas de las composi- 
dones po^ticas, que se arrojaron A la Senorita Patti en la noche de que 
nos ocupamos. Jobgb dm Montemayob. 

Madrid, Jan, 12, 1864. 

[The *^ composiciones poeticas " have been placed in the hands of 
Mr. Owain Ap* Mutton, who will doubtiiesB make good use of 
them.— Ed.] 



Paris. — ^Auber^s new opera, La Fiaricie du Roi de Oarhe, was 
produced at the Op^ra Comique on Sunday evening with brilliant 
success. 

The Shakespeare Choir. — ^Mr. G. W. Martin ie organizing a 
choir of one thousand voices for a grand performance of the Macbeth 
music, and other compodtions connected with the writings of 
Shakespeare, on the 23a of April next, the 300th anniversary of 
Shakespeare's birth. Mr. Martin is also arranging for a p^or- 
mance of one of Handd's oratorios, in aid of the funds of the 
National Shakespeare Committee. 

Mr. Aguilar's Matinees. — Mr. Aguilar has been giving a 
series of mating of pianoforte mudc at his reddence, during the 
holidays. They have been fully and fashionably attended. On 
Monday week the following pieces were given : — 

Sonata (Op. 7) — Beethoven; Le D^sir— Agdlar ; Tarantelle—Thalberg ; 
"UnRfive" — Ravina; L'Invitation Pour la danse — Weber; Sonata in G — 
Agailar ; 8 songs without words — Mendelssohn; Fantasia on Fautt — Agoilar ; 
La Chaiit^ — Liszt ; A Dream Dance and March — Agoilar. 



Digitized by 



Google 



46 



THE MUSICAL WORLD. 



[January 16, 1864. 



NEW PUBLICATIONS RECEIVED FOR REVIEW. 

AuoBXBit ft Co.— •■ ThoQghtB of the past,** soag by W. Saymoor Smith. 
SsKLT, Jackson ft Haludit.->7A« Omreh qfSngUmd 2VrRpir«K< Magag^. 
Addtsom ft Lucas.—" l<^ftrewell, beloTcd," song by AUired Read. 

A TRIFLE FROM INDL4, 

(^From *' Punch,") 

Ch&ntiDg to himaelf, Mr, Punch axmotiDceth his satis&ction with 
something. 

** Over the tea, oyer the sea, 
Cometh a bit of good sense to P. 
Which he's been missing too long." 

He has been reading, for a good while, a good many criticisms, as 
they are politely called, upon music. And it appears to him that the 
critics, as they are politely called, who write these things, have been 
driven, by the profound contempt which all decent people mast feel 
for the music of the Music Hall, into an unwarranted disHke for every- 
thing that is simply pleasant. Now, no person will accuse Mr, Punch 
of wanting appreciation for really High Art. Nothing can be too 
high for him, except game. But he denies, in the face of certain 
critics, aa they are poutely called, that everything you Don*t Like is 
high art, and he also denies that everything you Do Like is oot high 
art. And having for sometime meditated a great kick at folks who 
cannot be content with applauding Haydn and Beethoven (whom no 
man can applaud so vociferously as Mr, Punch) but must abuse such 
men as write real music that appeals more easily to the sympathies, 
Mr, Punch finds something like what he meant to say, said over the sea. 

In the Bombay Saturday Review there is a very clever article on 
Pseudo-Germanism, and this passage Mr, Punch indines to pitch at the 
critics, as they are politely called : — 

[We have sent the paseaee to Mr. Dishley Peters, as it relates to 
his department. — £d. M. W.] 

Here be truths. And we should like to hear the Musical Worlds 
which, nevertheless, can sometimes say a thing which is not utterly 
and altogether away iVom the purpose, answer this before we hear any- 
thing more against H Trwatore, We are doubly pleased to advance 
these views just now, because we are thoroughly enraged with the 
Germans. No people with hannon^ in their souls could have played 
l^e thorough bass' part which is udicated by the tenor of Grerman 
policy, and we are discontented with their Execution, with their Pre- 
tender's overture, and in fact with the whole German Band. 



LAW. 



LSADBB V, 'Rfm.'^(Bieheg[u&r,) — Action under Dramatic Copyright 
Act, for unauthorised representation of piece, of which plaintiff was 
proprietor, entitled Roll qf Drum, Point was shortly — ^whether 
plamtitf, being assignee of piece, was entitled to recover, he not having 
been registei^ proprietor. Montagu Williams and Day argued for 
plaintiff; H. T. ;Cole, R E. Turner, and Stephenson for defendant. 
Court decided in &vour of plaintiff^ as there had been assignment of 
right to represent, and action was for infraction of right, and not of 
litenry copyright. 

Bbown v. E. T. Suma.—'i Bxcheqver, )^Aciion tried before Baron 
Bramwell to recover price of dog sent for exhibition at Dog Show, 
Cramome Gardens. Jury found verdict for plaintiff, — £16. Pearce 
moved for role to set verdict aside on ground that verdict was perverse, 
and against evidence. Evidence went to prove that every possible 
precaution had been taken by defendant dunng show to protect dogs 
sent for exhibition. Entrances guarded by police, and men employed 
to watch dogs. Court, before granting or refusing rule, would consult 
learned judge who tried cause. After several motions new trial paper 
proceeded with. 

— o— 

Glasgow ^M M^ul has given the first of a series of pianoforte 

recitals in the Queen's Booms. He selected compositions from various 
well-known writers, arranged with a view to contrast. Without in any 
way detracting from M. Thalberg we may state that many present 
seemed ftilly as well pleased with M. M^hul as the^ had been some 
time previously with the Emperor of the "Arpeggios." M. M^hul 
throws a softness and expression into his playing which was especially 
noticeat)le in the FeuilU ly Album of Gade. This lie gave with a ten- 
dernes-H that enchanted his hearers and won him an encore. A rondo 
by Beethoven was performed with a ligiitiiess of touch that imparted a 
characteristic •' Jilt " to its melody ; while iu two other pieces M. M^hul 
showed a firm and decisive hand in passages requiring strength of 
expressloD. 



Freehold Land in Herts and East Surrey.— The Conser- 
vative Land Society has just acquired two new estates, the one at 
the increasiBg malting town of Bishop StortfcNrd, 32 miles from 
London by l£e Great Eastern, and the other in Plough Lane, 
Battersea, close to the branches of the ^^ all round the town rail- 
way*^ lines, and Wandsworth station on ihe Soutii Western, 
witnin a short distance of Battersea Park, and the new CheHsea 
Bridge. The society has now 50 estates in 20 Coonties, nearly 
half a million of money having been expended in land purchases, 
and public works, sodi as r<^ids, ornamental gardens, sites for 
Churches, &c. 

Thb Boniro, Catoh and Canon Club. — This society held its fifth 
meeting at Freemasons' Tavern, on Saturday evenins, under the presi- 
dency of Mr. Francis (gentleman of Her Msgesty^s Chapel Royal). 
About sixty members and visitors sat down to dinner. Ai\er grace, 
Te Deum LaudaU, the following glees : — *' Sweet is evening '' (Uoraley) ; 
" Now the storm begins to lower " (Horsley) ; " Come gentle zephyr " 
(Horsley) ; ** Hark I heard ye not'' (Gose) ; " T'other day as 1 sat" 
(GossJ ; ** Marked you her we " (Spofforth) ; the catch, *• Poor Thomas 
Day/^c. ; were suns by Messrs. Francis and Baxter (altos), Montem 
Smith, Gear, and Walker (tenors), Lawler, Bradbury, and Winn (basses). 
The management of this club devolves upon the professional members, 
each of whom in turn takes the chair, and is alone responsible for the 
entertainment. Since its establishment two old and well- known 
societies have ceased to exist — *' The Melodists," of which the late 
Duke of Cambridge was president, and tlie " Glee Club." The exdu- 
Btve noblemen and gentlemen's Catch Club, and the Round, Catch, and 
Canon Club are now the only institutions of the kind at which English 
glees can be heard well sung at a convivial board. 

MuBio AT Sbbviob. — The Rev. Oriel Bland (who has come to per- 
form the duty for an absent friend, at a small Country Church.) " I 
suppose a Hymn is sung in the usual simple manner." Clerk, **0h 
dear no. Sir ; we have a very efficient Choir of Singers, besides three 
Violins, three Flutes, a Clarinet, Accordion, Horn, and my Bass 
Fiddle ; and we sing Four Hymns, besides Chaunting the Psalms and 
Litany ; we know Sf ozart's Twelfth Service, and to-day we perform 
Purcell's " Te Deum and Jubilate," besides our usual Anthem; and, Sir, 
you need not trouble yourself to read the Belief, for we sine that too ; 
and, Sir, would you prefer our tuning-up for the last piece during your 
Exordium, or at the blessing, for my Bass Fiddle wiu drop half a note 

during Service, and '' [The Rev. O.B., turns pale and asks for a 

Glass of Water.]— PuncA. ' 

Bevthoven Rooms. — Concerts have recently been given at these 
rooms by M. Aloof, and certain members of the musical profession, on 
behalf of Signor Doca, formerly of Her Migesty'B Theatre, but now in 
very unflourishing circumstances. M. Aloof is a young violin player 
of promise. He was assisted by Miss Grace Lindo, Miss Rose Hersee, Mr. 
Aptommas, and others. At Signor Doca's concert Miss Robertine 
Henderson, Miss C. Holmes, Mr. Fish, and Mr. Gordon Cleather sang, 
while there were several instrumental solos by experienced performers. 
The selection contained good things — among them, Beethoven's 
dajioibrte onartet (op. 16). It is to be hoped that the benevolent 
friends of Signor Doca may not have been disappointed by the 
pecuniary results of their undertaking. 

Blaoxhsath. — ^A concert was given on the 12th inst,, on the occasion 
of the opening of the new Assembly Rooms. The artistes were 
Madame Rudersdorff, and Madame Helen Percy, Messrs. Wilb}-e 
Cooper and Lewis Thomas; Herr Otto Booth (violin), and Mr. Silney, 
(piano). " II Bacio " by Biadame Ruderiidorff, and " Wapping old 
stairs, ' by Madame Percy, were encored, as well as Randegger's trio 
'' I Naviganti," (the Mariners) song by Madame Rudersdoifif, Messrs. 
Wilbye Cooper and Lewis Thomas. Signor Randegger was the con- 
ductor. 



Die Rose von Erin. — ^The production of Mr. Benedict's Lily 
of KiUamey, at Berlin, (under the above title), is postponed — in 
consequence of the indisposition of the prima donna — till the end 
of the present month. 

Toulouse. — "Popular concerts" have found their way here as well 
as to other places, — thanks to the great succc^ss of the •* Monday 
Populars" in London. At the first oi the series, which came off the 
other day, in the Town Hall, the directors provided the public with the 
subjoined bill of fare : — A rajgor symphony (Mendelssohn), Haydn's 
•• Kaiser Franz Variations," Polonaise from Struentee, and the oveituree 
to Preeioea and Obeion, 

Baboelona. — Madame Volpini has accepted a brilliant engagement 
atthaLioeo. 



Digitized by 



Google 



Janoaiy 16, 1864.} 



THE MUSICAL WORLD. 



47 



BoBDKAUZ.-^Sig. SiTori performed at the fint Pliilhannonic Cocoert, 

'here be was most warmly 

were F^iganinfB concerto in B minor ; the " Carnival of Venice" (wkick 



where be was most warmly received. The pieces selected by kim 



he had to repeat) ; and, with Madame Tardieu de Maleville, Thalberg 
and Beriot's duet on Lea ffuguenoU, The lady played alone Bieetiioven's 
ooDcerto in C minor with great expression. 

Leifsio. — The prog^mme of the eleventh Gewandhans Concert was 
composed as follows: — Cantata for solos, chorus, and orchestra (J. Seb. 
Bach, first time) : soloists, MadUe. Dora Narz, from Frankfort-on-tbe- 
Uaine, and Herr Julius Stockhausen ; overture (Op. 124) Beethoven ; 
New- Year's Song, for solos, chorus, and orchestra, by R. Schumann, 
first time : soloists, MadUe. Narz and Herr Stockhausen ; and C major 
symphony, Franz Schubert. 

McmcH. — ^Baion von Periall's new open, Dot ChnUrfei, words by 
M. Schleich, was produced for the first time on the 22nd ult., and 
achieved a tolerable success. The house was crowded to suffocation. 

BosTooK. — ^Herr Joseph Tiehatschek has just lefl. after having ful- 
filled a "star" engagement of a fortnight. Before his depMriure, he 
was serenaded by the artists belonging to the theatre. 

Ttnn, — According to the paper caUed the T^ooaton, the number of 
new operas produced, durins the past yeac, In Italy, amounted to 
twenty. They were mostly tne works of young composers. 

Cabl8BI7B&>— Shakespeare's Tempsttj with Henr Taobcrt's music, was 
performed, far the first time here, a week or two ago. 

Naflk.— The season at the San Carlo opened with GuiUaume IW. 



%)sbtxtmmtxd$. 



SIMS REEVES'S NEW SONGS, 
"THE MESSAGE" 

AMD 

"QOOiy MOBBOW» IiOVE, OOOD MOBBOW," 

(HiTwooD, isoe). 



■ocowd, mw pshHsheri, price as. < 



. sang with dUtlngaislMd snoows, and invariably 
, by Danoan Davison M Go., Segent Street, W. 



Two SONaS l>f JACQUES BLUMENTHAL, 
oompoeed expressly for 

MB. TBHNAJSTT. 

"My aweet Sweeting.** Tbe poelrj firam a MS. of tte time of Bsiir|r VHI. 3s. 
■* TwUi^t Song.*' The poetry by Baoy Cornwall. 3s. 

LooAoBt DnoAB AsTBOH snd Co., 2U BSgstit atfeet, W. 
MR. WILBTB COOPER'S NEW SON<», 

"GOOD NIQBT! SWEET !BSEAMS BE THINE." 

Ctm pom d fiir him by Oeoiob B. Allhi, aimg irith gnat snsoess, and always 
encored, le pubMshedt Frioe 8b., - „, 

By DuxoAX Datibov A Co., 344, Begeat Stretft, W. 
MISS JULIA ELTON'S NEW BONO, 

"SOFTLY SLEEP, MY PRETTY DARLING.- 

Arfuged from an Indian Melody, (the Ayah*s Song, or Indian Lftllaby), nuig with 

^nu neoeea, and inrariably encored, is pnbilahed (for Messo-Soprano or Contralto), 

Price 31., 

By DuKCAK DAnsoa A Co., 2U, Regent Street. 

NEW AND REVISED EDITION. 

BALFETS POPULAR SONG, '* KILLARNEY." The 
Poetry by Eoxubd Falcohbb, Eaq. Price 8s. 

* Tbe poUic, who ao long apprecUted It when heard on the theatrical boanif*, 
ai'.auC fcil to be etrnck not only with the charm of iU simple and thoroaghlv 
Irish ndfidy— eoboUntiaang-lte clMm to its title of " Killamey*'— bat also wJiii 
v;« itiU larer charm of lU being associated with words so fhll of poetical grace 
•-U Mstiment that sarprise Is no longer fbit at the inspiration giyen to the com- 
.*«r of tbe miisio, jmrticularly when it is known that they are flrom the elegant 
lea of Mr. Falconer. "^Idvwpool JomtuA, 

Loodoa: DnoAir OAnsoK and C«., 3M BiSSSBt 8tMsS» W. 



Boosey & Sons' ITew Publications. 



POPULAR WORKS. 

BOOSIET'8 MUBIOAL ALMANACK ft>rl864 

Contains, in addition to a Reoord ofMnsleal Events, the following Vow aiid Popular 
Moslc. 16 pages demy 4to, price 3d. ; post free, 4d. :— 

Fortespada Qnadrille, on OperaUc Melodies by Balfe . . B.Laureni. 

Moss Rose Valse Frank Muafprcn; 

RayBhtsOalop DiUo. 

The Maid and her MoorUh Knight. Song M,W. Balfe, 

Forward, oBWftrd, noTcr despair M, BmneU. 

BOOSEY'S SIX AFTES-DINNES BONGS 

FOR CHRISTMAS PARTIES. 
Frioe6d. 

The Roast' Beef of Old England . I The Glasses sparkle oo tbe Board. 
Christmas comes but once a year. The Good Old Days. 

Down among the Dead Men. | Ohrlstmaa BsliS. 

B:00SEY'S six 0HB1STMA8 CABOLS, 

IN SCORE, WITH PIANOFORTE ACCOfUPANIMBNT. 

Frt09 64L 

Come let ns celebrate the day. | God rest ye merry Christians. 

The Boards Head Carol. Christians, awake. 

Howell, Npwell, NowelL | A Christmas Carol. 

BOOSEY'S POPXTIiAB VOCALIST 

Contains the Words of Fire Hundred New Standard and Popular Songs by the most 
Celebrated Anthoss. 

Frioe U. I or in dlottif fflt odgM, 8b. 

NEW KTI'MBEBS 
BOOSEY'S MUSrCAL CABINET. 

74. FOXTBTESN 8AGB1BD SONGS fbr VOIOS and PIANO, 

introdncing Jerusalem the Golden ; Eve's JjamSBtatlon ; Ylfeal Sparki Socked 
In the Cradle of the Deep, Ac, Ao. Is. 

75. TWENTY OHBIflTT*S MXNST&l!Ii8> SONQS (Seyenth 

SeleoUon), introducing all the New Songs being sung, including Aanie Lisle ; 
Silver Moonlight; Bock me to Sleep ; A little more Cider ; Day our Mother 
Died, Ac., Ac. Is. 

76. TSN OBIiSBKATfil) AHXAS, BAIiLABS, BBAVUBAS, 

Ac., composed by Sir H. R. Bishop, Inelnding The Pilgrim of I«ove ; Bid me 
Discourse; Be mine, dear Maid; Tell me my Heart; Lo, here the gentle 
Lark, Ac., Ac. Is. 

77- TWBIiVIl JNJUW SONGS and BATiTiAPS, by tlL« most 

B»pular Composers, hieluding Claribti, Balfe, Geoi^ Barker, George Linley, 
oward Glover, His late B.H. Prince Albert, Ac., Ac. Is. 

7S. ON3S HUNDBSD fiNGIilSH, IBISH, SOOTOH and W1SI.SH 
▲IBS, armngod for the Pianoforte, is. 

70. TEN DBAWIMChSOOM PIANOPOBOrm FIBOES. by 
Modern Composers (Second Selection), including Du Urau*s Curriooio Galop 
Tonel's Perles et Diamans ; Oesten*s Mayflowers; Golas* Shepherd's Songt 
Loefleur's Laiiterbacherin ; MooioCs Crepueonle, Ao. Is. 

80, TWELVE SHOBT PrBGES by Staphen Heller. 1b. 

81. SBXiEGTION of NEW DANCE MUSIC by the most popular 

Composers. Is. 



NEW VOLUME. 

THE DBAWINQ-SOOM MUSIC BOOK, 

(Double Voltune), Price 8b«, 

Contains Fantasias, Original Nocturnes, Romances, Valse aud Galops de S.ilon, .tec, 
by Stephen llelicr, Brlnley Uicliards, G. A. Osborne, Ascher, Dreyshock, Quria, 
Wely, Cramer, Talexy, 4to. ; or in 2 toIs., 4s. each. 



BOOaBY A2n> SONS, HOLULS SXBBET. 



Digitized by 



Google 



48 



THE MUSICAL WORLD.l 



[January 16, 1864. 



JUST PUBLISHED, 

CHAPPELL'S 

VOCAL LIBRARY 

OF 

PART SONGS, &c. 

1. Dolce Domom .... 2d. 

Old EngliBh Dittie, b.a.t.b. 
HAnnonised by G. A. MAOFABB3DN. 

2. Down among the Dead Men • 2d. 

Old Engliflh Dittie, b.a.t.b. 
Harmonised by Q. A. MAQFARRTITT. 

3. The Girl I left behind me * • 2d. 

Old EngliBh Dittie, 6«a.t.b. 
HarmoniKed by G. A. MACFABBEN. 

4. British Grenadiers . 4d. 

Old English Dittie, b.a.t.b. 
H^mnonised by G. A. MAGFABBBX. 

5. Long live England's fntue Queen 2d. 

Danish National Anthenr, 8.a.t.b. 
Hannoniaed by Dr. BIMBAULT. 

6. My task is ended • 4d. 

Song and Ohorus, a.t.b.b. 
From Ballb'8 Opera, "The Bnoliantreas," with S. Solo. 

7. Thus spake one Summer's day • 2d. 

B.A.T.B. 
Fart Song by ABT. 

ft. SoUier'g Chorus • t.t.b.b. 4d. 

From Gk>unod*s " Faiut." 

9. The Eermesse s.a.t.t.b.b. 6d. 

Soene from Gounod's *' Faust.** 

10. Up, quit thy bower s.a.t.b. 2d. 

BBINLBT BI0HABD8. 

11. Maidens, never go a wooing . 4d. 

Madrigal from " Charles II.,'* b.b.t.t.b. 

O. A. MEACFABBEN. 

(^To he commuid.) 



0£l\a.:pi»eXjXj u. CO., 

60 NEW BOND STBEET. 



MW AID POPULAE 



ana ^nit 

FOR 

THE PIANOFORTE. 



The Pnuch aM Judy Quadrilles, 

On Popular Comic Irmes. 

By H. S. SOBEBTS. 

Splendidly Illustrated by Guighabd. Price 48. 

The Camaivoii Castle Quadrilles, 

On Favorite Welsh Melodies. 

By H. S. BOBEBTS. 

Beautifully Illustrated. Price 46. 

The Emerald Isle Quadrilles, 

On Moore^s Irish Melodies,' 

By H. S. BOBEBTS. 

Price 8s. 

The Sambo Quadrilles, 

On Popular Negro Melodies, 
By JOHN PBIDHAM. 

Effectively Illustrated. Price Ss. 

The Alpine Waltzes, 

By JOHN FBIDHAM. 

BoMitifully niustratod by Packeb. Price 4s. 

TJue Petite Pleui Waltzes, 

By PBOSPEBE DE SAVIGNT. 

Beautifully Blusttated by Guichabd. Price 4a. 

The "Trehelli" Polka Hazurka, 

By HENBI BOUBIEB. 

With an exquisite Portrait of Madlle. Trebelu, by Guickabd. 
Price 3s. 

The Esilda Polka, 

By HENBI BOUBIEB. 

Price 8s. 

The Sclave Polka. 

By HENBI BOUBIEB. 

Price 3s. 

The Sailor Prince Galop, 

Composed and Dedicated to H.R.H. the Prince Alfred. 

By J. P. GliABKE. 

PrioeSs. 



LONDON: ASHDOWN AND PARR7, 

18 Hanover Square. 



hf HiHDBMOx, Rut, and Fkotoh, at No. 13, Wlnt ley Street, Oxford Street, in the Pwleh of BCarylebone, in the Coantf of Middlesex. 
Pnbliehed by Willuic Duxour DinsoM at the Office, 244 Regent Street— &i<»tvtoy, January 16, 1864. 



Digitized by 



Google 






MUST BB DE 



>A#PJBABa MOST XMIVSIIT IK MUSXO, SINCE IT SBQUIRBB VO MATBRIAL, ITO 8UBJBC1VMATTEB, WH08B EFFECT 
4r IB WHOUiT FOBM AND POWER, AND IT BAISB8 AND ENNOBLES WHATEVER IT BXFKB88BB.'* — Qlfthn. 



STTBSCBIFTIOir, VKfiSE B7 F08T» SOik F9X AJflHTM 

Payable in advanoe hj Oash or Post-OfELoe Ordm to DXTNCAIT DAVXBOir ft CO., 244, Begent Street^ London, W* 

[^RegiHeredfor Transmuaim AbroatL'] 



Vol. 42— No. 3. 



SATURDAY, JANUAKY 16, 1864. 



T>«,«- j*d. UnsUm] 
P«<'» I6d. St»m] 



HER MAJESTT'S THEATRE. 



bbnor to aniioanM that M. Goukod's OpeT»i 



i^^trsT, 



vUl to pndaeed at this ettabllshment, for the fint time in the Englifh langiutge 
(trauJated by Mr. H. F. Choblkt), on 

SATUBDAY, JANUARY 28, 

AHD WILL BE &BPB1TKD OH 

TUBBDAYS, THUBSDAY8 and SATURDAYS, 

Of BACH or TB> TBBBB rOLLOWQIO WMMMM, 



ijaportuit nndertaking, Mr. Mapleion M impretied with a 
'*- has aehieved so universal a success, and which has become 



It 

fcefinfil^s ^ 

iq«lV poptlar in the French, lUlian, and German languag(», ought in like 
■Maer to ofatabi in this oovntry, where it has been received with no lees unbounded 
f siii i M ia , a ptaM is the national Blipertoire. 

Xotvitiutandtag the large reMmroes Mr. Mapiesoa haaak M^sommmj, and which 
eoablfidtiiia to resent this great work for the first time to the English public, in a 
Mner uasarpasaed l»y any esUbUshment In Europe, he would stUi have felt some 
hetitatkn in prodadng an English version of Fcuut, had he not been enabled to 
secure the eo-operation of those eminent artists, 

Mr. SIMS BEEVES, 

Mr. SWIFT, 

Mr. D US SEE, 

Signer MABCHESI, 

Mr. SANTLET. 

ICadame LEMMEMS SHEBBIMOTON, 
Madame TACCAMI, 

HdUe. FLOBENCE LANCIA 

Tbs sanooncmnent of 

Signer A ED IT I, 

saCoodoctor of the Orehestra, under nhose superintendence this Opera* was first 
i^de known to the English public, will, Mr. Mapleson feels assured, be sufficient 
lanntee to the pobUe that the execution of M. Gounod's chtf-d^cmvre wUI be in 
J^ way wOTthy of the work, and of the acknowledged reputation of Her Majesty's 



The Feifonnanoe wiU commenoe each Evening at Eight o*olook. 

THB PBIOaS Of AOMISSIOB WILL BS AS VOLLOWf : 

PBITATE BOXES, from ONE to THBEE GUINEAS. 

PIT STALLS, 108. 6d. each. DBESS GIBGLE, 76. 

UPPER CIRGLE, 58. PIT, 48. GALLERY, 28. 

Tfce Box Office of the Theatre, under the superintendence of Mr. Nugent, will be 
5«*1 OT Monday, January 18, where Places may be secured ; also of Chappell and 
«>.» 5» Hew Bond Street. 

Tha osoal restriction in regard to Evening Dress wUl not be enforced. 



MK. GEORGE HOGARTH and Mibs HELEN 
HOGARTH beg to announce their removal to No. 33 AmpthiU Square, 
Mornington Crescent, N.W. 

WniliUS FAFS'8 PIANOFORTE BECITAIia 

WILLIE PAPE'S engagements are in the following 
order :— Hastings, Chatham, Lynn, Norwich, Weymouth, Truro, Fenzanee, 
Redmith, Camborne, St. Asaphs, Liskeard, Southsea, Winchester, Torquay, Swansea, 
Hnddersfleld and three adjoining towns, Preston, Northampton, Leamington, Chel-> 
tenham, Cambridge, Nottingham, Stourbridge, Sheffield, Newcastle-under-Lynne, 
Stafbrdt Stoke, Longton, Hanley, Burslem, Birkenhead, Chester, Liverpool, Man« 
Chester, Stockton-on-Tees, Sunderland, Carlisle, Dumfries. Dundee. Willis Pipe 
is open to receive a fbw engagements for nelghbAuring towns, having a few days not 
filled up. An early application is requested. Address— W. O. Pape, 9 Soho Square. 

MUSIC B USINESS FO B SALE. 

TO BB SOLD, 

A fibst-class music business in livebpool. 

The Shop is situate in the fluhionable thorough&re, and fitted up in the most 
elegant style. 

MilHil Library and Piaaolarte Business attached, an opening rarely to 
be met with. 

Rental, only £120. Incoming, £360. 
8to6k, if approved of; at a Valuation. 

R. SANTLEY'S New Song, " THE 8ULI0TE WAR 

SONG," composed by Bbiitlkt Richards, sung and enthusiastically encored 
at the Regimental Concert oi the St. George's Rifles at St. James's Hall, is published, 
price 3b., by Dunoan Davuok A Co., 244 Regent Street. 

Just Published, 

ANDANTE OANTABILE, in G, FOR THE ORGAN, 
by Samuel Suastlui Weslbt. Performed by the Author at the Agricultural 
HaU. Price 2s. 6d. 

ViBTOi & Co., 1 Amen Comer ; and Novello, London. 

CHANTS AND BESPONSES. 

Composed by 

ALFRED J. S. BEALE. 

LONDOir SACBSD MUSIC WABBHOUBB, 

NovBLLO ft Co., 69 Dean Street, Soho, and 36 Poultry. 

THE QUEEN OF FLOWEBS. 

The New Favorite Piece for the Pianoforte. 

Price 38. 

N.B.— A Speoimen Copy will be sent to any Professor for 12 stamps. Address^ 

DR A. HOLLOWAY, 

WARDOUR CASTLE, SALISBURY . 

Just published, price .3s., 

**DI aiOaiA INSOLITA," 

ADELINA PATTrS CELEBRATED WALTZ. 
Transcribed for the Pianoforte by 

R ANDREWS. 

London : Duhoav Davuom ft Co., 244 Regent Street, W. 

Just published, 

THBEE STUDIES FOB THE PIANOFOBTE. 

BY 

MRS. MOUNSEY BARTHOLOMEW. 

No. 1. Study on the Shake prioe Is. 

2. Study on Double Notes • »f Bs. 

8. Study on Octaves ,88. 

Or th^ Three Studies in Ont Book^ prie* 4s. Bd. 
London i Duxoan Davison «Sr Co., 244 Regent Street, W* t 

Digitized by V^^OOQ IC 



50 



THE MUSICAL WOKLD. 



[January 23, 1864. 



NSW SACKED VOCAIi MUSIC FOB CHBISTMA& 

Joft pablisbed, prioe 38., 
A CHRISTMAS PA8TOBALE, 

'' SLEEP, SLEEP, MY BEAUnPUL BABE." 

TlM Pottry b7 the Late FATHER FABER, D.D. 
The M neic bf WILHELH SCHULTHES. 
** In two nnmben beck of oar pftper, we mentioned lome mnsloel oompoiiUons well 
ednpted for the approeehlnf holy season. We now inform our reeden of a new 
Chnstmes Psstoraf, which lus onlj been pnbllshed a fiBw days, and which Is likely 
to prove donbly welcome to lorers or saored mnsic, since the words are taken from an 
nnpubliihed, and therefore qnite unknown, hymn of the late Father Faber. Herr 
Schullhes, the conductor of the Oratory Choir has been foitunate enough to obtain a 
copy of the words and the permission of the Fathers of the Oratory to set it to 
Music. He liaa treated it as a song for mezso soprano, and has produced a simple and 
very deTotional composition, the merits of which will not fall to be appr^oiatod, 
since the composer has so carefully studied to adapt his melody to the spiilt ol the 
words. The few bars of introduction on the pianoforte may senre to represent the 
pastoral music of the shepherds until the voice of the Divine Mother enters with the 
words—" Sleep, sleep, my beautlfUl Babe." We are glad to see that the publishers, 
Messrs. Duncan Davison, have printed the whole Hymn at fhll length at the com- 
mencement ot the piece. The song is known by its first words^** Sleep, sleep, my 
beauUftilBaber"-re«fc^2UjKK«r. ''' *^' ' 

London: DraoAv Davuoh A Co., 244 Regent Street, W. 



Just Published, Price 3i. 

''PEAOEPULLY SLUMBEB" 

(Cradle Song), 

Composed and Dedicated to Miss Baku, by Alubto Bavsiooib. 

A Violoneello part to the above, as played by Signer Piatti, is pnbllshed, prioe 6d. 

London : Duvoav Davoov, M Co., 244 Begent Street 

OAKLOTTA P A T T !• 



"I WOULD HEAR YOU, WARBLER" 
(L'Usignaolo— The Nightingale)| 

Composed by E. MXJZIO. 

This popular Song, sung at Mr. Alfred Mellon's Concerts and at St. Jamesi Hall by 
MdUe. Carlotta Pattl, with distinguished success. Is published, wtth English and Italian 
Words (iht English Version of the Words by JoBX OynrOBP. Biq.), and a Portrait 
of Carlotta Pattl, price 4s., by Duvcam Davisov ft Co., 244 Begent Straet, W. 



W H. HOIjMZ3B*8 FOIJB SAOBZSD FIBOISS for the 
FiAnoforto. 

"SUNDAY AT HOME;" Introducbg "Awake, my 

soul, and with the sun,** thou that tellest good tidings to Zion," (JUatiah) 
** How beautifhl are the feet of them that preach the Gospel of Peace,** and 
Evening Hymn, ** Glory to Thee my God this night." as. 

" CHRISTMAS ; '* Introducing " Christians Awake," Pas- 

toral Symphony ttom the Mtt$iah (** The shepherd's playing en their pipes.** 
te.), Chorus, " For unto us a child U bom ** (jfesiiaA), and " Lo, he eomeaon 
clouds descending." 3s. 

" NEW YEAR'S EVE ; " Introducing " Hark ! the vesper 

hymn is stealing,** ** Adsste Fldeles,'* and the Sicilian mariner's hymn.** ai. 

"EASTER;" Introducing Easter Hymn "Jesus Christ is 

risen to day,** ** But thou did'st not leave his soul in heU ** (Meuiah). ** HaUe. 

li:Oah chorus," Handel. 3s. ^ '* 

DuiRUM Davibor a Co., 244 Begent Street, W. 

Where also may be obtained :— Highland Echo, Ss.; and Selections from the 

Drawing Boom of Compositions, by Eminent Composers :^Mo. 1. «« Insniiation.** hv 

K. Wolfe, 18. 1 No. a. " Gaiety," by Handel, Is. «pix»«on, oy 



SIMS REEVES'S NEW SONGS, 
"THE MESSAGE" 

AMD 

•*aOOD MOBKOW, IiOVB, GOOD MOBBOW,** 

(HlTWOOD, 1608). 

Composed tor hto by Bltoctthil, song with disttagnlshed success, and Invariably 
encored, are pnbUshed, price 38. each, by Don can Diivlson A Co., B«gent Street W 

MB. WILBYB C00PEB*8 NEW BONO, 

"GOOD NIGHT! SWEET ?DREAMS BE THINE.*' 

Composed fbr blm by Giour B. Alliv, sung with great sacoess, and alwavi 
encored, is pttbUshedTPrloe 3s., ' ^ 
By Dm oAM Davisor A Co., 244, Begent Street, W. 

Just published, price Ss., 

•*DI GIOGA INSOLIT A," 

ADELINA PATTI'S CELEBBATED WALTZ. 
Transcribed for the Pianoforte by 

H. Air DREW 8. 

London : DracA» Davisok A Co., 344 Be^eot Straet, W. 



SOthEdttion. 

AUGE, WHEKB ABT THOUP 

A SCHER'S Popular Song, "Alice, Whkbb abt Thou?' 



t\ The twentieth edition of this celebrated song is now ready, and may 
obSlned of the PnbUshen, Ddhoav Datuov A Co., 344 Begent Street, W. 



Prio6l2s. 

THE VOICE AND SINGING 

(The formation and Cultivation of the Voice for Singing). 

BY ADOIiFO FEBBABI. 

** One of the most sdentiflc and practical musical worlcs that has appeared, is one 
entlUed * The Formation and CulUvaUon of the Voice for Singittg," by Adolfo 
Ferrari.— AviUft (Natai) Newt, 

liondon : Duvoii Davisov A Co. 244 Begent Street. 



Just published, price 48., 
WILHELM OANZ*S 

" V O C L I A N A," 

MaBUTka de Concert^ pour Piana 

Dedie« k son ami Ifonsienr EDOUABD, DB PABI8, 
Pin 

WILHELM QANZ. 

London : Duioav Davxbov a Co., 344 Begent Street, W. 



II 



Just pnbUshed, prioe 4s., 

LA COSTANZ A," 

Trolsieine Imprompta pour Plana 

Compoetfetdedttk 

MISS CONSTANCE BEVAN, 

Far 

WILHELM SCHULTHES. 

London : Dukoam Davisov a Co., 344 Begent Street, W. 



A DELINA PA TTL. 
''LE BAL," Di gioja inaoUta, 

Walti, sung by Mdlie. Adelbia Pattl with Distinguished BoooMS. 

Composed by MAUBICE STBAK06CH. 

With Fk«noh and Italian Words. 

Prioe 3s. 
DuscAv DAvnov a Co., 344 Begent Street. 



Just Published, price 4s., 

"J^ROLIC," 
Beuzieme Imprompta pour Fiaao, 

Compost et dedi4 h 

HISS ALICE CUBITT, 
Par 
WILHELM SCHULTHES. 
•• Difflcult, but like aU that M. Schnlthes has published, it is clear and agreeable 
in its inventions.**— illA«iavm. 

Xiondon : Duhoav Davooh a Co., 344 Begent Sti^et. 



M 



ARIE D'ANNETTA'S DANOE MUSIO 



CharsoterisUcally lUnstrated. 
" The LUy of the Thames Quadrille,** with comet accompaniment ... 
"What Next Quadrilles ** (Bobin's Last), with comet aooompaniment 
•* The Spirit Bapping Polka,** dedicated to all splrit.rappers* mediums 
M The LleweUyn Waltx,** dedicated to Mr. Backweli, B. M. 3rd B. W. X. 
** BeaotliU Spirit Walts,** dedicated to Mons. Louis JulUen ... ... 

London : DraoAv Davisov a Co., 344 Begent Street W. 



4 

4 

s 

3 

4 



Just Published, Price 3s. 6d. 

"THE VOICE IN THE SHELL." 

Balled written by Jamu Bvrrov. Composed by Jamks LaA Sviimbbs. 
"This pUinUvebalhKl is a very interesting one, and shows it to be the work of a 
mod musician. We have no doubt it wiU be on every one*s piano in a short time, 
for It U now bdng sung by Mdlie. Parena, the Oueen of Soug, whoee ezqolsite reu- 
dering of *t, the other evening, at St. j^es*s fiaU, caaseda paftotTw. and a 
edemand.**— i8iracreni.oi».il«ofi Beratd, ^-n-w- /ww, ana a 

DvaoAV DAvisoir a Co. 344 Begent 81>«et, W. 



MISS JULIA ELTON*S NEW SONG, 

"SOFTLY SLEEP, MY PRETTY DARLING.- 

ArrMgedfrom an Indian Melody, (the Ayah's Song, or Indian Lullnby), sunir wilh 

great success, and hivariably encored, is pabllsbed (lor Mezzo-Soprano or ContaUo\ 

Price 3s,, ' 

By DmroAV DAVtsoy A Co., 344, Begent Streefe. 



Digitized by V^:iOOQIC 



Jmnarj 23, 1864.] 



THE MUSICAL WORLD, 



51 



CARL MABIA VON WEBER. 

( Continued from pagt 36.) 

Et«b hk biographer has been unable to clear up the obscurity 

vhich hangs over C. M. von Weber's real birthday. The supposition 

tiiat it is tiie 18th December, 1786, is based upon a written note 

of ^e composer's father, in which, however, the name of the montili 

ifi Boman ciphers is not rery plain. Besides, not much reliance is 

to be placed on Franz Anton, who, as is notorious, in public docu- 

menia, frequently made his son a year younger. But in the family, 

the 18th December was always kept as Carl Maria's birthday. The 

other supposition is founded upon the parish register of Eutin. In 

thk register, his baptism is stated to hare taken place on the 20th 

Norember, according to which, as the Roman Catholic baptism is 

Qsoally celebrated on the day of the birth or the next day, Carl 

Haria must have been bom on the 18th (or 19th) Novemb^. The 

author states, moreover, that in after years Weber was fond of 

assuming this to be the true date, because then his own birdiday 

and that of his wife, Caroline Brandt, fell together. 

The principal fact, namely, that Weber was bom in the year 
1786, is certam, consequently, in his earliest childhood, as his father 
U#t Eutin as far back as 1787, to commence the irregular life of a 
theatricad manager, he scarcely ever had the benefit di any perma- 
nent place of alxKle where his mind could be properly educated and 
dev^oped. He was taken with his father in toe latter's wanderings, 
the coone of which his biogra^er has very carefully traced, as far 
as it was poasible to do so. They extended by way of Hamburgh, 
Vienna, Caasel, Meinigen, Nuremberg, Hildburghausen (1796), 
Salzburg (where Miclu^ Haydn gave lessons to Carl Maria, who 
was then twelve years of age, and who lost his mother in that city), 
Munich (where he made the acquaintance of Sennefelder, the 
iDventor of lithography, in which irt he made such progress as to 
lithograph himself and publish ^^Six variations for the piano," 
ol his own composition), &c., &c., to Freiberg in Saxony. 

He here set to music Daa 8tumme Waldmddchen. bv the Baron 
fOQ Steinsberff , who was stopping in the place with his company 
of actoEB. '* The grand romantic, comic opera, muidc by a pupil 
of Haydn, C. M, von Weber, 13 years old,*' was placed in October, 
1800, at Chemintz, and, in November, at Freiberg. In the 
announcement making the composer a vear younger than he was, 
ftTi^ omitting the christian name " Michael " before " Haydn," we 
noogsuae Carl Maria's father. The opera had been well received 
at Chemintz. After it was performed at Freiberg, there appeared 
a short but mild and inoffensive criticism, in wmch it was stated 
that expectation had previously been excited to too high a pitch, 
Idc. The young composer, of couise in obedience to his father's 
Oder — aiwweared this, and became involved, in consequence, in an 
qpwdingly vexatious paper war. As a proof to what melancholy, 
oay, pernicious influences his mind and character might easily 
\)B9e succumbed, had not the inward power of genius at length 
sw6kM and triumphantly manifested itaelf, we will quote some 
Miga from these first literary essays of Weber. Answer to the 
sst cntusam •"^^ 

*■ Ttai my composition would not please, since a premeditated and 
ham otH^, acioated by the most bitter envy and malevolence, gave the 
toee for its performance, and as an instrument out of tune can never 
loiuiil well, was aomething 1 had to expect; why did the work please 
tbeo at Chemnit2?>-becau8e — ^the instrument was in tune. — ^My own 
iw q^^aM^ and the tefltimony of great men and contrapuntistii, who, by 
thB way, must be wmewhat rare here, put me at my ease, but my first 
Mftwftffiff were acknowledged as much as two years ago, and m the 
seeond vtdnme of the celebrated Leipsic Musical Paper, as being 
ihody tolerably fine and ripe fruit : my original work, however, is 
oaen at all hours to the inspection of anyone, and I shall feel indes- 
cnbably thankful to the person who will show me my faults and 
taaeh me iomethiog better. C. M. von W., Composer." 

» Evan if the style of this expectoration, as uDpleasing as unwise, 
lUowd of any doubt as to the boy's having only given his name to 
ibe effoskkn of Franz Anton's pen, it would be cleared up by a glance 
tt the dispositions of the two persons. As was often subsequently 
tba case, Fnnz Anton's hot temper, offensive vain-^loriousness and 
eztenialtty, already led his modest, simple son into differences which 
lay hka dark shadows upon his life and disposition. With regard, 
faovever, to the praises which the celebrated Leipdo Musical f^per 
rfw i wwed upon the boy's productions a year before (to say it was two 
yoixi is not correct), we have already spoken of them, and shown they 
voe veiy hypotheticaL" 



Carl Maria's opponents were not silent, and so there appeared 
with his signature, in the supplement to No. 7 of the AUgem" 
Freiberger Nachrichten, two sharp replies. In the dry aggres« 
sive tone of these exercises in style there is a truly humorous 
audacity : — 

" Mein Hen SiadtmuaieuSf you are very much mistaken if you believe 
I expected my work would be so very successful. — But Qy&^ labourer 
is worthy of his hire, which by your performance has been infamously 
sacrificed ; why did the grand rehearsal go so admirably ? And why 
was the performance so wretched a one? It was not the worthy 
persons in the orchestra who were to blame, but your sleepy conductor,* 
who neglected his first duty, correct intonation; paid not the slightest 
attention io forte orpianot ereaeendo or deereteendo, and never marked the 
tempo according to the written directions ; he thus deprived the plo*- 
ture of all light and shade, spoiling everything, and rendering it an 
impossibility for the work to succeed ! Your envy and malevolence 
have consequently gained their end. In addition to this, it is not 
enough to find &ult ; — ^people must understand and be able to do the 
thin^ better than I myself. The composition of my opera is not an 
English dance. — That, according to your own confession, you are no 
theoretician in musical knowledge and coimterpoint, I am very 
willing to believe, and hence your pre^mptuous censure contradicts 
itself; it is best for the shoemaker not to go beyond his last. — That 
I was bom on the I8th December, 1787 ,t at half-past ten in the 
evening, my baptismal register testifies ; therefore your &vorite epithet: 
* pretended*' loses its force. — Oh, how deserving of pity is a composer 
who is compelled to see a work thus maneled ! And now to answer 
your dear friend, whose aid you invoke in No. 6, etc." 

" — I, too, could not help being surprised at your great audacity, 
Rerr Cantor^ in endeavovring to put down my opera Dtu Waldmad* 
eheUf merely in order to be praised and rewarded by your malevolent 
but truly devoted friend. Otherwise I know of no cause for your 
behaviour, as, Herr Oantor, I never offended you even by a look. How 
could you allow yourself to be induced to criticise a work, with which 
you have nothing in common? If I chose to discuss the matter en 
ditaU with you, the echo would not &il to sound rather rude ; but 
this is contrary to my nature, and opposed to the principles of the 
education bestowed upon me. The point relating to the * pretended ' 
year of my birth has already been discussed in the answer above, but 
I may inform you farther that my fkther married my mother in 
Vienna, on the 20th August, 1785. That 1 possess eminent intellectual 
gifts is a fact for which I thank my Creator; and that during my 
life, which at i)resent has extended over only a short period, I have 
seen and heard more than many persons in fifty years is also a truth 
capable of being proved. That, moreover, I have been acknowledged 
by the greatest conductors of the first Courts and Royal Private 
Bands as one who has properly and fundamentally studied counter* 
point, and consequentiy understands how to treat correctly the 
instruments, as weU as words, harmony and rhythm, together with 
the vocal parts, serves to tranquillise me, thus it is only pal- 

rble envy and malevolence which find faults ! Good Heaven ! 
do not wish to become a OcofUor or a Stadtmuekua^ and am fully 
aware that, for both these places, I am, on many accounts wanting 
in the necessary knowledge and skill, etc I am very ready to 
allow myself to be put right, and thank any one who will do so 
modestly, but not a person who comes domineering over me with 
arrogant pride. You, however, mem Eerr Ckmior, are not at all 
competent to judge me, and I wiU no more learn anything from you 
than I will entertain the reprehensible notion of teaching you aught. 
Furthermore, I have not the slightest ill-feeling against the worthy 
individuals of the orchestra here, and will also believe that the Stadt- 
musicua can conduct for them, if he only ehootet. Unfortunately, how- 
ever, with this opera, he has proved the contrary, and thus robbed me 
of the applause of a public generally so kindly and noble-minded, too 
noble-minded, indeed, to fed any inclination to smother the germ of a 
rising plant. A clear proof of this is afforded by our unboimded respect 
and enthusiastic love for the public of Freiberg, my father having left 
a celebrated capital and undertaken an expensive journey, in order to 
enjoy the intercourse of so kindly, upright, and fhendly a public, and 
to spend the few remaining days of his old aee in this noble circle.— 
And if I really had committed errors, it would not be at all astonishing, 
since I was too much pressed by the manager, and wrote the second 
act in four days ( ? ), &c. I care as much for those who hate me as I 
care for rain-water. It flows by very soon, and if they shrink f^om me 
they must suffer God to be my help, &c. I beg to intorm the unknown 
gentieman from Chemnitz that I pay no attention to the barking of 
small dogs. C. M. von Wkbkb." 



* Such I sappose to be the proper rendering of Anfuhrer. — ^TaiJiBLATOB. 
t An evident error, as the date of his birth is thus made to faU SA 
entire year later than it really did.^TBB Author. 



Digitized by 



Google 



52 



THE MUSICAI4 WOELP. 



[Smvfffj »3, 1864. 



The 8quab|)le eUcited t^o iQore inoipid Jetters, pro and con, in 
one of which the writer coqgratujateis Wet)er "on being really pnly 
thirteen, because he still has time to learn mod£»ty/^ and ends bv 
saymg that the Webers had lost their footing in society, and left 
■^reil^g. 

In ma autobio^aphical sketch, Weber infonna us that Das 
WaldmOdchen, which he himself calls "a most immature production, 
and only here and there not entirely devoid of inyention,*^ was 
more generally performed " than could be pleasing to himself/^ He 
B&jB it was given 14 times in Vienna, and favourably received at 
Prague (where it was translated into Bohemian), as well as at St. 
Petersburgh. Despite of diligent researches, says his biographer, 
it has been impossible to find accounts of these performances, 
except of those in Vienna, where the opera was given, under the 
title of Das M&dchen im Spessartwalde, eight tuaes, during the 
month of December, 1804, in the Leopoldstadt Theatre. 
i^Tohe eorUinued,) 



Lkipsio. — The programme of the Qewandhaus-Goncert, on the 7th 
inat., consisted of: Part I.— "Suite" (No. 2), Frauz lAchner, con- 
ducted by the com^ser ; Becitative aud Aria from tatut, Spohr, sung 
by MadUe. OugaDi, from Baden-Baden; " FrlihliDgsode, concerto 
for pianoforte with orchestral accompaniment, JoacMm Raff, played 
by Mad. Ipgenborg von Bronaart (first time). Part II.— Overture 
to Les AbmeerrageSf Gherubini; Cavatiua, from Semiramide, Bossini, 
sung by Bladlle. Ongeni; Solos for Pianoforte, played by Madame 
von Bronsart; Gavetto, Bach; Kotturne, Chopm; Novellette, B. 
Schuman ; and Overture in A Major, Julius Uietz. The programme 
of the concert on the 12th inst. included: Part I.— Overture to 
Jessonda, Spohr; Concerto for violoncello, composed and pJayed by 
Signer Alfred Piatti ; soprano Aria, with-chorus from Bossini's Stabat 
MaUr (Madlle. Julie Bothenberger) ; Fantasia for violoncello, com- 
posed and played by Sig. Alfred Piatti ; Trio, from MedeeL, Gherubini. 
rart IL— -Symphony, No. ix., Beethoven (solcists, Idadlle. Bothen- 
berger, Madlle. Asamann, Herr , and^Hetr Bergstein.) 

MuifiCQ. — From Jan. 1 to Dec. 81, there were altogether 310 per- 
fisrmances at the Theatres Boyal, of which 247 were given in tiie 
Court and National Theatres, and 68 in the Besidenz. Theater. In 
these 810 performances were included 180 operatic representations, and 
dl ballet-renresentations. The operatic novelties consisted of Di$ 
Toihari, by. Max Zenger; LaUa Rookh^ by Fflicien David ; Der VetUr 
duf Benich, by George Erempelsetzer ; and Das Oonierfei, by Carl von 
PerfalL The revivals were Fra Diavcio (not played since 1860) ; Le 
Domino Noir (not played since 1840) ; La Muetie de Fortici (not played 
^ce 1860); TUo (not played since 1859); Iphigenia in Aulis (not 
played since 1859) ; Die Sehtpeaiem von Prog (not played since 1860). 
The operas performed most frequently were Le FoetiUon de Lot^'umeau 
(four times) ; Le Domino Noir (tour times); Roikkappchan (five times) ; 
UabezaM (three times) ; LaXla Rookh (six times) ; Fauet (ten times) ; 
Der VeUer cai^ JBeauek (four times) ; Dae Nachtlager in Oranada (three 
times); Dae OUekehm dee Mremiten (five times); Le Frophite (five 
times}; Robert Le Dto^/e (three times) ; OuUlaume Tell (four times); 
Der FhaOslieh Krieg (three times) ; Der FreiachuU (four times) ; and 
Oberon (three times). 

TuBiN. — Amoi^ the ney operas produced in Italy during the past 
year were : Rienzt^ by Peri, Milan ; Femeeio^ by Maglioni, Florence ; 
Qindea Sitmondi, oy Bridangali, Assici; Zaira, by Corona, Leghorn ; 
Piccard Donati. by Masenzza, Leghorn ; Beatrice Cenci, by Bota, Parma; 
Viitoria, by Bona, Genoa; Ivanhoey by an unknown composer, Bastia; 
Orio Sorango^ Zescevich, Trieste; H Di di Mieheli, by Quarenghi, 
Lilian; Rienzi, by KaschperofT, Florence; Oiovanna di Qulilia, by 
Battista ; La Fidamaia di Marco Bozzari^ by Frontini, Catania ; ^zielino 
da Romano, by Kaberasco, Genoa; Frofugghi Fiamminghi, by Faccio, 
Milan ; II Riaprimento, by Pincherle, Peruggia ; and Ladielao, by Pisauo, 
Florence. How many works of merit are there amons these operas, 
and how many will ever be^ heard beyond the limits of Italy ? 

Stuttgabdt. — The worlcs performed at the first three subscription 
concerts of the King's Private Band, under the direction of Herr 
Eckert, were : Symphonies by Haydn (Nos. 8, 8, and 9) ; the four 
Leonora overtures ; Schumann's overture, Scherzo and Finale ; overture 
to Dae Laben far den Czaar, Glinka ; and overture to Der Vampyrt 
Lindpaintner. Herr B. Pruckner performed Franz Liszt's concerto in 
£ flat miyor; while Herr Sieger executed the first movement of 
Paganini's concerto in D major, and, on the Beethoven night, that 
composer's two Romances. 

The Hague. — Madlle. ArtOt sang at the concert given by the 
"Diligentia" Society. The King and the Prince of Orange were 
present. 

LiEOE. — ^Benoit's Cantata, composed for King Leopold's birthday, 
will shortly be performed. 



EL D£JSID£N CON £L DESDEN. 

The decided success of Donna Diana is sufficient to show that it is 
possible to content a theatrical public without those violent conosntia- 
iions of interest, heightened by pictorial lUusMnAion, on which tiie 
name '* sensation " is commonly bestowed. The complexities of ti^is 
Spanish play are of character, and not of plot, and while it is redolent 
of that romantic passion which belongs to the comedies of Shakespeare, 
there is a severe simplicity in its constmcUon which borders on the 
antique. Fancy the loves of Beatrice and Benedick carried on without 
the relief of a Dogberry and a Verges, without the serious accompani- 
ment of Hero's wrongs, and Much Ado About Nothing would beoome 
much such a play as M deeden con el deaden. The obstinacy of a 
stubborn young lady of high degree is to be conquered ; the means by 
which the conquest is achieved constitute the action of the pieosi 
There is no single situation towards which any one of the actors works 
as to a point, or which absorbs the attention of the spectator. It is on 
the progress of the fable, on the gradual triumph of perseverance over 
obstinacy, that the interest of the piece depends. JSl detden eon el ditden 
has not onlv been adapted, but in a sreat measure re-written, by Mr. 
Westland Marston. Indeed, availalde as the plote of the Spanish 
dramatists have been to the poets of England and France on divers 
occasions, the passage of then: dialogue across the Pyrenees wonld 
always have been found a sheer impossibility. We English are apt to 
grumble when one of the heroes of Corneille or Racine roins out a 
long yarn with no other interruption than the ** Qui " of a dull confi- 
dant; but these talkers of the Freooh stage were Spartans in beevity 
conpaved with their Spanish predecessors. It k sufficient to observe 
that Pon Carlos (the Don Cesar of Mr. Marston) tells his story in no 
leas than 800 lines, which flow contdnuously from his lips, witiiout so 
pimch as an interrupting monosyllable, and that those lines are written 
in a rtma atoneaiUe, demanding a recurrence of two final syllables with 
the vowels i and a, upwards of 1(K) times. No doubt, these metrical 
exploits, which demanded a remarkable talent of a particular kind in 
the poet, afforded an amount of pleasure to the Spanish ear which 
more than counterbalanced any tedium that might be consequent on 
proHxity. Effects of verse — the rima atonanie sometimes giving place 
to rhyme, strictly so — were generally among the expedients by which 
the Spanish dramatist sought to charm his audience, in this veiy 
pUy, for instance, the soliloquy in tiie third act, in which Doima Diana 
confesses her love, is — ^in the original — a oomnlete sonnet* But, with 
exceptions r^re enough to prove the rule, the Englieh, French, and 
Giermans have settled that verse-dj^Eunas should be written in only one 
sort of metre, and even when the pUys of Terence are performed at 
Westminster 'Scho<^, the dialogue i^ treated as mere prose, and no 
attempt is mjBide to render sensible that distinction between iambics 
and trochaics, which were, no doubt, recognised by the more refined 
portions of a Roman public. Hence the Spanish dramatists have fu^• 
nished their neighbours, both Continental and insular, wHh plots oolyt 
while the Cas&ian tone remains the inalienable proper^ of the 
Spanish nation. H may be added that even the most fervent passages 
of Rpaiyish lovfers abound with ingenions conceits tbat cause them to 
fall frigji^ upon the Ipreigner, who cannot h^P t^iinking that he is 
rather wiipesfgng the display of a. brilliant fancy tWn listening to the 
outpourii^gs of an impassioned heart When the sympathies of the 
Princesii's s^dience are strongly moved by utterances of any of the 
characters ii^, Donnft Diana, we may rest assured th^t it Is not old 
Moreto, but Mr. Westland Marston, who is addressing them. An 
adaptation from the Spanish is not the same sort of thing as an ada^ 
tion from the French, and in this, his best work, Mr. Mafton furly 
earns the commendation due to an original poet. 



Shakxsfeabe in Gebmant. — Dr. Franz Dingelstedt, the indefatigable 
General Intendant of the Grand-Ducal Theatre, Weimar, has issued a 
circular, stating that the first four plays of the announced cydus of 
Shakespeare's historical dramas (viz., Richard the Second, Htmry the 
Fourth, both parts, and Henry the Fifth) will be represented on the 
Weimar stage in the course of this month. The whole of the intending 
cyclus (embracing, besides the above mentioned plays, Henry the Sixth, 
both parts, and Richard the Third) will be acted, night after night, in 
the week following Easter, thus introducing to Germany, in a grand 
style, the jubilee of the £nglif«h poet. Much is exnected from these 
representations, on a stage which not only boasts of ite old classical 
traditions, but may well be proud, too, of its present energetic and 
truly artistic management. Dr. Dingelstedt's last great success (in 
fact, the event oi the German stage during the season) was ihe repre- 
sentation, on one day, of Schiller's trilogy of Wallautom. It took 
place, in celebration of Schiller's birthday, on the 9th of November 
last, the Lager being acted frcm 11 to 12 o'clock in the morning : the 
Ficcolomini from 2 to 4 in the afternoon ; and the Death of Wattenst^ 
from 6 to 10 in the evening. Kotwithst^indin^ this strange arrange- 
ment, the result appears to have been most satisfiictory. — uaiignani. 



Digitized by V^riOOQlC 



Januaiy 23, 1864.] 



THE MUSICAL WORLD. 



m 



PAER AND BERNADOTTE. 
PortogaUo'B La Donna di Oaiio Volubik wu about to be represented 
befbra % hrge number of offloerg under the oommaod of Bemadotte, 
when saddeoly it appeared imposdUe to oontinue the performance, 
owmg to the rery determined indispoBition of the primo basto. This 
gentleman had gone to bed in the middle of the day, diagnised as an 
invalid. He declared himseif seriously unwell in the afternoon, and in 
the eivening sent a message to the theatre to excuse himself from 
appearing in Portogallo's opera. Paer and his wife understood what 
this meant. The performance was for Madame Paer's benefit ; and 
Olivieci, the perfidious basaoj from private pique, had determined, if 
pooaUe^ to prevent it taking place. Paer's spirit was roused by the 
attitude of the prima buffo, which was still that of a man confined to 
his bed ; and he resolved to frustrate his infitmous scheme, which, 
though stmple, appeared certain of success, as no other comic basso was 
to be found anywhere near Udine. The audience was impatient, 
Madame Paer in tears, the manager in despair, when Paer desired that 
the performance might begin ; sayine, that Providence would send 
them a basso who would at least know his part, and that in any case 
Madame Paer must get ready for the first scene. Madame Paer obeyed 
the marital injunction, but in a state of great trepidation, for she had 
no confidence in the capabilities of the promised bono, and was not by 
any means sore that he even existed. The curtain was about to rise, 
when the ainger, who was to have &llen from the douds, walked 
quietly on to the stage, periecUy dressed for the part he was about to 
undertake, and without any sign of hesitation on his countenance. 
The prima donna uttered a cry of surprise, buret into a fit of laughter, 
and t&eu ruahed weeping into the arms of her husband, for it was Paer 
himself who had undertaken to replace the treacherous Olivieri. 
** No," said Madame Paer ; " this is impossible. It shall never be said 
that I allowed you, a great composer, who will one day be known 
throogfaout Europe, to act the buffoon. No. The performance must 
be stopped." At this moment the final chords of tne overture were 
beard. Poor Madame F^er resigned herself to her fate, and went 
weeping on to the stsge to begin a comic duet with her husband, who 
•ecmed in excellent spirits, and commenced his part with so much 
verve and humor that the audience rewarded his exertions with a 
storm of applause. Paer's gaiety soon communicated itself to his wife. 
If Fktr was to peribrm at all, it was necessary that his performance 
flbonld outshine that of all ponible rivals, and especially that of the 
miscreaai Olivieri, who was now laughing between his sheets at the 
•QGOe« which he fancied must have already attended his masteriy de- 
Tioe. Theprima donna had never sung so charmingly before, but the 
gretttcit triamj^ of the evening was gained by the new basso, Olivieri, 
who prcviooaly had been pronounced unapproachable in Portogallo's 
opera, was now looked upon as quite an inferior nnger compared to the 
iir#0 earieato who had so unexpectedly presented himself before the 
UduM pnbiic Paer, in addition to his great histrionic ability, knew 
every note of La Donna, Olivieri had studied only his own part. 
Faer, in directing the rehearsals, had made himself thoroughly acquain- 
ted vnth all, and gave a significance to some portions of the music 
which had never been expreand or apprehended by his now defeated, 
loated, ntteriy confounded rival At present comes the dark side of 
^e fictore. Olivieri, dangerously ill the night before, was perfectly 
well the next morning, and quite ready to resume his part in La 
Dmata A Oenio Volubtie, Paer, on the other hand, was qmte willing 
to gi^e it up to him ; but both reckoned without the military conno- 
aeor* Oi Udine, and, above all, wi^out Bemandotte, who arrived the 
day after Paer's great success, when all the officers of the staff were 
talking of nothing else. Olivieri was announced to appear in his old 
character ; Imt when the bill was shown to the General, he declared 
that the original representative might go back to bed, for that the only 
bmjfb he woSid li&ten to was the illustrious Paer. In vain the director 
exfdained that the composer was not enea^ed as a singer, and that 
nothing Int the sudden indisposition of Olivieri would have induced 
him to appear on the stage at all. Bemadotte swore he would have 
Paer, and no one else ; and as the unfortunate wipe«aartb continued his 
obyectiona, he was ordered into arrest, and informed that he should 
lemain in prison untill the maestro Paer undertook once more the part 
oi Pippo in PortogaUo's opera. The general then sent a company of 
grenadiers to sorround Paer's house ; but the composer had hean} of 
what had befslien the mana^. and, forseeing his own probable fiite if 
he remained openly in Udme, had concealed himselt and spread a 
report thai he was in the country. Lancers and hussars were de- 
spatehcd in seaich of him, but naturally without effect. In the 
sappoaed abeence of Paer, the army was obliged to accept Olivieri ,* and 
when six or seven representations of the popular opera had taken place, 
aod the military public had become accustomed to Oiivieri*s peribr- 
nasiee of the part of Pippo, Paer came forth from his hiding place, and 
M&nd De more from the wtelike diUetantism of Bemadotte. 



M" 



Belfast. — {From a Correspondent, Jan, 21.)— Our Theatre Royal had 
not witnessed such a scene of confhsion and excitement for a long 
time as it did on Saturdav the 16th inst., when Mr. G. V. Brooke was 
announced to perform the character of Bichelieu in Bulwer's play. 
The audience felt annoyed at the long time that elapsed before the 
curtain rose ; and when it did rise, to their utter surpnse, they found 
Vii, Brooke in by no means a fit state to perform his part. At the end 
of the second act Mr. Brooke decided upon not appearing again that 
evening, after having been obliged to put up — as a natural consequence 
— with a great deal of annoyance in the shape of hisses, groans, &c. 
The^ consequence was that the euffagement of the tragedum, which 
was to have continued till the 20th inst., was suddenly terminated, and 
on Monday evening Mr. Webb, the lessee, appeared before the curtain^ 
apologizing for what had taken phtce, and stating that Mr. Brooke 
should not agahi appear at the theatre^-at least, during the time of his 
management — ^unless he made an ample apology to the public. Mr. 
Webb, who is a great favourite here, was loudly applauded, and a few 
encouraging words were addressed to him in retard by a re)^reMntative 
of the gods. The following Card appeared in the local papers to-day : 

A CARD. 
R. (j^. V. BROOKE conmders it an imperative duty ha 

^. ^ owes the oeaeral pablio <wblah bas through life been its traest friend) to 
endeavour to expudn the extraordinary ■oene that oocorred in the Theatre Boyal, 
Belfast, on Saturdav evening, 16th inst. Severe Illness and annoyance were the 
cause of what took place; provoked by an open insult ttrfm some misguided 
individual ki the aodienoe. Sir. Brooke ii now neidlng on the scene of his early 
trfninpha, and has been eonstaatly eagafed in his professional career, wiihout 
tnierval for fourteen years. He feels that he requires rest^ and he thinks it woiild 
be very injudictous on his part, and an Insult to the public, to appear in Belfast 

ra ; but wltk the most heartfelt gratttade for the favours hitherto heaped on 
by a Belfast public, and with the truest and warmest wishes for the prosperilir 
of this great commercial town, and with no small amount of deep regret, he 
therefore announces his farewell. 

The second Concert of the Belfast Classical Harmonists Society took 
place last night (Wednesday) in the Ulster Hall, when the Messiah 
was performed. The attendance was exceedingly good, all the 
reserved seats being occupied and the lower part of the haU 
crowded. Madame Rudersdorff, who is well known here and a 
great iavoiurite, sang the whole of her part with a spirit and fire 
which delighted every one, and the usual formality of no da capos 
in sacred oratorios was broken through and an enthusiastic encore 
demanded for " Kejoice greatly," which, however. Madame Rudersdorff 
declined. The ^to part fell to the share of Miss Carrodus. who did 
ample justice to it and exhibited a carefully cultivated voice, but 
which, although pure and sweet, is hardly powerful enough for our 
large hall. Messrs. Topham (tenor) and Brandon (bass) executed their 
parts artistically, but both their voices lack volume and strength to fill 
a building of such liu'ge dimensions as the Ulster Hall. The band and 
chorus were good, but the abeence of oboes, clarinets, and bassoons was 
greatly missed in the accompaniment of the solos, althoc^h in the 
chorusses Mr. Edeson, who presided at the organ, filled up the parts 
judiciously, so that the want of the instruments was scarcely felt The 
gentleman who executed the flute Mligato parts was Mr. Robinson, an 
amateur, whose performance was most praiseworthy. Dr. Chipp ably 
officiated as Conauctor, and may be proud of the success of his labour 
in getting the chorus and band into so efficient a state. 

DavoNPOBT.^/Vom a corrsspondsnty-~K musical entertainment of a 
very attractive <^iaracter was given on Tuesday evening (the 12th), by 
Mrs. John Macfhrren, whose announcement of '*An evening at the 
pianoforte" drew a large audience to the lecture hall of the Mechanics' 
Institute. The fair pianist was assisted by Miss Marian Walsh, 
whose pleasing voice and extcome simplicity of style elicited an encore 
for Macfa^ren^i " Ah, why do we love?" and the old English '< May- 
pole song. " Mrs. John Macfarren , by her artistic and brilliant execution 
of some choice specimens of the great pianoforte composers, fully main- 
tained her metropolitan reputation. She was onthusiastically applauded, 
and at the conclusion of her own Oaprke de concert, Briuac's Butterfly, 
and a fantasia, was unanimously recalled. 

Plymooth Msoramios' ImTiTUTB. — ^Mrs. John Maofkrren gave a con- 
cert lecture at this institution on Wednesday : a crowded audience was 
present. The subject and musical illustrations were identical with 
those given at Devonport on the previous evening. The music selected 
was of a high character, and rendered in such a manner as to exhibit 
the rare proficiency of the pianist. Miss Marian Walsh gave the vocal 
illustrations in a pleasing manner. — Western Morning News, Jan. 14. 

Naw Oboam at Alnwick. — A veiy fine organ, built by Forster and 
Andrews, of Hull, has been erected in 8t. Michael's Church, Alnwick, 
at the sole cost of the Duke of Korthumberiand. It contains sixteen 
stops, two sets of keys, and a pedal organ. Mr. Ions, of Newcastle, 
presided at the opening, and was much complimented on his playing 
after the service by the I>uchess of Northumberland. The local papem 
speak very highly of the various stops, and the general tone of the new 
instrument. 



Digitized by 



Google 



u 



THE MUSICAL WORLD 



[January 23, 1864. 



SlB,- 



LETTERS TO THE EDrTOR. 
AN IRONBRIDGE CRITICISM. 
-Thinking the accompanying criticiffln upon an Ironbridge 



concert corions enough to be inserted in Muttoniana^ I addreBaed 
it privately to Mx, Ap^ Mutton. That gentleman, howerer, 
haying declined to insert it in his *^ Column," I take the liberty to 
forwa»l it to you for inspection. I am conyinced that your readers 
-will be amply repaid by the time and labor bestowed in its 
perusal. Pray (if you accept it) let it be reprinted verbatifn et 
literatim. Any alteration would endanger its dropping from the 
-peak of the sublime to the abyss of the ^^ ridiculous.** 

Five Ways Inn^ Gloucester, Groker Roores. 

P.S. — I am staying here, for a week or two, with your worthy 
correspondent, Mr. A. Grogg. G. R. 

GRAND MISCELLANEOUS SACRED CONCERT, 

AT THE SCHOOIi-BOOM, IBONBBIDOS. 

This coDcert, got up by the Pain's Lane Choral Society, for the 
benefit of distresBed members of the choirs was well and respectably 
attended, the room being filled almost to an overflow, as there are few 
families of any note in the vicinity who withheld their patronage and 
presence. The conductor was F. B. Johnson; the leader and first 
yiolin Ball ; the double bass, Mr. Moretoo, from Birmingham ; and 
the principal vocalist, Mrs. Johnson. The band oondsted of six 
violins, two violoncellos, double bass, flute, trumpet, and from 20 to 30 
vocalists. All the voices and instruments were m chord and time, and 
the whole performance, from the first touch to the dose, was, in short, 
a two hours' harmony, in some points almost seraphic, if such an idea 
can be conceived by human capacity. The first overture, from Handel, 
showed at once the excellency of the* instruments, and though some 
strings afterwards snapped from the heat of the room, the defect 
thereby occasioned was not perceptible to the audience. Johnson, with 
his baton, kept time with vivacious and masterly idacrity, and Moreton 
touched his enormous instrument with a deUcate sensibility, which 
hummed forth some really astonishing notes. The overture was 
loudly applauded on its termination, which showed that the performers 
were not deficient in tact nor the hearers in taste. 

Chorus firom Haydn—" Hallelujah to the God of Israel"— Splendid 
ftom the start throughout. Every voice struck ofif in chord, and kept 
up its dignity and sentimentality to the end. This was really a rich 
treat, and especially to novices — such as we must really confess that we 
are in such a maze of harmony as this. 

Solo, by Johnson, from Handel—" Thou art the King of Glory." 
The conductor at once turned round, made his bow, and began. There 
was a fi?eedom of tone and a degree of self-possesrion, whidi gave ease 
to his undertaking, though totally unassuming, but decorous and 
chaste. 

Chorus from Purcell— " Great and Marvellous." The high tenor 
notes were particularly conspicuous and clear. It was evident that the 
rehearsal had not been neglected, as the singers were decidedly' learned 
and judicious. 

Song, from the same author, by Briscoe— "Just and Bighteous" 
— Voice a high tenor — sweet and plaintive, and on the sham elegant. 
Nothing in profane music can equal this soil solo, which affords scope 
to versatility and design. Deservedly and rapturously applauded. 

Chorus, from Purcell, " We shall not fear thee,"— very short but 
perfect. Struck off in a full magnificent swell, which was uncom- 
promiMingly sustained. We had not half enough of this. 

Trio fipom Vernon, " Sing unto the Lord, and praise his name," by 
Fletcher, Jones, and Johnson, in a high key. Johnson's bass 
was beauUnil, Fletcher's counter-tenor the same, violins tying well. 
While listening alternately to Fletcher and Johnson, we neglected 
Joues, and mean no disparagement to that gentleman ; indeed some say 
his was the finest voice and best managed of the three, which is a point 
not easily decided by any but critics of first eminence ; allowed by all 
to be the best piece yet. 

Chorus, from Vernon, " Break forth into joy." As usual, but of 
course, better. 

Air from Handel. " Angels ever bright and fair," by Mrs. Johnson. 
Rather disapuointed at the outset, and there appeared a faintness in 
her "Take, oh take me," arising from no other cause than diffidence. 
She is certainly a sweet singer, and mistress of her subject, but why 
was she afraid ? An Ironbridge audience will take liberties and the 
oonHcience must be steeled beforehand to withstand afironts which are 
never meant.! 

Chorus from Fawcetf, " Blessed be the name of the Lord." A most 
excellent chorus, and applauded bevond any of the proceeding ; here 
was nothing for ears to do but to listen and admire. Reynolds, 
the trumpeter, was heard to very great advantage in this piece.' 



Song from Handel, by Mrs. Johnson, " Holy, holy. Lord God "— 
voice, tone, judgment, and chastity clearly developed and freely 
exerdsed. Our notes say equal to Stephens, and superior to Gatslsni ; 
at sU events the lady is a first-rate performer, and whatever pain die 
or others might have suffered from her first song was here compensated 
by the reiterated plaudits of an over-enthusiastic assembly. 

Chorus from BLandel's Te Detm^ " To thee cherubim and Seraphim." 
Some young tenors performed most efficiently in this chorus, and 
neighbor Wallet distinguished himself by a most brilliant exhibition 
of his powers m alt. This ended the first part of the performance, and 
was not, in our estimation, sufficiently well received, perhaps this was 
because people had stamped with applause either till their legs were 
tired, or till they were fearful of injuring the joiste under the floor. 

Second Past. — Overture from Handel. The tasteful manner in 
which Moreton handles his bow, reminds one of that lecturing 
genius from the Isle of Man, who played off his pranks among us a 
short time ago ; only the one is completely in place, and the other was 
far out of it. The overture, which was a pretty light thing, scarcely 
sacred, was played with exquisite skill. 

Chorus from Vernon, " O be joyful." Should like to hear the whole 
Jubilate thus performed ; it is at once rousing and devout. 

Song from Vernon, " For be ye sure," sung by Palmer, as sub- 
stitute for Minor, a quite correct tenor singer, but his voice was 
hardly clear enough for the occasion. 

Chorus from Vernon, ♦* O be joyful in the Lord, fill his courts." In 
consequence of some accident, a pause was made in the middle of this 
composition, which afterwards proceeded with vigour, and terminated 
satisfactorily. 

Air from Vernon, '* Jesus, the friend of Sinners," by Mrs. Johnson, 
who began in good heart, and kept up well, though, perhaps, occasion- 
ally a Uttle nervous. She certainly is a sweet songstress, and deserves 
very high commendation. The words *' darkness " and " d>ing 
breath *' in semitone, were truly delicious. 

Chorus from Vemon, " He reigns, for ever reigns." Very cleverly 
run through. 

Song, from the same composer, *' But oh I we cannot faintly show, 
by Fletcher. Well done, Fletcher. Sweet and plaintive is his strain, 
and his appogiaturas are beauiiftilly run. 

Chorus, Vemon. " If every stone was far more bright." In the 
"Hallelujah " of the last verse, the trebles were particularly sweet and 
dear. One young woman in particular, named Bigby, was most 
feelingly melodious. The finish to this chorus was superb, and was 
most deservedly apdauded. 

Song, Vemon, " Thou shalt bring them in," by Briscoe, in a high 
counter-tenor, or rather what may not improperly be termed a demi- 
treble voice, not initially pleasing, but the song was well and musically 
sung, and he was very fine in his depths, especially where he trills upon 
" O Lord." Great applause followed his performance. 

Choras, Handel, " He gave them hailstones.'* A masterpiece, and, 
as was fully expected, furious, terrific, and sublime, shaking Uie very 
ceiling. It was loudly encored by the whole audience, and sung better 
than ever, tenor and bass giving full mouth and stringy and the 
trumpet sounding majestically, the violins being in full theatrical play. 
One of the young tenors in front was so absorbed with his subject that 
he involuntarily beat time with his fingers, linked in Odd-fellow style, 
and evidently felt it all over him ; not the fire and hailstone, but the 
pleasure of singing. 

Trio, Handel, "Lead us, O Lord," by Fletcher, Davis, and 
Wallet. They had not much to do, but their voices were good and in 
good keeping. The old adage says, " Once well done is twice done,*' 
and so it was here. 

Chorus, Vemon, ** For the righteous shall inherit." A famous hold 
of trebles and counters, and afterwards a general one, told well in this, 
as did the warblings of the trebles in the ** Hallelujah." 

Recitative, King, " The archangel now to Paradise descended," ex- 
cellently sung by Mrs. Johnson, but not so much admired as the 
following air, ** Must I leave thee, paradise ?" from the nme author, 
which she also sang, and was repeatedly cheered, which at the conclu- 
sion increased. Her voice was full, clear, and rich, and she showtd a 
delicacy of tone not to be surpassed. The words ** native soil, happy 
walks and shades," were delivered with a pathos peculiarly elegant and 
striking, and the most rapturous applause, thrice repeated, followed her 
second exhibition. 

Chorus, Vemon. **Holy, holy, holy,'' a gospel piece, excited 
universal admiration ; and lastly, 

Handel's Grand *< Hallelujah " Chorus was given with a sublimity 
which it is not possible properly to describe, and the applause at the 
conclusion was tremendous. Many a loud encore was vociferated, but 
the majority of the audience felt that the whole choir had done their 
duty well and nobly already. Some person then called for a solo 
vioUn, from Ball, to which the company responded, and B., though 
not in character with the perfiarmances of the evening, promptly com- 



Digitized by 



Google 



January 23, 1864.] 



TH£ MtSlCAL WORLD. 



55 



pUed with "A rose tree in fdll beuriog/' with all Yob beaatifiil 
▼viationa, on the coDcloflion of which a loud bunt of ^ntaneous 
applaaae crowned hia efforts. 

^Mr. Boores has made our readers and ourselTeB his debtors by 
this unexpected contribution. We hare seen nothing like it, and 
haTB perused it with rapture. Does Mr. Boores know the auliior ? 
— Ed.M. W] 



NATIONAL 8HAKSPEARE COMMITTEE. 

Sib, — The undersigned, feeling it incumbent upon them to withdraw 
from the National Bhakspeare Committee, are desirous of stating their 
reason for doing so. 

Their strong anxiety that a national tribute to our greatest poet 
should be worUiy of its object, and tiieir equally strong conviction that 
those who have assumed the direction of the movevnent do not eompre. 
hend, and therefore will not satisfy the expectations of the nation, 
comoel them to take the unpleasant step of separating themselves from 
gentlemen with whom they have endeavourea to cooperate. 

Without dwelling upon the irregular and unbusiness-like character 
of the proceedings of the executive body, the undersigned complain 
that more than half a year has been wasted in procuring a list of names 
which would have be^ given in without solicitation, had a pi^tical 
and worthy scheme been laid before the public. 

It was not until December last that tne question of the site of the 
propoeed memorial was referred to a sub-committee for consideration, 
and the all-important question of the nature of the memorial was not 
taken up until the present month. 

At this moment, when little more than three months from the 
83rd of April, the committee is as ignorant as the public where the 
memorial is to be placed, and what it is to be. 

Thai a monument worthy of Shakespeare, and to be reared by the 
united energies of the three kingdoms and the fifty colonies, can be 
devised, discussed, and accepted by the country witMn a few weeks, is 
sn idea too absurd to be entertained by a nation of practical men who 
hold Shakespeare in befitting reverence. 

Had the executive a due appreciation of their task it miffht have 
been poosible to arrange some pleasant celebration for the 28rd of April 
viule taking time to consider the question of memorial with the care it 
demands ; bat the executive, having wasted so much time, are now 
•odearoiiiiDg to hurry matters, and in order to do so have obtained 
leave to take a step which must deprive the memorial of a national 
character. 

The g^eneral committee, after showing its estimate of its executive 
by rejceting a draft report prepared and improperly put into circulation 
by that body as the report of the committee, foUowed up what was in 
efifect a vote of censure by appointing a sub-committee to prepare 
another document to be issued to the public. This sub-committee 
unanimously decided that it would be premature to address the public 
until the site and memorial committees should have reported, it was 
aoeed thai it would be absurd to make such an appeal in the absence 
Of a definite object. 

On Monday last this report was presented to a meeting of the general 
committee, and was approved by it. 

The general committee, after it had thus decided that it was in no 
condition to address the nation, having no information to communicate, 
was induced to stultify that decision by voting that the public should 
be apoealed to, and moreover that it should be asked for a definite sum. 
It had occured to somebody that the memorial ought to cost 80,0002., 
and that this notion should be presented to the nation, which, however, 
was to be at liberty to give more if it pleased, and was to be assured 
that any surplus should be laid out philanthropically. 

This final blunder, the conclusion of a series, appears to the under- 
signed to be fatal. They are therefore compelled to withdraw from 
eo-operation in a scheme which, as at present managed, must end in 
discreditable failure, and draw down universal contempt upon English 
profeasions of reverence for Shakespeare. 

Tox Taylob, Thbooom Mabtw, 

Sbibley Brooks, J. S. Bbewsb, 
T. DuEFcs Habot, Thomas Walkxb, 
RoBEBT Bell, C. L. Gbuneiseh, 

Hain Fbiswkll. 



THE SHAKESPEAKE CELEBRATION. 
Sia^ — ^In a leading article of The Standard of Monday last there is an 
error with regard to the Stratford committee, which I should feel 
oWged to you to rectify. It is said *• That even the Stratford com- 
mittee, which wanted to make Stratford the centre of the celebration 
iBflleaa of Lomdon, has joined with provincial amiability in harmony 
with the majority." lliis might bo interpreted to mean that the 
fitiatibid. comonttee has joined the London committee ; and as it is of 



the utmost importance to us that the public should not be misled in 
this matter, I should be much obliged to you if you would allow me to 
state in your columns that the Stratford committee is entirely indepen- 
dent of the London committee. After aU the assistance and sympathy 
that we have received from so many parts of the country, it would be 
impossible now for our committee to discontinue its efiforts to secure in 
Shakespeare's native town a memorial worthy of the nation's estimation 
of his genius, and to make the occasion of his three-hundredth 
birthday one which will long be remembered with pleasure and 
satisfaction by all who are interested in it. 

Your obedient servant, £. F. Flowbb, 

(Mayor of Stratford-upon-Avon, and Vice Chairman of the Stratford 
Committee). OommiUee room^ Town Hall, 8tTatford'tq>cn'AvQnt Jan. 14. 



FLOWERS V, FLOWERS. 
** Provide things that are honest" 

Sib, — ^It is fortunate for me that, with the exception of those who are 
too wedded to sciences built up by piecemeal, that my rhymes on 
muscular vocalisiation are understood, and that no critic has ever yet 
quoted four consecutive lines which could Invalidate the theories sug- 
gested throughout the plan. It is childish to give sweeping condem- 
nation, and generally resorted to by men of inferior understanding. If 
the notion of chalk formations in the organs of voice be comddered by 
tcacUers of singing to emanate from me, it is a pity they know so little 
of the best medical works upon the subject. AJl I liave discovered is 
that gouty hard substances can be expelled by the muscles of voice. 
This fact was never known before I found it out, and 1 renew my offer 
of £40 to any one who can disprove this fact. This is plain English. 
If any musician had discovered so great a boon to society, how rejoiced 
I should be to take it up and help the cause. This is so plain a duty 
that I wonder any man can hesitate to perform it ; but some may say, 
** We have only the discoverer's word to go by ; we want to know the 
opinion of impartial scientific men before we examine the chalk subject." 
I>V>rtunately tor them, their want can be gratified by purchasing (for 
only 8s.) «• Hints on Thoracic Consumption," by Dr. HalL He says, 
page 6, ** To render tubercles harmless, to promote their expuUion it 
obviously the treatment which the dirnoH remdree." At page 46, a patient 
has coughed up something hard and white. Dr. T. Thompson says, 
*' The coughing-up of calcareous matter denotes a favourable termina- 
tion of the disease." At page 89, Dr. Watson remarks, in his 56th 
lecture, *' Let me tell you that the expeetoration of these chalk-like 
concretions, denoting as it does the existence of pulmonary consump- 
tion, marks at the same time the chronic character of the case. A 
gentleman coughed up at intervals little branching fragments like bits 
of white coral, consistmg of carbonate and phosphate of lime, and evi- 
dently moulded in the inaUer bronchial tubet," Dr. Watson is an authority 
sufficient to settle any musician's belief in chalk formations, and as my 
exercises do really expel from the bronchial tubes and the respiratoi^ 
apparatus these deadly and painful formations, which give freedom and 
ease to the muscles of the chest and bring out the voices of the delicate, 
what hardship can it be for professors to give in their adhesion to a 
principle which confers such a manifest blessing on pupils of weak 
respiratory power. — ^I am. Sir, yours obediently, S. F. Flowsbs. 

P.S. I.— 1 never played a fugue with one hand, nor wrote one with 
one eye shut ! 

P.S. II.— Your wrong quotation from my letter made the bad 
grammar. 

26, Avenue Boad, Shepherd's Bush, W. 



Bbiohtok. — Herr Bngel gave a harmonium redtal recently in the 
Saloon at the Pavilion. He peribrmed a variety of compositions from 
Handel, Mozart, Chopin, Haydn, Rossini, and some of his own, display- 
ing the power as well as the'capabilities of his instrument, whether in 
sacred or operatic music, with invariable success. All his performances 
were greatly apphiuded by an audience ^thered from the ilite of 
Brigh&elmstone. Madlle. Linas MartorelU sang *' Una voce," a song 
of Arditi, and some Spanish airs. At a recent concert £^ven here, M. 
Ascher performed his new composition on Danish airs, entitled (hneordia, 
besides his Soirde Limpide (so-called), Cffuuee aux Pt^Unu (so-called), 
and Sana eouei galop, and romance, entitled Alice, M. Ascher also 
played with M. Vieuxtemps a duet on Don Giovanni, by Wolff and 
Vieuxtempe. 

PansTOzr.— A Preston journal speaks in the highest terms of Mr. 
Fred. C. EUerman, a promising young artist, formerly student of the 
South Kensington Museum, who has painted nearly all the scenery 
for the new pantomime, Cinderella. Mr. Ellerman, who commenced 
scenic painting at Astley's, for Mr. Batty, subsequently plied Mm 
brush at the Theatre Royal, Cambridge, where he was engaged ly Mr. 
Sefton. He assisted Messrs. Drew and Neville in preparing the 
splendid scenery for the JDuhe^e MoUo, and was nightly summoned 
before the curtain. 



Digitized by 



Google 



S6 



THE MUSICAL WORLD. 



[January 23, 1861 



MONDAY POPULAR CONCERTS. 

ST. JAMES'S HALL. 
OmO HUNDBKD AND FOUBTIBTH CONCIIBT. 



MONDAY EVENING, JANUARY 25, 1864. 
FIB8T APPEABANGE OF 

M. VIEUXTEMPS. 



PART I. 
QUARTET, In A minor, for two Ylolins. VioU and Yiolonoello . MendOuohn. 

M. M. VixuzTiiiFS, L. R»8, H. Wbbb and Paqus. 
SERENADE, **Quandtachaiitetbero6e*'—MftdamePARirA . . QcuMd. 

With Harmonliim Obbligato, Herr Exqbl. 
BONO, ** The Pilgrim*' (**JaifErnuit**>-Mr.8AiiTLBT . . 

BONATA, Appasionata (in F minor— Op 6T) for Pianoforte alone- 
Mr. Chablbb Hallb 

PART II. 

BONATA, in B flat m^or, for Violin and Pianoforte (dedicated to 

Mile. SirinaaBacctii) Motart, 

M. ViBUXTBHPfl and Mr. Cliarlee Hallb. 
BONG, ** What iliall I sing r— Madame Pabbpa .... Bmedid, 

BONO,"TheBUrrap-onp''— Mr. Sabtlbt ArdUL 

QUARTET, in D 'mi^or, for two Violins, Viola and Violoncello . Haifdn, 
M. M. ViBUXTBXPB, L. RiBB, H. Wbbb and Paqub. 

Condnotor - MR. BENEDICT. 



NOTICE.— It Is respectfolly suggested that such persons as are not desirooa of 
remaining till the end of the performauce can leaye eUher Ufmrt the epmmencement <if 
the hut <iM<nMMRlai jN'eos, or hetwem any two qf the mooaneiti, so that tb^se who wish 
to hear the whole may do so without intermi>tlon. Between the last vocal pieoe and 
the Quartet for two Violins, Viola, and Violoncello, an Intenral of nra MiiraTBS will 
be allowed. 

Bcfo Stalls, 6s. ; Balcony, 3s. ; Admission, Is. ; To be had of Mr. Ausrnr, at 
the Hall, S8 rieoadiUy ; Messrs. Gbapfbll ft Co., 60 New Bond Street, *c., Ae. 

ST. JAMES'S HALL. -NEW PHILHARMONIC 
CONCERTS.— Director, Professor WYLDE, Mas. Doc— The Snbecribers are 
respectfully informed that the Concerts will commence early in next seaaon. The 
Prospeotos for 1864 will shortly be Issned. 

W. GRAEFF NICH0LL8, Hon. Sec. 



NOTIOBB. 



To Advertisers.- 



LONDON: SATURDAY, JANUARY 28, 1864. 



a^ 



The Office of The Musical World is at 
Messrs. Duncan Davison & Go's., 244 Eegent Street, comer 
of Little Argyll Street (First Floor), Advertisements received 
OS late as Three o' Clock P.M., on Fridays-~but not later. Pay- 
ment on delivery. 

To Publishers and Composers — Music for Review must be for- 
warded to the Editor, care o/Messrs. Duncan Davison & Co., 
244 Begent Street. 

To Concert Givers.— iVb Beneft- Concert, or Musical Perfonu* 
ance, except of aeneral interest, unless previously Advertised, can 
be reported in The Musical World. 

TO CORRESPONDENTS. 

B, W. S.— It mtut have been in each instance an unintentional over- 
sight. Our correapondent may rest assared that in futare care Bhall 
be taken to " give unto Csbbt the things that are Cssar^s." 

Ma. Shiblby Brooks. — By no means. ** Every citizen of this world 
has a right to do what he pleases with his own property. Herr 
Sfeomr, in spite of warning after warning, has chosen to abuse, to 
waste and destroy one of the most magnificent voices ever beatowed 
on a bass singer, and the consequences are now disastrously evident, 
not merely in his own performances, but in everv concerted piece, 
which is transformed into discord by the admission of so noisy an 
organ, so fearfully out of tune." That was the sentence. How a 
voice that has been abused, wasted, and destroyed can be noisy, it is 
for future commentators to explain. 



MAKUIAGK. 

On the Cth in»t.. at St. Luke's, Chelsea, by the Rev. W. W. 
BoBixsoN, P. H. DiEiiSB, Esq., U. A. M , to Mabt Euzabith, second 
daughter of Fkancis Hebbekt, Esq., solicitor, Chelsea. 



OUR cotemporary Punch is not merely the emperor of 
jokers, though that would be a tolerably big title as 
times go. If his pleasure were simply to administer a 
weekly shaking to the midriffs of the thousands of Her 
Majesty's lieges to whom the bother and worry of life are 
anything but pastime, — to wake up laughter from its care- 
worn sleep, and make a sad world merry, — he would surely 
have betaken him to an honorable calling. But he does 
more than this. He is both " merry and wise." There is 
no earnest more earnest than his. Who more worthily 
honors the brave and good? Whose cudgel is so fitly 
dreaded by the knave and quack ? In fact, — ^but lest we 
get entangled in some of that *' bosh '' which he so hates, we 
sum up his praises by saying that the Times, Punch and the 
Musical World (of course) are the only papers worth reading. 
But the watchfullest eye must now and then have its 
'* forty winks." Even Punch is not without his little weak- 
nesses. One of these peeps out here and there in his deal- 
ings with music. Not that he openly attacks what musicians 
term greatness in their art ; on the contrary, he professes to 
venerate the big men and their works, and even occasionally 
swallows the unfortunate word *' classical " without much 
wry face. But in all this there is a timid and apologetic 
tone that ill assorts with a genuine expression of feeling. 
To be plain, we don't think he understands music— certainly 
not as we understand it. To him music seems purely a 
matter of natural emotion — a kind of sensuous and pleasur- 
able tickling about the worth of which every one must be 
allowed to decide according to the irritability of hifl Bkin. 
And specially, let any luckless musician slip out a sentence 
about "art" or "science," audio! Punch runs at him full 
tilt, like a bull at a scarlet cloak, and down they both go 
together, though which undermost it is n%t always veiy 
certain. 

In his last number Punch quotes (and patronizes, too) an 
extract from the Bombay Saturday Review, on which he 
specially asks the Musical Worlds opinion. Premiaing that 
the article in question is written with all the strength of 
assertion and weakness of judgment usually found in amateur 
essays on the subject, we accept our cotemporary's challenge 
with pleasure. We are not, however, in an exhaustive 
mood, and so shall be content to give a very general answer 
to statements trite and worthless in themselves, and only 
made worth notice by their translation from Bombay to Fleet 
Street 

First of all, the Indian critic starts off in such a wonder- 
fully loose style of English, that only by the context can we 
guess on which side he is pleading. He says, " It is utterly 
ignored that harmony is an exact science," (fee. By whom 
" ignored ?" Is this the language of complaint or asser* 
tion ? If the writer means himself as the " ignorer," we are 
to this point, and only this, entirely at one with him. Music 
is certainly not " an exact science " ; and few things have 
been more mischievous to its real claims than the habit of 
this flimsy use of terms by people who should better know 
the meaning of language. Nothing can be rightly called a 
" science " of which the results cannot be absolutely predi- 
cated to be either true or false. Science can have no concern 
with differences of taste, or feeling, or opinion. There can 
be no dispute about the properties of a right-angled triangle ; 
but there are many things in Beethoven's poBthumous 
quartetB to which most of the ablest mnsiciaiui cannot get 



Digitized by 



Google 



JwBaiy 23, 1864] 



THE MUSICAL WOBLD. 



57 



reconciled. Maihematical reasoning has, indeed, been ap- 
plied to illnstraie what may be called the music of nature ; 
and, to such as are fond of hard reading, we can safely recom- 
mend Dr. Smith's Treatiu on Harmonica But all this has 
nothing to do with music as we hear it and know it It can 
no more help forward the living, breathing work of the com- 
poser than can a course of Scotch metaphysics secure the 
immortality of the souL Music is, purely and simply, an 
art; — ^it certainly is no less, and it cannot well be more. Its 
forms and fashions are for ever changitig with the lipening 
of practice. It has no finality, no consummation ; — ^no abso- 
lute right and wrong of to-day that to-morrow may not 
reverse. Its laws are but a digest of all the labor and genius 
of its votaries ; and, as they have been made by men, so by 
men they may and will be broken. Their language, even, 
is not that of science. A law of gravitation says, " A stone 
wiUitXL to the groT^nd"; — and a law of music, "You may 
not move two parts paraJlelly in fifths " ; — the one cannot be 
broken, the other is infringed every day. 

But, ceeding this much to the Bombay critic, our ways 
are thenceforth as divergent as they well can be. He will 
have it that the power of making music is wholly a natural 
gift ; we reply that this is not a hundredth part of the truth. 
He allows nothing to art ; while wb answer that without 
art, most laboriously acquired, no great composer ever did 
or could exist. It is needless to follow him through his list 
of names and examples. The fallacy that underlies his entire 
case is beet shown in two sentences : — '' Melody is the sum 
of mosical genius. This is quite uncontested among those 
who know anything of the subject" Begging our trenchant 
friend's pardon, this is by no means " quite uncontested." 
Truly, melody is a most precious gift ; but does not all the 
irorla bear witness to the still more precious faculty of 
knowing how to use a gift when one has it ? Beyond doubt, 
the men he names are most richly gifted as melocSsts, but 
would they have stood where even he places them had they 
not labored incessantly at the " art " of glorifying their gifts ? 
Did it never strike him that the reid dinerence between 
Handel, Mozart, Beethoven, Meyerbeer, dbc, and all those 
men who have made the purely national songs of every 
country — deathless in their way though they be — is that 
these were simply Nature's warblers, while the others were 
great artist-musicians ? that these had merely received the 
••ram '* of their genius, while the others had baptized it to 
gVory with the toil of their art? 

But enough. Had Fwich held his peace, the Bombay 
critie would have remained as unknown as he deserves to be. 
Meanwhile, will he trust, or can he understand, Gk^the — a 
tolerably big man in his way ? If so, let him read the sen- 
tence that perenially stands at the heaH of our columns, and 
which we here transcribe — " The worth of art appears most 
eminent in music, since it requires no material, no subject- 
matter, whose effect must be deducted : it is wholly form 
and power, and it raises and ennobles whatever it expresses.*' 
This is merely a German view of the matter. Perhaps they 
know more about it in Bombay. 



To the Editor of the Mosical World. 

TA Fiancee du Roi de Garle, comic opera in three acts 
"^^ and ax tabhauxy the book by MM. Scribe and Saint- 
Georges, and the music by M. Auber, was produced, at the 
Opera-Comique, for the first time on the 11th instant. 

What a godsend for a critic full of faith in his own know- 
ledge and importance is a work furnishing him snth 
an opportunity of simultaneously giving a lesson in music 



to M. Auber, the father of composers, the glorious chief 
of our school ; a lesson in theatrical matters to M. Scribe, 
who is unfortunately no longer able to profit by it; and, of 
touching up, into the bargain, M. de Saint-Georges, his 
collahorateur in the Ambassadrice, Les Diamants de la 
Couronne, and other libretti, which have been so much the 
vogue. But for the public, what hopes and what attrac- 
tions are in that triple signature which success has so often 
honored! This very week, it again took care not to be 
wanting, and the public were not deceived in their expec- 
tations ; they had what they calculated upon having, an 
amusing piece, full of incident, a mixture of the real and the 
fantastic, and a charming score ; we know of no expression 
more appropriate to characterise a work that breath of melody 
animates from one end to the other, while based on all that 
is most ingenious, most pure, most elegant, and most deli- 
ciously classical in Art There were also talented artists. 
Among them, two, Achard and Mdlle. Gico, deserve to bo 
more especially mentioned. Add to all this a rich and bril- 
liant mise-en-scene, one of the best at a theatre celebrated for 
excellence in this particular, and you will feel that, in get« 
ting up La Fiancee du Roi de Garbe, the Opera-Comique 
was not accepting the work as a legacy of doubtful value, 
but as a grand and splendid donation, the advantages of 
which were evident. La Fiancee du Roi de Garbe! 
Who is not acquainted with the scandalous stories con- 
nected with the young lady's conjugal adventures, as 
handed down to us by Bocaccio and La Fontaine ? Who 
does not know that the King of Garbe is the type of that 
robust faith that nothing can affect or destroy in certain 
suitors and husbands ? Bocaccio, at the end of his story, in 
which, according to the morals of the day, licentiousness is 
nearly always cruel, and in which the reader gets inebriated 
with blood and voluptuousness, winds up with this but very 
slightly moral moral, which we should not dare to translate 
exactly : " Bocca bazciata no perde ventura ; anzi rinnuova 
convme la luna" This is about tantamount to saying, that 
a few kisses received or bestowed do not matter, and that 
they are sometimes a gain rather than a loss. You may 
imagine that the Opera-Comique is more severe, and does 
not admit such enormities. You shall judge. 

The great King of (Jarbe, Babolin I., by virtue of the 
Moorish conquests, monarch of Spain and Portugal, or. if 
you prefer it, sovereign of Morocco, has entertained thoughts 
of taking unto himself a wife, but not without having pre- 
viously consulted a certain godfather of his, who inhabits the 
moon, on the probable consequences of his resolution. In- 
stead of replying, the godfather sends him, by one of his 
pages, an aeronaut without balloon, a case containing a neck- 
lace of thirteen pearls, from Visapore, possessing the following 
property : If the fair one who wears the necklace round her 
neck, or in her pocket, grants the slightest favor, or suffers 
any person to obtain one, at the very same instant a pearl 
falls from the necklace never to return. By this means the 
king will always know what to believe about the virtue of 
his noble spouse, the daughter of the Sultan of Egypt, and 
he sends his nephew, Don Alvar, to demand her hand and 
carry her the necklace. 

Don Alvar is a very handsome young fellow personally, 
but, following the bent of his taste, has devoted himself to 
the study of the sciences and of astronomy. He does not, 
however, contemplate the heavens so assiduously as not to 
have perceived on earth an adorable portrait, with which 
he has fallen madly in love. He has picked up that lost 
by Babolin, for it is no other than that of the beautiful 
Alaciel, the daughter of his majesty's future father-in-law, 



Digitized by V^riOOQlC 



5d 



THE MUSICAL WORLD. 



[January 23, 1864. 



the Sultan of Egypt. We must not forget to state that, in 
attendance upon Babolin, there is another young person, 
called Figarina, the mission of whose light hand is to pass 
the razor every morning over the royal chin. This is a cus- 
tom formerly established by a certain prince who desired to 
talk incessantly, even while being shaved, and who found no 
hand but that of a woman capable of sparing him the incon- 
venience of having his face gashed. Hence the appointment 
of a h&rberess, who is a kind of favorite. Babolin finds 
her very agreeable, but discharges her, nevertheless, be- 
cause he is about to get married. 

The embassy dispatched by the King to the Sultan is 
headed by Don Alvar, escorted by Pigarina. Don Alvar 
recognises in his uncle's betrothed the original of the 
portrait for which he raves. Te return to Garbe, the tra- 
vellers have to traverse a country full of wild beasts, and 
brigands scarcely less wild than the beasts. They inquire 
their way of some pretended hermits whose only thought is 
to deliver them up to the brigands. Terrified lest she should 
lose the precious necklace bestowed upon her by the King of 
Garbe, Alaciel replaces it in the case, and begs Figarina to 
be so kind as to take care of it This causes all the mischief. 
From this time forth, a perfect hail-storm of kisses falls upon 
the poor girl, without her being able to prevent it, and for 
each kiss there is a pearl less ! In the first place, it is Don 
Alvar who finds his way into the tent where Alaciel and 
Figarina are endeavouring to sleep, and where we have a 
new edition of the nocturnal scene in Comte Ort/, Like the 
page Isolier, Figarina sacrifices herself for her mistress, and 
such acts of devotion cost a high price I Then it is the sham 
hermits who hypocritically kiss Figarina. " And yet these 
men are said to live a life of privation ! " exclaims the bar- 
beress. A miscreant of a corsair arrives in his turn. He 
would not be contented with the kisses snatched from 
Figarina, but, having discovered that he holds in his clutches 
the daughter of the Sultan of Egypt, would push his audacity 
so far as to marry her, did not Don Alvar, by means acquired 
from science, prevent him. Like Christopher Columbus, 
Don Alvar has foreseen the eclipse which takes place, accom- 
panied by terrible phenomena, thunder and lightning, darting 
through the gloom. The brigands, convinced that Don 
Alvar has dealings with heaven, oblige their chief to capitu- 
late and allow the caravan to piirsue its course in freedom. 

On the frontiers of the kingdom of Oarbe, fresh dangers 
await Figarina. The king, still on account of his ap- 
proaching marriage, has exiled his pages, and the barberess, 
who, to travel more securely, has put on their uniform, falls 
among the joyous crew. The pages embrace her as their 
comrade, and then, when her sex is known, embrace her 
under another pretext. In short, when Rabelais' quarter of 
an hour comes, and it is necessary to count the pearls of the 
necklace, there are only three left, and very soon afterwards 
there is only one. It is in vain that Figarina fatigues 
herself in calculating over and over again; she cannot 
balance her accounts. Then the king, who is astonished at 
not seeing the necklace on his future wife's bosom, what 
does he say on learning the deficiency in the separate 
personal estate of the lady? Why, the illustrious sovereign 
loses his temper like an ordinary mortal, and resolves on 
sending the sultan his daughter back again ; but Figarina 
judiciously observes that such an act would be followed by 
war. On hearing this, the illustrious sovereign calms down, 
and, still iu conformity with the advice of Figarina, who, 
from being a barbaress, rises to the rank of a councilloress, 
unites the beautiful Alaciel and his nephew, Don Alvar. 
One step more, and the counoilloress becomes actually the 



wife of the king, who will never know that, in marrying her, 
he takes upon himself the responsibility of the twelve pearis 
which have disappeared. At heart this Babolin is a very 
decent kind of fellow ; but, for all that, we must repeat with 
La Fontaine, who is much more moral than Boccacio : — 

Filles, maintenex-YOiui, raffaire est d'importanoe, 
Bds de Qarbe ne Bont oiaeaoz communs en France.* 

Scribe's bold and fertile imagination is recognisable in 
twenty different portions of this work, which is nothing 
more than a joke through which is perceived only one 
serious sentiment — the love of Don Alvar for Alaciel. But 
this love has been sufficient to inspire the composer with 
two or three of those exquisite and entrancing pieces which 
seem to tremble with all the ardour belonging to a youth of 
twenty I It is in vain we would forget that M. Auber has 
long passed that age ; we cannot help recollecting it when 
we hear him sing and sigh better than the youngest of the 
young. Shall we now give, in the form of an analysis, the 
thematic list of a score that everyone will go to hear ? Such 
an act would truly be more than superfluous. The name of 
M. Auber relieves us from the necessity of offering comments 
or praise. M. Auber is one of that family of great musicians 
who took seriously a nmf but very sensible definition to be 
found in all old dictionaries : — " Music is the art of com- 
bining sounds in a manner agreeable to the ear." Conse- 
quenSy he has always endeavoured to be agreeable, and has 
always succeeded. It is thus he has produced forty master- 
pieces in forty years. 

" In a case of this kind," we said, when speaking of the 
previous piece which he produced in 1860, »nd to which we 
much prefer La Fiancee du Rot de Garhe, " in a case of this 
kind, is it not an act of allowable coquetry for a man to show 
the registrar of his birth ? We will perform this service 
for M. Auber, and remind our readers of the fact, which 
none of them will teel inclined to believe, that he was bom 
on the 29th January, 1782. Where shall we find in any 
country and in any age a composer endowed by nature with 
a privilege equal to his ? M. Auber can be compared to no 
one except Voltaire and the Marshal de Richelieu. He com- 
poses youthful, clever, and light music at as advanced an age 
as that at which the great poet wrote tragedies, and the noble 
duke married. He has preserved all the elegant facility, 
and all the graceful clearness of his style ; he continues as 
he began. Fancy a clever man, endowed with good taste, 
and speaking in simple and clear, though ingenious and 
pungent language, who should have passed through, without 
participating in, an epoch of exaggeration, neologism, and 
barbarism ; with what pleasure we should listen to his dis- 
course, original because natural, and what a sweet sensation 
of repose he would bring with him into company tired of 
laborious pretensions and vulgar emphasis 1" 

Well, such is the effect produced by the score of La 
Fiancee du Rot de Garhe. The audience were surprised 
and enchanted with music which takes so little trouble to 
be pretty, and requires so trifling an effort to be understood. 
They were delighted at once again meeting v^ith an artist 
who quietly pursues his way, at a time when so many 
others are rushing to utter destruction, in the attempt to 
open up for themselves new paths. 

Of all the artists who figure in this work, on which no 
outlay has been spared, those best suited are Achard and 
Mdlle. Gico. Achard renders the dreamy and passionate 

*■ Theae lines may be rendered thna :— r 

How you beha?e yourselves, young girls, take care, 
For longi of GaiiM in France are birda moat rare. 



Digitized by 



v^dogle 



January S3, 1864.] 



THE MUSICAL WOKLD. 



59 



part of his music in a charming manner. Mdlle. Oico is gay 
and dever in her part, which is almost entirely comic. She 
t^ms to he prettier than ever in her yarions dresses, 
wiiich are all in the hest taste. The same must be said of 
Mdlle. Tual and her queenlike costumes. Mdlle. B^lia 
appears to advantage under the habiliments of a page, which 
are not unbecoming, either, to the twelve fair pupils of the 
Conservatory, who have been enrolled to complete the flying 
squadron. Prilleux, who plays the part of Babolin, is very 
funny in the third act, when venting his dissatisfaction on 
the individual despatched by the council, and resolved to 
compliment him, come what may. Sainte-Poy has only a 
few sallies here and there, but he makes a good deal of 
them. Nathan, Duvemoy, and Bataille are also of the party, 
in which they move about costumed as the hermits and the 
Tunis pirate. There are, moreover, whole hosts of dameuses, 
and crowds ot slaves and corsairs ; there is an eclipse, per- 
fectly visible without a telescope ; with so much talent, such 
an outlay, and so great an amount of care, how is it possible 
to fail of success ? Paul Smith. 



THE Marquis Salamanca and the Chevalier Delahante, in 
the name of the Society of Roman Railways, have pre- 
sented to the town of Pesaro a magnificent statue in bronze 
of Rossini, designed and manufactured by the celebrated 
Marochetli. This statue will be erected in the square 
fronting the railway station, and it is intended to call this 
square the Piazza RossinL As soon as the presentation was 
made known at Pesaro, an association was spontaneously 
formed to obtain subscriptions to defray the expenses of 
inaugurating the statue. The association, after the inaugu- 
ration, will continue, to act under the title of " Societa 
Ro$iintana Fesarese" M. Emanuel Marliani, Member of 
the Senate, has been charged by the donors to represent 
them. On the day of the inauguration he will deliver an 
oration, which cannot fail to be highly interesting from an 
artistic point of view. 

At Bologna a conmxission has been formed for the purpose 
of co-operating in the f^te at Pesaro. This commission is 
composed of five members — MM. Cesare Aria, Albini, 
Oolonelli, Cesare dall* Olio and the director of the Lyo6e 
Musical, M. Beretta. The exact period for this grand 
manifestation of Italy in honor of the immortal maestro is 
not yet fixed on ; but it is supposed that the anniversary day 
ot bis birth will be selected. The inauguration of the statue 
of Rossini, in this case, will take place on the 29th of 
February, when the great composer attains his seventy- 
second year. As regards the programme, it is intended to 
perform a cantata written by a contemporaneous master. 



"AN Occasional Correspondent," who addressed us last 
jOl week in reply to our article on cathedral organists, 
may be assured that we respect, as highly as he can, the 
ability of Mr. Goss as a musician, and of Mr. Cooper as an 
executant. But this duett-arrangement of people and 
powers did not enter into our views. We did not 
contemplate such an instance of "two single gentlemen 
rolled into one.*' As to who mtgJu "be recognized as 
compoeers of genius " if, <fec., — we have nothing to do with 
hypothetical cases. It is at least certain that Church music 
of some sort is being published in abundance, and we cling 
to the not unnatural belief that good would be preferred to 
bad, if it could be procured. 



Mabame Akabxlla GonDARD has returned to London. 



PARIS. 

{From ourovm Oorreipondent.) 

Pabis, Jap. 21. 
The success of Moxse " marches," as we say at the Grand Op^ra. 
Mdlle. Marie Battu, your little-prized singer at the Royal Italian 
Opera, London, and who, I dare affirm, has scarcely one remem- 
brancer among the subscribers and habitues of that establishment, 
has come out really well in Rosaini^B opera, and sings the music of 
Anal with undeniable effect. I cannot make out dearly whether 
it is that her voice and singing are improved, or that the music 
suits her particularlv. She 1:^ made a hit, which is a stepping- 
stone to fortune. M. Faure*s friends prodaim loudlv the excd- 
lence of his Pharaon. I cannot altogether agree with them. A 
priori^ M. Faure's voice and style are entirdy opposed to Rossini's 
music, except, indeed, in GuiUaume Tell^ which he sings finely. 
The other characters have made no hit at all. The reprise, no 
doubt, is a great success ; but the opera-goers sigh for Ihe days 
when Motse was first produced with Nourrit, Levasseur, and 
Dabadie. The rehearsals of Roland h Roncevaux commenced on 
the 6th, and are being hurried on — ^M. Perrin being determined, if 
possible, to brin^ out the opera by the 5th of April. It would be 
an unprecedentM event at the Op^ra should a work be made ready 
at the end of only three months preparation ; such a circumstance 
is quite unknown in the annals of the Academic Imp^riale de Danse 
et de Musique. The indisposition of Mdlle. Patti has proved a 
serious loss to the Italian theatre, which was dosed one evening 
last week. Madame de Lagrange has not gone to Madrid ; she 
was ffoing, but was detained in consequence of the sudden illness 
of Madame Charton, and was induced, not greatly against her 
inclination, to play that lady's part, Leonora, in II Trovatore, 
Talking of the Trovatore^ 1 must inform you of a delnUavte who 
came out rather unexpectedly in Azucena. This was Miss, or 
Madame, Lumley, whose name has occasionally peeped out in the 
musical journals as a singer of great promise and oi extraordinary 
personal attractions. 'Die personal attractions were of course 
entirdy concealed in the gipsy's make-up, and many, indeed, when 
she came forward for the first time, thought it was Madame Meric 
Lablache— for any body, as you know, looks like any body in 
Azucena, except possessed of such marked physical peculiarities as 
Alboni. As far as I was enabled to judge from that night's 
performance, Madame Lumley is a good actress, sings well, and 
has a very fine voice. Her success was undeniable, in spite 
of the absence of her friends, who did not expect she would 
appear. For the debutante the non-interference of interested 
partisans was pregnant with great results. Be sure so legitimate 
a success will not be lost on the public or the director. The 
'* last representation " of Signer Fraschini was announced for the 
twentieth time one day last week. 1 believe Signer Fraschini has 
departed in reality, more particularly as I obsearve that Signer 
Naudin has arrived. Paris could not possibly maintain two such 
tremendous tenors in juxta-position. — I fear very much that the 
success of the Fiancee du Rot de Garbes at the Opera-Comique is 
not so eminent as the admirers of M. Auber would make out. I 
confess / like the music very much, but I cannot assert that it 
reveals the vigorous freshness of La Muette^ Fra Diavolo, Lestocq^ 
Gustave^ or the Domino Noir. Far from it indeed. But still Auber, 
even when his invention fails him, is always the great artist, and 
bis operas invariably interest the musician. The wonder is that he 
should have written an opera at all. At eighty years of age the 
intdlect cannot be eiroected to display vigor and brightness of ideas. 
Wonderful, indeed, if the reflective powers remain, and that learn- 
ing and skill take the place of fancy and imagination. I have 
heard the Fiancee du Roi de Garbes twice and shall go to hear it 
again, and even yet may have to alter the somewhat slight opinion 
I have formed of the music. The Emperor and Empress were 
present at the second representation. — At the Ih^tre-Lyrique, 
Rigoletto and Faust alternate the performances. Just now, Signer 
Verdi is more attractive tlian M. Grounod. Novelty is a great 
matter. Faust has been given nearly 200 times ; Rigoletto is in its 
nonage at the Thdatre-Lyrique. The engagement of Madame 
Charton -Demeur at the Italiens, I presiune, necessitates the with- 
drawal of Les Troyens. — 'I'he first concert of the *' Sodety of Con- 
certs " of the Conservatoire took place on Sunday the 10th. The 
performance presented a double interest. It was, in fact, the dav 
I on which M. (jeorges Hainl made his first appeawice at the desk 



Digitized by 



Google 



60 



THE MtTSICAL WMlLB. 



[January 2S, 1864. 



of the Chef-d^orcheBtre. Many considered that the new conductor 
would be out of his element in ClaaBic music, the greater part of his 
experience belonging to the theatre ; but he soon dissipated all such 
timid considerations, and the impression in the minds of the oHest 
members was that the symphony in C minor had not been played 
for many years so perfectly. The enthusiasm at the eod of the 
performance was unbounded. 



Holograph.— -There has been found, in Public Record Office, a 
holograph on paper of the period, which is probably unique, and con- 
tains a song or melody by Doctor John Bull, reputed composer of 
our Natioiud Anthem. It may not be generally known that the 
origin of the words of *^ God save the King *^ is to be traced to the 
watchword and countersign given out in the Lord AdmiraPs orders 
on the 10th of August, 1545, — *^ The watch wourde in the night 
shall be thus, * 6(xl save King Henrye ;^ th'other shall answer, 
* And long to ndgn over us.^ ** Doctor John Bull was organist to 
the Queen^s Chaj^ in the reign of Elizabeth, and on the establish- 
ment of Gresham College was elected its professor of music. The 
^per in the national repository, just discovered, is signed ^^ John 
Bull." It preserves to us one of the most interesting examples of 
'English musical notation, and will be as highly esteemed by 
musicians as by ardusologists. 

Madajie Fuzzf s Soire£S.— The first soire^ of Madame Puzz^ 
may be emphatically called the daybreak of the London fashionable 
musical season — ^the heliacal rising, rather, of the star before Hie 
sun bursts forth in full splendour. This interestiiig event took 
place on the evening of Tuesday week, at the Haiiey Street Rooms, 
need we say hdare a brilliant and crowded audience. The singers 
were Misses Louisa Pyne, Banks, Lascelles, and Susan Pyne ; 
Mr. Swift, Signors Grentili and Ciabatta; the instrumenteJists, 
Mefisrs. Francesco Berger and Caasius (piano), and Signor Pezze 
(violoncello^. These ladies and gentlemen sang and played a 
varied and interesting selection, to the unqualified satisfaction of 
the visitors, who were evidently delighted with the whole per- 
formance. Perhaps on no former occasion did Madame Puzii pro- 
vide her distinguidked patrons with a more elegant entertainment. 

Miss Florence De Courct.(— From o Contemporary). ^Misa 
Florence De Courcy pleased us very much by the agreeable quality 
of her voice and the peculiar neatness and simplicity of her style. 
We had occasion previously to notice the singing of this young 
lady, when she maae her first appearance at St. Jameses Hall last 
season, and then spoke in no reserved terms of her talents. Miss 
Florence De Courcy is new to the concert-room, but already 
promises to be an acquisition. 

Gresham College. — ^Professor Wylde will commence his series 
of lectures in Hilary Term, at Gresnam College, on Thursday tlie 
S8th inst. The other evenings are Friday 3ie 29th inst., and 
Monday, Feb. 1st. The lectures commence at 7 o'clock, and are 
open to the public gratis. 

Mb. Mirakda, the clever pupil of Mr. Howard Glover, nve his 
first concert since his return from America, at Sussex HaU, which was 
literallv crammed on the occasion. Among the principal vocalists 
were Mdlle. Florence Lancia, Miss Rose Hersee, (encored in ** Cherry 
ripe ") Miss Leffier, Miss Benson, (a young and promising singer) and 
Mons. FoQtannier. Mr. Miranda, who had a warm reception, sang 
*• Come into the garden Maud," and ** Home of my youth," both of 
which were encored, and joined Miss Rose Hersee and Miss Leffler in the 
trio. '* I'm not the qneen," also singing in Mr. Costa's quartet, " Ecco 
fien instanto," and in Balfe's duet, " The Sailor dghs." After being 
encored in " Home of my youth " Mr. Miranda gave '• The death of 
Nelson" with great effect. The instrumentalists were Miss Julia 
Woolif (pianist), encored in her own solo, " Auld Lang Syne," and Mr. 
Viotti Collins (violinist), whose performance of a solo, *' Rule Britannia," 
and a duet with Miss Woolif on Omllaume Ttll (Osborne and De 
Beriot) was greatly admired. The accompanists at the pianoforte were 
Mr. Frank Mori and Mr. Emile Berger. 

Mr. Aodilab. — The following pieces were played by Mr. Aguilar 
at his Matinde, on Tuesday, at 17, Westboume-square: — Sonata, 
Op. 29, No. 1. Beethoven ; •* Cujus Animam," Liszt; Tarentelle, Thal- 
berg ; Weber's last WaltB, Aguilar ; Sonata, in A minor, Aguilar ; 
a, SchlunimerliiMl, 6. piece (No. 6), R. Schumann; Fantasia on an air 
from Fra Diavoio, Aguilar; '• Home, Sweet Home," Aguilw; Serenade, 
Aguilar. The perforiiianoes of the above selections were greatly 
applauded ; several of the pieces were redenumded. 



ROYAL ENGLISH OPERA. 
*' The new operetta, FmehttUt has proved a decided soecMifc A moie 
agreeable ** le»er de rideau " could haMly be wished. One charge alone 
can be &irly preferred against the music, and this is its uniform and 
close adherence to the style of French comic opera — ^not so much, be it 
understood, the polished style of Auber as the more ordinary manner 
of the late Adolphe Adam, who, with all his vivacity, talent, and 
unquestionable dramatic feeing, too often came before the public as a 
sort of Auber en robe de ihambre. Now, Mr. W. C. Levey just as 
fte^vently suggests the idea of Adolphe Adam tn robe de ehambn—ia 
which, in a young English composer of more than average ability and 
promise, we must strongly object. True, we learn that his education is 
French, and that he has passed some years — ^the years of his pceliminaiy 
artistic studies — in the intimate musical circles of Parisian life, which 
may account for a peculiarity otherwise strange in one thus early able 
to make some figure. It is, nevertheless, a pity, for despite its alluring 
faeciaations, the Freaoh ^eatre-murilo has neither the solidity and 
poetic depth of the German nor the breadth and melodic flow of the 
Italian ; and only such brilliant genius as that of Auber, who in modem 
times has literally engrossed the inventive faculty of musical France, 
or a mind as graceful and contemplative as that of the composer of 
FauH, who after all— witaesa his latest work. La Berne de Sabor^ 
approaching more and more nearly to the form and spirit of modem 
Germany, can make us overlook a certain petty mannerism, bom at the 
Op^ra-Comique. and influencing in a greater or lesser degree the whole 
phenomenon of French lyrical productivity. Auber, moreover— though 
the presiding deity of the French, as Bossini of the Italian school~isi 
one of the few gifted men who rodly belong to no country, inasmuch 
as his mufdc appeals to the sympathies of the world at lar^e ; while M. 
Gounod betiiays a certain tendency towards that minglmg of various 
styles brought to perfection by Meyerbeer, whose fftigvenoie and Dmorah 
— to cite two examines having little else in common— are not French, 
nor German, nor Italian, but a compound of the three. The genius of the 
two most prominent French composers being thus, in differing mcabure?, 
cosmopollian, they cannot reasonably be adduced in such an argmnent ; 
and even were a young composer like Mr. W. C. Levey to adopt their 
works as models and endeavor to imitate them, he would atill be in the 
wrong path. Nor is it easy to understand , under any circumstances, why 
an Englishman should strive heart and soul to become a Frenchnvan. 
What Mr. Levey's inventive musical capacity may really be it is at 
present impossiUe to guess. His Fanehette is a French story, enacted 
bv French personages ; wd he has dreesed himself up so effeotoally in 
j^ench costume as to look for all the world like a bond fide ** roossoo." 
Of his taletUf apart from his invention, we are glad in being able to 
speak favorably. He writes with apparent facility, seems to possess a 
good share of the vis ecmka^ and, while as yet thoroughly inexperienced, 
handles the orchestre like one who sometime hence will, in all proba* 
bility, acquire the skill to handle it as a master. Of hia overture, 
beyond the admission that it is gay and dashing, we are unwilling to sa^ 
much ; but, with rare exceptions — among them a ballad (** Look ! this is 
joy "), a feeble imitation of Mr. Balfe, and a bramtra finale on the hacknied 
pattern, evidently dragged in *' to ocder " — we find much to like and 
something to admire m all the vocal pieoea, solo and concerted. The 
piece— Mr. Morton's Trutiyfeter*t Wedding^ readapted for the purpose by 
its author— has furnished what the French call a good *' charpente*^ and 
the advantages it offers in a dramatic sense have by no means been 
thrown away upon Mr. Levey. The first song given to Fanchette 
(Miss Louisa Pyne) is in^tty ; the second, *' How sad all nature *' (flute 
Mligato, Mr. R. S. Fratten), still prettier. The first duet for the 
Marquis de Beaupr^ (Mr. Harrison) and Fanchette (<* Home of our 
youth "), a kind oi nottumo^ is melodious and charming; the second for 
the same couple (" Whatever may be our fate") includes a sparkling 
" enaemhU " (" The good old time ") ; while the trio ('« My undo here "), 
in which the Marquis and Fanchette are joined by Mayor Gobemoache 
(Mr. H. Corri), besides being the most extended piece in the operetta, 
IS also, perhaps, considered both finom a musical and dramatic point of 
view, the best. The situation of this trio, which is humorous and 
diverting, could hardly, indeed, have been treated in a livelier manner 
—and mis, too, it must be owned, in the absence of any markedly 
original feature. Among other pieces worth naming are a chorus 
(" May many years of wedded Uiss"), a buffo song ('< some aiUy folks") 
for Corporal Lacroix (Mr. Ainsley Cook), and a solo for Fanchette 
(** Before my very eyes. Sir") ; the chorus is tuneful, the buffo song clever 
if not spontaneous, the solo light and catching. Hortense de Lavel 
(Mi«a Thirwall) and Pierre Poulot (Mr. J. Bouse) — Mr. Morton's 
original '* Trumpeter" — have been rather indifierently snubbed by the 
ooraposer, who, considering their iniporUinoe to the plot, owed each of 
them at least a song. Enough has been paid, however, of this little 
work, which contains so much that Is promising that we shaB be dis- 
appointed if the next from the same pen, be it opera or operetta, does 
not contain a great deal more-^and that not merely good but less 
provokingly French. 



Digitized by 



Google 



January 23, 1864.] 



THE MUSICAL WORLD. 



61 



FanoKeiU is performed, on the whole, as cleverly aa any piece that has 
been (nroduoed at the Boyal EDglish Opera. Eztremelv well acted and 
extremely well sung by all the characters, it goes off from one end to 
the other with never-flagging spirit and ammation. Miss Louisa I^e*s 
execution of the music ^ven to Fanchette is absolute perfection, and 
in her prettily characteristic and becoming costume, she looks the 
Royidist blanchiueuu as charmindhr as she acts the part with natural 
vivacity. The orchestra, under Mr. Alfred Mellon, it need scarcely be 
added, is everything the young composer could desire." 

The new Pantomime of St. George and the Dragon is now in thorough 
working order ; the burlesque acting of the Messrs. Payne elicits roars 
of laughter, and the " transformation " of Mr. T. Grieve aa much 
hearty admiration as on the occasion of its first being witnessed by the 
more readily excited audience of *' Boxing Night.'* — Times. 



NEW PUBLICATIONS RECEIVED FOR REVIEW. 



W.THwu (Stnnd).— ** Poettoal Worlu of Cowper " (No. 1 of People,^ Edition.' 
** TooBg Znglmad " (No. 1 of toL iii.) ** An Address on the Pnetunoclime and 
the Pneamo-thAlp Bemedinl AgenU,** by Jolins Jeffreys, F.B.S. 



ADELINA PAm. 



Ea eomo adru. un tnodelo ; 
sff stts vof . . . . duUe^ divina .... 
^ Qwin eanta eomo Adelmaf 
JLot angele* en el eielOj 

Ora sldeana sencilla, 
6 infortunada princess, 
oni Rosins traviesa 
del Barhero de SeviUa, 
siempre aaombra, siempre brilla, 
coal beHo sol so desvelo ; 
y con ese ardiente celo 
^ue 8o)o ^ natnra copia, 
•scedi^ndose i si propia, 
a eomo aetrii, un modelo. 

Canta Adelina, j sonora 
conmaeve sn voz las almas : 
bate el entnsiasmo palmas 
ante la egregia cantors. 
Con sns ecot enamora 
eomo en la frondosa enoina 
Undo misenor qne trina 
coando el rodo le bana ; 

La del Eco angelical, 

^ A quien tn voz no enamora 

Con sn canto celestial? 

Si el misenor, Adelina, 
Kos admira j nos eocanta, 
Hay en tn bella garganta 
Una vox mas argentina 
Qjie el miaenor cnando canta. 

^Y esa mtisica del delo, 
Madrid, 30 de Dieiembre de 1863. 



eres gloria de la Espana 

y es tuvo8 duUe, divina. 

Si ban brillado mil estrellas 
de Euterpe en el firmamento, 
tn donosura j talento 
eclipaan i las mas bellas. 
Td resplandeoes entre ellas 
eomo eetrella matutinat 
que entre nubes peregrins 
la luz celeste reparte ; 
y entre prodigios del arte, 
^ quien eanta eomo Adelina f 

I En tan juvenil candor 
prendas tantas rennidas ! 
Los ojuelos homiddas 
dulcea nidos del amor . . . 
el talento enoantador 
qne di i tn yoz mndo vnelo 
y acaso vierte el consuelo 
sobre los tristes qne lloran, 
son las prendas que atesoran 
lot dngelee en el delo. 

Wengkslao Atouals de Izoo. 

Como no se oj<5 ninguna, 
Va ^ dejar inegra fortuna! 
Por ir £ an estrano suelo 
La p^tria qne fu^ sn cuna ? 

i Parte! .... j en cada ovacion 
Que te reserve la gloria, 
No olvide tu corazon 
C^ne aqui goarda una inscripdon 
(}ada pecho ^ tu memoria. 

K. 0. A. 



The Fibst Pubuc Congest in Japan. — We regret that the unusua 
pcesBure on our space prevents us from doing more in our present issue 
than chronicling the complete success of the concert given in the Royal 
British Assenbly Rooms on Monday last by Miss Amelia Bailey, 
assisted by Mr. Marquis Chisholm. * The room was crowded. The 
audience included the ministers and consuls, and nearly the whole of 
the lady residents. Everybody was highly delighted. Miss Bailey 
gave a second concert on Wednesday evening, which went off with 
mat klat, and the talented cantatnce announces her last concert for 
Monday next, with an entire change of programme. — Japan Commercial 
NewM, September 9 (published in Yokohama). 



THE SLESVIG-HOLSTEIN QUESTION. 

(Prom a Dano-AnglQ-Oermanie point of view.) 

Prince Christian of Slesvig-Holstein-Sonderburg-GlucksbiM'g.^her 

of Princess of Wales, has fallen into troublesome succession.. Ancient 

line of Oldenburgh, which reigned by various imdisputed titles in 

Kingdom of Denmark and in Duchies of Slesvig, Holstein, and Lauen- 

berg, has died out in person of late King Frederick VII. According 

to laws of different States, Duke of Slesvig-Holstein-Augustenberg 

would have inherited Duchies, while Royal Crown of D^pmark would 

have passed to other branch of same German Family. 

(To U continued). 



LAW. 

Peokwood V, Austin. — This was action to recover damages for 
revising lady admission with Ixmnet to stalls — St. James's Hall. De- 
fendant's plea was posters in hall. Regent Street and Rccadilly sides, 
on boards — "Bonnets not admitted in stalls at evening." Though 
evening performance (Christy's minstrels), Austin would have admitted 
lady to carry bonnet in hand, provided she would not put it on in stalls, 
which offer was rejected. Judge ruled — Had it been advertised in 
papers as well as on tickets, plaintiff would be non-suited, but as not 
juagment for plaintiff. — County Court, 

Police. — Marylebone. — Lewis, sen., Ely-place, waited upon Tardley 
on behalf of Couaurd and CoUard, pianoforte manufacturers, for sum- 
mons against tradesman, Venn, Baker-street, under recent Act for 
suppression of fraudulent trade marks. Handbill placed in defendant's 
windows, in liie heart of which was following : — " Collard and Collard 
model piano, 19 guineas, and seven years' warranty. Seven octaves, 
metallic plates, registered key board, extra bolts for extreme climates. 
Fine Italian walnut or elegant rose-wood case." This was inducement 
for persons to go to ^on, believing they were buying genuine article, 
whereas, in &ct, Collards had nothinfif to do with tradesman complained 
of. Evidence to show that pattern of pianos was/oe simile of Collard' s, 
and so closely that if any of firm were to go into shop they might at 
casual glance believe them their own manufacture. If, however, per- 
son examining thom stooped down he would see over ** Collard and 
CoUard's improved," — word from so placed as not to be observed unless 
upon very close inspection. Yardley wanted to know whether Lewis 
thought tliat issuing of these bills would suffice for case, and whether he 
could establish that persons were selling such pianos as alleged with 
false name. Lewis could prove that. Yardley. — " If you can, that will 
bo suffident." Thomas Williams, case maker at Collard and Collard' s, 
sworn — " I saw some pianos at Venn's which are not made by us. 
They have labels to correspond with ours." Summons granted. 
[Kolfe V. Kelly (Bow Street) next week]. 



Edinbuboh. — Professor HuUah has been delivering a series of lec- 
tures on the secular works of Handel at the Philosophical Institution. 
A concert of chamber music was given on the evening of the llth 
inst., by Mrs. Howard, in the Hopetoun Rooms. In addition to that 
lady, Mr. Edmunds, Mr. Kirby. and a ** select ohoros" supplied the 
vocal music, the instnimentalists being Messrs. Howard, Thome 
Harris, and Bridgman. The prindpal feature was a selection from 
Gounod's Fauel, indadlng two choruses, three solos, and a duet. Mrs. 
Howard contributed three solos, including " O mio Fernando," from 
La Favorita. Each part began with an instrumental trio for pianoforte, 
harmonium, and violin, played by Messrs. Bridgman, Harris, and 
Howard. The first was an adaptation by Gounod from Sebastian 
Bach, the other the "Miserere" from // Trovatore. In both, the 
three in^truments went capitally together. Mr. Harris also played two 
pianoforte pieces, Chopin's Polacca and Mendelssohn's Cappriccio, with 
decided success. Mr. Bridgman and Mr. Harris shared the duties of 
accompanist. — From Edinburgh Eveniug Oourant, Jan, 22. 

Sheffield. — Master Willie Pape, of Alabama, recently gave one of his 
pianoforte recitals in the Music Hall. Master Pape, only in his four- 
teenth year, has extraordinary gifts, as is shown by his brilliant 
execution, without book, of many of the best compositions of the best 
masters. His precocious talent has created a sensation in London, and 
his performance fully sustained the unanimous enconiums passed upon 
him. He has excellent tast^, a remarkable memory, and extraordinary 
manipulative dexterity, and will no doubt speedily take rank with the 
foremost pianists. On this occasion he labored ^der disadvantage, 
having to play upon an instrument totally stran^to him. EUs own 
piano (a " grand, ' by Kirkman) was delayed upon the railway. The 
audience, nevertheless, were enthusiastic, and at the end of every piece 
Master Pape was recaWed.— Sheffield Tel^aph, 

BoLTON. — The Ardwick Choral Society, assisted by Miss Armstrong 
and Mr. H. Russel Potter, and under the conductorship of Mr. Downs, 
organist of All Saints', lately gave a performance in the Concert HaU. 
Rwiy*8 glee, " The dawn of oay," was very effectively given at the 
commencement. Miss Hill then gave ♦• I wandered by the brookside," 
which, considering she is an amateur, was very creditably sung. The 
serenade "Sleep gentle lady," by the choir, was encored. Miss 
Armstrong, in ♦• Dermot Astore," encored, being also substituted 
•• The Bailiffs Daughter." Mr. Russel Potter, similarly comp^mented 
in " The Blacksmith's Son," gave " A wrinkled, crabbed man," any- 
thing but well. Mr. Manley, in " Dame Margery," being encored, 
substituted " Come lasses and lads," which occasioned mirth. The 
concert on the whole was a success. The glees were generally well 
sung, and Mr. Downs and Mr. Broadbent played solos on the pianoforte. 
The Jinale was " God Save the Queen." 



Digitized by 



Google 



62 



THE MUSICAL WORLD. 



[January 23, 1864. 



MUTTONIANA. 

[Mr. Owain Ap' Mutton inTites oontributioDs to this department 
of the Mtuiccd World, henceforth placed under his sole oirection, 
and which he has witii becoming modesty christened Muttoniana. No 
subject connected with the Art and its ProfessorB is excluded, — 
and all queries inserted one week will be answered not later than 
the week following, either by Mr. Ap* Mutton, or, when his know- 
ledge fails, by some more competent authority.] 

The V Babbmre " fbom a Cork Point op View. — ** The Barber of 
Seville" writes the Cbrk Examiner, " is one of ihe few operas in hearing 
which the mind of the listener is pretty evenly divided between wonder 
and delight. He must, indeed, have dull perceptive faculties who does 
not wonder at the genius of the man who produced the work, and must 
have a most unusual taste who does not delight in the exquisite beauty 
of what he has produced. To say that The Barber is the finest comic 
opera written since Mozart's time — perhaps ever written— -conveys but 
little idea of its merit. The opera may, indeed, be taken in its department 
of art as corresponding to to what Love's Labour Lost or Th9 Midsum- 
mer*a Night Dream are in literature — the essential principles of poetry 
and comedy — the intangible essence of boUi — subdued to rules and 
bondage, and placed at the command of every man who can read 
words or can understand music. Throughout the opera the main idea 
which impresses the listener is as of a gigantic senius disporting itself 
— a Colossus gambolling — and yet with grace and beauty in every move- 
ment. At every turn one perceives the two extremes of art united 
— the most accurate scientific knowledge and the maddest fancy — the 
two, moreover, wedded together without a trace of incongruity. There is 
something in the exultance of the opera which suggests immediately the 
nature of the man who wrote it— he who has be^i guilty of one of 
the maddest freaks ever recorded of genius, in his utter retirement 
from the world of his successes thirty years ago, just when his fame 
had reached its apex, after the completion of his greatest work, and 
hid absolute silence ever since. In 17ib Barber one seems everywhere 
to perceive this wild independence of rule, and yet at the same time 
the utter absence of irregularity. Melody is imbedded in the opera 
as a fine mosaic is inlaid with gems — it is abounding, immeasurable, 
and always beautiful. And yet the genius of the man has redeemed 
his work from any display of the &ult too generally found in works 
where detail is massed profusely — want of congruity in the whole. 
Every constituent particle of the work is good; but the work itself is 
better: and the author, while toucliing on a thousand subordinate 
ideas, never forgets the main one — ^the completeness of his opera." 

[<t Every constituent particle " of the above is queer, but the 
article itself is queerer; **and the author, while touching on a 
thousand subordinate ideas, never forgets the main one — ^the com- 
plcteneflB of his " mystification.— O. Ap' Mutton.] 

Deab Ai^ Morrow, — As you did not reply to the questions I asked 
YOU, I conclude you did not receive my letter. Will you kindly in- 
ibrm me in your next number, who were the solo singers in JSlijah on 
the occasion of its first production at Birmingham, in 1846 ? Also, at 
what theatre and in what year Signer GiufUiii made his dibiU ? Has 
Fauet been performed yet at St. Petersburgh ?— Yours faithfully, C. A. 

[Positively next week.— O. Ap' M.] 

Miss O'Ghilcott begs to inquire of Mr. Ap' Mutton if in any 
number of the publication a memoir of Sir Uenry Bishop has appeued, 
or a collection of his compositions? If so, she begs him to send it to 
her, or any other i^xpensive memoir that may have been given to 
the pubUo. She beoeves Sir H. Bishop died in 1855. She hopes to 
receive the sketch as soon as the editor can send it. 

^Vtiro, Jan,, 1864. 

Mb. Af* Muttov. — Sxb,— You will greatlv oblige me by answering the 
following questions in your next Saturday s Muneal World: — 1. What 
countryman is M. Thalberg? 2. Who is the publisher of Thalberg's 
"Study in repeated notes"'? 8. Where can the best photograph of 
Thalberg be obtained ?— I am, Mr. Ap' Mutton. Sir, your obedient 
lervant, Musioa. 

[Positively the week after next— 0. Ap' M.] 

Mr. Ap' Mutton will oblige ** A Subscriber" by informing in 
what journal appeared the subjoined notice of Bonnie Dundee; — 

** The new spectacular drama entitled Bonnie Dundee, or the Gathering 
of the Clone, requires much modification before any hope can be enter- 
tained of its permanent success. The scene painters, Messrs. Grieve 
and Teibin, and the ballet-master, Mr. Oscar Byrne, have done their I 
best. Never was the appeardncc of a den^ multitude more perfectly j 



attained than in the last scene of the second act, in which the High- 
land clans are supposed to assemble round the Jacobite standard at the 
invitation of Graham of Claverhouse, a stream of humanity pouring 
from every side, and down various slopes, till the stage was completely 
crammed with a mass of armed warriors. Barely has Mr. Telbin con- 
trived a more beautifhi set scene than the moonlit view of the Glen 
of Weeping, in which a known episode in the massacre of Glencoe is 
introduced. Still, the best ' effects ' require something like an interest- 
ing story, dramatically arranged, to connect them ; and this requiate 
is not to be found in Bonnie Dundee, in which Claverhouse and the 
Glencoe affidr are brought closely together to exceedingly little pur- 
pose. At the fall of the curtain the expression of opmion by the 
audience by no means indicated general satisfaction." 
[The article appeared in The Times,'-0. Ap' M.] 



QuADBiLLi. — ^Minuet was deposed by Quadrille or Oaidre-danae, so 
christened ftom English country-dance. This dance is said to have 
been introduced into France by English professor in 1710, but did not 
gain &vor of Parisians till 1745, when Bameau inserted it in his ballet, 
" Lee Fitee de Folymnie,'* and it created /urore. Origin of names of 
figures deserves quotation. Pantalon so called because danced to tone 
of favorite song : — 

» Le Paotaloii 
De Toinon 
N*a pu de food.** 

Oontre-^anee, very fashionable in 1800. Fae ^EU was, however, soon 
given up, through its difficulty, though name of VFU was retained. 
Ip 1802, eonlre-danee was produced by Julian, second part of which be- 
gBin with imitation of cock-crow. Name of La Foule was retained, 
although original melody has long been forgotten. Trenise was cele- 
brated dancer who, in 1800, invented figure that bears his name. 
Whenever he danced, everybody flocked to see and admire. La 
Faetourdle was so named on account of melody and accompaniment, 
which resembled VUaneUee or peasant dances. FinaU requires no 
explanation. — ( To Mr. Ap* Mutton-^from a Eiatmy of Dance. — C C.) 



pfB bom $itnc([. 

»o. I. 

DID YOU TWIG HEB ANCLE? 

(^ Song to be Encored at any of the Muiie Halle), 
As I strolled down PiccadUly, 

A semmptions gal I met. 
Her name was Jane Jemima, 
And her hair was in a net : 
Her cheeks were red as roses, 

Her hat was a porkpie. 
And just to show her petticoat 
Her dress was held up high. 
OhoTtu-~(in which the enlightaud audience aU joim), 
did you twig her ande ? 

Too ral loo ral li do. 
wasn't it galopshus? 
Too ral loo nd lay! 
lAnd eo on for a tcore or eo ofedly, eeneeleee vertee, wUk ehcute amd ekneke 
of rapture at the end of every veree,"] 

vc, n. 
Tmrma Fobk. — ^We are obliged by your invitation to aei your 
*' oomic " lines to music, and present you with the copyright, bat we 
are unequal to the task of doing justice to melody like this ;<— 

The Cove That's loot his Latoh-Kxt. 
]f y spicj gents come list to me, 

And I will tell you brief, 
How a stomiing swell as ever you see 

Did come to awfiil grief. 
For precious tight did he come home 
And thought he was in Kamptsohatky, 
'* O dear," says he, and gave a groaa, 
'* I've been and lost mj Latch-key." 

Latch, patch, catch, scratch, match, hatch, batob. 
^ And Fve been and lost my Latch-key." 
It is very dever, as are the other nineteen verses, and we reoommend 
yon to take them to any of the Music Hall^ at which thev cannot fail 
to be acceptable, being* exactly in the style of the great hits at those 
respectable establishments. 

Pabis Thbatess, &o, — The receipts of theatres, ooncerta, balla, and 
other public places uf aum^emeut iu Faris duriue December were 
l,868,278f., an increase of 14,808f. over the previous month* The 
amount for 1863 was i8,761,080f. against 17,400,651f. in 1862. 



Digitized by 



v^oogle 



January 23, 1864.] 



THE MUSICAL WORLD. 



63 



Pbinoess's Theatbe. — ^In these " sensation " days it is refreshing to 
find a genuine success achieved by a piece that belongs to the highest 
class of the romantic school of comedy. One of the most celebrated 
prodnctions of the old Spanish stage, Moreto's comedy £1 Detdm eon el 
Veeden, long fiuniliar to the Germans as Dcnna Diana, under which 
name it was played by the German company ^gaged hv Mr. Mitdiell 
at the St. James's, has been adapted by Mr. Westland Marston, and 
received at the Princess's with enthusiastic and well-deserved applause. 
The plot of the piece turns on the conquest of a disdainM princess by 
a prince who affects disdain for the sake of victory. The principal 
paHs are sustained by Mr. and Mrs. Hermann Vezin and Mr. George 
Vining. The pece is admirably put upon the stage. 

M. Oberthub has been playing at the *' Felix Mentis" concerts, in 
Amsterdam and Utrecht. M. Oberthur introduced a harp concerto of 
his own composition, which was much admired. He was admirably 
accompanied by the band. The andante was especially applauded, and 
the last movement encored. The same compliment was bestowed on 
his] two solos, Meditation and La Cascade, M. Oberthur, however, sub- 
stituting his Fairy Legend, which gave equal pleasure. 

Ma. SooTsoH Clabk lately gave a Harmonium ** recital'' at Mr. 
Carr's rooms, Cheapside. Mr. Clark played a chorus of Handel, a 
fugue of Bach, dk fanfare by M. Lemmens, and some of his own compo- 
sitions. All these performances showed his talent to advantage, and 
were deservedly applauded. 

CHSLTaNHAM.— On Friday evening, the 16th Inst, a concert was 
given at Hale's Music Room, by a number of popiUar favorites, among 
whom were Mrs. Merest (late Maria B. Hawes ;) Madame Weiss ; Mr. 
Henry Phillips ; Mr. Carter ; Mr. Frederick Chatterton, the harpist, 
Mr. Henry Baumer, solo pianist and accompanyist, and Miss Clark. A 
morning concert took place on Saturday morning, consisting of selec- 
tions from the Meetiah and Elijah, 



^tortiujentjents. 



Just Pablished, 



4NDANTE CANTA.BILE, in G, FOR THE ORGAN, 
\ij 8AMX7IL SuASTua Wkblbt. Performed by the Author at the Agriooltural 

YitTini 9t Co., 1 Amen Comer ; and Notbllo, London. 



rri 



In the Press, 

>HE PSALTER, or PSALMS OF DAVID, 

I together with PROSE HYMNS and CANTICLES of the PRATER BOOK, 
Pointed for Chanting, by J. M. Bbmtlet, Organist and Choir Master of St. Stephen's 
Church, Bfanchester. Price Sd. ; to congregations taking not less tlian 12 dozen at 
once, Sd. Fcap. 8to, 193 pp., bound in limp cloth, red edges ; ready for deliyery by 
the end of February. Prospectuses and Speoimeu Page sent by post for one postage 
■Ump. 

Publishers : SxMPKnr, Mabshall A Co., London ; J. Hbtwood, Manchester. 



Just published, 
A NEW NATIONAL SONG AND CHORUS, 

**OUB OWN BELOVED PBINCE," 

Composed by EMILE BEROER. 
It will be sung for the first time on Wednesday, the 27th inst, at the Grand 
Masonic Festival at the Freemasons* Tavern, by Madame RuDBBsooaFF, Misses 
LBrFLBB, Db CuuBcr and Rbbbcoa Isaacs, Mr. Gbobob Tbddbb, Mr. Swift and 
Mr. H. BccKLAMD. Musical Director, Mr. Gbobob Tbodbb. 

PublUhed, price 3s., by D'Alcobn, 8 Rathbone Place, Oxford Street. 
MISS VMMA HETWOODS NEW BONO, 

''BEST THEE, BABE" (Lullaby), 

Written and Composed for 
HISS EMMA HETWOOD 

BT 

OHABLE8 J. HJtBQITT. 

Price 3s. 
London ; DnaioAH Datuov and Co., 2U Regent Street, W. 



NEW AND BEVISED EDITION. 

BALFE'S POPULAR SONG, "KILLARNEY." The 
Poetry by Eomohd Faloovbb, Esq. Price 3b. 

** The public, who so long appreciated it when heard on the theatrical boards 
cannot (kll to be struck not only with the charm of its simple and thoromrhly 
Irish melody— subsUntiatlng its claim to iU title of " Killamey''— but also with 
tba still rarer charm of Its being associated with words so ftiU of poetical nace 
Md sentln»ent that surprise is no longer felt at ihe inspiration given to the com- 
poser of the music, particularly when it is known that they are fh>m the elennt 
pen of Mr. ¥M\eoont.''^Lii9€rTpool JomnuU, * 

Loodon : Dovcai^Datibov and Co., Ui Regent Btrtet, W. 



Boosey & Sons' lew Publications. 



POPULAR WORKS. 

BOOSEY'S MUSICAL ALMANACK for 1864 

Contains, to addlUon to a Record of Musical Events, the foUowlng New and Popular 
Music. 16 pages demy 4to, price 3d. ; post ftee, 4d. :— 

Portespada Quadrille, on Operatic Melodies by Balfe . . . J7. Laurent. 

Moss Rose Valse Front J/uLMf/MM 

Ruy Bias Galop ...:;:; dS^^' 

The Maid and her Moorish Knight. Song . [ \ \ M.W. Balft 
Forward, onward, never despair si RuueSi * 

BOOSEY'S SIX AFTEE-DINNER SONGS 

FOR CHRISTMAS PARTIES. 

Frioa 6d. 

The Roast Beefof Old England. I The Glasses sparkle on the Board. 
Christmas comes but once a year. I The Good Old Days. 
Down among the Dead Men. | Christmas Bella. 

BOOSEY'S SIX CHRISTMAS CABOLS, 

IN SCORE, WITH PIANOFORTE ACCOMPANIMENT. 

Price 6<L 

Come let us celebrate the day. | God rest ye merry Christians. 

The Ws Head Carol ChrUtiani. awaki. 

Nowell, NoweU, NoweU. | A Christmas Carol. 

BOOSEY'S POPULAJB VOCALIST 

Contains the Worda of Pl?» Hundred New Standard and Popular Sonn by the most 
Celebrated Authors. «»•"/•-«» mos» 

Frioa Is. i or in oloth, gUt edgeSi 2s« 



NEW NUMBERS 

or 

BOOSEY'S MUSICAL CABINET. 

74. FOUBTEEN SAOBBD BONOS for VOICE aad FIANO. 

introducing Jerusalem the Golden j Eve's Lamentation ; Vital Spark ^Rocked 
in the Cradle of the Deep, Ac., Ac. Is. ^^ * «ocKea 

76. TWENTY CHBI8TT*S MINSTBldiS' BONOS (Seventh 
Selection), introducing all the New Songs being smig, iJil^ng A^te Wslfj 
Silver Moo^lght; Bock me to Sleep; A UtUe more Cider; Diy our Mother 

76. TEN CELBBBATED ABIAS, BALLADS, BBAVXTBAS 

Ac., composed by Sir H.RBUhop. Including The Pilt'rlm of Love ; Bldme 
Discourse; Be mine, dear Maid; TeU me my Heart; Lo, here the gentle 
Lark, Ac., Ac. Is. 

77. TWELVE NEW BONOS and BALLADS, by the moat 

popular Composers, Including Claribel. Balfe, George Bnrker, George Uuley 
Howard Glover, His late R.H. Priuce Albert, Ac., Ac. is. >«^8« *-»uiey, 

78. ^NE HUNDRED ENGLISH, IBISH. SCOTCH and W-RT.htt 

AlKS, arranged tor the PUnoforte. Is. ' WELSH 

79. TEN DBAWXNO-BOOM FLANOFOHTE PIEOEa >vir 

Modern Composers (Second Selection), including Du Gran's CorriooloOaioir 
Tonel'sPerles et Dlamans; Oesten's Mayflowers; Goias' Shephert? Sonu- 
Loefleur's Lauterbacherin ; Moniofs Crepuscule, Ac. is. ^ * 

SO. TWELVE 8HOBT PIECES by Stephen HeUer. la. 

®^' ®ComS2S?^i? ""^ ^^ DANCE MUSIC by the most popular 



NEW VOLUME. 

THE DBAWINQ-BOOM MUSIC BOOK, 

(Double Volume), Price Bs., 

Contains Fkntasias, Original Nocturnes, Romancts, Valse and Galons de Salnn Aa 
by Stephen Heller Brinley Richards. G. A. OsUrna. Asche;tDKyshoJi"Qo^;' 
Wely, Cramer, Talexy, Ac. ; or In 2 voU., 4s. eaclu ' * 



BOOSEY AND SONS, HOLLES STREET. 

Digitized by V^riOOQlC 



64 



THE MUSICAL WORLD. 



[January 23, 1861. 



NEW AND POPULAR 



FOB 

THE PIANOFORTE. 



The Panch and Jndy QnaMles, 

On Fopukr C!oiiiic Tunes. 
By H. S. BOBEBTS. 

Splendidly Illiutsrated by Guichabd. Price 4b. 

The Camarvoii Castle Qnadiilles, 

On Favorite Welah Melodiee. 

By H. 8. BOBBBTS. 

Beautifully Illustrated. Price 4b. 

The Emerald Isle Qnadiilles^ 

On Moore^s Irish Melodies, 

By H. 8. &0BEBT8. 

Price Si. 

The Samho Quadrilles, 

On Popular N^gro Melodies, 
By JOHN PBIDHAM. 

Effectively Illustrated. Price Ss. 

The Alpine Waltzes, 

By JOHN PBIDHAM. 

]B«autifull7 niuBtrated by Fackeb. Price 4s. 

Une Petite Heur Waltzes, 

By PKOSPEBE BE SAYIONT. 

Beaatifnlly Slnstantted hj Guichau). Price 4s. 

The "Trebelli" Polka lazurka, 

By HENBI BOUBIEB. 

With an exquisite Portrait of MadUe. Trebelu, by Guichabd. 
FrioeSs* 

The Esilda Polka, 

By HENBI BOUBIEB. 

Price ds. 

The Sclave Polka. 

By HENBI BOUBIEB. 

Price 38. 

The Sailor Prince &alop, 

Compoeed and Dedicated to H.R.H. the Prince Alfred. 

By J. P. CLABKB. 

Price 3a. 



LONDON: ASHDOWN AND PABB7, 
18 Hanover Square. 



JUST PUBLISHED, 

CHAPPELL'S 

VOCAL LIBRARY 

OF 

FABT SONGS, &c. 



1. Dulce Domam • ... 2d. 

Old English Dittie, SiA.T.B. 
BarmonlBed by O. A. MAOFABBBN. 

2. Down among the Dead Men . 2d. 

Old English Dittie, 8.a.t.b. 
Hamionised by O. A. MAGaPABBXnff. 

3. The Girl I left behindlme . . 2d. 

Old English Dittie, s.a.t.b. 
Harmonised by O. A. MAOFABBIDN. 

4. British Grenadiers • 4d. 

Old English Dittie, s.a.t.b. 
Barmonlfled by G-. A. MAGTABBSST. 

5. Long live England's future Queen 2d. 

Danish National Anthem, 8.a.t.b. 
Harmoniaed by Dr. BIMBAUIiT. 

6. My task is ended -Id. 

Song and Ghorus, a.t.b.b. 
From Balfb*8 Opera, "The Enchantressi** with 8. Solo. 

7. Thus spake one Summer's day . 2d. 

S.A.T.B. 

Part Soni: by ABT. 

8. Soldier's Chorus . t.t.b.b. 4d. 

From Oounod^B " Faust." 

9. The Eermesse 8.a.t.t.b.b. 6d. 

Soene from Ooonod's *' Faust.** 

10. Upi quit thy bower 8.a.t.b. 2d. 

BBINLET BI0HABD8. 

11. Maidens, never go a wooing . 4d. 

Madrigal from " Charles 11./' 8.a.T.T.B. 

G. A. MAOFABBBN. 

{To he eoiUvMied,) 



60 NEW BOND STBEET. 



Printed by HsimnaoH, 



Bait, and Fbktox, at No. 13, Wini ley Street, Ozfbrd Street, in the Pariah of Maryiebone, In the County of MiddleaM. 
liflhed by Wouam Dvxoair DAmox, at tHei OOee^ 244 Begent Streeu-'<SMunIay, JmMuinf a8» 1M4» 



Digitized by 



Google 






"Thx wobxh of Art appkabs most nasEsn nr MuszOi mroB ir bbquibrs ho katebiaLi xo subject-hatteBi whosb effect 

MUST BB DSDUOTBD: XT 18 WHOLLY FOBK AXD FOWK, AHD IT RAISES ABD BHVOBLBS WHATEVBB XT BZFBB88BS.'*^-'(?^^. 



STTBSOBIFTIOir, TBXTB BY P08T, 90fl. FBB AXTNUM 

FiyaUo in advance by Cash or Post-Offloe Order to DTTSOAJX DAVISON ft CO^ 844^ Begent Street, London* W. 

lEegittiredJbr Trofutmnon Abroad,'] 



Vol. 42— No. 5. 



SATUKDAT, JANUARY 30, 1864. 



Prioi 



J4cL Unstami 
}5d. Stam] 



HEB MAJESTY'S THEATBE. 



TUXSDAT, THUBSDAT, AND SATUBDAY IfEXT, 
(FEBBUABT 3nd, ith, and 6Ui.) 

"FA U S T;' in EN GLISH, 

lEMMENS-SHERRINQTON TACCANI & FLORENCE LANCIA. 
SAHTLET, MARCBESI, DUSSEE ft SIMS BEEVES. 

CoVDOOVOB-SIGKOB ARDITL 

Commence at ZSisht. 
FHrate BoxM, from Cm to Thrae Onlnwi; Pit SUlIi, lOi. 6d. | DreM Clrele, 
Ti ; Upfier Girele, 6t. ; Pit, 3s. ; Gallery, 2s. 

Box Offloe of the Theatra open dally. 

HEB MAJESTY'S THEATBE. 



GRAND MORNING PERFORMANCE 
"FAUST," in ENGLISH, 

MONDAY, FEBRUARY 15th. 

LEMMENS-SHERRINQTON, TACCANI & FLORENCE LANCIA. 
SANTLEY, MARCHESI, DUSSEE ft SIMS REEVES. 

CoaDUOtOK-SIGNOB ABDITI. 



FriOM of AdmiMioxi same as fhe Erexiing Bepresentations. 
COMMENCE AT TWO O'CLOCK. 



VIOTOBIA HAIili, 

21 AKCHER. STREET, BAYSWATEB, W. 
Ms. HBKBT SCHALLEHN begs to annoonoe that hii 

VOCAL AND mSTBUMENTAL CONCEBT 

WILL TAU PLAOB AT THB ABOVI BALL, OH 

TBTUBSDAY EVENING, February Uth, 

Whsa ho vIH be assisted by the following eminent Artlstet >- 
VOCALISTa 

Mademoiselle OEORai, Miss FLORENCE DE OOUROY, 
Mr. GEORGE TEDDER, Mr. ROGERS MORLEY, 

AXD 

Mr. FRANE DALQUEN. 

IH8TBUMENTALI8TS. 

MdUe. MARIOT DE BEAUVOISIN. 
Miss ROSA BRINSMEAD, R.AM. 
ViolonceUo, Mr. VINCENT FURRIER. 
Violm and Saxophone, Mr. HEKRY SCHALLEHN. 

Conductor, Mr. EMILE BERGER. 

7b commenct at BaHf-foA Settn o'etool. 

Benrved Scftts, 4a. ; Body of Hall, 7m. \ Gallery, is. Tickets to be bed of Dimoaa 
A Co., Foreign Music Warrbonse. 244 Regent Street ; at the Rooms; and of 



Pianoforte 



lb, 8c>sllslill» 17 Cambridge Tenaoe, Holland Boad, KenslngtoD^ 



THE NEW PHDJTTABMONIO SOCIETY, 1864. 



i¥iiid«i^-HEBB MOLIQUE. 
Jonra A. Babnir, Esq. 

ElCAVUIL BiLKTTA, Esq. 

FaiDmo DAvuoir, Esq. (Treasurer.) 
WiLEBLM Gams, Esq. 
LioPOLD Jama, Esq. 
Fbbdbuok Lablaohb, Esq. 



WiLLiAX GaAir? Kxcholl^, Esq. 

F. SoHiSA, Esq. 

Tbb Hob. Fbbdbbiok Stablit. 

W. H. Btoxb, Esq., K.D. 

T. H. Wkiobt, Esq.. Hon. Seo. 

PBorsssoB Wtldb, Mds. Doc 



T^HIS Society \& an ABsociation of Professional and 

X. Amateor Mosioiaas, for the cnltivation of the Mnsidal Art, by means of 
Private Mosic Meetings for the praotioe of Vocal Works, consisting of Motetts, 
Madrigals, Fart Songs, Ao., and Instrumental Works, comprising Qoartet^, Trios, 
Sooatas, te., to be performed by the Members. 

A sniall band of Orchestral Performers will be formed as soon as a saffldent 
number of qoalifled Members are wiUbig to unite for that purpose. 

There will be eight Meetings on Tuesday Brenings, in the Months of February, 
March, April, May, June, July, November and December. 

TUfimi MutUtff m Tuetda^, VulBthqf FOruary, at&L James's Hall, Piccadilly. 

The Members will have onamtunities atfbrded them of producing new works, and 

r an arrangement with Dr. Wylde, they will be entitled to free admission to all the 
few Philharmonic Concerts and Public Behearsals given under his direction. The 
Annual Subsoription One Guinea. 

Those who noay desire to become Members, are requested to apply to any of the 
Directors, the Honorary Secretary, T. H. Wright, Esq^ 168 Albany Street; Messrs. 
Cramer U Co., 261 Begent Street; Meisn OUivier A Co., 19 Old Bond Street; and 
Mr. Austin, St. James^ Hall, PiocadiUy. 



z 



S 



T. JAMES'S HALL. — NEW PHILHARMONIO 

CONCERTS. — Director, Professor WYLDE, Mus. Doc. — THIRTEENTH 
SEASON.— The Subscribers and the Public are respectflilly informed that the 
Concerts and Public Belieartals will be resumed after Easter. The performance will 
be on the same grand scale as In former seasons. 



QAORED HARMONIC SOCIETY, EXETER HALL. 

O Conductor, Mb. C0STA.^MENDEL8S0HN*S «« HYMN OF PRAISE ** and 
ROSSINFS "STABAT MATER,** on MONDAY, Febmary 8th. Principal 
Vocalists^Madame Lemmeos-Sherrington, Mrs. Sidney R. Smith, Madame Laura 
Baxter, Mr. Sims Beeves, Mr. Montem Smith and Mr. Santley. The Band and 
Chorus, on the most extensive scale available in Exeter Hall, will consist of nearly 
700 Performers. Beserved Gallery, 6s. ; Stalls, 10s. 6d. ; at the Society's Office, No. 
6 in Exeter HaU. 



T. JAMES'S HALL.— Mr. HENRY LESLIE'S 

CHOIB.— THUBfDAY, Febrnaiy 4, Eight o'clock, Mendelssohn's cantata. 
Sons of Art," for male voices and brass instruments, for the first time ; also 
Wesley's motet, •* In exitu, Israel ;" the madrigals ** Light of my Soul " (Pearsall), 
«*As Vesta was" (Weelkes), and ''The Waitts" (SavUleJ; the part songs. 
** Welcome Spring** (Leslie), ''Cradle Song*' (Smart), and** The doud-capt 
Towers " (Stevens).--Soib stalls, 6s. ; balcony, 3b. ; area, 2s. ; admission. Is. ; fomily 
tickets for four, 21s.— Addison and Lucas, 210 Begent Street; Austin, 28 Piccadilly ; 
Keith, Prowse, A Co., 48 Cbeapside. Season subscription, 21s. and 10s. 6d. 



ARTHUR SKETCHLEY wiU APPEAR at the 

EGYPTIAN HALL, Piccadilly, in his New Entertainments, entitled PARIS, 
and Mrs. BROWN AT THE PLAY, on THUBSDAY, Feb. 4, and Every Evening 
(except Saturday), at Eight, and SATUBDAY MOBNINGS, at Three.— Stalls, 38. ; 
Second Seats, 2s.; Gallery, Is. The Box-office at the Hall will be open on and 
after Monday, Feb. 1, between the hours of eleven and five daily. 



and Mrs. 



MISS PLORENOB DE COUROY wiU sing "THE 
SONG OF MAY," composed by Hbbbt Smabt, at Mr. Howard Glover's 
Grand Concert, at Dmry Lane Theatre, THIS DAY, Saturday, the 30th January. 



ITDLLE. GEORGI wiU sing at Mr. Howard Glover's 

lYJ. Grand Morning Concert, at Dmry Lane Theatre, THIS DAY, Saturday, 
Jan. 30. 



MR. W. CUMMINGS will sing Rbichardt's popular 
Ued, ** THOU ART SO NEAR AND YET SO FAR," at Mr. Howaid 
Glover's Grand Concert, THIS DAY, at Drary Lane Theatre. 



R. GEORGE HOGARTH and Miss HELEN 

_ HOGARTH beg to announce their remoral to No* 28 Amfithill Square, 
[omin^lton Crescent, N.W. 



I 



Digitized by 



Google 



66 



THE MUSICAL WORLD. 



[January 30, 1864. 



NEW SACBSOD YOCAJb KIT8IC FOB CHBISTHAa 

Just published, price 3s., 
A CHRISTMAS PASTORALE, 

«< SLEEP, SLEEP, MY BEAUTIFUL BABE." 

The Poetry by the Late FATHER FABER, D.D. 
The Mnrio by WILHELM BGHULTHES. 
** In two namberi back of oar paper, ve mcDtloned some masloal oompositions well 
adapted lior the approaching holy season. We now inform our readers of a new 
Christmas Pastoral, which has only been published a few days, and which is likely 
to proye doubly welcome to lovers of sacred music, since the words are taken firom an 
unpublished, and therefore quite unknown, hymn of the late Father Faher. Herr 
Schulthes, the conductor of the Oratory Choir has been foi tonate enough to obtain a 
copy of the words and the permission of the Fathers of the Oratory to set It to 
Music. He has treated it as a song for messo soprano, and has produced a simple and 
Tcry devotional composition, the merits of which will not mil to be appreciated, 
since the composer has so carefhlly studied to adapt his melody to the spirit ot the 
words. The few bars of introduction on the pianoforte may serve to represent the 
pastoral music of the shepherds until the voice of the Divine Mother enters with the 
words—** Bleep, sleep, my beautifhl Babe.** We are glad to see that the publishers, 
Messrs. Duncan Davison, have iHrinted the whole Hymn at ftall length at the com- 
mencement ot the piece. The song is known by Its first words—** Sleep, sleep, my 
beantiAil Babe !'*— WeeUy Register, 

London: Duvoav Diymaa A Co., 244 Regent Street, W. 

Jost PnbUshed, Price 9i. 

"PEAOEFULIiT SLUMBEB" 

(Cradle Bong), 

Composed and Dedicated to Miss Buns, by Albibto BiBDaoosK. 

A YlolonoeUo part to the above, as played by Signer Plattl, is published, price 6d. 

London : DuHOUi Davxsok, ft Co., 244 Regent Street 

OABLOTTA PATTI. 



"I WOULD HEAR YOU, WARBLER" 
(L'TTsignuolo— The Nightingale), 

Composed by E. MUZIO. 

This popular Song, sung at Mr. Alfred Mellon*s Concerts and at St. James's Hall by 
MdUe. Carlotta Pattt, with distinguished success, is published, with English and Italian 
Words (the English Version of the Words by John jrhforp. Eiq.), and a Portrait 
of Carlotta Patti, price 4s., by DnvoAir Diviaov ft Co., %U Regent Street, W. 



W H. 



HOIjME8*8 FOT7B BAOB3SD FXS0X8 for the 
Pianoforte. 



"SUNDAY AT HOME;" Introducing "Awake, my 

soul, and with the sun,** O thou that tellest good tidings to Zion,** {Jieetiah) 
** How beantiftal are the feet of them that preach the Gospel of Peace,'* ana 
Evening Hymn, *' Olory to Thee my God this night.** Ss. 

" OHBISTMAS ; " Introducing " Christians Awake," Pas- 
toral Symphony (torn the Jieedah {" The shepherd's playing en their pipes,** 
Ac.), Chorus, ** For unto us a child is bom ** [Meuiak), and ^ Lo, he comes on 
clouds descending.** as. 

" NEW YEAR'S EVE ; " Introducing " Hark ! the vesper 

hymn is stealing,** ** Adeste Fldeles,'* and the Sidliaa mariner's hymn.** 3s. 

" EASTER ; " Introducing Easter Hymn " Jesus Christ is 

risen to day,** •* But thou dld*8t not leave his soul In heU ** {Metelah), •* Halle, 
h^ah chorus,** Handel. 9i. 

DuHOiv Davibok a Co., 344 Regent Street, W. 
Where also may be obtained:— Highland Echo, 3s.; and Selections from the 
Drawing Room of Compositions, by Eminent Composers :~Mo. 1. ** Inspirattoo,** hy 
«. Wolft, is. ; No. a. '* Gaiety,** by Handel, Is. 

SIMS REEVES'S NEW SONGS. 
"THE MESSAGE" 

AVD 

"^GOOD MOBBOW, liOVE, GOOD MOBBOW,'' 

(Hrtwood, 1608), 

Composed for him by Blumssthal, sung with distinguished success, and Invariably 
encored, are published, price Ss. each, by Duncan Davison A Co., Regent Street, W. 



MR. WILBTE COOPER*S NEW BONO, 

"GOOD NIGHT! SWEET 'DREAMS BE THINE/' 

OompoMd for him by Giobob B. Allsw, snng with great sncceis, and always 
encored, is published. Price 3s., 

By DinioiM Davibon A Co., 244, Regent Street, W. 



Just published, price Ss., 

**DI GIOOA INSOLIT A,^ 

ADBLINA PATTPS CELEBRATED WALTZ. 
Transcribed for the Pianoforte by 

B. ANDBEW8. 

liOftdoo : Uvmix Davisok A Co., SU Recent Street, W. 



. aoth Edition. 

ALICE, T^nOElEtE ABT THOUP 

ASOHER'S Popular Song, "Alice, Where art Thou?* 
The twentieth edition of this celebrated song Js now ready, and may be 
obtained of the Publishers, Dunoah Davison * Co., au Regent Street, W. 



Price 12s. 

THE VOICE AND SINGING 

(The formation and GnltiTatlon of the Voice for Singing). 

BY ADOIiFO FEBBABL 

**QdS oCOio moat sdeotiilo and praotloal musical works that has apposnd, li one 
entitled * The Formation and CulUvatton of the Voice for Singing,** by AdoUb 
Ferrari.— Aviiifc (Natal) Newt. 

London: Dohoam Davisom * Oo. 344 Regent BtreaL 

Just published, prioe 4s., 
WILHELM aANZ*8 

" V O O U I A N A ," 

Haourka de Concert^ pour Piano. 

Dedleft |i sod ana Monsieur SDOUAftD, DB PAIUB, 

Pab 

WILHELM QANZ. 

London : DuaoAV Davison A Co., S44 Regent Street, W. 



41 



Just published, price 4s., 

LA COSTA NZ A," 

Troiaieine Imprompta pour Piana 

Compostf et dedlA h 

MISS CONSTANCE nEYAN, 

Pto 

WILHELM SCHULTHES. 

London : Duvoav Davisov A Co., S44 Regent Street, W. 



A DELt N A PA TTL 
''LE BAV Di giojaiinsoUta, 

Walts, sung by Mdlle. Adellna Patti with Distfngnished Success. 

Composed by MAURICE STRAKOflCH. 

With French and Italian Words. 

Price 3s. 

London : DnvoAv Davisov A Co., 344 Regent Street. 

Jost Published, prioe 4s., 

"FRO Lip," 
Deuzieme Impromptu pour Plana 

Compose et dedt« k 

MISS ALICE CUBITT, 

Par 

WILHELM SCHULTHES. 

*« Difficult, but like all that M. Schulthes has published. It is clear and sgrwaUe 

in its inventions.**— ^MsMsum. 

ijondon : Dckcan D4VIS0N A Co., 244 Regent Street. 



MUSIC 

i.d. 
... 4 



MABIE D'ANNETTA'S DANCE 
CharacterlsUcally Illustrated. 
** The Lily of the Thames Quadrille,'* with comet acoorapaniment ... 
"What Next Quadrilles ** (Robin's Last), with comet accompaniment ... « ^ 

** The Spirit Rapping Polka,** dedicated to all spirit-rappers' mediums ... s ^ 
** The Llewellyn Waltx.^ dedicated to Mr. Backweil,B.M. 3rd R.W.M. ... 3 

" Beautiful Spirit Walts," dedicated to Mons. Louis Jullien * ' 

LoDdQn : Duvoah DAnsov A Co., 244 Regent Street W. 

Just PubUshed, Prloe as. fd. 

"THE VOICE IN THE SHELL." 

Ballad written by Jaxis Bbutov. Composed by Javss Lsa Suioibbs. 
** This plaintive ballad is a very interesting one, and shows it to be the work ofs 

rd musician. We have no doubt it will bo on every one's piano in a short time, 
it is now being sung by Mdlle. Parena, tho Queen of Song, whose exqnliite ren- 
dering of it, the other evening, at St James's UaU, caused a perfect /WW, end » 
edemand.**— 5^ra(A>rc^on-^ron Herald. 

London: DnvoAv Dahsov A Co. 244 Regent Street, W. 



•with 



MISS JULIA ELTON'S NEW SONG, 

"SOFTLY SLEEP, MY PRETTY DARLING." 

Arranged ti-om an Indian Melody, (the Ayah's Song, or Indian Lullaby), ""» J"° 

great success, and invariably encored, is published (for Mezzo-Soprano or Contraiioh 

Price 3s., 

By DuiroAir Davisov * Co., 344, Regent Street. 



Digitized by 



Google 



January 30, 1864.] 



THE MUSICAL WORLD, 



67 



OABL MABIA VOIf WEBEB. 

( OontwuBdframpag^ 62.) 
Conoerniiig Weber's chan^ of reeidenoe from one city to anotiier, 
after he bad left Fresberg with his father ; conoeming the many 
erento, frequently more ttddening than cheerfnl, of hia life — events 
viiich have hithearto been for the most part totally unknown ; con- 
oeming his gradual progress as an artist, &c., we must refer our 
readers to & book itsdf , which contains the most truthful and 
nnyarnisbed account of all these particulars, and is, perhaps, for 
aome persoDs, here and there, too minute, though it is everywhere 
desernog of praise for the strictest conscientiousneBs, and, even in 
the aligEtest details, poBsesses importance for every thoughtful 
individual who feels an interest in the education of man b^ actual 
Uft. Weber was now in one place and now in another ; m Salz- 
bvg, in Eatin, in An^iburg, in Vienna, in Breslau (where he was 
oear^ killed from having swallowed a hearty draught of nitric 
Kid, from a bottle which he mistook in the dark for one containing 
wine), in Carlsruhe (Siksia), at the Court of Prince Eugen 
Friedrich von WiUtemberg ; in Stuttgardt, as private secretary 
and managing man to the extravagant and debt-oppreased Duke 
Lodwig, wh^ he was mixed up in the whirlpool of the Court life 
at the time, and in the affairs of the country, which were in a 
wretched state as far aer' regards right, honestv and morality. He 
became also inyolved in foolish acte, the sudaen acknowledgment 
of which, however, produced a beneficial change in his chwacter 
and mode of life. But happier da^ dawned for him in Mannheim, 
Heiddbeig, Darmstadt and tiie neighbourhood, except Frankfort, 
where his old bad luck still pursued him, his very piromising expec- 
tations of making a considerable sum by a concert being entirely 
annihilated, first by the ascent of the celebrated aeronaut, Madame 
filancbard, and tfaum by Napoleon^s decree ordering a blockade of 
tike ccmtinent and the burning of all Englrah merchandise there. 

We now accompany the young artist, whose appointment in 
MannhdTn came to nothing, on his two more tlum usually long 
profeadoDal tours in the year 1811. On his first tour, he visited 
the South German towns of Aschaffenburg, Wiirzburg, Bamberg, 
Xmemberg, Augabuig and Munich, where he stayed a considerabJe 
time; at Uie commencement of the second, he had to suffer from 
the after-pains of the Stuttgardt squabbles and the arbitrariness of 
the Royal Government, for he was again arrested and conveyed 
acroB the firantier. He then visited ^tzerland, gave concerts in 
Scfaaffhaosen, Winterthiir, Zurich, Basle, and Berne, and freshened 
himself up by a trip into the mountains. His public performances 
were swayed bya strange fate, which only too frequently ruined 
aH his hopes. When we recollect that the sum of ISO florins taken 
at a concert ^as, for instance, at Basle) was considered somethinff 
my extraonzinary, we can scarcely comprehend how Weber could 
denay the expenses of his journeys. His three months* excursion 
in Switzerland contributed materially, however, to extend his 
RpaUtion, and brought him into contact with a large number of 
distbgoished men, original and liberal in their q[NUUons. ^^ The 
OKst inportaat result of his ioumev," savs his biographer, ^^ was 
the eniicfameat of his inwardi world by the contemplation of the 
gnndenr of nature, and, which is of equal weight, the shock given 
to Che nation, which he had hitherto f ormerly*entertained and often 
expfesnd, that Uie atmosphere illuminated by princely love for art 
▼tt alone calculated to devdop the latter, especially music. The 
warm polsalions of true republican hearts at the tones of good 
moac nearly cured hun of the prejudice that high refinement of 
Bi^umers was necessary to strmg human nature with sufficient 
finen^s folly to appreciate music.'* 

On his next journey he was accompanied by B^trmann, the 
admirable darinettiat, ol Munich. They went by way of Fra^e, 
Druaden, Ldndc, and Weimar, to Berlin, where Weber remamed 
from the 20t£ February to the 31st August, 1812. The thirteenth 
auction oompriaeB Weber's professional life as operatic. conductor at 
Prague, from April 1, 1813, to September 30, 1816. To this 
period bdongshis magnificent music to Korner*s Leyer und Schwert 
^Suae portions of the period were, however, passed by him at 
Berlin, where he was greatly honored, and at Munich. The last 
chapter of the book treats of his betrothal to Caroline Brundt, and 
hia i^pointment as conductor of the king's private band in Dresden, 
on the 21st December, 1816. He received the official notification 
<tf tile fact on Christmas day. He had kept the whole matter a 
secret frcnn his future bridle, and announded ^this piece of good 



fortune for both of them in a humorous manner, by writing the 
young lady a most unimportant letter, and putting at the bottom, 
'^ My address is : To Herr Carl Maria von Weber, Eoyal Saxony 
Canellmeistery Dresden." 

From the above lengthend notice of the Biography, and the 
extracts we have given, the reader will clearly peoroeive that we 
recommend it as a valuable addition to the literature of music. 
We anxiously await the next volume, and have merely to add that 
we trust the book, which is otherwise admirably got up, will be 
more curefuUy corrected. The fact of the biography containing 
interesting information connected with many musical celebrities, 
with whom Weber was closely connected, heif^htens the charm of 
its perusal. We will, in conclusion, ^uote an instance of this kind. 
We will select what is said, in vanous passages, concerning the 
Abb^ Ypgler, so highly celebrated at the commencement c3 the 
present century. 

'* The mind of Vogler and that of Frans Anton (Carl Maria's 
father) were twina poascaaing remarkable similarity, only aomewhat 
weakened by external droumatancea affeoting their development, and 
thia similarity had even impresaed a character of affini^ on their 
features. In the Joyous biilliancy of Carl Theodore's Court, and 
among the cavaliers of the Kurtrier Guard, Vofler would, probably, 
have been the Jovial, recUeaa Franz Anton, while the latter, at the 
pedal-harpdchord of Maater Wenzel Stantinger, and amongat the 
monks and prelatea of the Wiirgburg chapter, who liatened to the bov 
aa he pUyed the or^nn, would, probably, nave been a ver}' celebrated, 
and vain muaician. Both were glowing with the love of art, for which 
they poaaeaaed eminent talent ; both were fond of all kinda of aplen* 
dour; both allowed, when it suited their purpoae, pinchbeck to be 
paaaed off for gold, and both, therefore, even in art^ valued form 
above matter, and effectiveneaa above depth ; both took an equally 
lively delight in material eaae ; and both were led, with equal force, 
bjr vanity along roads which turned them from the em^oyment of 
their talent in the interest of the highest aim of art. J3ut Vogler 
enjoyed an advantage over Fiana Anton : on his entrance into life he 
had immediately ndlen among that middle daaa aodety in whoae 
Ofdnion a peraon of his disposition was of no account. In constant 
oommuaioation with the atrioUy disciplined nrieathood, immovably 
consdotta of their object, he pined, oven from nia youth, that feeling 
for order, diadpline, and a decided tiu of the will, which had made him 
a celebrated man, while the want of it condemned Franz Anton to 
remain a poor musician strolling about with hia phenomenon 
of a boy. Deeply versed in everything to be gained in the world 
of tone by a strong memory, and a thoroughly critical Judgment ; 
conscious of the objects for which he had to strive ; talented enough 
even to give animation to his views of worka of art; akilled, aa a 
pupil of tiie Jeauits, on every occasion to exhibit to the public that 
&oet of his many-sided mind, from whose brillianoy he anticipated the 
greatest effect; weighty in his utterances ; imposing and, at the same 
time, a&ble in his behaviour; purposely eccentric in his habits, in 
order to be able, without exciting astoniahment, to adopt any form 
of life, yet, on tiie other hand^ without any philosophical conaiatenoy 
of thought, and hence in hia expreaaiona, full of obscurity which he 
endeavoured to paaa off as myatical profundity ; conadous of the un< 
aatis&ctory sdentlfic Ibundation of nis ayatema and arrangementa, 
whidi he attempted to mask by iqoodiotica and asaurance of enund- 
ation; rising up and diaappearing as a aomewhat charlaianlike apostie 
of hia musical gospd in all parts of the dvHiaed world ; every- 
where patnmiaed and supported by the priesthood ; and everywhere 
opposed by the sturdy practice of art, Vogler was juat the man to 
cauae a large number of his brother artiste and of the public to take 
an interest in him, but, at the same time, to divide tnem into two 
diametrically opposite parties, one of which swore by, while the other 
branded him as a heretic and opposed what he did. But he was, how- 
ever, alao, Juat the man, in virtue of the above mentioned positive 
and negative qualities, and of hia spiritual diadpline, to influence 
most profoundly young niinda, and to appear in the eyes of beginners, 
aa a pronhet whose steps they had dosely to follow, were he even 
to lead tnem to martyrdom. The form of his indisputable talent for 
teaching favored this influence amasingly, because he alwajra under- 
stood how to appear befo^ his disdples as a high-priest full of 
mildness and urbanity, but who, notwithstanding, dared to im- 
part to them only a smaU portion of the irrefuttJtile truths sug- 
ffested to him by ms God. Hia tone, hia walk, hia small tonsure, the 
holy water he hinaself brought from Borne for the Elector Carl 
Theodore, his order of the Golden Spur, and the sound of his voice, 
irresistible for Mad. von Coudenhove, together with his great talents, 
caused Vogler, in the year 1777, to be appointed Court Chaplain and 
Conductor of the Private Band to Carl Theodore, at Mannheim. 
, His disposition had, however, too much of the artist and not enough 



Digitized by 



Google 



68 



THE MUSICAL WOBLD. 



[January 80, 1864. 



of the Jesuit in it, for him to be able to look on coolly at Father Frank's 
infamous rule in Munich. He had such a violent misunderstanding with 
the Father, that he quitted Munich suddenly, in 1781, and set off upon 
a long course of travd, which took him to France, England, Italy, 
nay, even to Greece and North America, and during which he exerted 
himself strenuouaLy to propagate his musical system. By this as 
well as by lus masterly performances on the org&n, he gained 
throughout Europe a great reputation as a learned musician, a teacher, 
and an organist f^m these travels he brought back with him the 
principal dements of the old Greek music, which he asserted he 
had ^scovered in the traditions of southern climes. 

** It is from this epoch that we must date Vo^ler's ardent passion 
for collecting national melodies, a passion to which he went on de- 
voting more and more time and trouble. It was of great importance 
for eveiything connected with the romantic tendency in music, that 
on two of his pupfls, Weber and Meyerbeer, who were destined sub- 
sequentiy to be we chief representatives of this tendency, he so 
succeeded in impressing his own high opinion of the worth and 
significance of popular and national melodies, that their works every- 
where afford evidence thereof." 

Vogler^s reputation as a teacher of muaic induced Gustayus m, 
of Sweden, to invite him, in 1786, to Stockholm, and to confide to 
him, after giving him a brilliant appointment as Che/de la Musique 
du An, the charge of instmcting the Crown Prince. In the far 
north, for thirteen years, did Yogler work, by word and deed, with 
indisputable advantage for art and artists. He did not ffo back to 
Grermany till 1799, when, with the request that the modest living 
of Pleichach might be conferred on him, he turned towards Wttrg- 
burg, where he dedred to live entirely for music. On the same 
day tiiat the refusal of his demand was sent from that town, he 
received an invitation to poceed as teacher oi music to Prague. 
Yogler accepted the invitation, and, on the 9th of November, 1801, 
delivered his inaugural discourae, having a year previously produced 
with sucoesB, at fierlin, his opera, Hermann von Unna, and, in the 
spring, given concerts in Berfin, Brunswick, and Letpsio. 
(^Tb b$ eoniimted,) 



H. G. Alusoh. — This promising young pianist, of whose playing at 
the concerts of his former master, Mr. W. H. Ho]mes» and his own, we 
have on several occasions spoken in terms of praise, has been, we are 
informed, for the last eishteen months pursuing his musical education 
at the Gonservatorium of Leipsic, where his talents, added to his earnest 
seal and unremitting application, have won for him the esteem and 
unqualified approbation of the directorium generally, and more espe- 
oiaUy of his mimediate instructors. t.«., for the pianoforte — Professors 
Flaidy and Moscheles ; for harmony and composition— Dr. Paperwitz ; 
and for the organ — ^Dr. Itichter, On the latter instrument, which he 
commenced only at Easter last, the young student's progress has been 
so rapid as to lead to his being appointed to the post of organist to the 
English chiuch in Leipsic; while, on his principal instrument, the 
pianoforte, it has been no less satisfiictory, as he has on several occasions 
distinffuUhed himself by his performance of pianoforte solos at the 
Abendunterhaltungen of the Gonservatorium. On the occasion of the 
grand concert given on the 12th ult., in celebration of the birthdav of 
the King of Sucony (the patron of the institution), young Allison had 
the honour conferred upon him of being selected from the whole body 
of students to perform Mendelssohn's Praludiwn %md Fvgue in E minor, 
his execution of which, from memory, was rewarded not only by the 
hearty applause of the audience— themselves no mean critics, being 
composed of the dlite of Leipsic amateurs— but subsequentiy by the 
congratulations and warmly-expressed approbation of artists and pro- 
fessors. Altogether, this young student seems to be in a &ir way of 
realising at no distant date the hopes of future eminence which his 
precocious ability has led his friends to form, and which has been more 
than once prognosticated for him in these columns. 

BcHxvoLVxrr Fund or thb Saobsd Habmonio Sooiktt. — The eighth 
general meeting of governors was held in Exeter Hall, on Wednesday 
evening ; J. N. HairiBon, Esq., president, in the chair. An able report 
of the pttBt year's proceedings, embodying a sketch of the rise, progress, 
and utuiiy of the Instituion, was reaid by Mr. J. F. Puttick, honorary 
secretary. From statistics submitted it appeared that nearly £700 bad 
alieady been appli^ to charitable objects, and an invested ftmd had 
been accumulatol to the extent of £2,800 Oonsols. The meeting was 
addressed by Messrs. Bowley, Stewart, HUl, Sims, Black, Doggett, 
Nunn, Shaw, and other friends of the Society, by whom the claims of 
the charity were strongly urged upon the notice of the frequenters of 
Exeter HaU and the members of the musical profession. 

Mas. JoiEpn Bobikson of Dublin is now in Paris, and has announced 
a ooncert for the 2nd February at Erard's Rooms, where she vvill be 
assisted by M. M. J^es Lefort and Anningaud. 



MUSICAL aOCIETY OF LONDON. 



Seee^U, BaUmee 

1868, Jan. 1, to Dec. si. 

£. «. d. 
To BaMnee In hand . . 141 19 8 
M Snbacrlptiona for 18S8, 
asunder:— 
143 FeUowa, 580 Aaso- 
dates, MS jLady Aeso- 
dateii 58 Nominated 
Annual Sabacribers ft 
ft SabaoribeiB to Series 
of Oonoerts . . 1880 18 

„ Sale of Concert Tiolcets. 83 9 
„ „ ftlO Beserred Seats. 367 15 
„ „ 8 Duplicates. 15 

„ Donation to Library 

FundfOaptainOttley. 10 



X1884 14 8 



We taATtt examined ths books of 

' the Society and the Tooohen, 

and we oerttfr that this balance 

sheet acreee Uierewith. aud that 

the same is oorreet. Dated thia 

19th day of January, 1864. 

Jomi T. Bbdvobd,) 

JoBV B. DceoAV. > 



tlie Tear 1868. ExpendUwt, 
1868. Jan. 1 to Dae. 81. 

«. *. d 

ByPaTmentB .... 
„ Prtnting, Stationery, Ac. . 87 9 6 
„ Uiaoellaneoaa R»pen»ea . 8S 18 U 
„ Heasrs. W. Hodson, Hed- 
hurat, and F. A. Mori, 
iun., for aaatatanoe to the 
Honorary Secretary . 87 6 i 
„ Adrertiafaig . 55 14 
„ Ditto, for 1864 9 6 



, Poatage 

, Bent of Offloea . 

, OraneraCo. . 

, FonrOrcheatralConoerta 

t One Ckmversaiioni . 

, Choral Practioe • 

, Library Kxpflnaee • 

, Two Orcheatral Trials ( 

Keir CompoaltionB . 
, Furniture, Ao. • 
, Insurance • 



64 14 6 
85 15 3 
fiO 
30 
, 94S 12 



,128 11 
. 52 11 
. 6119 

r 

. 308 8 
. 67 4 
. 1 6 



1788 17 5 
Balance in hand of Traa< 
BozerforlSM. . . 44 17 a 



£1884 14 8 



Signed by Order of the Oonncfl in 
pursuance -of General Law 88, 
Jannaiy, 1"^' 



1864. 

Edwaxd Jaxbs, ChairiBu. 



NEW MUSIC RECEIVED FOR REVIEW. 
BOBOR * Co.— Six Bonga, dedicated to Her Royal Hlghnaaa Sephia, Qrand Dachm 
of Saxe- Weimar, 1^ Balvatore C. Marebeii. 



TauBo. — The Spring oeaaion waa opened on Friday evening, when 
our Preaident, Mr. P. P. Smith, made some obeervationa juaiifying the 
introduction of moaical entertainmenta aa portions of the wyUabiu of a 
Truro institution. He then introduced Mrs. John Macfiirren, who 
proceeded to read, with distinct and refined elocution, a lecture in 
which sketches were giyen of the lives, and judiciooa criticisms passed 
on the works, of Handel, Weber, Beethoven, Mendelssohn, &c. Mn. 
Mac&nren gave iUustrative selections from the works of the composen 
referred to, and the finished s^Ie in which she performed them, 
justified her reputation as one of the first pianists of the day. Some 
vocal illustrations were also given, in a vezv pleasing manner, by Misi 
Marian Walsh, who was also greatly applauded, espedaUy in " Ah ! 
why do we love?" {from G. A. Mac&rren's opera of Don QuixoU). 
Bom ladies were so kmdas to respond to encores, and at the conclusion 
the President gave expression, on the part of the crowded audience, to 
the great pleasure all nad derived fi^m the entertainment. 

Chbistohuboh. — ^A ^easing entertainment waa given on Tuesday 
evening, at the Town Hall, by Mr. Frederic Penna, under the name of 
" Without a TStle" and consisting of a species of lecture or sketches in the 



compass, clearness, and volume. He manages his voice well, which 
cannot be said of every singer of pretensions. Ko better songs in 
their way can be found than the popular old English ones ; sung with 
such taste and feeling aa by Mr. Penna, they stir the heart. He not 
merely oer/anm the music, but he interprets it. " The Return of the 
Admiral '* and " The Old English CbnUeman " were given with such 
feeling, expression, and pathos, as to elicit much applause, and a unan- 
imous call for a repetition. Madame Penna'a aocompanimenta and 
interludes of the latter showed her a pianist of no mean skili We 
were sorry the attendance was not more numerous, but thia waa attribu- 
table, in a great measure, to the state of the weather. 

Mb. J. E. Carpbrteb gave his musical entertainment, " Highdays 
and holidays,'* at the London Mechanics' Institution on Wednesday. 
The aingers were the aisters Maacall, whose singing, in the duet ** The 
merry New Year's bells," pleased verv much. Miss MmfA^ii was 
enoorod in a new ballad, •* A mother'a love." We have not apace to 
enter into details of Mr. Carpenter's entertainment, which we must 
acknowledge, however, to be very interesting. A new song by Mr. 
Hatton, " Oh the plum pudding of England, sung by Mr. Carpenter 
as a finaU, was deservedly encored. Miss M. MaKall was the accom- 
panist at the pianoforte. 

SxoifOB PiATTi has returned to Paris from Orleans, where he was 
engaged to play at the Philharmonic Society. Signor Piatti was 
announced to play for the second time at the Popular Concerta of the 
Cirque on Sunday last. 



Digitized by 



Google 



January 30, 1864.] 



THE MUSICAL WORLD. 



69 



MUTTONIANA. 

[Mr. Owain Ap* Mutton inTites contribatioiui to this department 
of the Musical Worlds henceforth placed under his sole direction, 
and which he has with becoming modesty christened Muttoniana. No 
subject connected with the Art and its Frofessors is excluded,— 
and all queries inserted one week will be answered not later than 
the week following, either by Mr. Ap* Mutton, or, when his know- 
led^ fails, by some more competent authority.]) 

Mb. Ap' Mutton. — So, — Any fool can aik a question which it may 
give a wise man trouble to answer. This seems to me your only excuse 
for enoouragiDff correspondents (who are, for the most part, fools, if 
they are unpud) to send you queries, to which your promise replies, 
instead of giving them. But if your reputation for wisdom stands 
upon no better basis than your talent for silence, I fear that you are no 
better than my relation, the Welshman's Owl, who " said nothiDg, but 
was a beggar at thinkiDg." Consider this proposition, with ramifica- 
tions (not rammekin) and divarications (and prevarications) and then 
proceed to the action. Punch says, very prettily, this week, 

** A JKmw Oami.— Tb« plesMiitMt fUM of forfUts ia that at prtstnt played at the 
Adelphi theatre, where MIm Bateman * oriM * to yoo, and yoa forfeit aU claim to 
iDtelU^noe if yoa don't * foen * that she u the flneit artist that erer came from 
America.** 

Now, having given your entire approval to the sentiment of this 
charming epigram, examine and analyse it, and show that though it is 
apparently only one of those graceM trifles which float, (like air-bells 
in champagne) in the inkstand of Mr. Percival Leigh, Mr. Shiriey 
Brooks, or Mr. Henry Silver, not to say of Mr. Tom Taylor, Mr. 
Horace Mayhew, Mr. F. 0. Bomand, Mr. Dishley Peters, or any other of 
the 29 writers in Punchy do you exercise your intellect in showing, scho- 
lastically, and exegetically (also energetically, if you will^ that there is a 
profound tmth lying (docs truth lie ?) in the words. Show that Miss 
Bateman has evidently stirred the depths of the writer's self-conscious- 
ness. Show the extreme happiness of the use of the word " guess," 
both as a word used in the English game of forfeits, and in American 
colloquial intercourse. Show how elegant is the ambidextrous 
employment of the word '* cries," in reference to Miss Bateman's tears, 
and to the technicality of the game. Show that though the epigram 
was probably written in a minute and a quarter, there must have been 
a pre-adamite force, answered, as Faraday would say, for billions of 
centuries, which was brought to bear upon the subject, at that very 
moment in the history of the universe wnen alone it could have been 
wanted. For, had the epigram been written before Miss Bateman came 
to the Adelphi and played, it would have been premature. Had it 
been delayed until after the thousandth night of Leah, and the 
production of the comedy in which she will be equally successful, it 
would have been inapplicable. Enlarge upon all these hints, with 
some little grace of diction and profundity of thought, and show that 
you are not a Welshman's Owl. Whatever you are, I am, Mutton, 
yours, Zamixls Owl. 

January 26th, 1864, from DwhU OloucuUr Cretcent, PaddingUm, 

[Anon I anon I good ZamieJs ; anon I anon I — O. Ap* M.] 

Sn, — On the contrary, milk has been so often analyzed that it would 
seem no furthur facts could be elicited regarding this important liquid. 
Professor fioedecker, however, has just completed a series of experi- 
ments conducted on quite a new principle. The question he proposed 
to himself was whether milk obtamed at any hour of ^e day always 
presented the same chymical composition or not; and he has arrived at 
the lesolt that the milk of the evening is richer, by 3 per cent., than 
that of the morning, the latter containing only 10 per cent, of BoUd 
matter, and the former 13 per cent. On the other hand, the water con- 
tWMd in milk diminishes by 3 per cent, in the course of the day ; in 
the morning it contains 89 pc«r ceni of water, and only 86 per cent, in 
the evening. The fatty particles increase gradually as the day wears 
on. In the morning they amount to 2*17 per cent.; at noon, to 2*63, 
and in the evening to 3*42 per cent. This clreumstance, if true, would 
be very important in a practical {joint of view. Let us suppose a kilo- 
gramme ofimlk to yield only a sixth part of its weight of butter ; then 
the milk of the evening may yield double that quantity. The caseous 
particles are also more abundant in the evening than in the morning — 
from 2*24 they increase to 2*70 per cent., but the quantity of albumen 
diminishes from 0*44 to 0*81* The serum is less abundant at midnight 
than at noon, being 4*19 per cent, in the former case and 4*72 in the 
last. I am. Sir, Abel Grogo. 

To O. Ap' Mutton, Esq. 

Tbb Chisbsb Aim ScomsB Soalks. — Sib, — ** Music," says Bacon, 
"feedeth that disposition which it findeth.** Dr. Lind (who resided some 
considerable time in China) said that in all the specimens he had seen 
and heard of Chinese music, the melodies of that nation had a strong 
analogy to the old Scottish tunes ; and that ** the Chinae tcale is very 
&oaitA." The Chinese gamut consists of five natural notes, which are 
distinguiihed by five characters of their language ; but they use no 



stave. They, however, write down in succession the notes in a column, 
as they are played, though it does not appear that they pay any atten- 
tion in marking the time, the key, or the mode of expression, &c., but 
acquire their airs by dint of labour^ and imitation.* The following 
national somr of Moo-ki-wha is a specimen of Chinese music : — 



Digitized by 



Google 



70 



THE MUSICAL WOKLD- 



[January 30; 1864. 



HER MAJESTY'S THEAT&E. 

An English adaptation of Fatut alone was wanted to complete the 
triumph of an opera which must in faimeM be pronounced the most 
popular, as in its particular style it is unquestionably the best, since 
Meyerbeer gave his ffttffuenoU to the world. This was produced, on 
Saturday night, at Her Mijesty*s Theatre, with brilliant and well- 
merited success. Faust has now gone the round of what may be 
termed musical Europe. The four most art-loving nations on the most 
civilized section of <* the planet" — the French, the Qerman, the 
Italian, and the English — can each now boast a version of its own, and 
each listen to M. Gounod's fascinating music married to words which, 
as they can be immediately understood, are calculated to render the 
ideas of the composer, and his peculiar use of the medium through 
which they are conveyed, more readily intelligible, and therefore the 
easier appreciated. The English translation of the ItbreOo of MM. 
Barbier and Carr^ was originidly, we believe, intended for the Boyal 
English Opera. For reasons unknown, however, the work has never 
been brought out at our *< national " lyric theatre ; and but for the 
spirit and enterprise of Mr. Mapleson — also the first to present it to a 
London audience in Italian — it might still have remained until now in 
Mr. H. F. Ghorl^'s portfolio. Doubtless Mr. Mapleson was encouraged 
by the extraordinary success of Fmut with ItaJian singers, in the 
regular season, to make a fresh venture ; but this merely proves that 
he knows how to foUow up good fortune, and, in fiimiliar phrase, to 
*' make liay while the sun somes." Mr. Ghorley's adaptation, though 
he has in few instances literally translated the words, is a toleramy 
effective imitation of the original. In occasional passages, as, for example, 
the opening soliloquy of Fauat — which the philosopher, persuaded of 
the utter futility of lifelong studies to help him to the goal of his 
desires, the uUima TTiuU of the heart's travels in its search after happi- 
nesS) bemns and ends with the emphatically suggestive ejaculation 
** foiled r'— it almost rises to poetry. Perhaps, on the whole, the libretto 
of Fauit sounds bettw in Eufflish than in Italian, as it assuredlv sounds 
better in Gkmian than in French. At sdl events, the audience of 
Saturday night was probably the first in this capital able thoroughly to 
comprehend every point of interest, and thus to estimate the consum- 
mate art — we had almost said genius-^f M. Goonod at its proper 
worth. We own that the opera never before appeared to us so 
beautiful, so symmetrical, so consistent in all its parts, and, as an 
infallible consequence, so essentially and legitimately dramatic. 
Doubtless there are a vast number amons us, honest and candid people 
in their way, who would prefer obtaining a faint glimpse of the 
meaning of a poetical composition, through the aid of^ a foreign 
language, to enttfely apprehending its scope and intentions through the 
simple intervention of the ' mother tongue.' And this, perhaps, in 
works purely exotic, both in conception and execution, may be 
reasonably defended. But Goethe's Fautt has much more in common 
with English feeling than with French or Italian ; and, pale a reflex as 
the paraphrase by MM. Barbier and Garr6 of certain portions of that 
immortal masterpiece can pretend to be, it has still enough of the 
Goethan element to establish the truth of a generally undisputed axiom 
— viz., that the feeblest copy cannot wholly destroy the effect of a great 
picture. Something mutt be left to reveal the source whence the 
counterfeit was obtained ; and thus much at least can be adduced on 
behalf of the French librettists whom Mr. Chorley, on his part, but 
without the ordinary deterioration, seduLouidy imitates. This 
indefatigable gentleman has provided us with an English Fautt of more 
than average color, and has performed his task so conscientiously that 
— except Margaret's scene of despondency, at the commencement of 
Act I v., and the *' Walpurgis night," at the commencement of Act V. 
(both of which we hope to see at some future time restored) — ^we have 
aU M. Gounod's music, just as he composed it and Just as it should 
invariably Im performed. More than this, there are two additions — 
viz., a new air for Valentine — 

'* Even bnTwt heuti maj swell 
" In the moment of fkreweU ** 

—built chiefly upon the theme of the last movement of the orchestrsl 
introduction to the opera, and a new romance — ("When all was 
young " — written originally for Madame Nantier Didi^e) for Siebel. 
These could, we think, be spared, but that Mr. Ssmtley sings the first 
in so absolutely faultless a manner, and Madame Lancia the last so 
neatly and expressively, that, once heard, their omission might provoke 
unfavorable remark. 

The English performance of Fautt is in few respects inferior and 
in some superior to the Italian, at the Haymarket or at Covent Garden. 
Although Sig. Giuglini and Tamberlik are Italians, the English repre- 
sentative of the hera is a far more practised musician than either ; and 
as M. Gounod would naturally prefer having his music, solo or con- 
certed, sung as he wrote it, without shirking or subterfuge, it is pro- 
bable that on hearing the most recent version of his opera, whether he 
understands our language or not, he would give the palm to the 



English Faust, as the one who most peneveringly adheres to the text. 
Apart from tbis, however, Mr. Sims Beeves, who had already played 
Faust in Italian with eminent success, reveals a conception of the part 
in the highest degree poetical The first act, which in the Italian 
adaptations has hitherto passed for nothing, gives him opportunities for 
vocal declamation of which he takes such excellent advantage that 
what was considered the weakest and driest portion of the opera now 
stands out as conspicuously as all the rest. There is no surer test of 
real artistic worth than the ability to give to every passage its intrinsic 
value. Even in the French Fautt, the scene just before Mephistopheles 
appears to the bewildered and despairing investieator is one of the 
highest significance ; and that M. Gounod saw ^s is evident, inas- 
much as in no part of his opera does his music exhibit more intellectual 
power. It is to the credit of Mr. Reeves that to him the physically 
prostrate and mentally abused philospher appears in a light no less 
mttf esting than the Faust newly restored to youth, and onoe more, 
seemingly with a whole life in prospect. Nothing can surpass his 
delivery of the accompanied recitative in which Faust gives eloquent 
language to his weariness and despair. In the garden scene, though not 
the solitarily prominent figure he appears in the opening of the fint act, 
Faust at least divides the sympathies of the audience with Margaret ; 
and as in this occurs the apostrophe to the abode of the innocent and 
lovely girl (" Salve dimora "), it ofiers, of course, the chief occasion 
for exhibiting the singer's art A more expressive and perfect 
reading of this truly exquisite soliloquy has not been heard. The duet 
with Margaret, in whicn occurs the familiar passage, " He loves me, 
loves me not," is worthy to match with this, the crowning point of the 
third and most poetical act of the opera. The Margaret — or rather 
« Margarita," as Mr. Chorley invariably styles her — of Madame 
Lemmens-Sherrington stands midway between the well-known imper- 
sonations of Madame Miolan-Carvadho and Mademoiselle Tietjens, 
being neitiier so coldly statue-like as the first, nor so warm and 
impassioned as tiie last; but in this very beautiful duet she unhappily 
rather follows the French than the German model, scarcely daring to 
look at her lover, even when she has unequivocally confessed her love. 
Elsewhere — premising that she sings many parts of the music too 
slowly, especially the reply to Faust, in the scene of the Eermesse 
(which, after all, is merely an admonition to the adventurous cavalier 
to mind his own business), and the ballad of the *' King of Thule '* — 
her execution of the music is as correct and artistic as it is charming. 
In the brilliant air where Margaret, findinff the jewels of Faust, 
straightway neglects the modest flowers of her devoted Siebel, the 
shake which introduces the theme of the quick movement is for the 
first time as intended. Madame Carvalho could never execute it in 
tune, while the imposing voice of Alademoiselle Tietjens could never 
accommodate itself to its light and glib delive^ ; but Madame Sher- 
rington does it to perfection — as may be said, indeed, of the air itself, 
from beginning to end. In the grand — really grand — scene at the 
doors of the church, and the prison scene of the last act, the singing of 
this accomplished lady offers no point for criticism ; but in the nrst 
both she and Signer Marchesi — ^the very zealous if not very legitimate 
impersonator of Mephistopheles, whom he represents as a sort of pan- 
tomic buffoon — outrage all dramatic versimilitude. Instead of the 
contrite and prostrate Margaret we have the heroine in a ballet of 
action, walking to and fro, to avoid the encroachments of a persecuting 
gnome. Fancy, moreover, the staid, ironical, and sardonic Mephis- 
topheles-^the devil himself, incarnate in a wag-— executing the melo- 
dramatic postures and evolutions of an ordinary Zamiel, or Demon of 
the Woods I The Mephistopheles of Signor Marchesi (of his singing 
we say nothing) is, from a dramatic point of view, a mistake. In the 
scene of the Kermesse, where Faust first sees Margaret, Signor Mar- 
chesi becomes a sort of Leporello in scarlet ; and elsewhere — ^not to go 
into uniDteresting details — he is equally un^Mephistophelian . Madame 
Horence Lancia is an engaging Siebel, singing the air in which the 
flowers wither as they aro gathered for Margaret's bouquet with agree- 
able unobtrusiveness,and the new romance (already alluded to)i not only 
in the original key (the part was written for a toprano), but as neatly and 
prettily as could he wished. This promising young lady is making 
undoubted progress, and fully merits the encouragement the public 
seems inclined to accord her. Of Mr. Santley's English Valentine 
we can only say what we have said more than once about his performance 
of the character in Italian— viz., that a comparatively small part was 
never made so much of in our remembrance. The death Fcene O^^^ 
after the trio with Faust and Mephistopheles) is as finely acted as it iti 
finely simg ; while the new air, or cavalina, to which allusion has been 
made, has teen given in such a manner that, notwithstanding its being 
an interpolation, we should be loth, while Mr. Santley is the Valentine, 
to dispense « ith it. The minor parts of Wagner and Martha were 
admirably sustained by Mr. Dussek (a dcfeceudaut of the gifted com- 
poser oi Flue Ultra , and intimate friend of Prince Louis Fuidiuand of 
Prussia ?— ) and Madame Taccani. The former will be remembered for 
his excellent impersonation of Corregan in Mr. Benedict's LUy of KiU^ 



Digitized by 



Google 



January 80, 1864,] 



THE MtJSWAL WORLD. 



71 



ofiuy ; the lady as the first (and best) representative of Martha when 
Fnst y/ns origuially produced at Her Majesty's Theatre. 

The clionii is excellent ; the band — ^under the vigiknt soptirinten- 
denee of Signer Ardiii, who has made himself a name among condmetor* 
—as perfect throughout as anything we have heard in operatic 
performance. The scenery and the stage appointments generally — 
pcdsely the same to which the public have been accustomed at the 
Itslian porfinpaBees of Famt in Her Majesty's Theatre— 4u:e haidly 
worth a nw dwcription. 

The perfbrmanoe afforded intense gratification to a briUiantand 
crowded audience, the large majority of whom remained until the con- 
dosion, although the opera did not finish until midnight. To the 
Qioal sneorss for the chorus of <* (Hd Men " (in the Kermesse) and the 
chanis of soldien (Act IV), was added another, for tiie new air given 
to YalentiDe. The prindpil performers were respectively called Ua- 
ward almost after eveiy aot. 

FauH was rmated on Tuesday and Thursday, and will bo pliiyed 
fisr the finirth iDEie to-mght. No other opera is to be given dming the 
pNMDi aenet of perfiDrmaoees. 



PsiBStoK.— (T^rom a correspondent.) — The organ in Preston parish 
church was re-opensd on the 24th, having been closed for two Sundays. 
Collections were made after each service towards defraying the expense 
incurred in comjdeting the pedal part of the organ, and in making 
sundiy improvements. This imposing and noble instrument now 
contains 44 stops, and three rows of keys, and is one of the finest church 
organs in the country. For the information of your readers I append a 
list of stops the organ now contains. Those marked * have been re- 
cently added: — 



Gbsat OaoAv. 
1 Doable DinpMon Bass \ 



Ijagm^From ottr nwn 
Sid, Mesaelssohn's oratorio of . 



wMdenL) — On Saturday evening, Jan. 
SSid, Mendelssohn's oratorio of Moah was given in the Victoria Hall, 
by the members of the Leeds Choral Union, a body recently formed 
by the amalgamation of the two previously existing Choral Societies, 
whish had mthwto been Antagonistic. It is very satisfactory to 
know that all matters in diffuence between them have now been 
haualy aiyusted, and thai there is every prospect that the united 
boay win continue to act in harmony, to the manifest advantage of 
the p t ogA ' 6SB of good music in the town. The selection of Fltfah as 
the meunm of its first introduction to the public shows that the 
AsHMiatfoa is anin»ted by the right spirit, and under the circum- 
etanees» we should not wish to apmy a very high standard of criti- 
cism to the performance, which, however, was on the whole very 
good. We stnrald suggest to the managers, on another occasion to 
•troiglhea the beoid (otherwise excellent) in the stringed parts, 
which were decidedly weak, and it seem^ to us that the soprano 
■ectioQ of the choras was rather over- weighted by the other parts. 
The orchesbal character of the Town Hall organ was displayed to 
srsst advantage in combination with the band; never obtrusive, it 
MDt a diigalty .'and soKdtty to the performance, such as no other 
paUic ofgan with which we are a<Muainted could have attained, 
without taking undue prominence. The soloists were Mistf Helena 
Walker, Was Carrodus, Mr. Dawson and Mr. Brandon ; 'the part of 
the Youth being (as it always should be) supported by a boy. Master 
JiDkin of the Ftaiish Church Choir. We nave no sympathy with 
the ibeUog which will encore any part of an oratorio, or other work of 
oonttDUOus action, but if it muet be done, the compliment was on this 
occasion well bestowed on the quartet *• Cast thy burden," and the 
trio ■■ Lift thine eyes " (second soprano, Miss Winder). Dr. Bpark 
prendad at the oi^n, and Mr. Burton was the conductor. The 
mU i yMyomm lo give three other concerts during the season. 

The Town Hall Organ Concerts were resumed on the 26th instant, 

siter the Christmas vacation, by Dr. Spark. The programme was 

tnfe Ay new, and comprised some excellent muric, amon^ wldch we 

any partknlarise an ofertoite in C minor, by E. Batiste, bemg one of a 

series «f this composer's works, edited bv IJr. Spark, and lust published 

5y Mesns. Ashdown and Parry. This is thoroughly good organ music; 

oif ibm French school, well adapted to display the capabilities of a fine 

oz^gan and a good pl^cr, and mrtunate in having both these advantages 

isr Its nodnction. From the way in which this specimen was received, 

the a i w i eo e ^ are apparently learning better to ^>^reciate true organ 

naaie, and H is to be hoped that operatic '* recollections " will not long 

be neeessary in order to attract the public. The attendance was gooo, 

and pnmiaes well for the future success of these concerts, of which 

Lee oa has CKtme to be proud. 

HABaviB.».— The annual concert of the Harmonic society took 
plaee veeeatly In the school-JKX>m. The choir executed sevoal pieces 
to a ririsfaptwy manner, in particular the madrinl from Mr, WaUaoe's 
eft«Ka of Loe^e Triun^ "Conn for Cleora dyioe." Mr. Brlnley 
Bicfaards' setting of " God bless the Prince of Wales^ (solos by Mr. A. 
Honer) was also well given. Another capital performance was 
Edvaxw madrigal, " In gohig to my lonely bed," sung by the Misses 
Sawysr and CoUios, the Rev. Mr. Collins and Mr. Quickenden. Mr. 
findlejr played a solo on the Violoncello very cleverly, and a duet for 
iate and pianoforte by the Rev. B. C. Collins ; and Mrs. Collins was 
vHy fa v ou rably received. Major Wieland, who has a very fine bass 
^Rske, aang Galcott's ** Last man," and was encored, when he gave a 
baSad entitled " Some one to love me;'' M^or Wieland afterwards 
iauied Miss C. Savvyerand Miss Collins in Bishops ** Chough and the 
Ctow," and sang " The Bay of Biscay ." Mrs. Collins accompanied the 
^mfranrfe im Sw pianoiMe.— ( OmununicaiedJ) 



2 ditto 

3 stopped 

4 Great Open 

5 Small Open 

6 Gamba 

7 Principal 

8 Clear Flute fwood) 

9 Twelfth 

10 Fifteenth 

11 Pioeolo (wood) 

18 Seaqnialtera— 4 ranks 

18 Mixtare-3, 4, and S ranks 

U Trumpet 

1$ Clarion 

Caoia OsQAV. 
1 Stopped Dlaeason (Bass) 

9 CUrabella (Treble) 

3 Dulclana 

•4 Viol de Qamte 

5 Principal 

6 Flute ... ... ... 

•Y Flageolet 

8 Cremona (to fidde G) 



metal 



Treble) through, 



Swell Oroak *o Tskob C. ft. 

1 Bourdon (wood) tone 16 

2 Stopped Diapason 8 

3 Open „ 8 

4 Keranlopfaan 8 

6 PrincipU i 

6 Fifteenth 2 

7 Ecbo-Comet— 3 ranks 

8 Cornopean 8 

9 Oboe 8 

*10 Clarion 4 

PBDAL OBaiv. 

*l Bub-Bass tone 38 

3 Double Open Diapason 16 

3 Bourdon 16 

4 Principal 8 

6 Fifteenth 4 

6 Sesquialtera— 3 ranks 

7 Posaune ... 16 



COUPLKKS AND ACOKSSOBT HOVBMKSTS. 

1 Swell to Great 
a Choir to Great 

3 Great to Pedals 

4 Choir to Pedals 
The improvements have been carried out by Messrs. Eirtland and 
Jardine, organ-builders, of Manchester, by whom the.organ was entirely 
re-built some five years ago, when it was designed that the sub-bass 
and Posaune should be added to the pedal organ at a future opportunity, 
as funds at that time could not be raised for completing the instrument. 
Provision was also made for the sweU to be carried through ; at present 
it only extends to tenor C. This very important addition yet remains to 
be effected, and it is confidently expected that when the dark doud of 
distress which at present hangs over this town is dissipated, the neces- 
sary funds wiU be obtained for carrying out the object. Mr. Greaves, 
the talented organist of the church, has been most indefittigaUe in his 
esertions to improve the organ, and to render it one of the finest in the 
district — ^worthy, in short, of the church in which it is placed. To 
him especially are the thanks of the congregation due for enabling 
them to possess so splendid an instrument. 

Bblfist.— (J^om a Oorrctpondent.') — No doubt your readers will be 
somewhat surprised to learn that Mr. G. V. Brooke appeared again in 
our Theatre Royal, on Monday the 2oth Inst., as Hichelieu ; such, 
indeed, is the fact, and, however painful it must have been for him to 
do so, after what had occurred, it was perhaps the best amende honorMe 
he could make instead of apologies. The theatre was crowded, and a 
more enthusiastic applause than that which greeted him on his entering 
had not been witnessed before on these boards. Last night (26th Inst.) 
he appeared as Shylock ; the ^eatre was again filled to overflowing and 
the most rapturous applause greeted him ; every word was listened to 
in breathless silence, and every action watched with the utmost atten- 
tion. He was well supported by Mr. Tindell (Antonio), Mr. Cooke 
(Bassanio), and Miss Keinhard (Portia), whose acting was in every 
respect praiseworthy. One of your contemt)oraries ( 7%« Orcheetra) 
reported falsely that the audience was diemiued; such was not the case, 
for, although Kichdieu was abruptly concluded, still the performance of 
the other pieces went on, and money was only returned to a few 
individuals. To-ni£[ht (Wednesday) Mr. Brooke is to appear as Sir 
Giles Overreach, ^vins his services gratis for the benefit of the 
General Hospital, in which laudable object our lessee, Mr. H. Webb, 
has joined him by giving the services of the whole company, house, 
etc., etc., gratis ; so that a rich harvest may be expected, as most of 
the reserved seats are already taken. 

Torquay. — The entertainment under the title of ** A Morning at the 
Pianoforte,*' by Mrs. John Macfarren, took place at Reynold's Piano- 
forte Saloons, on Saturday, and was attended by a fashionable and 
discriminating audience. Mrs. John Macfarren has successfhlly passed 
through the severe ordeal of London criticism, and is now ranked 
among our distinguished pianists. Her deliveiy of the lecture was 
characterized by an easy and graceful utterance; while the biographical 
and critical remarks, from the pen of that distinguished composer and 
lUieralew, Mr. G. A. Maclkrren, were listened to with interest, and 
assisted greatly the proper understanding of the compositiona Not 
the least agreeable part of the entertainment was the smging of Miss 
Walsh, who, endowed with a sweet voice, a remarkably clear and 
distinct articulation, was enabled to give the vocal iUustrationtf with 
charming e£foct. 



Digitized by 



Google 



72 



THE MUSICAL WORLD. 



[Jannaiy 30, 1864. 



MONDAY POPULAR CONCERTS. 

ST. JAMES'S HALL. 
Oma HUKDBKD A3Sm FOBTY-VmST GONOSBT. 
MONPAT EVENING, FEBRUARY I, 1864. 

MO ZART NIG HT. 

^•, Wedn*iday, the 2Tth of January, beloff the 108th innlTertMy ©f the h4rUi 
of Mozart (who was bom in 1766, and died, hi his 36th year, Deeember 6th, 1791), It 
ia belioTcd that a selection from the immortal master's worlu, at the Concert imme- 
diately followinsr, will be accepUble to the many admirers of his mnslo who 
patronise the Monday Popnlar Concerts. The Director begs, therefore, to annoonoe 
that the whole of the programme, yooal and instramental, at the 141st concert, on 
Monday next, will be deroted to compositions by Mocart. 

FABT I. 

QUIHTET, in A m^or, for two Violins, Clarinet, Tiola, and Yiolonoello 

M. M. YiiDXTBiiPS, L. RixB, Lazabus, H. Wub and Paqus. . MoiorL 

8CENA, '< Non pid di fiori" (La Clmnaua 6i I^).^Mlle. Flommox Laxcia, 

with Clarinet Obbligato, Mr. Lasaxcs UoMori. 

BEBENADE, «' Deh Tteol alU finestra ** (Don (^^ovonnO.— Mr. Saxtlxt . UotarL 

SONATA, ia B flat, for Pianoforte alone— Madame Ababblla Godpabd . Muari, 

PABT II. 

SONATA, in A. major, for Pianoforte and Violin— Madame Ababblla 

QODDABO and M. VxBOZTBaipa MourL 

SONO, ** The Violet "—MUeLFLOBBXOBLAVcu. ..... Muart 

AIR, " Non pid andrar* (^b«« d< iVoro)-— Kr. Saxtlbt . . . JfoMrt 
QUABTET, in O minor, for Pianoforte, VioUn, Viola and Violoncello— 
Madame AaABiiJ.A Godoaxd, M. M. Vibuztbupb, L. Bibs, and 
Faqvb ifotorf. 

CoDdnotor - MB. BENEDICT. 

NOTICE.— It la respeotftilly sage^ested that snoh persons u are not desirons of 
remaining till the end of the porformauee can leaTe §UUr Ufmrt tht e«mmmcemmt iif 
tfu Itut inttrumentol piece, «r bdwen any too qf the mwmmU^ so that those who wish 
to hear the whole may do so without interruption. Between the last yooal piece and 
the Quartet for two Violins, Viola, and Violoncello, an Intenral of fitb MnftTrxs wiU 
be allowed. 

8o& Stalls, 5s.; Balcony, 38.; Admission, If . j To bo had of Mr. Avsmi, at 
the Uall, 28 FiocadUly ; Messrs. CnAPPBLL ft Co., 60 New Bond Street, Ac., Ac. 

ST. JAMES'S HALL. — NEW PHILHABMONIO 
CONCERTS.— Dbrector, Professor WYLDE, Mns. Doa— The Subscribers are 
respectAiUy hiformed that the Concerts will commence early in next season. The 
Prospectus for 1864 wiU shortly be issued. ' 

W. GBAEFF NICHOLLS, Hon. See. 



irOTICBS. 

To Advertisebs.— T^^e Office of The Musical World is at 
Messrs. Duncan Davison & Co's., 244 Regent Street, comer 
of Little Argyll Street (First Floor). Advertisements received 
as late as Three o'Cloch P.M., on Fridays-^ut not later. Pay- 
ment on delivery. 

To Publishers and Composers— J/twtc for Review must he for- 
warded to the Editor, care 0/ Messrs. Duncan Davison & Co., 
24A Regent Street. 

To Concert Givers.— iVb BeneJU-Concert, or Musical Perform* 
ance, except of general interest, unless previously Advertised, can 
be reported in Ihe Musical World. 



LONDON 



SATURDAY, JANUARY 80, 1864. 



ITALIAN MUSICAL AFFAIRS. 

IN concluding my last letter I think I mentioned that I 
had heard a tenor of unusual merit and capability, of 
whom it is my duty to speak in more than general terms, 
as he is without doubt a very superior— indeed, I think I 
may say, an extraordinary artist. It is at Bologna that this 
gentleman, Sig. Bignardi, has been singing, and was at the 
Teatro Communale in that city. The Opera company— during 
the early part of the winter, as a rule— is composed of some 



of the first singers in Italy; and as I was very anxious to 
hear Sig. Bignardi, whom I remembered having heard with 
pleasure some three or four years since, during two consecu- 
tive seasons at Genoa, and afterwards at La Scala, when I 
was much impressed by his fine voice and sterling qualitiea 
as an actor and as a singer, I resolved to pocket the incon- 
veniences of the slow, toilsome, and cold journey over the 
Apennines to Florence, so as to pass through Bologna, 
see one of the most renowned theatres in Italy, and satisfy 
my curiosity as to Sig. Bignardi. A '' genuine tenor " at 
the present day is indeed a rara avis ; but without doubt 
Sig. Bignardi is such a tenor in the full acceptation of the 
term. One of those grand singers whose success does not 
depend upon the vehement emission of certain high notea, 
nor upon the execution of a single air in an entire opera, 
Sig. Bignardi is a real and thorough artist, evidently of the 
best school — ^who, in addition to a magnificent organ of great 
sweetness and power, is gifted with taste, feeling, and 
expression, to such a degree, that we look in vain for a parallel, 
save in the recollection of the matchless Rubini. That 
prince of vocalists was doubtless superior in the art of 
vocalisation, in which, indeed, he was altogether incompar- 
able ; but, on the other hand, I am told (for I never heard 
that eminent singer, " children in arms " not being admitted 
to his performances) by connoisseurs at Milan, who remember 
Rubini in his prime, that his fine voice never possessed the 
vigorous strength which Bignardi uses with such e£fect in 
energetic passages. In addition to these vocal qualificationa, 
Sig. Bignardi possesses a handsome exterior, has a good 
stage presence, and, best of all, is a finished actor, much 
superior in this respect to any of the best tenors of the 
present day. Indeed, the first time I ever saw him, he 
struck me almost more as an actor than as a ainger — ^his 
" Malediction" scene (in Lucia) being the finest piece of acting 
I ever witnessed. During the past season at Bologna the 
success which attended the production of Poliuto, Rigoletto, 
and Un BaUo in Maschera, rendered unnecessary any further 
attractions. The custom in this country of giving bnt three 
or four operas during a season of six weeks or two months 
doubtless appears to Englishmen "slow", and not very 
enterprising on the part of managers ; but in reality it is a 
proof, were one wanting, of a superiority of musical taste 
over that of all other nations. In any other country, in a 
town of the size of Bologna, if an opera was repeated half a 
dozen times in a fortnight it is well-known that it would 
cease to " draw " ; for in the provinces, especially in England, 
it is rather a curiosity that causes the masses to listen to an 
operatic performance than a natural taste for music ; and 
when their curiosity has been satisfied, their power of appre- 
ciation is not sufficiently strong to make them care for 
hearing the same performance again ; whereas Italians, on 
the contrary, come night after night to hear the aamo opera — 
whereby they soon leam the especial beauties of the work, 
and from that intimate knowledge which can alone be 
acquired by a succession of hearings, these beauties shine 
forth with greater brilliancy and present far greater charms 
for an essentially musical audience than is possible when they 
are first heard and less well understood. Of Poliuto I 
cannot speak. Sig. Sirchia, the tenor, after a few nights, fell 
ill, and did not recover sufficiently to reappear. The prima 
donna, Mdlle. Vitale, of whom the papers and the ahonnes 
of the theatre speak in terms of high praise, ia, I hear, 
engaged by Mr. Mapleson for his coming campaign ; your 
readers will, therefore, have an early opportunity of judging of 
her merits. Of Sig. Sirchia I can only repeat the words of 
a gentleman to whom I applied for information : •* J?a tnezzi 



Digitized by 



Google 



Jamiazy 80, 1864.] 



THE MUSICAL WORLD. 



73 



vacoK trnmemi — ha un gxoiello nella gola'' Rigoletto, the 
second opera produced, brought out Mdmes. Lotti Delia 
Santa and Borchart, Sigs. Bignardi, Cima, and Derivis ; and, 
being excellently performed, had a great success. I have 
often wondered how an opera with so fearful a subject as 
that on which the Itbretto is founded could have gained so 
much popularity ; but now, as sensational subjects are in 
Togne, it is quite suitable to the taste of the day. The 
action being laid in a profligate court the incidents are 
but characteristic. Abduction ; violation ; an execution ; 
anboming to murder ; a midnight assassination ; and, finally, 
the escape of the chief criminal, singing a joyous refrain, are, 
perhaps, rather strong incidents for an evening's amusement ; 
but Verdi has treated the subject in so highly genial a 
manner, has exhibited such great practical knowledge of the 
stage, and has written such very lovely and expressive melo* 
dies, that the magic of the music wonderfully softens the e£fect, 
and the notable features of Victor Hugo's drama are wit- 
nesaed with the most perfect equanimity. The great 
qnulet and the popular song, " La donna ^ mobile ", were 
decidedly thr '' hits " of the performance — the former being 
given with great effect. The mirthful vivacity of Madalena 
— contrasting with the agony thrilling through every tone 
of the wretched Gilda — threw a new life and interest into 
this morceau ; while the pathos of Eigoletto and the fresh 
voice of the Duke, gave an eclat to the scene not to be sur- 
passed; and the latter — which on some occasions was repeated 
no less than four times, bringii^g out some of the finest high 
notes it has ever been the lot of man to possess — ^was received 
with a literal hurricane of applause. Mdlle. Lotti (Gilda) 
together with Bignardi, carriea off the greater part of the 
applause. In the grand $cena with her father, in the third 
act, Mdlle. Lotti's qualities as in actress and a singer were 
displayed to advantage ; but a regret was felt that she was not 
-very ably supported by Sig. Oima, who, though exhibiting 
taste and feeling in his 8ingin|^, has neither voice nor pAy- 
gt^ue for a character of such iniportance as that of the Uourt 
Jester. Un BaUo in Moiehera, the third opera given at 
BiiopiAf has never held so high a place in the favor of the 
poUio of London or Paris as to make it as attractive as 
other operas by Verdi. The Itbretto is certainly poor in 
the extreme ; but, in my humble opinion, the music presents 
beaatiea of a high order. Verdi's natural talent is pro-* 
gresnve par txcdlence. In every fresh opera he gives proof 
that he works indefatigably to arrive as near to perfection as 
possible ; and in this opera he has shown a greater desire to 
illustrate, by appropriate music, the various " situations " in 
the ItbrettOf than he has done in any previous work. 
Moreover, he has eminently succeeded in combining with 
great taste and judgment the declamatory style of Meyer-* 
beer with the deUciously flowing melody of the Italian school. 
He haa given several proofs of his veneration for the great 
German masters, and has made good use of his study of their 
works, at the same time retumng that true Italian cachet 
which always distingniBhes his music. In fine, throughout this 
opera he has written with freedom and independence, while 
he haa shown his respect for the acknowledged forms of 
musical art and his desire to design and construct after models 
of known excellence. Verdi, in ITn Ballo in Maschera, is the 
first Italian composer who has given individuality to the music 
of sach a spedal character. How affectionate and fond a 
lover is Riccardo; how deeply interesting is the frail Amelia; 
how manly and loyal is Renato-^how terrible in his anger, 
hofw fearfol in his despair, how sad but tender when 
he edia to mind his dolcezza perdute; how vivacious 
md roguitii a page Ib Obcat ; and with what consummate art 



are drawn the portraits of the two conspirators, who form 
so important and effective a background to the picture! 
What lovely and varied melody flows through the opera 
from beginning to end! how skilful and elaborate is the 
instrumentation, without even causing a feeling of heaviness ! 
— indeed, in a word, what Ajche/cPoeuvre has Verdi produced ! 
— what a model for youthful and aspiring composers. Of the 
performance I can speak in terms of high praise. Mdme. 
Lotti's costumes are rather more rich than in good taste 
»-for, when she leaves her home at midnight and proceeds 
to a wild desert in search of the "healing herb", it rather 
surprises one to see her in a ball dress of the latest Paris 
fashion; and, again, when she goes by stealth to the masked 
ball, to warn Riccardo of his danger, one would think that, 
her object being not to be observed, she would hardly wear a 
dress of the gayest description, or be covered with the most 
costly and sparkling jewellery. . However, as a singer and 
an actress, in this part she appears to great advantage and 
evidently proves herself to be an artiete of considerable 
qualifications. Her delivery of the plaintive air '* Morro 
ma prima di grasia," so well adapted to the situation, was 
absolute perfection, her touching pathos finding its way to 
every heart; while her acting, in the same scene where Renato 
bids her prepare for death, was intensely fine. Sig. Bignardi 
appears to greater advantage in Un Ballo than in Rigoletto. 
After witnessing his performances I am bound to acknowledge 
that the part of Ricardo becomes very much more effective 
in the hands of a tenore rohuito than when entrusted even to 
singers of such rare excellence as Mario and Giuglini ; for 
the part having been written for Fraschini (whom, both in 
voice and style, Bignardi much resembles), the energetic 
passages, which are so well suited to his vigorous and 
declamat<»y delivery, lose much of their beauty and effect 
when they fall into the hands of tenors whose only defect is 
want of power. Certainly one of the great charms of 
Bignardi's voice is its sweetness; but, though it is with 
the greatest feeling and tenderness that he sings his 
first air, '' La Rivedrd " — so lovely with its simple accompani- 
ment and its bold harmonic changes, and so expressive of 
the feelings of a lover about to be united to the idol 
of his heart — I am uncertain as to whether I was not 
more struck by his execution of the piassage " La rivedarti 
Amelia," when he is sunmioned to the ball by Oscar. 
This he declaims with an enthusiasm which seems to 
give vigour to his delivery and additional power to his 
noble voice. The effect he produces here is indescribable, 
and the tumultuous plaudits which nightly hail him after 
this scene are a clear proof of the high esteem in which he 
is held by an audience well capable of discerning real 
talent Mdlle. Daria (whom I am told is a Miss Smith) 
makes a lively page, and sings the sparkling song, " Saper 
vorreste," in a manner to ensure a nightly encore. Were 
this young lady's talent on a par with her vivacity she 
might hope to attaui as high a place in public favor as her 
successor at " Her Majesty's " — ^Mdlle. Volpini. Sig. Cima 
is entitled to praise for his artistic and careful singing as 
Renato; and in the concluding scene of the second act, 
where he is surprised by the conspirators, he gives evidence 
of greater dramatic power than I had supposed him to be 
possessed of. The voice of Sig. Derivis, who raises the 
small part of Samuel into one of prominence, is quite 
wonderful when one remembers that he was the original 
representative of many of the principal bass parts of Verdi's 
early operas, produced more than twenty years ago. Time, 
that great necromancer, which, according to Unsworth, the 
modem Demo0thene0| has, in the last few years, in one 



Digitized by 



Google 



74 



THE MUSICAL WORLD 



[January 80, 1864, 



country clumged a crown into a crashing machine, and in 
another, a Napokon into a Bovereign, aeems to have had no 
effect on the powerful organ of DeriviB, for it certainly leaves 
but little trace of wear and tear, and is as good now as when 
I last heard it — on the occasion of Mdlle. Cruvelli's return 
to the Grand Op6ra at Paris, after her memorable etcapade. 
At Florence the event of the past season, indeed of the 
year 1863, has been the production of Fav4t at the Pergola, 
which was received in a manner so warm and enthusi- 
astic as to be almost without parallel. During a season of 
twenty-four nights FavMt was performed nineteen times ; and 
this beautiful music, which gains so much on acquiuntance, 
was. always listened to witii religious attention and ever- 
increasing pleasure by crowded audiences. The Florentines, 
as well as the Director of La Pergola, should be con- 
gratulated on the possession of such artists as Mdlle. 
Boschetti, Stigelli and Atry, who, I am bound to acknow* 
ledge, are, to my mind^ more satisfactory representatives of 
the principal parta tiban any I have witnessed either in 
England, France, or Germany. Although in certain operas 
Mdlle. Titiens and Miolan are both without competitolrs, 
and although I am an immense admirer of Tamberlik and 
Giuglini, I cannot refrain from remarking that those whose 
acquaintance with M. Gounod's works has been limited to 
England, have not had an opportunity of judging the many 
striking beauties allotted to the principal toprofno and 
tenor. I have the most profound respect for the opinion of 
M. Gounod, who I believe considers Mdme. Miolan's pour- 
trayal of the character '' absolute perfection." That it is so, I 
do not wish to deny, but must confess there are many 
Margherites whom I vastly prefer. It would indeed be 
difficult even to imagine a more poetical Margherite than 
Mdlle. Boschetti, who presents a delightfally natural picture 
of the young trusting, loving girl. Nature and art have both 
been liberal ;in their gifts to this young lady, and she has 
certainly every qualification to be tibie htau ideal of Goethe's 
unhappy maiden. How surprisingly lovely is she with her 
long fair hair and her remarkably innocent expression, when 
she first appears to Faust ! — ^how modest and retired is she, 
as ishe passes through the gay crowd in the Eermesse, when 
first meeting with her fatal lover ! — And again, after having 
examined the jewels with mingled feelings of surprise and 
fear, when she appears at the window and gives vent to 
the troubles of her lacerated heart, she is so perfectly 
natural, and her acting is so entirely free from any stereo- 
typed form, that this scene appears a reality rather than ** a 
scene in a play.' ' But Mdlle. Boschetti is most irresistibly at- 
tractive in the scene of Valentin's death. Here she really 
shines as a grand actress; and the shriek of horror that escapes 
her lips, and the look of despair that creeps over her features 
when she meets the gaze of her brother and hears his dying 
curse, are wonderfully trae to nature, and fully entitle her 
to the enthusiastic applause with which she is nightly 
rewarded. Space does not allow me to say so much as I 
should wish of Mdlle. Boschetti's superior vocal powers; I 
must therefore content myself by stating that, although her 
voice is not strong, it is of excellent quality ; that she always 
slugs in tune, has a wonderful shake — no dap-trap about 
it (as that wont go down in Italy, though it may elsewhere) ; 
and that the sweetness, grace and finish which are the chief 
characteristics of her singing in the air ** Des Bijoux," proclaim 
her to be a really accomplished vocalist. Sig. Stigelli — 
who from his singing I should imagine to be a German — ^not 
only possesses a voice of great beauty and power, which 
enables him to give due effect to the many declamatory 
passages that fall to the part of Faust, bat is also a singer 



who has evidently given much time to the study of classical 
music. This qualifies him in an especial manner for the 
arduous and difficult part of Faust ; and his singing throughout 
the opera is most artistic. His delivery of the lovely 
air, *' Salve dimora casta," is distinguished by a beauty of 
voice, a purity of intonation, and a breadth of phrasing not 
to be surpassed. Mdme. Viale, whose contralto voice was so 
very much admired in Edinburgh some four years ago — 
where she was singing with an opera company called 
"The Fenice Opera Company from Venice" — makes a charm- 
ing Siebel, and sings the elegant "Parlatele d'amor" so 
well as scarcely ever to escape an encore. Signer Pizzicati, 
who has a certain reputation in Tuscany, but whom I never 
admired, is Valentino. Although careful and painstaking, 
he does not raise himself in my estimation by this performance. 
Sig. Atry, of whom I have often spoken favourably in 
these pages, on the contrary, by his admirable impersonation 
of Mefistofele, adds another to the long list of triumphs 
he has already gained. This gentleman, who, for the last 
three years has been justly considered the best basio-pro- 
fondo in Italy, has a very fine voice, clear and mellow in a 
remarkable degree, though perhaps not possessing those 
wonderfully rich deep tones which rendered the voice 
of Herr Formes unique. His intonation is always truthfdl 
(a most desirable qualification in a bass), and his singing 
tells of a good school. On the whole, I doubt whether 
Mefistofele ever had a more characteristic or a more power- 
ful interpreter. He is the very impersonation of Goethe's 
bantering, ironical dtavolo. He sings the bacchanalian coup- 
lets with a vigour which brings down the house ; he makes 
an immense deal of the scene in which he is attacked by 
Valentino and the students in the second act ; and he is 
really magnificent in the scene outside the church with 
Margherite, where his grand voice, his wondrous "make-up," 
and his artistic acting, all combine to make this passage 
one of the most effective in the opera. After what I have 
said of Signor Atry, I trust that I give good news 
to the frequenters of Coven t Garden when I teU them that 
in a tew months time they will have an opportunity of hear- 
ing this eminent artist. The orchestra of La Pergola, to 
which much attention has been paid lately, has gained vigour 
and breadth of style, and is now certainly one of the best in 
Italy. That every member of the orchestra enters heart 
and soul into his work, and feels a pride in assisting in the 
execution of so fine a eomposition, I can readily believe ; for 
the band is almost faultless from beginning to end — ^the 
uncommon accuracy that distinguishes the accompaniments 
being no less remarkable than the admirable performance of 
the impressive introduction. If the chorus was up to the 
same standard of excellence as the band, the peformance of 
Fauit here would be very near perfection. In spite, however, 
of numberless inaccuracies, a want of steadiness, and a great 
disregard of light and shade, the chorus singers always 
manage to secure for themselves two encores nightly — ^the 
strikingly-original chorus of old men, and the magnificent 
soldier's chorus, "Gloria immortale" — though in the latter 
case I think the compliment is intended rather for the 
music than for the singers. In conclusion, Gounod's chef 
d^oBuvre — having the advantage of an unrivalled Margherite, 
a Mefistofele whose equal could not easily be found, a most 
artistic Faust, excellence in the minor parts, a superb mise- 
en-scene, and a first-rate orchestra — ^has been performed nine- 
teen times within a month, the applause being always warm, 
and at times enthusiastic ; so that now the Tuscans, as well 
as the Lombards, have confirmed the verdict pronounced by 
the public of every other country where Fixmt Iiab been 



Digitized by 



Google 



January SO, 1864.] 



THE MUSICAL WOKLD. 



75 



heard, and which proclaims M. GK>nnod one of the greatest 
composers of the day. A. S. 0. 

[Beadeis of the Musical World are requested to nnderstand that 
we by no means consider oursebes responsible for the opinions of 
our dever, pleasant, and enthusiastic correspondent. Mdlle. Lotti 
Delia Santa and Herr Stigel ^Stigelli) must be wonderfully im- 
proved if they are really now wnat ^* A. S. C* represents them to 
be ; and, for this reason, we would rather judge for ourselves of 
Sig. Bif^ardi, Sig. Atry, Mdlle. Boschetti, &c. Mdlle. Viale could 
never smg at all,* and M. Derivis (& Frenchman) could never sing 
weD ; whUe the last time we heara the orchestra of the Pergola it 
was simply detestable. Nor can we endorse without reserve the 
opimons <» our correspondent on Verdi and Gounod. Nevcorthe- 
leas, his letters are cordial and charming, and for that reason we 
publish them.— Ed. M. W,'] 



A LETTER FROM DI8HLEY PETERS. 

T9 the BdUor qfthe Musical Wobld. 

SIB, — ^This is not a long letter, bat a short letter. I was 
at Vienna, and I heard Herr Ernst Pauer. That, you 
win say, was hardly worth the pains of a journey to so 
remote a capital. You are right ; but I was at Vienna, and 
having, I will not say nothing better to do, but nothing at all 
to do, I went to a concert, and there I heard Herr Ernst 
Paaer. Having nothing at all to do, I sat out the whole 
concert. At the end of my seance I felt very hungry. They 
say that hearing music makes one hungry. That is possible ; 
bnt hearing such music as is made by Herr Ernst Pauer 

f'vea one a peculiar thirst — a thirst for beer. Accordingly 
went to a beershop near St Stephens' (where I used to see 
"/eu" Saphir and Leopold, the living 4e Meyer) and 
drank beer. While drinking beer I began to think, and in 
the process of thinking fell asleep. I had a horrible dream. 
I dreamed that I heard Herr Ernst Pauer*s concert all 
through again, from the first piece to the last. In dreaming 
I said aloud to myself : I have done notling to deserve this, 
and in saying this much aloud to myself I awoke ! When I 
awoke that sempiternal '' Cascade " seemed to be gushing 
slowly and painfully out of my ears. "No matter" — I 
involnntarily shrieked — " no matter," whether I have nothing 
belter to do, or whether I have nothing at all to do, I will 
never go again to a concert of Herr Ernst Pauer's. It is 
the very WOlfenbattellism of pleonasm. I then relapsed 
into slnmber quite unconsciously. 

Three days after I went to get shaved, at a shaving shop 
ilso near St. Stephen's. The shavers were all shaving, like 
diligent shavers of their shears. So I had to wait. I waited 
for my turn, and took up a paper. In the paper which I 
took up I read as follows : — 

•* We may mention Herr Ernst Pauer, the pianist, as one of the artists 
we were most pleased to see during the present concert-season. He 
fiTBt gave a soii^e in Streicher's saloon, and then a concert in the hall 
of the Hoflical Association. It was not merely the grateful recollection 
of his visit, years ago, which caused the very numerous audience to 
accord him 00 hearty a reception. Between Uiis visit and the concert 
of the day before yesterday, Herr Pauer had rendered some valuable 
swioee, which made his name known in the most distant localities, 
Imt more especially popular in his native country, Austria; we allude 
to his exertions at the great ezhihition in London. His sagacious and 
powerful aasistance has done much towards causing the manufacture of 
mstmmenta In Austria and the Zolverein to he snbflequeutly viewed in 
a new fight of just appreciation. What he did at the Exhibition con- 
dsoed moreover to give the public a proper idea of his professional 
aerits. While Pauer, as a juror, protected music in the material 
means by which she works, he had long previously striyen and worked 
Jar her ideal objects. By precept and by example ^ at a teacher and as a 
'' tir,ito$o,** has Pauer for Ute Uut twelve years sowed, with the most satisfactory 
fen/Uy the seeds of German feeling for music in JSnylatid. To us Germans 
baa been entrusted the intellectual mission " of carrying civilisation to 



the east;" but the German musician must also take care of a good 
portion of the west. There are still in England large tracts of musical 
education so unsatisfactorily cultivated as to give plenty of employment to 
Qerman missionaries, Pauer is such a missionary ^ and one of the best doss ; 
as head pastor of German music in London, he has musically christened and 
confirmed innumerable ladies and gentlemen. The fact of Pauer's having 
speedily gained, by his acquirements, his actimty, and his character, universal 
authority in England has been attended with advantage to art, for an Eng^ 
liskman believes m authority. On the strength of Pauer's *' Histmical Oon- 
certs " not a few " dHUtantV* in London have rendered themselves aequainied 
with Bach, (J I) Beethoven, (Ut)and Schumann. 

We ought and must remind our readers of all this on the present 
occasion, for it is very certain that the audience remembered it all on 
Sunday afternoon when thev beheld advancing before them tiie slim, 
grenadier-like figure, with the true-hearted look and the friendly smile, 
that, a certain number of years since, left this dty as Ernst Pauer " to 
try his fortunes in the wide world." 

In his time, we have done jnstioe to Pauer's playing. We can now 
only add that his style has become more consolidated, poUshed and 
refined. We cannot say *' transfigured," for Pauer belongs to those 
happily constituted individuals whose talents and impulses are, from the 
first, in harmonious equilibrium, and whose development takes place 
without any volcanic process or embarrassing obscurity. Gear, correct 
and convincing does his play speak to the hearer, not with power that 
carries the latter away, but with the most winning grace. It is invari- 
ably baptised in moderation of feeling, which, it is true, docs not venture 
on the loftiest flights, but which can boast of possessing the right means 
of expressing what is powerful as well as what is (^easmg. Over every- 
thing that Pauer undertakes there hovers the spirit of certain success, 
the stead&stness of tried views on art, and the cheerfiilness of a weU- 
ordered mind. 

Works of demoniacal passion like Schumann's D minor Trio, or 
Beethoven's C minor Sonata, Op, 111., we can imagine morepowerf^y 
and more boldly conceived ; {rsally I) nay, we could sometimes vrish 
them to be so (if A possible f) — ^but, within the circle which Pauer's 
individuality (/) describes around these objects, they appear free from 
blemish, and executed with the utmost evenness and dehcacy. No man 
can render more beautifully than Pauer the tender passages of Beet- 
hoven's variations, especially the difficult trill- variations. (Diablel) 

After these two great pieces and a nervous, fresh concerto by Handel, 
which last production Pauer performed most admirably, it was only just 
that we should be made acquainted with his art from its worldly side 
as well. 

He played his " Cascade, which has long been a fashionable study in 
London {!), and a bravura waltz, of his own composition, with that 
elegance and delicacy which ♦♦♦♦♦»♦ 

After reading this, I cried out (involuntarily) "Per Bacco! " 
— ^when straightway a shaver took me and shaved me. 
Leopold de Meyer then suddenly made his appearance. 
"De Meyer!" quoth I. "Peters I" quoth he. "I have 
read a critique," quoth I. "You have?" quoth he. I told 
him all ahout it; I remonstrated; I said Herr Ernst Pauer had 
taught us in England no more of Bach and Beethoven than 
we knew hefore he came. " You are a goose," ohserved De 
Meyer, "who helieves he did?" "What then am I to 
understand ?" I asked. " Whatever you please," he answered, 

" but come and dine with me at , and I will tell you 

what is thought of Pauer out of WoUfenbauttel." " But the 
article," said I. " Never mind the article," said he. So we 
dined together, and talked of Manhattan. 

King and Beard, llfraconAe, Dishlet Peters. 

Devon. Jan, 27. 

P.S. — By the way, ha^ Ernst Pauer realli/ been such a 
musical prophet in England ? — and is he realli/ a Brummagem 
OharlesHall6?— D. P. 

[Apply to Owen Ap' Mutton, Esq.— Ed. M. W.] 



THE OXFORD PROFESSOR OP MUSIC. 
To the Editor of the Musical World. 

SIR, — In an article appearing in your paper, of Jan. the 
9th last, on the appointment of Oathedral Organists, the 
writer was evidently, as I can show, under several wrong 
impressions ; and, as I am sure you would rather your paper 



Digitized by 



Google 



76 



THE MUSICAL WORLD. 



[Jatmary 30, 1864. 



should assert facts than what is not the casOi allow me to 
make a few remarks to contradict the errors in the article 
referred lo, which may have led many of your readers to 
form wrong conclusions. 

Referring to the protest against " men of great ability " 
being " ignored to make way for the unknown proteges of 
an aggressive and bigoted church party," and to the order 
that ** the capitular bodies seem to have tacitly arrived at a 
resolution to commit all such appointments to the decision 
of the Reverend Sir Frederic G. Ouseley," specially allud- 
ing to " the last two cathedral appointments that have been 
made," it is very well known by Sir Frederic Ouseley's 
friends and by all who know much of him, that he does not 
belong to any " Church party;" and I am in a condition to 
state positively that Sir Frederic Ouseley had nothing what- 
ever, directly or indirectly, to do with either of those 
appointments ; so the appointments have certainly not been 
" committed to his decision," and only in the imagination of 
the writer of the said articles were ** such responsibilities 
placed in his hands." 

The writer of the article in question certainly implies that 
Sir Frederick Ouseley upholds Gregorian ("unbarred") 
music : it is but just to Sir Frederick and fair to the public 
that it should be distinctly known that, far from being an 
upholder of Gregorian music, he has constantly, all his life, 
strongly opposed that style of music in every way in his 
power, in his professional lectures at Oxford, and in his 
lectures on church music in various parts of the kingdom. 
Furthermore, he does not allow Gregorian music to be sung 
in Hereford Cathedral (where he is Precentor), and he has 
established and endowed a choir in his college at Tenbury 
where not only is such music rigidly excluded by him, but 
every care has been taken that that kind of music shall never 
be sung in his college hereafter ; and, lastly, it surprises me 
that Sir Frederick Ouseley should be charged with sympa- 
thizing with Gregorian music, while it is so recently that 
this style of music was so strongly denounced by him in his 
paper which he read before the Manchester Church Congress, 
and which has appeared in several London newspapers. 

Trusting you will allow this letter to appear in your next 
impression, I am, dear sir, your obedient servant, 

Queen's College, J. F. Erskinb Goodeve. 

Cambridge, Jan. 2G, 1864. M.A, Cantab, 



MUSICAL SOCIETY OF LONDON. 

The following I'etire from the Council at the next general meeting, 
Wednetday^ Feb, 3: — Mr. Henry Smart, (Profuaional) ; the Rev. Sir 
W. Henry Cope, Bart., and Mr. Edward James, Q.C., (^Ncn-Profit- 
sional). The following have been nominated for election on the 
Council : — Senor Manuel Garcia, M.D., {Professional); the Rev. Sir W. 
Henry Cope, Bart., and Mr. Edward James, Q. C, (Non-Profemonal). 
There are eight vacancies amongst Professional, and six amongst Non- 
Professional Fellows). 

The following Associates have been nominated as eligible for election 
at this Meeting: — Luigi Arditi, Henry Baumer, Benjamin Blyth, M.A., 
J. T. CaiTodus, William Carter, Michael Costa, Charles J. Hargitt, 
E Stanton Jones, W. H. Monk, W. Redfeam, Cipriani Potter, F. 
Schira, R. Harold Thomas (Profuiional) ; George Davy, Dr. James 
Parker Deane, Q.C, the Earl of Dunraven, Robert G. G. James, Thos. 
Lintott, Charles Plowden, Henry Rougier, and Dr. W. Stevens Squire 
(Noti-PTQfeuumal), A stormy meeting is anticipated. 



Mbndelssohn's Bibtbdat. — ^The C4th anniversary of Mendelssohn's 
4)Lrth will be commemorated on Wednesday, February 3rd, by the 
National Choral Society, at Exeter Hall, under the direction of Mr. G. 
W. Martin, when Elijah will be performed by a band and chorus of 700 
performers. Princi|Md singers, l^Iadame Rudersdorff, Miss Emma 
Heywood, Mr. Sims Reeves, Mr. Santley, Miss Annie Cox, Mr. G. 
A. Carter, Mr. J. Matthews, ^., QrgazuBt, Mr. John G. Boardnum. 



PARIS. 

{From our own Correspondent,) 
The weather is making sad havoc among the singers, and at all 
the musical theatres a chieuige in the performance is almost nightly 
necessitated. The skies seemed to have rained coughs, colds, rheu- 
matisms, sciaticas, lumbagos, and a whole deluge of bronchial 
diseases — ^all on Paris — ^which prevail to a greater extent in and 
around the Boulevards. I told you that M. Warot's indisposition 
had stopt the performances of Molse for eight days at the Opera. 
When the tenor recovered the baritone was attacked, and M. Faure, 
who was compelled to take to his bed, was replaced in the character 
of Fharaon by M. Bonneseur, who in turn ceded that of Osiris to 
M. Vidal. So far whatever may have been the difference between 
M. Faure and M. Bonneseur, the illness of the former was not of 
such vital consequenoa as to enforce the withdrawal of Rossini's 
opera. If Moise did not go on so swimmingly with M. Bonneseur 
as with M. Faibre, it went on at all events — which was not the case, 
however, when MdUle. Marie Battu was * ' enrhumed." This had the 
effect of bringing about a change in the performance — Le Trouvere 
being substituted for Molse, Such repeated disappointmente would 

Srove fatal to an ordinary work; but Moue stands its ground 
espite all reverses and obstructions, and the eight first represen- 
tations, I am told, averaged ten thousand francs. M. Yillaret and 
Mdlle. Marie Saxe, who were laid up for some time with sore 
throats, have reappeared in the Juive, Meanwhile the utmost 
activity prevails at the great national theatre. Rehearsals are 
progreBsinf^ mom, noon, and night. Roland a Roncevaux is 
still promised for the month of March, and the debut of MdUe. 
Amina Boschetti, in the new ballet of MM. de Saint Georges, Rota, 
and Giorja is looked forward to with interest. A new one act 
opera, by M. Ernest Boulauger, to be given at the same time as 
the ballet, will serve for the debut of a young singer named Mdme., 
or Mdlle. L^veiUi. By the way, the distribution of the characters 
in Roland comprises the names of M. Gueymard (Roland^, M. 
Belval (Archbishop Turpin), M. Cazaux (Gannelon), M. Warot 
(a herd), Mdme. Gueymard (Aide), Mdlle. de Tai£fy (Zaida), 
Mdlle. de Saint-Aguet (a page), &c., &c. — ^At the Italiens, Mdlle. 
Adehna Patti, having recovered from her iUneas, has appeared three 
times in the Sonnambula, singing and acting her very best, and 
re-awakening the old enthusiasm. Others at this theatre, besides 
Mdlle. Patti, have been afflicted with the prevailing complaint. 
Mdme. Charton-Demeur has been laid up for some days; and 
even M. Castagnin is obliged to abandon his stick and take to 
his bed. A new tenor, Signor Musiani, has made his d^but as 
Manrioo, in the Trovatore^ with bat liUle effect, owing, it is affirmed 
by his friends, to a severe cold. His voice certainly sounded hoarse. 
Mdme. Meric-Lablache, stimulated, I presume, by the reception 
of Mdme., or Mdlle. Lxmiley — there is no greater restorer of 
vocal powers than the success of a rival — has reappeared in the 
part of Azucena. Talking of Mdlle. Patti, the dispute about her 
age is put beyond all dispute. The Gazette des Etranaers has 
published a fac-simile copy of her baptismal register, which I send 
you for the satisfaction of those friends of the young lady who have 
all along insisted that she is many years older tlutn she declares 
herself to be. It now turns out that Mdlle. Adelina Patti will be 
twenty-one on the 19th of next month, which proves that she 
must have been a mere girl when she came to London, some three 
years and a half since. Here is the baptismal register, copied from 
the original : — 

** Act of baptism of Mdlle. Adelina Patti, copied from the original by the 
kindness of Signor D. Pedro Alba, Ticar of the Chnrch of St. Lonis, at 
Madrid." 

" ( Extract from theforly-seeond book of baptisms, fol. ISS).** 
" In the city of Madrid, same provbce, the 8th of April, 1843, 1 — D. Jose 
Losada, vicar of the parish chnrch of St. Louis — did solemnly baptise a female 
child, bom at four o^clock p. m., on the 19th of Febraazy last, legitimate 
daughter of D. Salvador Patti, professor of music, bom at Catania, in Sicily, 
and of D. Catalina Chiesa, bom at Rome — D. Pedro and D. Conoeptione 
Madrino, bora at Catania, being paternal grandfather and grandmother, and 
D. Juan, of Venice, and D. Luisa Castelli, of Marino, in the Pontifical States, 
maternal. The chUd was christened Adela Juana Maria. The godfather and 
godmother were D. J 096 Sinico, of Venice, professor of music, and his wife, 
D. Rosa Manara Sinico, of Cremona, in Lombardy, to whom I explained 
the spiritual parentage as well as the obligations which it involves. The 
witnesses were Julian Hueza and Caziano Garcia, of Madrid, Sacristans of this 
church. ** In virtue of which I have completed and legalised the present acty 
the eighth day of April (Signed) JotB Losada." 



Digitized by 



Google 



January 30, 1864.] 



THE MUSICAL WORLD. 



77 



The programme of tiie second concert of the Society^s Concerts 
at the €k>nseryatoire included Meyerbeer^s overture to Struensee ; 
chorus from Rameau^s Castor et PoUux; Beethoven^s Concerto in 
C minor — ^M. Georges Pfeiffer at the piano ; choruses from Men- 
del3Bohn*s Walpurgis Night; and Hajdn^s Symphony, Ko. 81. 
The programme of the sixteenth Popular Concert of Classical 
Music (second series), which took place on Sunday, was as follows : 
— Qvertnre to 11 Flauto Magico — Mozart ; Symphony in B flat — 
Beethoven ; Sonata for the violoncello — Boccherini (Sig. Piatti) ; 
Andante— Haydn ; Symphonv in A major (Italian) — ^Mendelssohn. 
The third and lost series of these concerts will commence on 
Sunday, the 14th of February. It will comprise six performances 
of classical music, and three ^^ festivals,** devoted severally to the 
compositions of Beethoven, Mendelssohn, and Haydn. 



MONDAY POPULAR CONCERTS. 

The return of M. Vieuxtemp«, chief of the freat Belgian mhool of 
violiD-playing, and one of the most renowned virtmti to whom the 
dironides of the " Fiddle/' ancient or modem, make allunon, is always 
an event of extraordinary interest for the patrons of the Monday Popu- 
lar Concerts, who on Monday night flocked to St. James's Hall in such 
numbers, that shortly after the performance began scarcely standing room 
could be found. The year — ^the sixth of the existence of an institution 
which, if it is carried on in the manner to which the musical public 
have been accustomed (and for that the antecedents of its director, 
Mr. Arthur Chappell, offer a pretty safe guarantee) promiies to enjoy 
an unusually long and prosperous life — could not have been inaugu- 
rated more auspiciously. It was the 140th concert, and not one of the 
139 preceding programmes has surpassed in variety and excellence the 
scheme made out for the occasion. M. Vieuxtemps, who was warmly 
wdeomed, came forward with the magnificent qaartet in A minor, 
Op. 18, which if not the first that Mendelssohn produced — as may be 
seen on consnltins that provoking catalogue of his MSS., just published 
by Herr Rietz, of Leipsic, one of the imluckv ** Four ** to whom the 
oare of them was for some yean confided, and for a purpose they have 
wholly ikiled to carry out — ^is at any rate among the first considered 
worthy, at the time, of being engraved. What Mendelssohn thought 
of this quartet, composed at the age of 18, two years after the Oitetto, 
when his young head was taR of the later works of Beethoven's so- 
called *• Third Period '*— as if Beethoven's style had not been gradually 
developed, like that of any other master — ^may be gathered from several 
passages in his letters, and more especially from one in a letter to his 
&ther, dated *« Paris, March 18, 18:$2 :"— 

*• I MUk Me that yoa iMin nthor Inoltned to deride mj A minor qosrtet, irhen yon 
ny ttwn Is a plaoe of iDitrumontal matlc which has made joa raok yoar brains to 
diaeoTor tte oomposer's thoughts, while he probably had no thonghu at all. I most 
ddhnd tlie werk, tor I lore it ; bat it oertaloly depends very much on the way it is 
•zecnted, and a single mnsician who could perform it with seal and sympathy, as 
Tmabat did, would make a Tast dUTerenoe.— Your Fsux. 

'* Thirty-two years have elapsed," the Analytical Programme re- 
minds us — " since the above was written." Meanwhile Paris has as 
completely forgotten the Quartet in A minor as though it had never 
been played, while London is onl^ just beginning to know it. For its 
most reoent introduction we are mdebted to M. Vieuztempe, who on 
Monday night playedit for the third time at St. James's Hall. Eminently 
adapted to his large, nervous, energetic style of bowing, this quartet — 
Uke Schubert's in D minor — has become so dosely associated with the 
name of M. Vienxtemps that habitual frequenters of ihe Monday 
Popular Concerts would not willingly hear it led by any other violinist 
while Uie services of the accomplished Belgian are obtainable. On the 
present occasion his performance was as grand as before — ^in some 
mstances perhaps even surpassing previous efforts. The whole work — 
Icmg, elaborate, and undeviatingly serious as it is — was listened to by 
the closely packed " 2,000 " with intense delight, the quaint vntermatto^ 
with its crisp and piquant tiriot being encored with rapture. To repeat 
it, in obedience to a desire so unanimously expressed, was inevitable ; 
and the second performance afforded no less satis&ction than the first. 
The other players in the quartet — Messrs. L. Bies, H. Webb, and 
Faque (second violin, viola, and violoncello) — ^were in all respects equal 
to their task, and followed their leader as closely as though their three 
fiddles, big and small, had been inseparable supplements of his own. 
Mr. H. Webb deserves a word of eulo^ apart, for the uniformly steady 
and artistic way in which he took up the important points in each 
movement so lavishly awarded to the viola — an instrament, by the 
way, for which Mendelssohn entertained a strong predilection, and on 
which he was himself a performer fas old London amateurs of quartet- 
plajring may remember) of no orainary skill. The other quartet — in 
D major, the sixth of the inexhaustible Haydn's Op. 50 — was heard 
for the first time at thpne concerts. It is a freHh, Yigoroiis, and admir- 
able composition, exhibiting tiie talent of the genial master iu its 
prime, and his melodic invention as free and unfettered as the winds. 



The adagio particularly (in the minor key) is a movement everywhere 
impressed with the genius of Haydn. A more happy contrast to the 
graver and sadder inspiration of Mendelssohn, or a more effective finaU 
to the concert, could not possibly have been found ; and it is a pity 
that so many (anxious, no doubt, in consequence of the crowded state 
of the hall, about the means of getting comfortably home) went away 
without hearing it io the very end. The only imaginable reproach to 
these excellent entertainments is the seemingly unavoidable mteirup- 
tion so often experienced by such m wish to hear the entire per- 
formance undisturbed, during the first movement of the first quartet 
and the last movement of the last. These late arrivals and early 
departures, it should be stated, are exclusively connected with the 
occupants of the " stalls " and reserved seats; the more thoroughly 
music-loving <* shillings" invariably arriving in good time, and re- 
maining until the last note has been twanged from the strings or 
drawn out by the bow. 

The pianist was Mr. Charles Hall^, who selected the superb sonata 
in F minor (op. 67) of Beethoven, which the Hamburg music publisher, 
Cranz (not beethoven), christened " Sonata Appaisionata" as he had 
already christened the sonata in D, op. 28, '< S<mata Pa«eoraZs"— -equally 
without the master's consent or knowledge. Mr. Hall^ has seldom 
performed this great work more splendidly. He played it without 
book, and, at the termination of his performance, was loudly summoned 
to the platform. The violin sonata was the one which Mozart com- 
posed for the famous lady violinist, Mdlle. Strinasacchi, of whom the 
illustrious musician, in a letter addressed to his father, and dated 
" Vienna, April 24, 1784," writes as beneath :— 

** We have here at this moment the celebrated Strinasaochf , from liantua, aa 
ezcellent Tiolinlit Her playing U remarkable for taste and eznressloa I am oom- 
poslng a sonata, whieh we are to play together on Thursday at her oonoert in the 

Tins was the sonata, too, which Mozart — to the great annoyance of 
the fair Mantuan — coidd only find time to write out on the day im- 
mediately preceding the concert, and with his accustomed negligence, 
forgetting all about the rehearsal, was obliged to play with her untried. 
The vioun part had alone been committed to paper, Mozari—to the 
surprise of his attached, though not over munificent patron, Joseph II. — 
having nothing more than a blank sheet before him ; so that the piano- 
forte part was fairly improvised. ** What," exclaimed the Emperor, 
calling for Mozart at the termination of the sonata, " has it again come 
to this ?" ** Yes, vour Majesty," replied Mozart, " but not a single note 
fell under the desk." Thus it would appear to have been a liabit with 
Mozart literally to invent his own part m a composition on the day of 
performance. That the Strinasacchi sonata, in its day regarded as a 
brilliant and tiying piece of display, presented no difficulties to such 
modern virtuoii as MM. Hall^ and Vienxtemps, may be as easily 
believed as that their reading of it throughout was the true one. It 
elicited, as usual, unanimous marks of approval. 

The vocal music included two songs l^* M. Gounod— the well-known 
serenade, " Quand tu chantes berc^e,'' sung by Mdlle. Parepa, to the 
accompaniment of pianoforte and harmonium (Mr. Benedict and Uerr 
Engel — a faultless performance on all hands) ; and one of the Vingt 
Melodiet, to words by various authors. The first was loudly asked for 
again, and the concluding verse repeated. The second, '* The Pilgrim " 
originally set to Beranger*s Juif Errant: — 

** Chretien, an Toyagenr sonfUrant^ 
** Tends on verre d*eau snr ta porte ! " 
— is an English adaptation, or rather ** imitation," of Beranger, by Mr. 
H. F. Chorley, who, in the programme, makes an elaborate apology 
for his work being so very unlike the original. The song, nobly 
delivered by Mr. Santley, was greatly applauded; it, nevertheless, 
appears to us to have been suggested by the •* Wanderer" of Schubert, 
and to show M. Ghionod's inability, in this class of lyric production, to 
approach, much less to equal, the greatest and most prolific of all 
known composers of the Lied,, or romantic ballad. The next vocal 
piece was Mr. Benedict's clever and fanciful tcena, ** What shall I 
sing?" in which the Sxniis, Italian, and French styles are alternately 
and admirably parodied, and which had already been heard at one of 
his own concerts ; the last was Signer Arditi's " Stirrup Gup." Mdlle. 
Parepa sang the first, and was recalled at the conclusion, Mr. Santley 
the last, which was vociferously encored. Mr. Benedict's consummate 
ability as an accompanist was put to the test, both in his own song and 
the Juif Errant of M. Gounod, and passed the ordeal as of old. 

The anniversary of Mozart's birthday occurring during the present 
week (he was bom on the 27th of January, 1756, and died on the 5th 
December, 1791, in his 86th year) it has been found expedient to devote 
the whole of the concert on the Monday following to his works. M. 
Vienxtemps is to lead the Quintet in A, with clarinet (Mr. Lazarus) ; 
Madame Arabella Qoddard is to play one of the solo sonatas, a sonata 
with M. Vienxtemps, and the Pianoforte Quartet in G minor (with 
stringed instruments) ; and Mdlle. Florence Lancia and Mr. Santley 
are to sing airs from several of his operas. The occasion is worthy and 
the programme good. 



Digitized by 



Google 



78 



THE MUSICAL WORLD 



[Jarmary 30, 1864. 



MUSICAL SOCIETY OF LONDON. 

The sixth Beaaon began on Wednesday night with a splendid conoertt 
every piece in the programme, with a single exception, being as 
welcome as it was good, and the whole arranged with due regard to 
contrast and variety. The brilliant audience which thronged St. 
James's Hall showed that this already flourishing, althongh young, 
society has lost none of the pruiige which it gained in so unprecedent- 
edly short a time, and which, it must be admitted, it has done its veiy 
best honorably to maintain. The selection was as follows : — 
PAKT I. 

Overture (Stnunieo) Meyerbeer. 

Beolt. ud Air, ** O ruddier ttum the cherry ** ( Aois and G«Ut») Handel. 

Benedict 

Beethoyeo. 



Spohr. 

Bouini. 

Qounod. 



Concerto in D minor—pianoforte (with orchestra) 
Grand Scena ed aria (Richard Cceor de Lion) 
Orertnrci " Coriolanus '* 

PART II. 

Symphony Na 4, hi F (Die Weihe der Tdne) 

Dno, *' Anna tn plangi * (Haometto Secondo) 

Overture (Le Mede^In malfirre lol) 

The exception alluded to was the bravura duet from Rossini's 
Jfaomeito Seeondo (an opera afterwards readapted, improved, and 
considerably extended for the Grand Opera in F^s, where it was pro- 
duced under the new title of L4 Siege de OoritUhe). Though both 
legitimate and effective upon the stage, this duet was absurdly out of 
place at such a concert, and suffered all the more from coming 
immediately after an elaborate, gorgeous and imposing piece of 
orchestrsJ music like Spohr's fourth symphony — whicn concert-givers 
will absurdly penist in entitling " The Power of Sound." It was so 
well sung, however, by Mdlle. Parepa and Mr. Santley — the former of 
whom had already distinguished herself in the fine dramatic scene 
from Mr. Benedict's Riekard Coeur de Lion^ and the latter earned fresh 
laurels for his unrivalled execution of the great love-song of 
Polypheme — that its want of keeping with all that had gone before 
appeared less obtrusive and strange tnan might otherwise have been 
the case. 

The instrumental part of the concert offered more than ordinary 
attractions; and on no previous occasion has the truly "grand" 
orchestra over which it is Mr. Alfred Mellon's good fortune to preside, 
a good fortune to which, though many may envy his privilege, none 
can deny his right, more completely satisfied the audience — an 
audience, be it remembered, nine-tenths of whom are either professors 
or cultivated amateurs — by its almost everywhere effective, nay, unim- 
peachable performance. We say " almost," because in one instance we 
felt convinced that this unequalled band did not quite do justice 
either to its own well-won reputation or to the music committed to its 
charge ; and this instance was unluckily at the expense of the single 
novelty in the programme, — viz., the overture to M. Gounod's opera. 
La Medecin malgri 2u»— founded upon Moli^re's celebrated comedy of 
that name. That after their previous exertions, in three long and 
trying compositions, the members of the orchestra were a little 
fatigued, may fairly be pleaded in their defence; but this should serve 
as a hint to those who draw up the programmes, never henceforth to 
place a new and unknown piece at the end of a concert. M. GK>unod's 
overture is quaint, sparkling and dramatic. Its merits, however, 
such as they are, were row but very faintly revealed ; and it is to be 
hoped that connoisseurs may suspend their judgment until they enjoy 
the advantage of another hearing, under less unfavorable circumstances. 
A selection, oy the way, from Le Medecin mdlgri Zta would be a tempting 
feature at one of the concerts, remembering^ what slight chance there is 
of our ever hearing the work performed, either at the Italifin or the 
English Opera, in London. It contains, among other things worthy 
notice, a superb air for bass — ^which, seeing that Mr. Simtley was 
engaged, it would have been judicious to introduce in yesterday 
evening's programme. 

« Meyerbeer's music to Sirutnsed (a well-known German tragedy by 
Michael Beer, brother of the celebrated musician) must be heard 
entire to be thoroughly understood and appreciated. The overture, 
which had alreadv been given at the Pnilharmonic Concerts, is a 
picturesque and glowing specimen of orchestral writing, interesting 
imder any circumstances, if only as a well-considered effort by the 
composer of The HuguenoU^ but doubly interesting when heard in 
connexion with the play for which it was intended, and with the rest 
of the music by which that play is so remarkably illustrated. The per- 
formance last night was botn striking and correct, and, difficult as he 
is to satisfy, woiild, we think, have obtained the composer's unqualified 
api)roval. It was received with every mark of favor. The overture 
to Conulan, composed by Beethoven — ^for a German tragedy of that 
name, from the pen of Herr Colin — is worthier of being the prelude to 
our English Cbrto^ntM, with the spirit of which it is, from the first bar 
to the end, so vividly instinct as to leave small room to doubt that 
Beethoven derived his inspiration not from Colin but from Shakspeare. 
Never in our remembrance has there been so admirable a perfornmnce 
of this overture— the grandest, the deepest, the most romantic and 



beautiful for which the world has to thank the inoomrarable master to 
whom the orchestra owes more than to any other. The applause at 
the end was unanimous. 

Mozart's Concerto in D minor— the noblest of a whole gallery 
of chef-d'oeuores bequeathed by the richly endowed musician to the 
repertory of the pianoforte — ^introduced Miss Agnes Zimmerman for 
the first time to the patrons of these concerts. The ordeal was a 
trying one; but Miss Zimmerman — of whose performances at the 
Royal Academy of Music (where she is, or was, a pupil), the Cr3r8tal 
Palace, and the Hanover-square Booms, we have more tiian once had 
occasion to speak in terms of praise — passed it with the utmost 
credit to herself and to the evident gratification of her hearers. The 
precise and accunite execution of this young lady eminently befits her 
for the task of performing to the accompaniment of an orchestra, a 
task which many aspirants, otherwise talented, can never sunmion up 
nerve to accomi^ish steadily. Mr. Alfred Mellon seemed as much at 
his ease as though he had conducted to her playing many times already, 
though we are mistaken if he has ever done so till now. Miss 
Zimmerman played the first and last movements pretty nearly as 
Mozart left them, selecting (unhappily we think) the exquisitdy 
melodious romance for such ornaments and graces as she may have 
culled from the " &ncy " editions of Cramer, &c. Nor can we 
praise ^e "cadenzas" interpolated (according to accepted custom) 
in the other movements, from what source soever they may have 
been obtained. A foanist not endowed with the genius for impro- 
visation which distinguished Mendelssohn (and where can om 
be found who isV) would do wisely, in playing Mozart's con- 
certos, to take the "cadenzas" written by Hummel — "cadenzas" 
which might have been signed " Mozart," and none dinpate their 
being genuine. The audience received Miss Zimmerman with encour- 
aging kindness, and throughout her performance were liberal of their 
applause. She has now made the first really important step in her 
pofessional career, and with such success that both her friends and 
hertelf have reason to be satisfied. 

The capo d^opera of this excellent concert may be described in a 
sentence. Spohr's magnificent ^mpbony. Die Weihe der T9ne — first 
brought out in London, at the Philharmonic Concerts, Haaover-squaxe, 
a quarter of a century since, and more than once played before 
English amateurs under the direction of the great composer himself 
— ^was performed for the third time by the band of the Musical Society 
of London, under Mr. Alfred Mellon's intelligent direction. The 
first performance, it will hardly be forgotten, made the society's repu- 
tation in one evening : all London spoke of it. The second was, by 
general consent, less unexceptionable ; but the third — ^the one under 
notice — can scarcely fail to have impressed the whole audience as being 
tlie best of all. In a word, it was perfection. Of the symphony itself 
we need say no more than what we have said before — ^viz., that it is 
the masterwork of Spohr, whether regarded from ^e point of view of 
its imaginative power, or of its wonderfully ingenious construction. 
Thus " interpreted," it cannot be heard too often, and — as was the 
case on Wednesday night — must always be listened to with rapture and 
applauded with enthusiasm. 

Musical Socubtt op London— (Zm< of the Oreheeirafor the Sixth 
Sea»on).—Oondvttoi^Ut, Alfred Mellon — Ui Fto^na .-—Messrs. H. G. 
Blagrove and P. Sainton {PrincipaU), J. Bannister, J. T. Carrodus, 
R. Clementi, J. B. Dando, Carl Gottri^, H. Weist, Hill, Jacquin, 
F. W. Ereutzer, Adolphe PoUitzer, Louis Ries, £. W. Thomaii, Max 
Vogel, J. T. Willy, and J. B. Zerbini.— 2nrf FwZtM .-—Messrs. William 
Watson (PrtnctpoZ), S. Bort, A. Burnett, J. J. Calkin, C. Colchester, 
F. R. Folkes, E. Stanton Jones, J. M. Marshall, J. Newshara, Edward 
Payton, J. Schmidt, Alexander Simmonds, Alfred Streather, Van 
Heddegham, Thos. Watson, Henry^Wheatley, Jun. — Vioku : — Messrs. 
B. Blagrove and W. H. Webb (PrinchaU), J. Broedelet. GlanviU, 
B. Hann, W. H. Hann, J. Thompson, H. J. Trust, W. W. Waud, 
T. Westrop.—Ftk)ZofM«Woi;— Messrs. George Collins {Principal), W. H. 
Avlward, Horatio Chipp, Hugo Daubert, H. W. Goodban, Alfred 
Guest, Charles Quid, G. Paque, Walter PetUt, and R. H. Reed. -^Double 
^osws :— Messrs. James Howell (Prindpai), William Castell, Thomas 
Edgar, Arthur Howell, John Reynolds, Charles Severn, Joseph Waud, 
A. C. White, and A. Winterbottom.— /'/«(«« .-—Messrs. R. 8. Prattcii 
and R. S. Rockstro.— Piccolo— Mr. J. Schmidt 05oef;— Messrs. A. 
R, M. Barret and Alfred Nicholson. — (7/ariofiete :— Messrs. Henry 
Lazarus and F. H. Maycock. — Baeeooru : — Messrs. John Winterbottoiii 
and J. G. Waetzig. — JSomt : — Messrs. Charles Harper, J. W. Standen, 
T. £. Mann and R. Eeevil. — Trumpets: — Messrs. Thomas Haj-p<:r ai:d 
R. J. Ward. — Trdmbones : — Messrs. J. Hawkes, Antoine and W. 
Winterbottom. — OphieUide, Mr. S. Hughes. — Cornets: — ^Messrs. Stanton 
Jones and F. J. Sutton. — Ihum — Mr. C. F. Horton — Bass Drum at.d 
Cymbals. — Mr. R. W. St^yraour. — Side Drum — Mr. Pheasant. — Triani,le 
— Mr. Horton. Librarian and Copyist for the Orchestra, Mr. C, Jb\ 
Horton. 



Digitized by 



Google 



Jmnary 30, 1864.] 



THE MUSICAL WOKLD. 



79 



T 



MUSIC-SELLERS IN TOWN OR COUNTRY.— 

Th» Adrertffer, agvd 23, who hu Xteen SIX YEARS to fht TRADB, ii detiroos 
.. obtaifiing a SltoatiOD. Excellent Referenees. Addreii, A. W., oare of MeMn. 
Doaeaa DaTiaon and Co., foreign mosic warehoose, 344, Regent Street, London. 



HERR LOUIS ENGEL begs to announce his return to 
Town to resnxne his profeuional engagements. Letters to be directed to 31 
renor Street, Oroerenor Square, W. 



WTLLIB FAFE'S FIAH^OFOBTE BBOITAIiB. 



teBham,C 
Bnfibrd, I 



TTTILLIE PAPE'S engagements are in the following 

V Y order ;~Hastings, Chatham, Lynn, Norwich. Weymouth, Truro, Pentanee, 
Bedmith, Camborne, St. Asaphs, LIskeard, Southsea, Winchester, Torquay, Swansea, 
Hnddersfldd and three adjoining towns, rreston, Northampton, Leamington, Chel- 
, Cambridge, Nottingham, Stourbridge, Sheffield, Newcastle-under-Lynno, 
_.„ -i,Stoke,Longton,Hanley, Rurslem, Birkenhead, Chestsr, Liverpool, Man- 
duster, Stookton^n.Tees, Sunderland, Carlisle, Dumfries, Dundee. Wilui Papi 
Ii open to receive a few engagements for neighbouring towns, having a tow days not 
ftllid up. An early applloation is requested. Address^W. 0. Pape, 9 Soho Square. 

TO KBTIBING FBOFESSOBa 

WANTED to PURCHASE, a GENUINE MUSICAL 
PRACTICE, along with an Organist appointment Address, ** Teacher,** 
Mann. Dimoaa Davison A Co., 3U Regent Street. 

THE OBATOBY, BBOMFTON, aw: 

WANTED, BOYS with GOOD VOICES, for the 
CHOIR. They would be preferred between the ages of 10 and 12. Appli- 
flsats to p r e s ent themselves at the Oratoiy on Tuesdays, Thursdays or Saturday 
sftenioons at 3l30, or on Sunday mornings at 12.30, when they will be made 



on Tuesdays, Thursdays or Satun 

^ ' 

asqeainted with the terms of their engagement 

MB. SANTLEY'S New Song, " THE SULIOTE WAR 
SONG,** composed by Bbiulst Riohabdb, sung and enthusiastically encored 
St the Regimental Concert of the St George's Rifles at St. James's Ball, Is published, 
Piles 3s., by DuHCAx Davison * Co., 244 Regent Street 

Just Published, 

4NDANTE CANTABILE, in G, FOR THE ORGAN, 
by Samusl Ssbabtiav Wbslkt. Performed by the Author at the Agricultural 
. Price 2s. 6d. 

Vinui ft Co., 1 Amen Comer ; and Novillo, London. 

nOD BLESS THE PRINCE OF WALES, with the 

yjf New Verse in honor of the Inthnt Prince, is Just published, and may be had 
oTilI rauslcsellers, price 3s At the conclusion of the Countess of Albemarle's 
addros, ** Vlaoount Bary called for one cheer more for the little prince, and the hall 
nag with a responsive shout, the band of the regiment playing the new and popular 
sir, 'God Bless the Prince ot Wales.* "—See the TVmet, Jan. 23, 18f4.— London : 
BOBERT COCKS ft CO., New Burlington Street, W. 

USIOAL WORKS PUBLISHED for AUTHORS 

by ROBERT COCKS ft CO., New Burlington Street Regent Street, W. 

Just published, 
A NEW NATIONAL SONG AND CHORUS, 

"OUB OWN BELOVED PBINOE," 

Composed by EMILE BEROER. 

It will be anng for the first time on Wednesday, the 27th Inst, at the Grand 
Masonic Festival at the Freemasons' Tavern, by Madame RtrDsnaDoarr, Misses 
LBrrLU^ Da Codbct and Rbbboca Isaacs, Mr. Gbobob Tbodbb, Mr. Swift and 
Mr. B. BUCXI.AXO. Musical Director, Mr. Gkobob Tbouek. 

PttblUhed, price 3s., by D*Alcor9, 8 Rathbone Place, Oxford Street. 



MISS EMMA HEYWOOD'S NEW SONG, 

<'BEST THEE, BABE," 

Written and Composed for 
MISS EMMA HEYWOOD 

BY 

CHABIiBS J. HABGITT. 

Price 38. 
London: Ddxoam Datisoh and Co., 244 Regent Street W. 



NEW AND REVISED EDITION. 

BALPE'8 POPULAR SONG, "KILLARNEY." The 
Poetry by Edmovd Falcomsb, Esq. Price Ss. 

" The poblle, who so long appreciated it when heard on the theatrical boanls 
BUBot fall to be struck not only with the charm of its simple and thorough I y 
Irlsh nelody—eubstaotiating its elAim to its title of " Killamey"— but also with 
tte still rarer charm of its being associated with words so Aall of poetical grace 
and sentiment that surprise Is no longer folt at the inspiration given to the com- 
poser of the music, particularly when it is known that they are from the elegant 
pen of Mr. F)aleoner." — Uttrpool Journal. 

London ; Povcav Davisoji and Co., 244 Regent Street, W. 



Boosey & Sons' IS^m Publicatioiis. 
POPULAR works! 

BOOSEY'S MUSICAL ALMANACK for 1864 

Contains, In addition to a R«x>rd of Musical Events, the foUowing New and Popolar 
Mnslc. 16 pages demy 4to, price 3d. ; post free, 4d. :— 

Fortespada QnadriUe, on Operatic Melodies by Balfe . . . H. LaurmU. 

Moss Rose Valse FrmnJt Mtuffraot. 

Roy Rlas Galop Ditto. 

The Maid and her Moorish Knight. Song M.W.BcHf^. 

Forward, onward, nerer despair H.Buuta. 

BOOSEY'S BIX APTEB-DINNEB SONQS 

FOR CHRISTMAS PARTIES. 
Prioeed. 

The Roast Beef of Old England. I The Olasses sparkle on the Board. 
Christmas comes but once a year. The Gciod Old Days. 

Down among the Dead Men. | Christmas Bells. 

BOOSEY'S SIX CHBISTMAS CABOLS, 

IN SCORE, WITH PIANOFORTE ACCOMPANIMENT. 

Prioeed. 

Come let us celebrate the day. I God rest ye merry Christians. 

The Boar's Head Carol. I Christians, awake. 

Nowell, Nowell, NowelL | A Christmas Carol. 

BOOSEY'S POPTTIiAB VOOAUST 

Contains the Words of Five Hundred New Standard and PopuLtf Songs by the most 
Celebrated Authors. 

Price iB. I or in doth, gilt edges, 28. 



NEW NUMBERS 



BOOSEY'S MUSICAL CABINET. 

74. VOUBTXHESN SAGBED SONQS fbr VOIOB and PIANO, 

introducing Jerusalem the Golden ; Rre's Lamentation ; Vital Spark; Rocked 
in the Cradle of the Deep, Ac., Ac. Is. 

75. TWENTY CHBISTT*S MINSTBliCLS* SONGS (Seventh 

Selection), introducing all the New Songs being sung. Including Annie Lisle ; 
SilTer Moonlight; Book me to Sleep ; A little more Cider ; Day our Methor 
Died, Ac., Ac. is. 

76. TEN GBIiEBBATJBD AHTA8, BALIiADS, BBAVXTBAS, 

Ac., composed by Sir H. R. Bishop, including The Pilgrim of Love ; Bid me 
Discourse; Be mine, dear Maid; Tell me my Heart; Lo, here the genile 
Lark, Ac., Ac. is. 

77* TWELVE NEW 80NOS «nd BAIiIjABS, by the most 

B>pttlar Composers, including Claribel, Balfe, Georj^e linrker, George Liiiley, 
oward Glover, His late B.l!. Prince Albert, Ac., Ac. Is. 

78. ONE HXTNDBED ENGIiISH, IBI8H, SCOTCH and WELSH 

AiKS, arranged for the Pianoforte, is. 

79. TEN DBAWTNG-BOOM PLANOFOBTE PIECES, by 

Modem Composers (Second Selection), inoiuding Du Uran*s Curricolo Galop ; 
Toners Perles et Diamans ; Oesten's Mayflowers; Golas' Shephurd's Song; 
Loefleur's Lauterbacherin ; Moniot's Crepuscuie, «fcc. is. 

80. TWELVE SHOBT PIECES by Stephen Heller. la. 

81. SELECTION of NEW BANCE MUSIC by the moat popular 

Composers. Is. 



NEW VOLUME. 

THE DRAWING-BOOM MUSIC BOOK, 

(Double yolume)j Price 88., 

Contains Fantasias, Original Nocturnes, It >iii;i:ic h, Val.e uni! GalM]« de Salon, Ar., 
by Stephen Heller, lirlnlny Kiuliurdd, (J. A. ()^'« m-, Astlio.-, I^nyshock, Goria, 
Wely, Cramer, Talexy, i». ; or iu j iJvi , 4>. c h* 



BOOSEY Ain) SOJSS, HOUUbS SIS E£T. 



Digitized by 



Google 



240 



THE MUSICAL WORLD. 



[Apin 9, 1864. 



Goimod's " FAUST." 



The Opera Oomplete^ with English Words^ by 

S. F. CsoBUCt. Prioe 16i. 

Mao, ibo whole of tho lepantie Songs, 

■ 

JTBW PI4lKOFOBTB ABBAKOEViafTB, 

The Overture Arranged by the Author ; Solo, 3s. 6d. 

Daet, 48, 

The Eermesse, Transcribed for the Pianoforte, 

by PFxnrFBBT, 4b, 

Fantaisie by Bene'^ Favarger, 4s. 

The Soldier's Chorus, by William Hutchins 

Calloott, Ss. 6d. 

The Beauties of ^^ Faust." Arranged as a Duet, 

by WzLLUK HuTOHiHs Callcott. In Two Books, each, 6s. 

The '"Faust" Polka by F. WaUerstein, Illustrated 

in Colours, ds. 



NEW NUMBERS OF CHAPPm^ MUSICAL MAGAZINE. 
HTMNS FOB THE CHBISTIAN SEASONS. 

No. 45 of CHAPPELL'S MUSICAL MAGAZINE" contaios a 
collection of Hymns particularly adapted for use during Lent. 
Price Is. ; post-ftee, Is. 2d. 

DIBDIN'S AND OTHEB NAUTICAL SONGS. 

CHAPPELL'S MUSICAL MAGAZINE, No. 46, contains 
Twenty Sea Songs, by Diboin and other Nautical Favourites. AU 
with Pianoforte Accompaniment. Price Is., post-free, Is. 2d. 

Jutt Pttblithed, 

CHAPPELL'S 



1. Dulce Domum (Old English Dittie) b.a.t.b. 2d. 

Harmonized by G. A. Maofabbev. 

2. Down among the Dead Men do. s.a.t3. 2d* 

Harmonized by G. A. Maofabben. 

3. The Girl I left behind me do. s.a.t.b. 2d. 

Harmonized by G. A. Magfabkkn. 

4. British Grenadiers do. 3.a.t.b. 2d. 

Harmonized by G. A. Macfabbek. 

5. Long live England's future Queen 8.a.t.b. 2d. 

(Danish National Anthem) Harmonized by Dr. Rxiibault. 

6. My Task is Ended - - - a.t.b.b. 4d. 

Song and Chorus from Balfb's Opera, « The Enchantress," 
with Soprano Solo. 

7. Thus spake one Summer's Day - 8.a.t.b. 2d. 

Part Song by Abt. 

8. Soldier's Chorus - - . - t.t.b.b. 4d. 

From Gounod's <* Faust.'* 

9. The Celebrated Eeimesse Scene 



10. Up quit thy Bower - 

Part Song^by Bbisusy Richabds. 

11. Maidens, never go a-wo(Mng 

Madrigal, bjp G< A. Macfabbkn. 



6d. 
2d. 

4d. 



CHAPPELL ABD CO., 50, HEW BOND STREET. 



SjdnejSmitlis 

FOUR 

NEW PIECES. 



GOLDEN BELLS, 

Caprice de Concert Price Four Shillings. 

UNE NUIT fTOIL^, 

Serenade. Price Four Shillings. 

FAS REDOUBLE, 

Morcean Brillani Prioe Four Shillings. 

MARTHA, 

Grand Fantasia on FIotow*B Opera. Price Fonr Shillings. 



LONDON: 

ASHDOWN & PARRY, 

18, HANOVER BQUABE; 

and may be had of every Mnsicseller in Great Britain, 
Ireland, India, and the Colonies. 

Paris, Brussels, and Mayence: Messrs. SCHOTT. 



Priuted by IUtoirmj^IUit, and Pmoir. at No. 13. Wlntley Stioet, Oxfonl Stnet, in tb« Pariah of Maryiobone, in the Comity of MIddl< 
P«hUib«l by WiLUAii l>oicoA« DAnsoH, at th* Offloa, M4 Bagaat 0tiMt.-.Mw«a|f, Apru\, 1804. ^ 



Digitized by 



Google 




«Th« wobth o f Abt afpsabs most EMmKST nr Mdmc, snrps rr BS9UIRB8 wo nATsatUh, no subjbct-icatteb, wrosb sFFoer 

MUST BB DBDUOTBD: it n WHOLLY FOBH AND FOWBB, AXD IT BAIBB8 AUD ElfNO^LEg WHATEVKB I? i;:p»4BaSBa,''— (7^1^^. 

SX7BB0BIFTZ0N, FBBH BY POST, 20a, FSB ANKITK 
P«i7»ble in advance by Cash or Post-pffloe Order to PUKCAN DAVISON «; 00^ 844, Hegent Street. Iioiidon, W, 

[_RegUtered for Trarumiuum Abroad,'] 



Vol. 42— No. 15. 



SATURDAY, APRIL 9, 1864. 



^""{ItSSW- 



HEB MAJESTY'S THEATBE. 

THE *fobility, Gentry, Subscribers and the Public are 

1 rw.aotfliUy Infomwd that the OPBBA. SEASON wilt oommence THIS 

SATUBDAT, AFBIL 8th, 

Oo which MOMloo will be performed Yerdl'i admired Oiier*, 

"RIGOLETTO." 

IlDooa ...SiONOB GIUOLIKI (hU first ftppMranoe in that oharaoter) 

BiooLSTTO..-^ SiOKOkVABESE (hit first ftppearahoe). 

frASAivcxLB.....,...8iQK0B OASPERONI (his first ftppearabM). 
Moonnxs...., Siqxor BOBSL 



..SiQKOR MARIOTTI. 

Utcuu ', SiOHOB MANFREDI. 

WiBMO ^...^IGKOB BERTAGCHL 

CCPBAJK) ...^.SiaitoB GASABONI. 

UCoMTBsSA..^ M^aajM. TOHASINL 

Omw^MMk l(AOLi.B. TACCANI. 

MADi>ALni.<» Madllb. BETTEIiHEIH (her first appearBnoe). 

A!ro 
QiLDA......„ .....Maollb. YITAiil (har first appeannoe). 

DixBCtor of the Mualo and Cooduotor Siokob ABDITI. 



In the B^ll-Boom Scene, a* * 
OBAND PAS DE DEUXt 
Bj Msllb. ABANTYABY and Sionoi^ AMHATUBO. 



In the course of the Evening, 
THB KATIONAL ANTHEM. 

PB06PBCTIV E ARR ANGEMENTS, 

TUESDAY NEXT, ApBXLa2TH, 

"RIC9LETTO*" 

THURSDAY NEXT^ Apaa 14th, 

FlQlsMT-Operm, 

Uonelto, Bignor GfooLnn; Lord Tristano, SIgnor liUxnm (hll first appearance); 
Phunkatto, Mr. Saxtlbt (his first appearance in that oharabter) ; Un Scheriflb, 
KgBor CaaaBOK ; Nancy, lldlle. BMSBfjmx ; and Marta, Mdlle. Vitau. 

SATURDAY JtBXT, Apbil Iftra, 
7IBST APFEABABCdttof KDIiIiE. TITIENB. 

The Open will commence at Eigh t o'clock on eAch Evening. 

Pbicbs .-—Pit TiekeU. 7s. ; Basenred%>z Seats, 10s. 6d. ; Amphitheatre Stalls, 5s. 
sad 7s.; Oaltary, 2a. ; PriTate Boxes, in the Upper Oirole, ais. 

Boxes, Stalls, nod Tiokets, also protpeotnses with fUll particulars of the arrange- 
Beats of the season, may be had at the Box-offlce of the Theatre, open daily from 
IM till ira, oadfar the superintendence of Mr. Nogent ; and of the principal librarians 
sadBwsieiellen. 



IfR. ARTHUR SKETCHLEY will appear at the 

JlL EOYPTIAK HALL, Piccadilly, in his New Entertainments, enUtled 
** PARIS,*- and ^MRS BBOWN AT THE PLAY,** EVERY EVENING (except 
Sstarday) at Klght. and on SATURDAY MORNING at Three. Stalls, 38. ; 
Seeoad Seala, 2s. ; Gallery, is. The Box Office at the Hall will be oi)en between the 
koarsofEtevea and Five dally. 



R WALTER MACJ'ARREN'S PIANOFORTE 

PERFORMANCES at the Habotbb Sqcabb Booacs, Saturday Momingt> 

AprU ao. May 21 and Jane 18. SnbscripUon, 15s. 
1 Oiaabar^ Street, Regent's Park. 



M 



MASTER J. CHURCHILL ARLIDGE (FlauUst) wUl 
play at Chelasa, Monday, April 11 ; Enfield, April 12 ; Uxbridge, April 14; 
ton, April 19; at his native town, Stratford^n-Avon, on the occasion ot the 
Ttreeateaary Faatival of Shakespeare ; and at St. James's Hall, May la Address— 
« Bsy Plaee, Bloomsbory Square. 



NEW PHILHARMONIC CONCERTS, St. James's 
Hall. Director, Prof. WYLDE, Mas. Doe.— Thirteenth Season.— Programme 
of the FIRST C0N(3ERT of the seaaod^ o« Wednesday evening, AprU IS, at 8 
o'clock, and Public Rehearsal, Saturday afternoon, April 9, at half-past 2. The 
orchestral compositions selected from the works of Beethoven, Mendelssohn. Weber, 
Spohr, and Rossini. Artistes— Mme. Lemmens Sherrington, Mme. Arabella Goddard, 
and SIgnor Sivori, who will make his first appearance this season in London at the 

Subllc Rebenrsal. PrincIiMil violins in the orchestra, Herr Molique and Mr. H. 
llagrove. Vart L— Overture, Fanst— Spohr ; aria, Zepherettl Lusinghari (Solomeno), 
Mme. Lemmens-Sherrington— Mozart ; concerto in G, pianoforte, Mme. Arab^la 
Goddard ; movements, allegro moderate, andante con moto, rondo vivace— Beethoven ; 
song, ** Sweet Bird," Mme. Lommcns- Sherrington ; I'AIIegro e Penseroso— Handel ; 
symphony in A minor (Scotch) op. 63; Introdactlon and allegro agitato; soheno 
assai Tivaoe; adagio cantablle allegro querrero; finale, maestoso — Mendelsaohn. 
Part II. Overture, Semiramide—Rossinl ; aria, con variozoni Les Diamants de la 
Couronne, Mme. Lemmens-Sherrington— Auber ; concerto, for violin and orchestra, 
violin and orchestra, riolin, SIgnor Sivori, Paganinl ; overture, Abon-Hassan — Weber. 
Tickets for the public rehearsal— so& stalls, 7s. ; balcony, 6s. ; back baicony, 3s. ; 
area, 2s. ; gallery, Is. Tickets for the concert— reserved sofa stalls or first row 
balcony, lOs. 6d. ; second row balcony, 7s. ; third row balcony, 6s. ; back balgony, 
3s. ; area, 2s. ; gallerv, is. Tickets for the public rehearsal, and fbr unreserved seats 
at the concerts, to be had of Messrs. Cramer and Co., No. 901 Regent-street; Messrs. 



Chappell and Co., 60 New Bond-street; Messrs. Keith, Frowse, and Co., 48 Cheap- 
side; and of Mr. Austin, ticket oflice, St. James's-hall, Piocadilly. Tickets for 
reserved^eats, at the concert, of Messrs. Oamer and Co., 201 Regent-street; and of 
Mr. Austin, ticket office, Piccadilly. The subscription for the series of five concerts 
and fire public rehearsals is £2 2s. for first.row balcony; £l lis. 6d. for second-row 
balcony. W. J. NICH0LL8, Hon. Sec. 



" TESSY LEA," Opera di Camera, EVERY TUESDAY 

J AFTERNOON at Three and SATURDAY EVENINGS at Eight Miss 
R. Hbhdxbsoh, Mr. Whivfut, Mr. WnJui»ov and Miu Pools.— Rotal Oallbbt 
or Illustbatiox, U Regent Street. ^ 

** Mr. G. Macfisrren has set this captivating little Pastoral to some of the most 
dellghtfhl music that ever fiDll flrom his prelific pen.**— ifomia^ Pott, 



MISS MINA POOLE has the honor to announc^e that 
her FIRST CONCERT will take place at the HuiorBB Squibb Rooms, on 
iday Evening, April 14th. Foeo/iKf:— Madame Wbiss, Miss Miba. Pools and 
Miss Palmbb; Mr. Gbobob Pbbbbn, Mr. W. CuMMnirGS, Mr. Patbt and Mr. Wbiss. 
JhsfrumsntafisM.*— Pianoforte, Madame Aucb Mimoold and Mr. Hbnbt Badmbb; 
Flute, Mr. Wx. Gbabtf Nioholls; Violoncello, Herr Liobl. (^nMfticfors— Signer 
Albbbto Baxpxoobb and Mr. H. Bauxbb.— 110 Camden Bead Villas, N.W. 



M" 



DLLE. GEORGI has the honor to announ(^ that she 

will given MATINEE MUSICALS, on Friday, the 13th of May, at the 

(^vBBB's COHOBBT Rooxs, Hanover Square, under the fbUowing dlstLoiig^nished 
patronage:— 

Thb Dvohbss DowiOBB or NoaroLX and 

Thb DooBsas Dowiobb or Sdthbblabd. 

The Lady Anne Beckett. 



The Duchess of Sutherland. 

The Duchess of Argyll. 

The Duchess of Manchester. 

The Marchioness of Kildare. 

The Countess Constance Orosvenor. 

The Countess of Abergavenny. 

The ViMonntess NeviUe. 

The Lady (Proline LasoeUes. 

The Lady Foley. 

The Lady Adaliza Mannera. 

The Lady LdTgh. 

The Lady Taunton. 

The Lady Bagot. 

The Lady Jane Bepton. 

The Lady Mary Fox. 



The Lady Mary Wood. 

The Lady Hester Leeke. 

LadyLUfocd. 

Lady Wensleydala 

Lady Graham Montgomery. 

Lady Parker. 

The Lady Mayoress. 

Mrs. Arthur Pott 

Mrs. Bishop Cnlpeper. 

Mrs. Herbert Ingram. 

Mrs. Beaumont. 

Mrs. Tucker. 

MiS8 HoUlday. 



Mdlle. Gboboi wiU be assisted by Madame Ababblla (3oddabd, Mdlle. Cobbtibob 
GioBGi and Madame LBXXBXS-SHBBBarorosr; Mr. Lizabub and other eminent 
artists. Conductors— Signer Abdri, Mr. Emilb Bbbobb and Mr. Bbbboiot. 
Beservcd Seats, One Guinea; Tickets, lOs. 6d. and 7s. 9d. ; to be obtained of Messrs. 
Cramer, Wood A Co. ; Messrs. GlMppell and Co., 60 New Bond Street; Measrs. 
Bobert Cocks and Co., Nov Btirlington Street; Messrs. Cock and Hntohings; 
Messrs. OUivler and (^. ; Mr. Austin's Ticket OfBoe ; and at Messrs. Duncan Davison 
and (3o.*s, 244 Regent Street 



DLLE. MARIOT DE BEAUAVISIN begs to 



partlcildan will be duly announced. 



announce that her FIRST PIANOFORTE RECITAL will take place at 
ReoMS, on Saturday Afternoon, May 7, oommendng at Three. Further 



Digitized by 



Google 



242 



THE MUSICAL WORLD. 



[April 16^. 1$!!^ 



rpHE ROYAL ITALIAN OPERA ARTISTES who 

X will SINO at the NEW PHZLHABMOmO CONOERTS, this soMon, in St. 
James's Hall (by pennisslon of Mr. F. Gye), are .•-^Mdlle. Exilia LAoavA, MMame 
DmXBK, sad MdUe. G. Patti; Slgnor Naovix. Slgnor Naax BAXALDi/BigaoT 
CoLOMxax, HeiT ScimiD, and SignonQiuziANi. Programme of the First Concert bf 
the Season, THIS EVENING, April 13th, at 8 o'clock, under the direction of Prof. 
WYLDE, Mob. Doc. The orchestral compositions selected from the works of 
Beethoven, Mendelssohn, Weher, Spohr, and BoasiaL ^rKrffs— Madsjne Lemmens- 
Sherrington, Signer Kandin. of the Boyal Italian Opera (by permission of Mr. 
F. Qye), and Signer Sivorl, vlolm. Principal TloUns in the Orchestra— Berr 
Molique snd Mr. H. Blagrove. Past 1.— Overture, Faiui (Spohr); aria, "(^sifsih 
tatti,*' Slsnor Naudln (Mozart); concerto for violin and orc^iestra: violin, Stenor 
Slvori (Mendelssohn) ; redt and song, "Sweet bird,** Madame Lemmens-SIiermg- 
ton, with Ante obligato, Mr. S. Pratten (Handel); symphony in A msicv, op. 92, 
movements, poeo sostennto vivace, allegretto presto finale, allegro con brio. Pabt 
3.— Overtore, Semiramide (Bossini): ^ia, del sonno, Maianiellci, Slgnor NaodJn 
(Anber); adsgio e rondo, "La CHoohette," violin. Signer Slvori (Paganini); aria, 
** Le Sennent," Madame Lemmens-ShorrlDgton (Anber) ; overtore, "Abon Hassan," 
(Weber). Tickets— Beserved Stalls, or First Bow Balcony, 10s. 6d ; Second Bow 
Balcony, 7s. ; Third Bow Balcony, 6s. ; Back Balcony, 8a; Arak 8s. ; Osfiery^ Is. 
Tickets for tTnreserved Seats to be had of Messrs. (Tbaxkr and Co., SOL Begent 
Street; Messrs. CHAmix and (3o.. M, New Bond Street; Messrs. Enrm, Frowsb; 
and Co., 48, Oheapslde ; and of Mr. Ausiiir, Ticket Ofllce, St. James's HaO, Pioca>.'; 
dillv. Tickets for Beserved Seata of Messrs. Csaxxb St Ck)s 201 Begent Street; 
and of Mr. Ausmr, Ticket Office, Piccadilly. ' The Sabscrintlon for the series of Five 
Concerts snd Five Public Behearsals is £2 28. for First £ow Balcony { £1 lla 6d. 
for Second Bow Balcony. W. GBAEFFE NKTHOLLS, Hon. Sec. 

USIOAL SOCIETY of LONDON.— ^ixth Skabon» 

1864.— The THIED OBCHESTBAL CONCEBT, on Wednesday Evsning 
next, at half-past 8 o'clock, at St. James's Ball Coadnctor—Mr, ALFEED 
MELLON. Frcfframme .^Part /.— Overturs, " The Isles of Flngal," Mendelssohn ; 
Air, Mdlle. Birrsuuiii; Concerto in G, oonoertlna. Signer GimJO Bboohoi-~ 
Molique; Duo, Desmoiselles Lisbhakt and Bsttklhkik; Overture, ** As Yon lite 
it" (first time), Harold Thomas. Fart //—Symphony in E flat, Mosart; Air, 
Mdlle. LiBBHAa?; Serenade and Rondo Oioioso, pianoforte, Herr PAUsa— Mendel- 
ssohn ; Duo, Desmoiielles Likbuabt and Bbttklbkxm ; Overture, *' The Ruler of ihe 
Spirits," Weber. A limited number of tickets for Area and Balcony, at IQs. 6d. each, 
and (Gallery tickets at 3s. 6d., at Messrs. Cramer and <^.'s, 201, Regent Street, and 
Avstin's Ticket Office, 8t. James's HalL 

CHARLES 8ALAMAN, Hon. Sec., 3(, Baker Street. W. 



R. KENNEDY'S ftONaS OP 8Q0TLAND- 

MUStC tiALL, STORS STSSEt^EVERT MQKDAY at EIO^.— 

Old Ballsds, Humorous Songs and Anecdotes. loL Kennedy has mnch pleasure In 
announcing that Mr. Lamo, the accompanist of ths celebrated Mr. Wilson, will again 
presids at the Pianoforte. Admission Is., 2b., 3s. 



B. WALTER MAOPARREirS PIANOFORTE 

PERFORMANCES at the HAHOvsa SQUAaa Rooxs, Saturday Mornings, 

April 30, May 21 and Jnae 18. Snbsariptlon, 16s. 
1 Osnaburgh Street, Regent's Park. 



R. W. H. HOLMES and Mr. G. W. HAMMOND 

^.^ will be assisted by Msdame LaiocBiis-SHBaBiKOToy, Mr. J. Bai^ta Cbattbb- 
TOM (Harpist to Her Maiesty the Queen), Mr« Blagbovb and ^Mr. Lsnnni, at thatr 



M 



FIRST PIAIYOFORTE.and MISCELLANEOUS CONPERT, at the HuHnri 



MUSICAL UNION.— Tuesday, April 19.— Quintet, Q 
minor, Mozart; SonaU, E flat, Op. 31, pianoforte— Beethoven ; Romance, 
Violin Solo, Siv<ri (first appearanoe since 1861)} Quartet in 0, Haydn; Andante 
and Finale, from Weber's Sonata in D miner (repeated by desire). Artists :— Sivori, 
Ries, Webb, Hann, and Faqne. Pianist— Uall^ Visitors* Ucketo, Halfns-guhiea 
each, to be had of Cramer and Wood, Chapnell A Co. ^ 



and Austin, at St James's Hall. 



•uwui Ob w., Ollivier, AShdown and Parry ; 
J. ELLA, Director, 18, Hanover Square. 



ly/TR. ARTHUR SKETOHLEY wiU appear at the 

1Y± EGYPTIAN HALL, Piccadilly, in his Neir EnterUlnmenU, entiUed 
•• PARIS," snd "MRS BBOWN AT THE PLAY," EVERY EVENING (except 
Saturday) at Eight, and on SATURDAY MORNINa at Three. SUlls, 3s. ; 
SeooDd Beats, 3s. ; (HUery, la The Box Office at the Hall will be open between the 
hours of Eleven and Five daily. 



" TESSY LEA," Opera di Camera, EVERY TUESDAY 

AFTERNOON at Three and SATURDAY EVENINGS at Sight. Hiss 
R. HsKDiasoH, Mr. Wmrrnc. Mr. Wnxmox and Miss Foolb.— Botai. GALLaax 
or iLLvsraATioir, 14 Regent Street. 



*Mr. 



" ur. u. aiacrarren nas set tnis oapuvatug uttle Pastoral to som< 
delightful music that ever Ml ih)m hir preBflo pen.**~ireni^ir Pott, 



P^VAas R4k>|[f, Batnrdsy Morning, April 38rd, Half-pas( (TXho. 
reserved)— Series, One Guinea ; Single (Concert, 10a 6d. 
» and 89 Beanmowkt Street, Marylebone. 



lUkets (i 



;3 



FDLLE. GEORQI has the honpr to annoiudce thai she 

__i will give a MATINEE MUSIC ALE, on Friday, the 18tli of May, at the 
™" 9 CoMCKET Rooms, fiaoover 8q«an» aader the fbllowiiig distinguished 

TBI DuoBias DowAoxB oy HouroiJC and 

ThB DdOBSSS DoWAOSa or SUTHBaLAHD. 



The Duchess of Sutherland. 
The Duchess of Argyll. 
The Duchess of Manchester. 
The Marchioness of Kildare. 
The Countess Constance Grosrenor. 
The Countess of Aberga? nny. 
The Vlsoountess Neville. 
The Lady Caroline Lasoellss. 



The Lady Caroline KffvOla 
The Lady AnseBebkett. ' 
The Lsdy Mary Wood. 
The Lady Hester Leeke. 
Lady LlUbrd. 
Lsdy WeosleydalSb 
Lsdy Graham MontgoiMry. 
Lsdy Parker. 
The La^Mayorasi, 
Mn« Arttrar Pott* 
Mn. Bishop Cnlpeper. 
Mn. Herbert Ingram. 
Mrs. Beaumont. 
Mrs. Tucker. 
Miss Holllday. 
MdUe. Gboboi will be assisted by Msdame A«ab«lla GonDARo, Mdlle. Cobbtaxcb 

r!?^^ ^5? ™*™* LBMMBHS-SHtaaniCTOjr; Mr. Lasabus 'and other eminent 

artists. Conductors— Signer Aawri, Mr. Ewlb Bkbobb and Mr. BBHsmor. 

Reserved Seats, One Guinea) Tickets, 10s. 6d- and Ts; 6d. ; to be obtained of Messrs. 

Cramer, Wood A C<k ; Messrs. Chappell and Co., M New Bond Streeti Messrs. 

Robert Coc^ and Co., New Bnrlingtim Street; Messrs. Cock and Hatchings; 

Mwsrs. OllivierandCo.; Mr. Austin's Tickei Office; andatMesBrB.DaBcaaDavSon 

and Co.*s, 244 Regent Street. 



The Lady Foley. 

The Lsdy AdeUsa Maonen. 

The Lady Leigh. 

The Lady Taunton. 

The Lsdy Bagot. 

The Lady Jane Reptoa 

The Lady Mary Fox. 



MDLLE. MARIOT DE BEAUV0I8IN (PupUof Mr. 
Bbkbdict) will give her FIRST PIANOFORTE RECITAL (varied by 
J Music), pn Saturday AfUmoon, May 7, at Three o'clock, at Willis's Rooms, 
St. Janaess. Tickets. U, and 6a ; to be >d of the principal Mnsicsellers, and of 
Mdlle. Mariot de Beauvoishi. 40 Carlton HUl, »t. John's Wood, W.W. 



¥ 

OOMOI 



R. BBAOON begs to announce that his THREE 

_ MATINEES of CLASSICAL MUSIC will Uks place at the Qobbb's 
•MOBBT Rooms. BlAOvcr^SqtiiA, on Mondays, AkU 9Ub. May 9tlL tod Vine tth* 
at Three o'clock. Violin, M Saibtoh and Herr PoLunBa ; Viola, Mr. H. Wbbb 
and Mr. Clbxbxti ; Violoncello, Signet FUSB ; Contrabasso, Mr. G. Sbvebv i 
PitfMiorte, Ma Db AOfK Two Vecall PiMCs will be gijm at eMh |CMn#& ; Tl^lts|s 
for the Mries— Reser^^, One dntnia { Unreserved, 16s. Ttekets to admit Three to 
a Single Matinte— Ressrred, One GUnea; Unreserved. 16t. Single Ti6ket-~ 
Reserved, Half-a-Gufaiea; Uiinesened,.7s. Tnhe had of. Messrs. Ollivier and Co., 
19 Old Bond Street; of theprJhclpdfMAllttelAM; attM Rooms; and of Mr. Deaoon, 
10 Wlmpole Street, Cavendish Square. 



ST. JAMSB'S HiLLlH 

MR. AUSTIN begfi to announce that his BENEFIT 
CONCERT will Uke place on Tuesday Evening, May Srd, 1864, on which 
occasion the following eminent Artistes will appear:— reca/ii<»— Mr. Suis Rbbvbb 
and Mr. Rbwwiok ; Madame Pabbpa and Miss Mabum Mobb. Jmttrumm t a l U U - 
PUnoforte, Mdlle. Madbukb Sobillxr Xher first anpearauM this Sea«>^ Umv, 
Mr. J. Bslsib (MATTtatoM (Harpist to a» Q^een) knd Mr. JdiiH Tacntia tFenoenfd 
Gwalia) ; Violin, Signer Sivobl Choib or tbb Vooa& AspoaATiov and Babd or 
Haxps. Cbndttctor— Mr. Bkkbdiot. To commence at Eight o'clock. Sofia StaUs, 
6s. ; Balcony, 3s. : Area, 3s. ; Admission, Is. Tickets to be had of Mr. Austin^ St. 
James's Hall ; and of all Mnslesellers. 



QTJEBirS CONCEBT BOOICS^. HAlfOVlSB 8QITABS, 

0ERR WILLEM COENEN hegs to announce tint his 
MATINEE MUSICALS will take place at the above Rooms, on Wednesday. 
4thi 1864, at Three o*61ock precisely, assisted b^ the following eminent 
Artists:— Feeollite^ Madsme LBMMBys^SBBBaivGTOH, Msdame SasraBan' Lbt> 
iMrumin<a/iito— Violin, Signer Siroai; PianefoHe, Herr Willbm Cobbbv; Bai^- 
monlum. Mens. LBXMBBa Cttidnctor— Mot|S.. LnutBili. KttkMAB'B Piabofobtb. 
Reserved Seats, l«s. 6d. ; Ticket to admit Three, One Guinea ; Single TIekat, Vs. ; 
to be had of Herr WUlem Coenen, 106 Gnat Fortlaad Strsel, and of Ewer A Co.» 
Regent Street. 

MR. EMILE BERQER vrill plaj his new Pianoforte 
Solo, •• WAVERLET," at Kenahigton, THIS DAY, April leth. 

R; G. W; HAMMOND will play, for the first time, 
_ his Two MuaKAS. ScBSCEts for the Ptanoitfte, ••BHADOWS AHD 
NBE AMS ** (MS.), at the Hanover Square Rooms^ AprU aSrd. 



ERR LEHMEYER will play his new NOCTURNO 

_ and GALOP DB CONCERT during Mr. Lvyr's $ownm at llBvasalle» 

Skields, Sondsrland, Bishop Auckland, Darllngtop, Df wsbnry, TodmsvisB* BalUks* 
Liverpool, Leeds, Soathport, P^MtfiPt MandiBs^, Edinbnrgh, 4q. 



TT^RR WILHELM GANZ wiUplay his ne^fir Miwiirkm 

D. '*VOGLIANA,** at Mtasfknay Partridge's Saix^Kosicale, May iW 

MADAME ALICE MANGOLD begs to announce that 
she Is in Town for the Season. AH letters respeeting engafements, Ac, to 
Iressed to Mr. H. Janett, Musloal Agent, at Messrs. Duncan JMvisoa ^ Co.^ 
244 Regent Street. 



lyiTISS ROSE HERSEE, during her Provincial Tour, is 

iyl engaged to sing at Newcastle, Shlelds^^ Sunderland, Stockton, Dsrllngton, 
UalUaz, Huddersfidd, Todmorden, De^rsbury, Stofl^rt, Manchester, Ltrsrpool, *«., 
and will return to Town fur the Season at the end of ApriL CommnnicstiqpB to be 
addressed to No. 2 Crescent Place, Burton Crescent, W.C. 



DLLE. LOUISE LIEBHART wiU arrive in Town 

___ for ths Sesson on the 19lh April Communications for engaffemenfes, pnbUa 
or private, to be sddressed to Mr. Jarrstt, Musical and Conoert Agent, 244 Regent 
Street, W. 



M' 



MASTER WILLIE PAFE has returned from Us 
Provincial Tour. His Annual Recital will take place at the Hanover Sqnare 
Rooms, on Frkiay Evening, May 18. For engagements, pubUo and private, adoresa 
No. • Soho Square. 



Digitized by 



Google 



Api*Pl*,<l6d»J]' 



THE MtTSICAL WOBLD, 



24B 



HIER^'MUILJESTY'S THEATEBi 

BXattLETTO^TARBnB^VfrALT, ETC., 

{Tha Timet, AprU llih,) 
Mr. Mapleflon oommeaced his regular season on Saturday night wiih 
a performance of Verdra RigoUUOt which in ahnost e^ry respect proved 
ntis&ctory; Three singers, new to th^ E^gHsh public; were included 
in the cast 'of the dramatU penonccj all of whotn, it may be stated '-ai 
oooe, were Hot merely successftil, but deserving of - success. The most 
ooDspfoiumf -of the three was Signor'Vareee, whcto« oontineiifal repute 
dates so &r bacfc that it ia difficult to acooont for the fiust of his never 
haTing been heard before at either of our Italian Opera-houaes. The 
part f^ Rigoletto was originally sustained bv thia gentlemen in the 
tatmnn of 1851. A contemporaiv notice of the first representation at 
Bei:^uno, which appeared in a local paper, may-— now that BSffoUUo 
obtaoos nearly unanimous acceptance as the master-work of its com- 
poser— he penuod with a certain decree of interest,- as recording an 
oxsmple of how dangerous it is at all times to place too implicit reliance 
on first impressions: — 

"The nam oper* of Vardi— RigoIctto^hM not bMn wttll-rwelred by th« pnblio of 
(hb town, altboogh ezeeoted by artUta of eminence; Ai the flrit tot wu fbnnd 
tenta in OMkMly, ud th« Moond morB tban oraallf spttlaf In the ororpowwlnir 
" 'the pablic 



I for which the gran mautro \m renowned, the pablic would not Uiten to 
tile thiid, bat with one Toioe demanded iMda Miller in its place. The primm donna, 
UiMd fai Riff^Mto and OTerwhelmed bjr so unkind a reception, wai laised to the skiee 
in Umia MUUr; and lo delighted weN the pubUd that they penhted in ibting* her 
oalside the theatre after the perfbnnanoe, aooompanjing her all the wa j home to her 



And this was not a French, nor a German, nor an English, but an 
Italian audience, which thus pettishly snubbed the musical pride of 
young Italy, by preferring his feeblest composition to his stroi^est. In 
what esteem the dreary Loutia MUler (introduced to us by Mr. Lumley 
in 1858) stands at present it is superfluous to inquire. The stanchest 
advocate of Verdi's music quand mSme woxxld be ashamed to compare 
" the MiUr " with the opera which at Bergamo was arrested in the 
middle— Jost, too, when the best was to come. Signor Varese, who, 
with respect to physical means, is now in much the same straits as 
Signor Bonconi, was long the only admitted rival to that admirable 
lyric comedian — ^the only one, at any rate, whose claims were beyond 
dUpate. More the pity that he should come to ua in the evening of 
his career. As one of the last of the race of genuine singers belonging 
to the sennine Italian school, the vocal school fHxr exedUnee^ and as stifi 
a fiae dedaimer and first-class actor, he should, nevertheless, be wel- 
come — ^welcome as Ronconi himself, with whom, before he can be 
daseed on equal grounds in this country, he must play many other 
characters, serious, comic, and melodramatic, quite as cleverly as he 
plays Rigoletto. Signor Varese's idea of the Court Jester— the man 
wno, heuiless abroad, is full of heart at home, the reckless panderer to 
that King of France so graphically drawn in M. Hugo's Le Roi t^dmuse^ 
and metamorphosed by Signor Verdi's librettist into the humbler Duke 
of Mantna (possibly, because, in that epoch, the kings of Italy ne 
iamutaientpM) diifers in one respect from the idea of Signor Bonconi. 
In the Goart scenes we are made by Signor Varese to recognise not 
merely a privileged buffoon, but a sort of mount-ebank whose speech 
is illustrated by gesticulations and contortions. Now, with deference 
to Signor Varese's authority as the original Rigoletto, we incline to 
think that the conception of Signor Ronconi — who rarely does more 
than hint at the acrobatic side of the Jester— is not alone superior in an 
inteUectoally poetic sense, but more impressive, correct, and true to 
nature. The grimaces with which Signor Varese insults Count Monte- 
nme exceed the unquestioned licence of the Court Buffoon to mimic 
with asKuned gravity ; while the gesture with which he accompanies 
the last word In his disdainful allusion to the object of that unfortunate 
BoUeman's impcHrtunities : — 

•« Qoal ri pif Ua or aelirio, a tnfite I'ort, 
lA Toitra figlla raolamar Vomtret '* 



may, in mild laognage, be deecribed as outrageeus. To the rest un- 
qodified ptalea must be awarded. The whole impersonation ie indeed 
aschaiacieriBtie aeit is atudioudy worked out. The first interview 
with OiidA is -taiidanieu itself. The sQene in the palaoe— where the 
dsspair^'th* bereaved and feantio Rigoletto is cruelly derided by those 
oonrtieBiivibO liKve practised the abdaction,'and scarce one of whom but 
mav be tappoeed to emart under the remembrance of some unprovoked 
and bitter gibe» eould hardly be excelled ; every minute detail being as 
eaieliilly finiahed ae it is in picturesque kteping. The most striking of 
All, perinea, ia the subBequent outburst of passion, when Gilda, reared to 
the anna ef her disooneolate parents, has related the story of her wrongs. 
The whole of this moving scene exhibits high dramatic power, and a 
Tocal skill whioh seta the encroachments of time at nought. With- 
out eotering farther into the subject, there can be no heaitation in pro- 
ntm^^THig the Rigoletto of Siguor Varese the finest that has been 
vitaassed 0Q'Oiir< stage; with the idngle exception of that of Signor 
BaMmi^. U uiwiidf ^i Bgikot VauMS was engaged, «t the elerenth 



hohr, to rephKW Signor Figotti (the Rigdetto of Mr. B. T. Smith, ai 
Drury Lane, in 1860), who had not arrived in time to flilfil his engage- 
ment: If this be true, the patrons of "Mr. Mapleson's theatm may b6 
felicitated on an tinanticipated change for the better. 

Mdlle. Vital!, the new GUda, is very young (not yet twMity; it la' 
aid) lAid therefore in a great measure inexperienced. Small in stituM; 
slight in figure, and with a voice at present not over-rich in quality, 
sh^, neverthedess, Walks the stag^ with graceful ease, has facial expres- 
sidn at command, and already &playBf considerable histrionic intelU* 
gence. Asr a singer she must acquire thAt uniformly ready use of 
meana which practice alone can mA ; but, thna much allo^^, we are 
inclined to prognosticate for Mdlle. Vitali an enviable fhture. Her 
natural dispositions are unmistakable ; while her talent is even now 
fkA ripening into excdience. Instead of be^;inning well and gradually 
Ming of^as is often the caSb with young artists aspiring to the highest 
hohoun, 91dllb; Vitali did precisely the reverse on Saturday night 
Shie begai so nervously that in the beautifdl music of the second scene 
—the duA with Rigoletto and the eavathut, " Caro nome," for example 
—she prodiiced scsreeiy any effect ; and a general impression appearod 
to prevail' that' nothing more need be expected. In the second act, 
hoWevttr, quxt^ another imprassion was created. The great dramatio 
sc^e with BigolettOk to which allusion has been made, showed Mdlle. 
Vitali gifted with, powers; both as singer and aetress, of which her 
previous efforts had afforded little or no indication. The toi^es of her 
voice, as if suddenly awakened from a lethany, were now both bright 
and penetrating ; and the more impasdonea her expression the mote 
sononty was there to give it vocal utterance. The audience, taken by 
surprise, applauded with enthusiasm. The last act confimied the 
success of Mdlle. VitsiH. The soprano part in the splendid ouartet, 
<* Bella figlU dell amore," could hanllv have been delivered with more 
force and dramatio significance. Of the other new conlef— Mdlle. 
Bettelheim, from the Imperial Opera at Vienna— it is impossible to 
offer any decided opinion, the ohatieter of Maddalena being limited to 
a Smgle scene, her music chiefly confihed to acoompaniea; recitative, 
the contndto part in a duet with Sparafadle and the quartet in 
question. That MdUe. Bettelheim potaesses a voice both mellow and 
agreeable, is a good musician, and as an actress exhibits ease, animation 
and intelligence, may, however, be stated without reserve; and there ia 
reason to ^lieve she may prove a valuable acquisition. 

Signor QiugUni, who gave his opening air (♦• Questa o quella*^— one 
of the most genuine melodies in the opera— somewhat tamely, warmed 
to his task as he progressed, and on the whole has never sang more 
admirably. This was his first appearance as the ga^ and unscrupulous 
Duke of Mantua, for whom poetical justice might as fairly have turned 
the Court Jester into an avenging uomo di aasto as the Commandant 
for that Don Giovanni whose peccadilloes he so closely emulates. 
The dramatic portraysd of such a character lies scarcely within the 
means of Signor GiugUni, but he takes his revenge by singing the musio 
froni first to last almost as perfectly as the composer himself could 
desire ; and those acquainted with Signor Verdi are aware that? he is 
somewhat hard to conciliate, much more to satisfy. With such true 
feeling did Signor Giuglini address the tender declaration— *• E U Sol 
ddl' anima " — when, disguised as a poor student,' the Duke of Msintuit 
woos the daughter of his ill-starred Jester, that the house insisted upon' 
its being repeated. We have heard the sequel—" Addio, speranza ed 
anima" — uttered in a more impassioned manner; but the rest was 
irreproachable. > The .slow movement at the commencement of the 
second act—'* Parmi veder le lagrime"— too frequently omitted, was 
so well sung by Signor GingUni that it was to be regrettedhe did not ' 
also restore the more cheerAil, if less earnest, "Fossente amor," in 
which the Duke reveals thesratification he experiences at knowing Gilda 
under his roof. The sparlding ** La donna i mobile "—that impudent 
libel against the fairer sex— waa encored with raoture. In spite of this 
we cannot help protesting against the prolonged note on the second 
syUable of the word " ac-on-to," as a decided anticlimax. Signor 
Verdi hhnself, a little further on, has done all that is requisite for the 
adequate emphasis of the cadence ; and even after' this. Signor Giuglini 
adds another " effect" of his own; so that at the end of each verse of 
a very short balUd, the light and ofl'-hand character of which is sug- 
gested both by words and music, we have three Ions halts in the 
rhythm. Signor Giuglini's share in the quartet was faultless. The 
melodious declaration to Maddalena ('* Bella figlla," <fec.) could not 
possibly have been endowed with more persuiuive eloquence. Indeed, 
this quartet, as a whole, has rarely been more effective, and was never 
more heartily and unanimously encored. There is nothing to say of 
the other characters, except that the Sparafbcile (a Signor Gasparini) 
was not surprisingly good. 

The execution of the choruses was remarkable throughout for vigor, 
precision and strict attention to light and shade; while the hand 
(strengthened by the addition of Mr. Carrodus, one of the most admir- 
able of our English players, as principal violin) fhUy ttiaintillidd"thd ' 
reputation which, under the aUe and sealoos direction of Signor Arditi« 



Digitized by 



Google 



244 



THE MUSICAL WORLD. 



[Apra 16,1864. 



it hafl recently acquired. The ball Beooe of ttie first act introduced one 
of the proiinsed new daiicera, Mdlle Aranyvary, who, in a pat de dna 
with Signor Ainmaturo (musio not by Verdij made a sufficiently agreeable 
impression. After the opera the National Anthem was peHbrmed, 
Mdlle. Tieljeos (whose unexpected aj>parition was greeted with general 
applause) and Mdlle. Bettelheim taking the solos. 



MUSIC IN COLOGNE .♦ 

The tenth GefiellschaftB Concert took place on the 5th inst., 
under the direction of Herr Ferdinand Hiller, in the Gtirzenich. 
This doaed the aeries of our winter concerts at that establishment 
in a manner which will be the best recommendation for their re- 
sumption next season. Seldom is it that all the elements com- 
posing an audience go away as contented as they did on Hte ^h 
inst. The programme, and the style in which it was executed, 
had each an equal share in this result. BeethoTeu, Mendelssohn, 
and Hiller, ushered in by the brilliant Concert Overture in A major 
by Julius Rietz, brought their respective ofiferings; Hiller, two 
beautifully conceived ^^Marienlieder," executed in the old Italian 
sacred style, and expressively sung by the chorus without accom- 
paniment ; Mendelsohn, his picture of the Departure of Israel out 
of Egypt, a work which has, it is true, often been heard, but 
always produces an imposing effect by its gnmdeur of conception, 
as well as by the skilful employment of the eight-part chorus, and 
the rolling tone-masses of the orchestra ; and lastlv, Beethoven, 
two of his most magnificent creations, the Concerto for the Violin, 
and the Symphony in C minor, with the triumphant oonduding 
movement in C major. 

The Concerto *' for the Violin "—as it is entitled in the pro- 
gramme — should be called the Concerto '* for Joseph Joachmi," 
for so would Beethoven himself have named it, had he heard how 
the genius-gifted artist has penetrated iuto his spirit, and, like his 
other self, crown into one with his work. But, aJas ! poor Beet- 
hoven could not have heard it had he even been stiU amoug the 
living." As regards ourselves, however, who have heard and stiU 
hear so much, some of which we are compelled to hear, whenever 
we listen to Joachim's execution — that is a bad word I — Joachim's 
transfiguration of Beethoven's thoughts into audible poetry, we 
feel that in the whole range of musical art there is notmng higher 
than this composition, thus endowed by the artist with all the 
fulness of life. 

In addition to' Beethoven's Concerto, Joachim played also an 
Adagio by Hiller (from Op. 87), with pianoforte accompaniment. 
Even after Beethoven's extraordinarily beautiful Adagio, this pro- 
duced a profound impression He then gave one of Baches three- 
part Fugues for the violin alone, and was obliging enough, in 
consequence of the never-ending applause and recul, to add a 
surprisingly beautiful Gavotte, likewise hy Bach. 

n, in condusion, we cast a retrospective glance on the musical 
season, from 1863 to 1864, we have good grounds for being satisfied 
with those who had the direction of our concerts. Of vocal music 
we have hoard at the deven concerts— including tiie festival concert 
connected with the Cathedral, on the 16th October last— Handd's 
Messiah, and the third part of Solomon ; J. S. Bach's Grosse Mat- 
thduS' Passion, and the Cantata, " Liebeter Gott,'* &c. ; Songs a 
capella, by Steiuekker and Donato, from the Sixteenth Century ; 
Beethoven's " Sanctus" and ** Benedictus," from the Missa Solemnis, 
and Christus am Oelberge; Scenes from Gluck's Iphigenie in AuUs; 
Mozart's **Ave verum," Mendelssohn's Hymn for soprano, solo 
and chorus. Hymn for contralto, solo, chorus and organ, the Erste 
Walpurgiesacht, and the 114th Psalm; Meyerbeer's ^^Busslied," 
for barytone solo, chorus and organ ; FCTdinand Hiller's Cathedral 
Festivfd Cantata, for tenor solo, &c., '^ Palmsonntag-Morgen," and 
two ** Marienlieder," a capella (all new) ; and by Max Bruch, Die 
Flucht der JieiUgen Familie (new). 

In the way of instrumental music for a full band, we have had 
overtures — Beethoven's Op. 124 (twice), and the overture to 
Coriolan; Cherubini's overture to Ladoiska: M^hul's to Joseph 
wid seine BrUder ; Spohr's to Jessonda; C. M. Von Weber's to 
Ohernn ; Mendelssohn's Schone Melusine ; Jul. Rietz's overture in 
A major ; aiid Waldemar Bargid's Prometheus overture (new), 

Of RvmnhnniMi t.liArA vtafp • .Tna TToTr/ln V cr(m«T%k/xnv {«^ Q iQi^ior 

I's No.vn^ 



Of Sjrmphonies there were : Joe. Haydn *s symphony in G major ; 
Mozart's in C major, with the fugued finale ; Beethoven's 



* From the Niederrheinitche Mtuik Zeitung, 



in A major. No. 9 (choral), and No. V. in C minor ; Robert Sdiu- 
mann's No. 11. in C major ; Nids. W. Gade's No. VI. ; Franz 
Lachner's Suite in D minor ; and Ferdinand Hiller's ^^ Morgen- 
musik," for orchestra, in six movements (new). 

Solo sineing was represented by Mad. Harriers- Wippem, from 
Berlin; Mdlle. AsBmann (twice^ ; Mad. Enbpges-Saart ; Mad. 
Rudersdorff , from London ; Mdlle. Schreck, from Bonn (twice) ; 
Mdlle. Jennv Meyer, from Berlin ; Mdlle. Rothenberger, of CTo- 
le; Mdlle. Wiessemann, ditto; Mdlle. Pds-Leuinen, ditto; 
jcUle. Elise Kempel, from Hamm; Herr Niemann, from Hanover; 
Herren Wolters, Bergstein, and an amateur, from Cologne ; Herr 
Gobbels, from Aix-la-chapdle ; Herr Carl Hill, from Frankfort- 
on-the-Maine (twice) ; Herr Max StSgemann, from Hanover ; 
Herren Julius Stockhausen and Otto, from Berlin. 

The solo instrumentalists were : piano — Mad. Clara Schumann, 
Herr Ernst Pauer (from London) ; violin— Herr Joachim, Herr 
von Konigdow, Herr George Japha^ Herr Leopold Auer; and 
violoncello— Herren Alexan& Scnmit and Alfred Piatti. Herr 
Franz Ladmer, Musical Director-Cjeneral, conducted his own Suite 
in D minor, for orchestra, at the first GeseUschafts-Concert, on the 
27th October. 



" MUSIC OF THE FUTURE" AND " ANTICIPATIONa" 

To the Editor of the Musical World. 
Sir, — I defy anybody to prove that the music, which a few call " the 
TDOidc of the future," wUl not eome day be much appreciated and per- 
haps adored ; and 1 also defy anybody to prove clearly that it ever will 
be. When I say '* appreciated" I perhaps use a wrong word, for I am 
wdl aware you have appreciated '* the music of the future" at its full 
value ; but by " appreciated" I mean liked, and, if I thus correct raysdf, 
it is that from reading your columns I have learnt that vou are punc- 
tilious and easily shocked at errors of expression, and like words used 
and placed logically, eloquently, rhythmically, musically, and all other 
ways sensibly ; but * let us return to our muttons" (pardon this French 
saying, 1 intend no disrespect to your editorship). ^* The Future" is 
such an mdefinite term of time— ^nd, bye the bye, so is ** the Past" — 
according to Scaliger, this year is the year of the world 6,814 ; accord- 
ing to Riccioli, 6,048; to the Egyptians, 370,090; and the Brahmins, 
780,081 ; so you see that " the Past** is rather indefinite- However, we 
are speaking of " the Future," and 1 was saying that " the Future*' is 
such an indefinite term of time that it is totally imposable to imagine 
even when the middle of it will occur ; you cannot, with any reason- 
able probability of being bdieved, assert that the middle of " Future" 
will be about three or twenty -seven centuries hence. Could we truly so 
prophesy, we should arrive at the certainty that " Future** would be 
limited to six or fifty-four centuries, and we should furthermore have 
the satisfaction of knowing that, at the end of said centuries, the heirs 
and assigns of our opinions would be able to take down the verdict of 
•* Future'* (which would then bo ** the Past") upon this *< music of the 
Future,** and rejoice or sorrow at it according as our opinions were good 
or worthless. But, as things stand now, with this un -limited uncer- 
tainty, it is impossible to have any satisfactory arguments or exchange 
of opinionswith any f\ill grown leather-lunged Wagnerite. Ton cannot 
say '• Well, we shall see two thousand years hence," for, as I said 
before, we do not know the limit of " Iiiture,** and 3*our adverany 
might answer you, and his heirs and assigns might answer yours, two 
thousand years hence, what your opponent answers you to-day after 
each successive fiateo which you bring under his notice : '* Years hence 
no other mucic will be listened to." There ia no satis&ction to be got 
from him ; urge that all, or nearly all, those composers, whose works 
we listen to now with delight, were appreciated and admired during 
their lives-time ; that your baker can never satisfy yon with loaves 
which he assures you you will relish and like ** at a fiiture time," but 
which you now eschew ; that if your tailor were to send vou a pair of 
pink satin pantaloons, turned up with amber, declaring that would be 
the fkshion at ** a future day,'* you would probably kick him, and tell 
him that his goose was not the only one in his establishment ; uige all 
this, and all else more, yet the stereotyped answer will be, ** Years 
hence, drc, Ac." Pray, what answer can yon make to such a fellow? 

1 can well understand the enviable position of a roan Who always has 
an irreplicable aivument in his mouth : by becoming a ** Wagpoerite,*' 
or, what we should call, more properly speaking, **an antidpator of the 
Future." I could u»e the same arguments and dumbfound everyl>ody 
differing from me ; I could gain arsumentative victories eveiy day'; 
tell everybody, thinking otherwise than myself, they were iiretrievaUy 
condemned fools ; and 1 would certainly become a Wagnerite for peace 
sake, but that the condition of listening to ** anticipatory musio" so 
more than I can bring my mind to. 1 am too irritable to listen it 
. Wagner's music ; in my opinion it is infiuctuose ; it contains all the 
> labour of germination up to the fonnation of the pedonde even, hoi 



Digitized by 



Google 



April 16, 1864.] 



THE MUSICAL WORLD. 



245 



there it itope ; it is pinefeathered, ioquiuated with pedantio affectation, 
and always moves me, when I listen to it, to excandesence and to speak 
words like the few I have just written : a vocalization infinitely situ- 
hative, fiuaboutive, and anything but dialogistic, and moreover very 
likely to create diaporesis in the mind ot your listener and to excite 
him to debacchaiion, and to afflict your readers' eyes with incurable 
xerophthalmy. That, sir, is t)ie awfully bad language I am moved to 
naa when I listen to one of Wagner's operas. Some pasaage will lead 
^ou to expect a melody, the introduction to it is dramatic, smooth, and 
indicating a channel through which your pent up feelings will flow 
limpidly ; he giadiuilly leads you np to it, and, like a coquette, feigns to 
wish to withhold that which you are certain you are to ei\joy, softly 
straggling, gently yielding, till, at the very brink» bang come the 
droms or cabals, }ike an intruder knocking at (he door, and, before 
you have tune to re-arran^e your ideas, you find yourself in the midst 
of another subject. It is like listening to a perpetually sustained 
dominant seventh without a chance of its ever being resolved. Of 
oporse, I know the answer any Wagnerite will give to the above, but 
va for opinions. Unless you are very irascible you may still manage to 
live comparatively happy in the musical world maljl/ri the *< antici- 
pators.'* If their opinions were eternal even, I doubt whether they 
would ever touch your pocket, but what say you to a man trying to 
make capital out of his ** anticipations?" A journal fell into my hands 
yesterday, the editors of which announce that said journal lias been 
establiahed in antiUpation of a circulation of fifty tniUwru per week»and 
they add that it is unnecessary to comment upon its advantages as a 
medium for advertisements I I think it is very necessary ; and I would 
beg to ask the editors, before I give them any advertisements, how 
long is it before they expect the journal will enjoy a circulation of one 
thoaand ? and supposing I be weak enough to ^ive them six lines on 
the faith of their *' anticipations," in how many years will their antici- 
pations be realized, and if at the end of the number of years they^nay 
please to mention the circulation does not reach the figure mentioned, 
whether they will return me my money ? and supposing they would 
act, I beg to ask you, sir, who knows everything, whether I could 
recover, or prosecute the editors for having obtained money from me 
under anticipatory pretences? 

/Ud now, in conclusion, I beg to inform you that I shall, in a Aitnre 
letter, submit to your notice a young composer aiming to become the 
fouDder oftk new school of music ; you guess, of course, that I allude to 
Heir Hfliorich Bchweitzgunklein, formerly a disciple of Kiobard 
Waner'it, but wiio has now set up in business on his own account. 
Vn&ast his «z-leader modestly writes <' music for the future," Herr 
Schweitzgnnklein aims at writing music for a little beyond that in* 
definite space of time. I have just received his first published work, 
an opera in four acts, entitled 

••The Toothaohb." 
I most tell you that Herr Schwdtzgunklein in his work (which has 
litenuy pretensions as well as musicid) premises that, at that period, 
which will immediately follow our most pyramidal motions of the 
extent of future, the world will be pretty nearly topsy-turvy ; and. (to 

flean hastily through the changes which will have tsJcen place) he says 
orolo^ographers will have divided our present seconds into thousands 
of itifinitesiiDal parts ; and that a subject which now takes ordinary 
tidnking powers an hour to consider will then be turned over and over 
again in a second ; distance will no longer be a physical impediment to 
the tcansportation of the body to where the imagination would have it ; 
by reason of the means of locomotion, which will then exist, the 
development of musical science will enable the composer to portray 
vividly the most refined sentiments, the most acute pains and the 
deepest metaphysical paradoxes, &c., dec, and he concludes his preface 
by offering his work as a slight sketch to illustrate the elementary 
ponciplee of ** post future music." I have the honor to be, Sir, 

Tour obedient servant, Boskousa. 
P.S. Will you kindly send my number of the Musioaii Wobld to 
^tney, as I am going there. 



St. Jamvb's Hall.— On Monday evening a new musical entertain- 
ment, entitled La Bi^fatdU^ written by Mr. Bernard, was produced at 
the above hall. The entertainment consists of a series of comic and 
seriooB iUiistrations, comprising descriptive songs, duets, and trios. 
The parte are sustained by Miss Wentworth, Miss Brougham, and 
Mr. Bernard. The music, which comprises songs, old English ballads, 
gipsy melodiefl, and Irish airs, is well given, and the whole performance, 
amming. The dialogue is smart, and free from vulgarity and cant. 
The acting and singing of Mr. Bernard are deserving high praise. 

Adblfbs Thxatbb. — 'i'heir lioval Highnesses Prince Arthur, 
sod Priooeas Louisa, attended by Lady Caroline Barringtou, Hon. 
Hiss Ldsoellesi General Grey, Major Eiphinstone, and suite, honored 
with their preaenoe the performances at tliis theatre on Saturday 
•vnlng. 



MULTUM IN PARVO. 
To the EdUor qf the Musical Wobld. 

Sib, — Will you allow a restleBS waiiderer to offer you some of 
hia experienceS'-exjDenen^iaZ doceU, My only amusements are 
books, music, and theatres. I go about. I rarely stay loi^ in a 
place. I am tired of any given spot, however choice ; often indeed 
at a first glimpse. I take notes, however, for my own satisfaction, 
and read them afterwards — ^^ears afterwards. My handwriting is 
bad, however, and I should like to read them— years afterwarda— 
in print. Will you dose the bargain ? Ton shall have my notes 
if you will print than ? Tour reply needs no counter-mission in 
expedited ink-strokes. If I see my first batch of notes in the 
ALW.-^not in Mr. Ap'Mutton's oolumn, if you pleftse; I have no 
wiflih to be sneered at under the cunning semblanoe of an odd mis- 
appreoiation — ^il, I repeat, I see my mst batch in the M. W, of 
Saturday next I shaU read the answer in the afl&rmative ; if not, 
by JV9^ means. 

I "f^as lately at Birmingham. I went to the Stork, after a vain 
search for the Clarendon Hotel, where those famously acrid letters, 
signed ^^ Air English Musician," used to be dated. There I saw 
a paper. In the paper I saw an advertisement of a concert. It 
was April 1st ; and i was at first apprehensive it might be a joke. 
*^ Never mind,"— said I — '^PU go; Beeves sings, and there is a 
chorus.*' I went. On referring to my commonplace, I find : — 

** Instructed by the past, the Festival Choral Society had spared no expens* 
on this concert. Their programme included several eminent masicsl names. ' 
Suns Reeves has this season been invaluable to the sodety, and it was not to 
be supposed that his magnetic power would be less when assodated with 
Lousa Pyne and the Marchesis, Harrison, Lotto, and Georges Pfeiffer. than in 
humbler company. Besides, the ** exeoative " oomprised ti^e society's chorus, 
under Stockley, and in this as well as in the solo department there appeared 
to be a vast disproportion of means to ends. Henxy Smart's genial part-song, 
*^ Spring,*- by the full ohoir, formed an agreeable opening. After '* Hsi gii 
vmta la causa," from Mozart's F^aro^ sung by Signer Manhesi, a spokesman 
solioited indulgence f;>r Miss Louisa Pyne, who wss recovering from bronchitis, 
and had quitted her bed to appear. A duet from Maritana (** This heart witn 
joy o'erflowmg '*), was then sung by her and Mr. Harrison. The effects of her 
illness apparent, her singmg wss remarkable for fluency and grace, contrasting 
fortiibly with the rugged vocalisation of her partner. Madme. Marchesi sang 
^'Armida Dispretata^ Ihnn Banders Rinaido^ with fasdnating diffidence. Mr. 
Sims Reeves was greeted with the usual acclamations reserved for this favorite 
of the public. Howard Glover's setting of Shelley's lines, ** Maiy, dear," was 
sung with a refinement and fervour which made the beauty of the combination 
additionally apparent ; and, after Mori's ^' Wine Song," the tumult could be 
appeased by nothing less than a repetition of the last verse. But the crownine 
triumph of the great tenor was reserved _for ** Come into the garden, Msnd, ' 
sung with such ease and nonchdUmce, such sweetness and tenderness withal, 
that one hardly knew whether to bUme or applaud. The audience, however, 
entertained no doubts on the subject, and the emphatic manner in which tl^ey 
expressed approval, conveyed an intimation to Mr. Sims Reeves, which, there 
was no disregarding. So, graoeftiUy making virtue of necesnty, the ** pet of the 
public " came forward and sang the aong again." 

More than this I cannot find in my notes. I have no doubt 
I intended to write more, but was overpowered by sleep while "at 
labour. The Stork is a dull place— not hall so oozy as the Fish and 
Volume, at Tewksbury Point. 

From Birmingham I steamed, by express, to Chichester— a good 
fore-and-aft* noon*s labor. After a slight repast, I lighted a cigar 
and flew to the Cathedral— which, lover of Cathedrals though I be, 
I had not visited since tiie disaster of three years and two months 
(precisely—wd the date of my letter) since. I spoit an hour and 
half a hour and a quarter of an hour and five minutes in silent 
contemplation. I admired, but said nothing — even to myself (I 
was alone). On referring to my common-place, I find : — 

**The work of restoring central tower and spire of Chiohester Cathedral is 
slowly proceeding. The platform for workmen has been raised, bringing mto 
view liuge portion of external work of tower, now distinctly seen above 
roof of nave end chancel, conspicuous feature in landscape at distance round 
dty. The walls of tower, 6^ feet in thickness, have reached height of 
nearly 100 feet from ground. There are turrets at four comers, embattled, 
like tower, and these, ornamented as of old, have also been carried up to 
conuderable height. Three are octagonal, the other — ^western— circular, as 
in original. Tower is to contain two windows on each nde, each divided 
by dustered columns, supporting pointed arches within larger ones of 
same character. Bases and lower parts of mullions of great windows on each 
face of tower are now m podtion, aroading below them being fini sh e d, 
"livelier** now worka at an elevation of about 110ft. firam gcoood, and 



Digitized by V^riOOQlC 



,2i6 



T^E^MUSICAI- WORU). 



t4prii4f6,a^4. 



Bcaffolding again most be raised in month or six weeks, high enough to admit 
of completion of tower, which, it is' expected, will be finished befbre end of 
present year. No attempt has heen made to connect new work with old, or 
will be until tower is completed. In carrying out restoration every detail isr 
copied with precision from original. After catastrophe of Feb. 21st, 1861, 
all carved portiona which could be recovered from atbru were ooUected and 
■tored away in ^ast end of building, where they have been sorted and arranged, 
and, js far .as posaibie, old .stones are . made to serve as models for new 
work. Spire, as formeidyf will t>e high as that of Salisbury Cathedrals and 
rt^emble it in fonn. At. base of each of eight aides will be windows and 
pinnacles, adocued with cvo^uets aod finials o^ elegant design. Two bands of 
.tracery, will sorrQund ^pu^ at dijferent hei^its, and plain inond moulding run* 
up each angle 60m base to £nial. It is hoped restoration may be oom- 
jpleted by July, 1866." ' ' 

The aboT6 htai^ note znay afford your Creadon (if they ai^ mine, . 
.tfio) . iK>xne idea of what is going on. X talk to you of cathedralSf 
. b^^nae every; such " sacred > " no, I neyer ase the peifnyTa- 
^ Unarms pfurtae;. every such eoolesiaatical monument (tbat^s^^ttep) 

contains within its " venerable ^*' no not " venerable^ vaUs," 

:t^ia aAot]ier*<^wiiihin i^ walls (simple) an organ, whieh thus 
jomuefi^ it in,ami990Qra w^th,]the ^^diyiBe,|fft"-*-hang itt— Xam 
^«aught at last. 

Yaxton Last. 

JUshmd V^lme^^TiUfMury P<nnt, April 14. 



Beethoven. 
Sohaberi. 
QouDod. 
Haydn. 



MONDAY POPULAR CONCERTS. 

Th^ae conoertaweve resumed on Monday night, after the accustomed 
,Eaater interval,.withaD ^xoeUent selection anda whoUy new attraction. 
-The programme was aa follows :— 

JPAHTI. 

.Diparkt» in Pmlooci strings Meaart. 

Hectt. ed Alia— "Taohesei quel doloefiore** aoohr. 

"^ Swedish WUiUr Song" Mendelssohn. 

tiiitoFraaaalse,inE)i^or,F]aiiororte ... Bach. 

PART IL 

Bonata, In A minor, Opi 23,F)aiLofiraie and Tlolln 

BoBg.-^TmneismylMart'* 

8o«f,-^«* The Jewel Song ** (Fanst) .» 

Quaitet» U B flatiwjoy iNo* 9» Op. mV, strings ... 
Conductor,— Hr. Benedict. 

The new attcaolion was Signor Camillo Sivori, the moat gifted and 
aoeompliahed Italian fiddle-player aiace PaganiDi, and we beUeve the 
only one who can hoaat of haying received the benefit of that incoiii* 
urable.maater'a counaehi. Aaa virtuoio of the first rank Signor Sivori 
{1 renowned all over Europe; butaa a qijiartet player he ia probably 
better l^wn and a|»preciated in England than elaewhere. Twenty 
yearaa^o^-lopg.befqre.St. Jamea*a Ball waa dreamt of— when auoh an 
inatitutum as the lilonday Pop>ular Conoerta would have be^en a aheet 
imposaibility, he waa *- with Ernst, Vieuztempa, Sainton, Tereai 
HilanoUo, 4^-^pne of ihe chief leaders at the^then celel^ted 
neribro^Ud^ of the Beethoven Quartet Society, founded bv the lajte 
Jlr. 0^(;pa8. Alaager, and carried on by M. RoiMMloi. At theiluw^ 
yil^3i^or Sivori haa nw)re than once played a oo^apicooua pari j 
and to conclude, wherever and whenever the oovi^tfjon presented, he h^ 
proved himaelf unite aa admirable a proficient in thequarteta and other 
daAiical works of the great compoaera aa in those brilliant and ahow^ 
pieces of meofaanical dlaplay wnioh appertain exclusively to what ^a 
Senominatod the ** Fantasia acbool." Although the Monday Popular 
Conoerta have exiated upwarda of five years, S£gnor Sivori had never 
played at auy of them until now. The foremoat maatera of the 
Qorman, Bel^an and French achooU— Joachim, Vienxtflmps, Sainton 
.^bttpdea violinista of distinguished merit, like Wieo^wald, Becker, 
Htmuaa, Laub, &c., and othera of no leae diatinguiahed promiae, such 
aa Lotto, Auer, &c., were repeatedly heard ; but the turn of Sivori had 
yet to come ; Italy waa yet to be aa well repreaented by a violiniat aa 
it had long been by Hatti aa violonceUist and — to ascend a step higher 
.—by Cherubini as composer. There was a general impression, indeed, 
that Signor Sivori had made it a condition that he should earn his first 
lanrela iu one of the quartets of the illuatrioua Florentine musician. 
Hosart and Haydn, however, were unexceptionable substitutes ; and 
the addition to their two quartets of a sonata for violin and piano, by 
Beethoven, enabled Signor Sivori to exhibit, in one evening, his 
&milisr aequaintanoe with the styles of three out of the six great 
Qormaa compoaera of chamber music to whom pre-eminence ia 
unvdmoualy accorded. J. S. Bach, Mendelssohn, and Spohr will 
succeed in due course — followed, doubtless, if not preceded, by 
Cherubini Signor Sivori's ancceaa waa complete. He could not have 
chosen a more aoeeptable quartet than that of Mozart in D minor (the 
second of the aet of aix dedicated to Haydn— ending with one of the 
quaintest atr« variU extant); nor could he have played it with more 



genuine feeling. His phrasing in the andante breathed the very spirit 
of Italian aong— of that pure eantabUe whieh, though native to Italy 
finds a hearty response under every dime, ao graceful and unaffected 
is it, amid all its genial warmth. The minuet and trio were irre. 
proadiable— the boldly accentuated minor (minuet) was expressed with 
as much vigor as the playful major (the trio] with crispness and delicac3' 
of bow. An *« encore" followed, with which it was quite impossible 
not to comply. In the )Sfui2e— perhaps the most beautiful, certainly 
the most ongtnal and Mozart-like of the four movements — the theme 
waa given wiUi the closest rhythmical precision and a thorough concep- 
tion of ita unobtruaive simplicity ; while the character of each variation 
waa hit off with provoking nicety, not the leaat effective being Variation 
No. -4, which, in the major key and of purely mebdxoua complexion, 
afforda so grateM and happy a oontnust to the reat. In abort, the whole 
quartet was a musical treat ot the most refined order. The audience 
were enehanted, and at the end Signor Sivori, and his companions, 
Herr L. Ries. Mr. H. Webb, and M. Paque, who had supported him 
widi rare ability, retired amid phmdits from all parts of the hall. 
Haydn's capital quartet in B fiat waa no less successful. The only 
drawback to the enjoj-ment of two masterpieces thus thoroughly wml 
executed was thedisturbanee made by late arrivals during the opening 
movenoent of the first, and by early departures during the closing 
m^^vementa of the laat. For thia inconvenience it seems evident thai 
the director ia at hia wits' end to find a remedy. 

In Beethoven'a fine sonata, Op. 23, Sig. Sivori enioyed the valuable 
corC^Miation of Mr. Gharlea Hall€, who alao played the light and pretty 
8uU$ Franeoiai of John Sebastian Bach, aa he invariably mays the music 
of that master. Mr. Hall^, nevertheleaa, would, we thmiC have been 
attll better employed on one ef tbe Suitet Anglaitet, which are not only 
more inganiona and elabonte, but In all res^ta more interesting than 
the £lemm Franddiuehen SuUeUf as they are called, and mudi more 
atrietly in the genuine style which Bach adopted when writmg not 
to pleaae othera but to plesae himaelf. The vocal music waa good. 
The air from Spohr'a Fautt (sung by Mr. Benwick), and that from H. 
Ooanod'a opera of the aame name (sung by Madame Lemmens-Sher- 
rington), served to show how little in common there is between the 
genius of the (German and that of the French composer. The two 
songs by Mendelssohn (Madame Lemmens-Shertington) and Schubert 
(Mr. Benwiok) are among the most perfect specimens of the German 
IM, Hew'well Mr. Benedict aeoompanied all these it i« superfluous 
to add. At the 149th concert, on Monday week, Signor Slvaci ia to 
lead quarteta by Mozart and Beethoven. 

o 
HER MAJESTY^S THEATRE. 

Ur. Hapleson threw open the doors of thia ^BtaUiahmfint cm 
Saturday mght. The house was not so well attended aa the patona 
of the ^^ old house " could have wiah^. 

Tbe opera was Verdi's Eiffoktto. Madlle. VataU (Gilda) is 
young and not without tmnnise. Signor YarcBa tBig^letto) should 
JbaTe been heard in England long ago. MdUe. Bet^lhehn (Mad- 
dalena) has a deep toifed conimlto. Sig. Gbusparini (Spanttucile) 
is a sombre indiviauality. -Sig. Ginglini (the Duke) was ^^in ex- 
oeQent voice " (whatever 'that may signify). Sig. Boni ^yed 
Monterone. The band and choras were runt muLM^yK^ ni 
better and better while. t7 picGob maestro (1 rrigi Awff) ptmJam 
oroheatral chief. -Besides the four new smgers "(TitcJi, Tarese, 
Bettelheim, Gaaparini) a new dancer — ^Mdlle. Anaiyvary-~eBLecatcd 
,a pa» de deux, in the first act, with Sig. Ammatura At tiie end 
of the opera came the National Anthem-HXiloB by Mdlle. Bettel- 
heim and Mdlle. Tietiens (whom the audience were glad to wd- 
come). On the whole it was a good ^^first night," if not a 
lucrative. 

On Tuesday EUgakUo was repeated (attendance much the same). 
On Thursday Flotow's Marta was performed, with Vitali, Bettel- 
heim, Giuglmi, Santley, Caaaboni, and another new comer — Sig. 
Mazzetti — ^in the cast. About this, next week. 

Tereaa Tietjens appears to-night in JVorma, supported by Louiee 
liebhaidt (AdalgisaV Geremia Bettini (PoUio) and Marcello 
Junca (Oroveso)— the last new to our public. On Tuesday 
General Garibaldi will honour the theatre with his presence. 

BUTCH£B BaKEB. 

o- . 

Madame Rddkbjbdorff haa returned, from Paris, laden with laurels, 
earned by her admirable performance [of the njprano part in Ei^ohtJM, 
the recent Mendelssohn Festival. 

Madame Arabella Goddabd .gives a *' Recital^* of classical piano- 
forte music this day, at Bath. 

UxBa Ebnst. — ^AU our readers will be pleased to hear that this 
illustrious artist ia rapidly progresaing in^heuth. 



Digitized by 



Google 



Ipril 1$, 1864;] 



THE MUSICAL WOMJ). 



247 



NEW PHILHAEMONIC CONCERTS. 
Dr. Wylde oommeDoed hU ISth season on Wednesday night, at St. 
James's Hall, with one of the best concerts he has ever ^ven. His 
nevr daties, as Professor of Music in Gresham C(dlege, which by gen- 
snl eonwnt he Derforms so well, have evidently in no way affected his 
•othoiiaam ibr the New Philhazmonio Concerts, of which he was the 
originator, and has now for many years been sole director, manager, 
and oondnotor. On the contrary, his patrons have good reason to be- 
mtttfted with his arrangements for the current season. His orchestra 
— iDotodlog between 70 and 80 stringed instruments, and, with the 
" wood," " brass," and " peroussioD,*^ close tipon 100 '* strong "—is 
really ma^^uficent. It is not merely strong in numbers ; the players 
are among the most skilM and experienced we possess, and each 
department is headed by artists of the highest rat/k — as an example of 
whioh it Is eooogh to dte the prinoipal *> first fiddles," Berr MoUotte 
and Mr. Blagrove. The progmmme, which On Wednesday afforded 
unequivooal gratifioation to the immense audlenoe in St. James's Hall, 
was as follows :^ 

Tawt I. OTtrtnrt, "F^mL-SpohSf; Air, "Co«l fkn iutto," Mowrti ConoeHo, 
(fMla) MMdelasolmi Air, '^U Penslsroso,'* fiaodeli Bympbooj (No. 7. In A) 

Past IL Orerime, «' Semlnmlde ** Renlai ; Air, M KsunleUo **. Aubor ; Adagio 
-w4 Beado. "La Cloohett^* Paguiinl ; Air, •«Ls Serm«&t** Anber; Ortrture, •« Aim 
SMMn,** Websr. Condnator. Dr. WjkU. 

If, ioitead of an nnintemmtad seiieB of pieoes, in an abstract 
tboaicAl sense, extremely beautiful, Spohr had composed nothing besides 
the oveHors to Fauttf it would have sufficed to preserve that lyric 
drama fiom oblivion. It is certainly one of the best, if not the veTy 
kest^ of its oomposer's orthestral preludes ; and, well considered, has a 
does poetio kni^uiiBg. The gloom at the end, compared with the 
bri^tness of the oommenqement— one of the means of suggesting 
which is the almost singular expedient of terminating in the minor 
key a movement that begins in the major— is in admirable keeping 
with the paftfonlar legend, among many relating to the famous Dr. 
Fsnstiis^ submittad to Spohr for opeiatio treatment. The overinre to 
FomH never &ils to animate an orchestra composed of genuine 
mpsicians ; and it was, therefore, not extraordinary that the perfor- 
mance pn the present occasion i^ould be in most respects strikingly 
food. The gimceftd air (torn Mozart's too much neglected (hat fan 

** Un sma amorosa del nostra tassro 
*' Un dolM ristora nl oor porgtri^** fte.— 

after the sombre weight of the Faiut music, was really what the words 
convey— at oace an *< aura amorota " and a '< dolee rutoro** relieving 
the ^irit while gsatifyiog the ear. The singer was Signor Nandin, 
from the Royal Italian Opera. Nothing could have succeeded this 
more happily than the violin concerto of Mendelssohn, with its 
impaoBioned aU^ro, its ex^uisiiely melodious slow movement, its spark- 
ling, fiiiiy-lilcB, impetuous and MlUant finaie — a masterwork in every 
sense, as beautiftil as it is ingenious, as well knit and homogenous as, 
from tha first bar to the last, it is full of exciting interest. The 
player was Bignor Camillo Sivori, who may daim thenonor of having 
MB 'first toontrodnce this concerto (the only one which Mendelssohn 
s<im|»stf te the fiddle— that is, the only one published, for it is now 
wsttUMum ih«t another is in SKistence) to 'an English audience. 
This was io 1846, at the Philharmonic Concerts, to which we owe our 
Irst ae^nainianoe with nearly all the great and^ original instrumental 
noafe produced in the course of the last hal^oentury. Signor Sivori's 
exeoutUMi of the violin concerto was excellent at thai period; it is 
afaoosi ahmlate perfi a ction now. We have never heard the aocomidlshed 
Italian rtrlnosD play with nu>re spirit, delicacy, refinement and charm 
of expraaslon than last night; and the impression he created was 
eommansiiiste with &e mmts of his performance. He was listened 
to throoghoai with eager interest, and retired from the orchestra amid 
vlaodita wliidi, if he oares for being thoroughly appreciated, must 
have hafin musio in his ears. The *' Nightingale Song " from " II 
PeosSeroao," even when abridged, must always be felt out of plape, 
except encUy in the place where Handel has expressly put it. There, 
iiii mofli poetical; separated from the context, it becomes pale and 
iHgid-- 4li« difference between a nightingale in a cap^e and a nightin- 
gatein the free woods, made melodious with its liquid notes. And 
this with deference to Madame Lemmens Sherrington, who warbled 
the air delightfully ; and to Atr. Pratten, whose echoing trill upon the 
flate Gtttdid the trill of his vocalpartner, if not in musical sweetness 
at leasa in artful prolongation. The majestic symphony of Beethoven 
—the glorious No. 7, which had Lucilio Vanini known he would have 
adopted ** T'^ instead of " 9/* as the magically 'Symbolic number— was 
K> mptfe\\f given as for the moment to put everything else in the 
shade. W tUbi a work ! What a slow movement !— with its eternal 
ihythin of disetyl and spondee, all in one key, minor or major, except 
bere and tiMre a transition, heire and there a feint of modulating^, m 
each instaiice ,provokingly and yet pleasantly baulking expectation ! 



No oifierbut Beethoven eouM have felt such entire self-reliance as to 
consitruct a movemeiit on a plan so wholly unprecedented ; and no 
other could so perfectly have adapted the means to the end. He him- 
self thought highly of the symphony in A ; and the musical world 
thinks with him. 

The second part opened in quite another style, with Eossini's 
brilliant and orchestrally-^lendid overture to Stmiramidey concluding 
right merrily with the light and tunefol prelude to Weber's early 
comic opera of Abu Hataan, The <' sleep-song " from Mataniello (by 
Signor Naudin)— a ehtfd^auvre of expression ; the hacknied, but still 
wdcome bravura from Auber's opera of J^e SermerU Tby Madame 
Lemmens Sherrington); and the welcome, but still hacknied ada^ 
and rondo from Paganlni's concerto La CloeheiU— which Signor Sivori 
used to give night after night at M. JuUien's excellent concerts, and 
never played more effectively — may be dismissed without comment. 
After the serious music of whioh the first part of the programme was 
ohiefiy made up these ad oapiandam inspirations came all the more 
grateftiUy and were all the more keenly relished. In short. Dr. Wylde 
'Reserves the tllanks of his supporteirs for a c6ncert which from one end 
to the other scarcely offered a ringle weak point, a concert in which 
not a dull moment can be recorded. 



Tub Conskbvative Land Sooiett.— The 46th Quarterly Meeting 
was held on the 12th inst., at the Offices, Norfolk Street, Strand, 
London, W.C. Mr. Gruneisen, the Secretary, having read the adver- 
tisement convening the meeting, Viscount Banelagn, the chairman, 
read the report, from which it appears that the receipts for the half 
year ending Lady-day, 1864, were £32,694 17s. 6d., and the grand 
totals £758,844 6s. Id. The large number of £20,148 shares of £50 
each had been gained since the formation of the Society, representing 
a subscribed capital of £1,007,400, the actual cash receipts from aU 
societies having been nearly £784,000. The total sale of land amounts 
to £886,118 8s. Id., and the total withdrawals since the formation of 
the Society to Lady>4ay, are £218,650 17s. 8d. The sale of the 
important property recentiy acquired in Battersea, situated at Plough 
Lane, commenced on the 6th of April with signal success, and all the 
plots of the first allotted portion were selected ; high premiums being 
paid for early rights of choice. This estate has all the advantages of 
dose railroad and steamboat communication, and its proximity to the 
Battersea Park, renders it a most eligible locality for building purposes. 
Many of the new zailroad schemes before Parliament will materially 
improve the Society. Suburban {UUgible in the MS). The intended 
erection of a Chapd on the Oatland's Grange estate at Roybridge has 
given an impetus to building. The Committee entertain the 
expecUtion that the Rector of Forest Hill, the Revd. Mr. Clarke, will 
be able to carry out his intention of providing additional accommodation 
for his parish, by raising a fund to erect a Church on the Brocldey Hill 
estate, Forest Hill. The difficulties in allotting the Avenue estate, 
Southampton, arising out of the claim of the corporation to some 
common land connecting the main frontage vrith the high road, being 
nearly removed, the land will soon be offered for.sale. An important 
allotment, consisting entirelv of freehold and leasehold Villa houses 
bebnging to the Society, will take place in the ensuing month. The 
report was unanimously adopted and votes of thanks were passed to 
the board. 

G-ALUBBT OF iLLtTSTBATioK. — Witliout arresting the ''run*' of 
Tke Fffrmmi, Mr. Mao&iren's Juu Lea has been revived^ It is to be 
given on Tuesday afternoons and Saturday evenings, until further 
notice. By this means Mr. and Mrs. Ge)rman Reed appeal to two 
distinct classes of audiences— one musical, the other, dramatic — who 
in no way interfere with each other, but are as much apart as if they 
belonged to separate establishments. The cast of Jeny Lea, in one 
important exception, has 'undergone a change. The exception is Miss 
Robertine Henderson, viu Miss Bdith Wynne — certainly a change for 
the better, for though the young Welsh lady sang the music of Jessy 
extremely well, the young English lady sings it even better. Miss 
Robertine HeAderson, indeed, is one of the most rising and gifted of 
our young singers, and one of the most distinguished pupils of the 
Royal A^emy of Music. Her voice is of fine and telling quality and 
she sings with graceful ease and fluency. Great things may be pre- 
dicted of the future career of Miss Henderson, if she only shows 
industry and perseverance. Her talent is as undeniable as her natural 
gifts are precious. Her success in /esay Lea is decided. The public, 
charmed with her voice and the livehness of her style, have already 
accepted her as a favorite. Mr. Whiffin, Mr. Wilkinson and Miss 
Poole sustain their original parts with all the old effect. Altogether 
Mr. Macfarren's charming operetta is a most agreeable treat. 

HEan JoHiNN LiuTEBBAOH — Ooneertmeiaier to the King of Saxony, 
and 6ne of the most admirable violinists now in Germany, has come to 
London for the t 



Digitized by 



Google 



248 



THE MUSICAL .WORLD. 



[April 16, 1864. 



1\yf ONDAY POPULAR CONCERTS, St. James's HaU" 

IVX Sl^or SIVORI will mikke his seoond ftppearanoe on Monday, April asth. 
^ooforta, Mr. Charles Halltf. VooalUta— Madame Lemmens- Sherrington and Mr. 
W. H. Cunmioffa. Conductor—Mr. Benedict The programme will Inrlode 
Mozart's quartet in G, No. 1; Beethoven's Sonata in G, Op. 96, for pianoforte and 
violin, Ae, So& Stalls, 5s.; Balcony, Ss. ; Admission, is. Programmes and tickets 
at Messrs. CbappeU and Co.'s, so, New Bond Street; and at AusUn's, 28, PiccadlUy. 

""" ST. JAMSS'B HAIjIi. 



MR. CHARLES HALLE'S PIANOFORTE RECITALS. 



MR. CHARLES HALLA hm to annonnoe that he intends 
ghing EioBT PiBVOBXAHCBS OF ^.AasiCAL PxAHorosn Music In the larce 
Boom of St. James*! Hall, on the the Afternoons of ^^ 

FRIDAY, JuHS 10, 18M^ 
„ Jmw 17, „ 

„ JUHB 3i, „ 

JULT 1, „ 



FRIDAY, Apbil S9, ISM, 
Mat fi, 
Mat 18, 

Mat 27, 



to eommenoe each Day at Three o'Olock precisely. 

Thx programmes, as in 1862, will be selected from the works of the most oele- 
Drated writers for the pianoforte, andent and modem, a sonata by Beethoven, or 
a oompoflition in another stvle from the pen of that great master, oonstitntinf a 
prominent feature at each BedtaL Examples from J. a BadL Emmanuel BMh. 
i®?'^**** ^y*** Moaart, dementi, Dnaeek, Woelfl, John Field, HommeL Weben 
Bohabert, Chopin, Mendelssohn, Schnmann, Henselt, Aa, Ac wOl be faitrodooed in 
the course of the seriea From these eonrces Mr. HaU6 believea that eight pro- 
grammes can be constmcted in such a manner as to suit the tastes of the hifhly 
cultivated musical audiences of the present day. Though the pre-eminence cS 
Beethoven as a composer for the pianoforte is indisputable, the bbours of other 
nuuicfans who have devoted their learning and genius to the Instrument, as weD 
as those who have made it their special study to assist and faciUtate its mechani- 
cal progress merit almost equal consideration. The sonatas of Haydn. Mosart 
Clementi, Hummel, Dussek, Schubert, and Weber, are among the most remarkable 
productions of the art. The newly awakened interest feltin Bach, Scarlatti and 
Handel need not be dwelt on, stiU less the universal popularity enjoyed by the 
ganof prte compositions of Mendelssr.hn ; while, in another school, Chopin, S Heller 
Henselt, &c., have found numerous admirers, inasmuch as they have thought for 
themselves, and produced works not merely elegant, but original The ODportunltT 
afforded, hv aeleetlDiiB eamfnllv m&flA imt nt (vwnna.i4Ti0 tha »a»i..« ^« tuil^ i z. 



«..«^ .wu»wB. iuo n«mo oi no composer wiu occur twice m the same programme, 
with Aeexoeption of thatof Beethoven; nor will any perfonnaaoe extend beyond 
that of two hours— from Three o'Clock to Five. "wywuu 

The programmes will contain descriptions, historical and analytlcaL of tha 
Sonatas and other pieces. Prices of admission for the Series :-Sofa StaUs (mm- 
Uered «fd rewrvedj, £3 2s. ; Balcony, £1 lis. 6d ; Unieeerved Seats £1. SubMito- 

^T^ven'SfeS^'^ ^"' "^ ""^ ^* ^"^"^ «^ '^^- ^--"^ 



XTOTICES. 
To Advertisbbs.— 7Ac Office of The Musical World is at 
Messrs. Duncan Davison & Go's., 244 Regent Street, comer 
of Little ArgyU Street (First Floor). Advertisements received 
aslaUas Eleven o'Clock a.m., on Fridays^^-but not later. Pay- 
ment on delivery. 

To Publishers and Composers— Jfimc for Review must he for- 
warded to the Editor, care o/Messrs. Duncan Davison & Co 
244 Regent Street. ' 

To Concert Givers.— iVb BentfU-Concert, or Musical Perform- 
ance, except of general interest, unless previously Advertised, can 
he reported in The Musical World. 



^t Puskal Math. 

LONDON: SATURDAY, APRIL 16, 1864. 



THE College of Organists, of which we spoke last week 
proposes to advance the status of its members by means 
of a variety of operations, aU, undoubtedly, within the 
legitimate province of such a body. These, as at present 
arranged, include— promoting social intercourse among the 
members ; providing lectures on subjects theoretically and 
practically important to the craft; offering prizes for the 
best church and organ compositions; and, lastlv, endeavour- 
ing to abolish the present vicious system of "testimonials '* 
7 i"' n^V"^ Bome kind of diploma which, under the seal 
of the College, shall authenticate the merit of it^ possessor. 
Takmg these m order, and supposing them all capable of 



fulfilment, they are. certainly, quite unobjectionable. To 
encourage personal intercourse amon^ musicians of any class 
is, undoubtedly, to pave the way towards removing many 
small jealousies and prejudices that will otherwise exist. If 
lectures be ably given on subjects judiciously appointed, there 
are few better means of imparting general information. 
Prizes, too, for excellence in composition are very good 
things in their way; though, unfortunately, this way intro- 
duces tlie new College to a taste of one of its greatest 
difficulties. But the last project on the list is, at once, the 
most practically important, and the least obviously manage- 
able. Scarcely a dozen words are needed to show that the 
present "testimonial" system deserves instant exter- 
mination. Beginning, certainly, in long past time, with aU 
honesty and sincerity of purpose, it has become now utterly 
delusive and corrupt. It affords no trustworthy evidence 
of merit ; it is a nuisance to all concerned with it. whether 
givers or receivers ; and it has suggested to the clergy a 
notion^ of how they may further degrade the " standing " 
of their organists, by demanding, as now commonly done, 
testimonials to "moral character," forsooth !— and nearly ex- 
clusive of professional ability* It is perf^tly well-known 
that eminent musicians do very often give testimonials on 
the slightest possible grounds,-<frequently, indded, merely 
to rid themselves of troublesome applicants. So obtained, 
no wonder they are frivolously and improperly used; and 
thus they only serve to ensnare churchwardens and eom- 
mit£fees mto the belief that they obtain a first-class organist, 
while, in fact, they have encumbered themselves with a 
pushing and impudent pretender. 

Now, the College, well knowing the utter rottenness and 
degradation of all this, proposes to substitute a diploma 
that shall carry away with it aU the sanction of unquea- 
Uonable authority. But here, in full front, stands the main 
obstacle to be overcome. Whence is this Collegiate body 
to denve its power? Who will necessarily accept its 
decrees? Why must it be accounted more infallible than 
any individual testifier of past time ? There is here but 
another phase of that impracticability to which we have 
often alluded, if conferring honorary distinctions in the 
imaginative arts. For centuries past, our universities- 
alone in the worid in this respect-have taken on them 
thegrantmg of musical "degrees," without thereby at all 
increasing the number of able musicians, or in any way 
assisting the development of art. Among them, they 
have created many hundred Doctors of Music, of most of 
whom It may be safely said that, unless the word " Doctor " 
be taken with its pure Latin meaning, "teacher," it had 
been better for their fame had they never been m the world 
of music at all. And the reason of this is transparent 
enough. The university-professor, or doctor-maker, \!^\am^ 
Mlf, simply a musician accordhig to his date and ability 
He can have no exhaustive ideas upon an infinite subject 
Over and above the established routine, which is formal and 
simple enough, he is obKged to construct, for his own 
guidance, a test which can never be absolute, since it is 
necessarily Kmited by his taste and knowledge. Whoever 
just hits this mark wfll be accepted, whfle those who either 
foil beneath or soar above it, can hardly escape rejection. 
Thus, many very stupid people have passed successfully 
through the ordeal; though, had Beethoven "gone in" for 
a degree at Cambridge, during Dr. Clark Whitfield's pro- 
fessorship, he would certainly have been "plucked"^ yAaie 
at Oxford he might possibly, have just squeezed through 
Dr. Crotch s hands though not with his heresies unrebuked. 
Ihe standard at both universities is now, doubtless, much 



Digitized by V^riOOQlC 



April le, i86'4.] 



THE MUSICJAL WdRtD. 



249 



advanced ; bat tbiB advancement is, in itself, evidence of its 
own unfinality. The present occupants of the professorial 
chairs, as able as they may be, are still but musicians ac- 
cording to their time and convictions ; and there is nothing 
to insure us that the light of the next generation may not 
exhibit iheir decisions as stunted in knowledge and preju- 
diced in taste. We do not say that this vnU happen ; but 
progress makes this, and everything else, possible. This 
ever-present difficulty of establishing an absolute standard 
of good and bad in art, — of publicly awarding distinction or 
censure independantly of personal views and predilections 
in the awarders, — ^m fact, of instituting a court for the trial 
of artists wherein the decrees of the judge can neither be 
onticised nor defied, is precisely in point with regard to 
the diploma proposed by the College of Organists. A 
diploma can be of no use unless the laity, so to speak,, 
universally consent to abide by its authority. But the 
primary condition of this acceptance obviously is that the 
dispensing power be absolutely free from suspicion, both as 
to motive and ability. And even this accomplished, there 
yet remains the irreoondleable difference between the opera- 
tions of art and science — ^the necessary influence of opinion, 
taste, and feeling on the one, and their equally necessary 
exclusion from the other. A diploma can never confer 
unqnestionable rank so long as a rejected candidate is at 
liberty to think, and even assert — what many may doubt, 
bat none can disprove^that he has been stigmatised by a 
ch'que of persons artistically inferior to himself. 

How the new College proposes to deal with this trouble- 
lome question we do not know. Assuredly it must not be 
by means of any single officer who, after the fashion of the 
University Professors, may grant or withhold distinctions at 
. his pleasure. We can imagine no plan more likely to inspire 
eonfideAce than the appointment of a board of examiners, — 
to consist of (say) six of the ablest organist-musicians in 
this country ; — ^men of aU shades of opinion and of every 
variety of accomplishment, — men whose position places 
them beyond the sphere of petty jealousies and above sus- 
picion of professional incapacity. A "board" so consti- 
tated might be relied on for omitting no consideration 
necessary to determine a candidate's merit ; and its diploma, 
if it did nothing else, would at least represent the con- 
victions of the most skilled artists of the time. This scheme 
might possibly secure general favor, and it is worth trying 
if only in the hope of supplanting the vile " testimonial " 
system, which we have already condemned as it deserves. 

It remains for us to point out that, however zealous the 
College of Organists may be in its desire to effect *' reforms," 
no good result need«be hoped for unless the members of the 
body clearly perceive that reform " at home " must precede 
all others, It is useless for any class of men to complain df 
want of ** professional standing," so long as a multitude oi 
its individuaifl deserve, neither professionally nor socially, 
an atom more consideration than they receive. However 
painful such a course may be, it is but kindness, as well as 
duty, to the new association to speak quite plainly ; to warn 
it, for its guidance, that the profession is injured by the 
presence of a number of men who, being called, and practis- 
ing as, " Organists," possess neither the accomplishments of 
artists nor the habits and language of gentlemen. Without 
an assignable particle of merit, they are conceited, boastfui, 
and impudent to the hut degree. Without the slightest 
mnsieal culture or feeling, they have practised sufficiently 
hard to command a tolerably correct execution of a few 
fugues and show pieces, while Uiey cannot even treat a psalm- 
tone without grammatical blunders that would shame a 



school-boy, and falsities of taste that would disgrace the 
plough-tul. Having no greater justification than the 
instincts of that animal called "snob" by the late Mr. 
Thackeray, they yet indulge themselves in the loftiest pro- 
fessional airs. They think it duty to treat a clergyman as 
the natural enemy of their race ; with them it is but pro- 
fessional etiquette to refuse his simplest request ; and they 
crown all by couching their refusal in terms sufficiently 
offensive to justify any usage they may experience. What- 
ever the cause, be it that the office of organist is not suffi- 
ciently remunerative, or the employment is not tasteful to 
the majority of real musicians — l^ere can be no doubt of the 
fact that the ranks of the organist-profession are mainly 
recruited from a very ineligible class. It is quite notorious 
that scores of young men, without a shadow of right by 
nature or art, become organists — such as they are — ^merely 
in the absence of any other employment, or to obtain a 
trifling addition to their incomes; while the managers of 
some of our charitable institutions can tell, if they ^U, how 
many of their pupils they annually send into life on the same 
errand, and with just as little warranty. 

We have, in part at least, told the truth on both sides as 
we promised, and have thus bared an aspect of the question 
which has never received sufficient attention. We recom- 
mend the whole matter to the serious consideration of the 
College of organists. They may, by their " Lectures," but 
still better by their example, enforce the indisputable though 
neglected fact, that an artist is an impossible being without 
refinement of mind and the rudiments, at least, of liberal 
education. And they may advantageously particularize 
in insisting on the fallacy of any expectation that professors 
officially brought in contact with the most educated men of 
the land, will ever be better placed than at present if, in 
addition to a conspicuous absence of great talent, their ante- 
cedents have denied them the proprieties of their 
mother-tongue. Probably the new College hat some such 
general aim in view. Most certainly, if, by any course of 
discipline and action, whether by diploma or otherwise, it 
can insure the mission of only the right men to posts of 
public importance, the organist's position will better itself 
as a natural result ; — the cry for improved '* professional 
standing" will cease for want of cause. 



To the Editor of the Musical World. 

SIR, — The decay of Italian song hes been a standing dish for 
years ; and the annual series ofqv4xn failures at both opera- 
houses represents side dishes of congenial flavor. Grisis, Ru- 
binis, Tamburinis and Lablaches are not as plentiful as black- 
berries, nor has a legitimate successor to any one of them 
appeared either at Her Majesty's Theatre or the Royal 
Italian Opera. But as managers, for their own sakes, must 
endeavour to fill their places, who could doubt that Italy had 
been searched in vain, till not a single state remained unex- 
plored. If further proof were wanting that no Italian 
singers were discoverable, it was supplied in the fact that 
German and French singers had been eagerly sought and 
as eagerly engaged. The public took for granted that 
these were brought over because there was no possibility of 
procuring native-bom singers from the " Land of Song." The 
Teutonic and Gallic elements gradually crept into, and^ at 
length permeated both companies, until the phrase " Italian 
Opera" became a misnomer. Let us, for example, see what 
proportion this year, at either house, the Itdian bears to 
the foreigner. ' 

To drive at once to Bow Street : — Here the sopranos and 
contraltos are twelve :—Adelina PatU (Italian), Emilia 



Digitized by 



Google 



mo 



THErHWSKIiAL>W0]Ea9. 



OMii% am- 



'l4*giw (ItfdiHi), Paiiline Liieci^(Geiman), fiinioaietta Frioci 
.<?), rKarie Batto (French), Nantier Didi^e (French), 
rBud^mdorff (German), Anese (?), Taglutfieo (French), 
DasUnn (Qezman), Tad (Itidian) and Garulli (Italian)— 
fo«r Italian, three French, three German, two nondescript. 
Of seven tenors, five are Italian, one Hungarian, one Ger. 
man. Of twelve basses and barytones, seven are Italians, 
three French, and two German. And now, to drive to the 
^ayjnarket: — The pi^i^rtion of foreign to Italian at B^er 
Kifjeaty's TheatiFe is «iTen greater. The lady singers 
,^fre ^-^Tietiens (German), Guiseppina Vitali (Italian), 
Volpini (italiaa)^ Liehh^rt (Geiman), Harriers Wippenf 
•(GeKmen), Sleonora Grossi (Italian), Trebelli (French) and 
Bettdheim (German)— three Italian, four German, pne 
Jfrevfeh. The tenors are all; Italian. Among the barytones 
land 'basses we find three Italian, two French, two German, 
rOneJSi^lish. Such the elements which compose what we 
are-tai^ight toafceptias "JtaUan Opera!" 

That Italy liadfiotbeen thoroughly searched during the 
laet ten or Urelve. years,, and that our directors had not used 
up the "Land of Soi^g," was shown in Uie recent per- 
fomuceofLagma at Cov«nt Garden, and in that of Varese 
.at'Her IC^jeaty'^. One director is led to understand, in 1863, 
wbathe might as easily have been convinced of in 1850 — 
viz., that MdHe. Lagrua was an artist of splendid talents 
rand rare endowments; while the other was compelled to 
/BPgUge Varese — " the barytone of the epoch " (to use the 
laQgUAge of H.'Fetis) — because a third-rate barytone, whom 
he hud already secured, did not arrive in time ! No wonder 
the audience at Her iBiajesty's Theatre were as much as- 
tonished as theyi^ere gratified. No wonder the question 
was asked on all sides — " Who is Varese ? " No wonder 
so many expressed aurprise that such an artist should 
have been n^iglected until his voice, like Ronconi's, was all 
•but extinct. No wonder that surprise was changed to indig- 
fMtion, when they were told how Varese had been singing 
in. Italy for more than twenty years with universal credit. 
J^dlle. Xdigrua's case was even a stronger instance in point; 
tffer ,|M'aise9> not restricted to Italy, had been sounded 
4n Gerwangr, ;Fra&ce, and Belgium, where her name stood 
[hi|gh among 'the high; and even America, North and. 
South, ha4 paid homage to her genius. With such facts^ 
before me am I not justified in believing that Italy is not so- 
barren of Buig^DB 1^8 is repreeei^le^-; that, at this moment,i 
idbar Lagruas and Vareses are wcasting ibeir powers in' 
.Mmote theatres; and that, however their fame may spread' 
over the length ttid breadth of tha Italian peninsula, they 
jive still doomed to be ignored for reaaons whidb I can hardly, 
,accetpt as "economic." Is not Mongini just in auch a| 
•plight? This tenor was with us for two successive seasons, 
and not unfrequently excited our admiration. That he has,', 
even now, one of the noblest voices in existence, is as pro-: 
.bahle as that he can use it to good purpose. Now, Sir, I; 
wantfto know why an Italian, whose means are indispntaUe, 
•should be .passed over by the managers of our Italian theatres > 
in favor of aliens, who, however talente<!l, are not Italians, 
«and can never hope to become proficient in the Italian style. 

RippiKQTON Pipe. 



Saobxd Hakmokio Sooxxtt. — Last night, Hendelnohn*8 St. Paul 
was performed in Exeter Hall by the xnemberB of this society. The 
l»incipal vocalists were Madame Parepa, Madame Bainton-Dolby, Mr. 
Oammings, and Mr. Weiss. 

Mm. G. A. MAorixBBH has composed a new clarinet solo for Mr. 
Lazams, entitled Traditiont of ShakeSpeare, and containing the authentic 
melodies oridnal^y introdnoed in SamUt, Twdfth JVtghti The Two 
0^iilmim4f¥trmi, Mmk «^ ohwi twUiing^ Olhtillo, and Am you Wee U,\ 



PABIS, 
(From OUT aim Chmtpomimt.) 

Farit, ApHl 12. 
The first of the throe Grand Festivals annolmced to be given at 
the Cirque Napoleon, under the direction of M. Pasddoup, took 
pkce Ob Sunday week, and >ira8 dedieated to Beetlnyren. I'aent 
|0a the ]^M)gramine Uuri^ week, and need mot recanitalate. The 
Kinth figrmphotty was, oloonrse, thaj»om< ePappui. , 'it was,. on tiie 
irhole, wdl y«redf although I do not thiak the nbertJesoeoaiiionsHy 
taken by it. Paedelonp with the ^^ tempi *' wonld be tolerated pi 
London. A more thoroughly impressed and deli|^ted audience I 
do not remember, and a greater success could not have beeta wished. 
The i^ral movement set ike hearers beside themselves with 
ec8ta<9'. ^In the second part, M. Yiettsttemns {da^ed the vioHn 
ooneerto, and waa greeted with tumnltoeus appJaose, niome^MttiaUy 
^tet^ihe Adagio^ in whieh— to invent a tenn^the *^ magisiKaMliy " 
•of his bow was andeniable. The seleetiona from the Ruins ^Athene 
9iid ihe Ballet of Prometheus were interesting andwe^ dxecutoc}. 
The vooal music was allotted to Mdlle. de M&sen and II. Canoul, 
the lady giving the air, *^ O perfido,*' the gentleman, ^* Adelaida." 
Neither was puticularly good. The programme of the MendebBofan 
Festival, last Sunday, was as fbUows :— Overfitte, AthdUe; •<Tbe 
Departure," pstrtHnag ; Concerto in G miiior*(No. l^'piaonforte 
ander eh e stBa (pianist, M. Alfred Jaell) ; aodihe cvatoieio, JSZt^. 
I could not attend 'the performanoe, but hear from all aidea that it 



I fear that M. Bagier^s chance for a suhvention in favor of the 
Italian Opera is not great. No doubt he has undertaken too much, 
and ih all probability the theatre cannot be sustained *^ imperially,' 
without assistance from the treaaary. The general impreanon 
here prevaik that M. Bagier is by no means bUest with genius 
for management, and that he is not eminently ddlled wiUi a 
knowledge of the capacities of artists, or ^e merits of operas. 
Signer Fraschini made his rentrie at the Italiens as the DuJte in 
Rigoletto, his first appearance in that part. In the energetio 
passages he was forcible, especially in the duet with Gilda. I did 
not admire his singing of " La donna e mobile." OthearSi however. 
were of an opposite opinion, and roared *'bis,'* Wl0i UMA, 
however^ Signer Ffaadhini pen^Bteotl^ reCuaed to oomp^«-«mimh 
to my aatifl l ae ti en. Signer Frascbmi*s aatiagi after that of 
Mario, was the essence of common^place. La CetkBrentoia has 
been revived irith a flourish of trumpets; but ^e bJasta wna 
blown in vain, and this most delightful of comic operas— only leas 
melodious and sparkling than the Barbiere — is not destined to 
triumph with the Tpteamt company. The PariBians--who remember 
Malibran, Bubini, Tamburini, and Lablache in the oast— wUl 
hardly thank M. Bagier for Mdlle. Barbaca IfarebiBio, Mi^Pagaa^ 
Signer DeUe-Sedie and Signer Sealese. TJie laMHaam^^siag^ 
by the w4yi|WM ill, or I am. certain his'Magaifioo vp«M have boi^ 
admirable. The best part of the performanoe-H^nd. iniiiafr^. i.irrr 
feature— was Oat the sisters, hit£erix> sustained |^ mKlfWSS, 
were undertaken bv Mdlle. Carbtta Marchiaio and Madame meric- 
Lablacfae. To understand the benefit resisting from .having two 
octopeMt iisigers in these parts, one mast have hesMi the moiheeau 
(Petuettihk^ ^* Questo 6 aodo." I did not araoh admire the Baadim 
of Signer DeUe-Sedie; ner :.was I greatly impMsed Nrith M. 
PM^an's Prince. 

* An sooount of this onxions perfonnanos of Mijah ha rpaohed na, and 
will appear next week. 

<o 

Tdbbob Iboxwobks, SpimnrHooa. — On the evening of the 5th 
instant, the Mount Pleasant Harmonio Society gave an avenfag 
Qoncert, in the Wedeyaa SehooUroom. Although .'the irsaibar ivas 
unpropHiotts, the attelMlanoe was large. The artists were Mr. Franz 
Greenings, of Middleftbro', conductor and solo pianist; Hiss Sweet, of 
OiUBbro*, soprano; Hr. David Lambert, of the Durham Cathedral, 
basso ; and Mr. John Wood, late of Durham, solo violin. The instm* 
mentid music, played ehlefly by the band of the society, gave great 
satis&ction. Mr. Groening's pianoforte solo and De Berioi*s 5th air, 
violin, by Mr. John Wood, were interrupted by applause. The chief 
attraction of the evening, however, was Mr. Lambert, who was encored 
after each song. He was the star of the evening. The duett by Miss 
Sweet and Mr. Lambert were also much appreciated. Tlie okafeert 
was a success, and the return of Mr. Lambert will be a guamntee for 
any futnre undertaking. It is to be hoped that the Mount ^leannt 
Harmonic Society will long flourish. — Durhtm ChfonkU. 



Digitized by 



v^oogle 



^^ 



4ffpl;Jj6,|WjBi.] 



.VHEMUSICiOi M0KD3. 



:<S81 



ROYAL ITALIAj^ OPEBA. 

Oa Sataidaj, La FavorUa urtroduood Mdlle. Emilia Lagma in 
.another ohanuster. Her Leonora, both in a amsical and dramatic 
aesae, is equal to her Norma. Mario (FeidiBando), was not quite 
liimaelf , rocaily, but, biatriooioalfy, was more than himself ; thus the 
last act— 4)anring the final duet— became a masterpiece. With 
Oriai and Mario together, it was nerer more impresBiye. Gmziani 
plajed the King, and Atry the fuhninating Priest, Baldassare. 

On Monday— the first of those abominable ^^extra-nights" — 
II Trovatore (with Theodore Wachtel) was given for the second 
time. On Tuesday Za Favorita Ym rtpeated. Mario sablime— 
Ligcaapaihetic and exquisite. Nothing but that provoking last 
doi^^preTented this perfoxmanoe &om.b€aiiig a8.iRepmchable as it 
mg intfflfwting. 

On Hiuraday. General Garibaldi distlngiDflhed'tiie theatre by his 
illuslriaiiB presence. The entertainments oompriaed the v^hole of 
Norma^imh the second and third acts 6iMasaniello^ preceded by 
tb»omtare. It was a brilliant file, in honor of a great, hero, 
p«ata nalsiot, and jgreatest man. (See another column). 

To^Qight we are ^miaed GuHhume Tell, with Wachtel, Gra^ 
•xiani, and Dr. Schmidt, (a new baas— who, on the Garibaldi night, 
made /a senaible impression as Oroveao,) instead of Tamberhk, 
Famrei andSocmes. Baser Butcssk. 

(TU Timur-^Awril IStL) 
On Tfasrdav night Geiiaaal GaKiwdi.paidhiB pcomiaed viait to the 
BmL Italian Opan. 
Thai the event ahould excite .n8i)d.'thaa<ovdteaiy interest anumff the 



IffUU 

ibly 1 




patmna and frequeniera of the theaUwnraa ady inattafal, and poaaibly a 
mor&laiUjant and diattogniahed ; aniiaaee mntx aaaemhled within its 
waSla, The box ffisparad for ^MrvOy^^lUaatriooa viaitor waa on the 
oaadlanv aituate exactly appelate, that ftrhioh Her Hijeaty the Queen 
baa ao often gcacedwith her .preaeaee/and which ia ^Hl uaed ly the 
Bigal Fatfoily. In arder to a9oid ample aooommodation fi>r the 
OoeialuhdhiBlriendathJTee bgxes were thrown into one. The pit 
MMabolidKftd altogether, the whole area being oonverted into atallay 
ana few of which were untsDanted. Thia, however, may readily be 
*<wftqT*<Ml fi>r^ inaamAQh/aa on auch ooflaajona there are alwaya apecu* 
ktfl^^ftandiDg betivvQn the pablio and their a^ita, and who, reckoning 
npon aoBD^itaat ptofita, are liable to be diaappomted in the result. 

QeocaL Garibaldi arrived with military punctuality at the doora of 

the theatre, but his paaaage through the Floial-hiJl (which might 

ad^aoiagaepaly have been " corded off" under the circumataneea) waa 

,1^ no meana ao expeditioua as derirable. He waa literally '* mobbed " 

1^ Jtiia^Qihuaiaatic admirera, and it waa with no small difficulty that 

Jtr. Gye, who received him, waa able to rescue him from their 

aSeetiooate imvortunitiea. It waa thua conaideiahly more than a 

fioactar of an nour after the time appointed ibr the performance to 

" ' I when the General— accompanied by hia noUe boat, the Duke of 

. hia two Bona, Menotti and Biedotti. Dr. Baaile, Signor 

(his aecretary), Cplonel Chambers, Signor Negretti, Ac. — 

, bis box. The moment the (amiliar gray>oaaote was viaible, 

and that nobly expreaaive eouatenanee, which would set off any 

eoatnme, tlie whole audienoe rose' and cheered. The chesRDg waa kept 

u fee soQie time, voUe^. after voll^, Genecal Garifasldi acknowledging 

the honor with the simple dignity that ao well beeomos him, and 

wfaieh he knows ao well bow to sawinw As aoon aa the hero was 

seated—his two sons beaide him— Mr. CkNrta gaveXhe signal and the 

perfioonaoce began. 

The deep and pathetic tragedy of iVbrma was, one would (ukve 
thought, hardly calculated to amuse the Geneml so well as xhany 
other operas that might be named. Neverthelesa, it waa evident (that 
he took intenae interest both in the drama and the mudo. He 
icucely ever looked away from the stage; and when the Norma of 
the evening — Mademoiselle Emilia Lagiua— waa before the lampa, hia 
a|i|)laoae waa as constant aa his attention waa acrupulous, A new 
anger, too. Dr. Schmidt (from the Imperial Opera of Vienna— hia firat 
upeaiaace), played the High Priest^ Qroveao, and, poaaeasiog one of 
the most magnificent basa voicea we remember, aeemed to afford him 
apaoial aaUafaction. The performance ot Norma waa, aa might have 
been expected, nnusually good. Not only waa Mademoiselle fjngm 
admiiabte, and Dr. Schmidt an agreeable surprise ; Mademoiselle Marie 
Battn (Adalgisa), and Signor Naudin (PoUio), both sang their very 
bert, the choma waa excellent, and the orcheatra more than usually 
effective. AU was done, in short, that could be done to insure as 
peiieet an execution aa poaaible; and that what waa done waa 
thcNOghly appreciated by the great patriot in whoae honor the por- 
SonmiQe had been got up muat have proved a moae thi^i anffioient 
te ^Y^^y.one who took part in it Thoa^ ^^^ 



astoniahmentihat auch a man aa General Garibaldi ahould be wholly 
absorbed in a theatrical entertainment may be reminded that to him it 
came almost in the ahape of an absolute novelty. He has probably in 
his time aeen more battleathan he baa seen operas, and heard the 
cannon's roar oflener than the mellifluous notes of tenor and soprano ; 
Am mnaio has been the drum and fife, the trumpet-call and the retreat. 
At any rate, absorbed the General was ; for he did not loae a aeene or 
miss a note. Between the acts of BeUini*a work he paid aviait to 
Adaiiral Sir B. Mundy, retaminff to his box in time to witueaathe 
moving and impreaaive incident of Norma'a attempt to kill her children, 
with which the aeeond act begina. 

But if General Garibaldi waa gratified by Norma, he was enchaoted 
with the two dramatic and atirring aeenea from Auber'a MatanieUo, 
No one beUerved he would remain for theae ; but for once he broke in 
upon hia early: hafaita in &veiir of a new enjoyment. The wonted hour 
which, even at the magnifteent reception in Staflbrd-houae, waa the 
aignal for retirement, had long paased unobserved. The overture to 
MoHuiiiUo, grandly played, was heard with nnmistakeabie pleasure : . 
and at the end of tne firat of the two acts from Auber*s opera the 
(General aeemed no more disposed to move than at the beginning. The 
fiuniliar soeneiy, the piotaresque and no leaa fiuniliar coatumea, the 
wronga of poor Fenella, the buay throng and ripening plot, doubt- 
leaa impreaaed him. But what moat vividly attracted hia attention 
waa the aplendid patriotic duet between Maaanidlo and Pietro, de- 
claimed with marked and unaconatomed emphaaia by Signora Mario 
and Graaiani. Theijignificaiit paaaage about: liberty and the love of 
country, — 

" O Mnto udor di patrio tmor 

•• Hottrralms Moeadl, Mdao« tik. 

«' Al patrio saol dobbUa U vits, 

*• ATr» da nol U liberta,**— 
delivered by Signor Mario with extraordinary vigour and twice reite- 
nted, seemed ^ich time to awaken aympathy, aim each time drew fropa 
General Garibaldi the pUineatmanifeaUtionaofaatiaMion. The aeene 
which followed— the market aeene (Act. S), where the Neapolitana torn 
upon thehr oppreaaors— waa not calculated to leaaen the intereat already 
excited; and the lively tarantdla, the impreaaive andbeautifiil payer, 
the final and auccessfm struggle of the patriota, each created itaefieet. 
Aa if, too, expresaly for thia occasion, the barricade was erected with 
greater spirit, tiie guns boomed louder and at shorter intervals, the 
musket anota were ten times as firequent, and the whole colour and 
movement of the scene presented an unwonted aspect of bustle, anima- 
tion, and startling reality. At a quarter of an hour paaaed midnight 
the curtain fell. Genenl Garibaldi then rose ; the whole audience 
cheered and cheered again, many waving hats or handkerchiefs, while 
ladies in the boxes immediately above that which was last night the 
" State Box*' to all intents and purposes, broke their bouquets into 
pieces, dropping the acattered flowera over the head of the ^pular 
chieftain, aa he bent forward to acknowledge the hearty salutaUona of 
the houae. Then, in a brief interval, the gray capote and. noble bead 
were seen no more. The General was conductea by Mr. Gye to his 
carriage through the Floral-hall, which thia time being' <kept private, 
he waa free from thoae w«U-meant importunitiea which, at the begin- 
ninfl^ Of the evening, had so inconveniently retarded hia arrival. 

^he evening waa one not easy to forget, and may.probab)^'be re- 
membered by General Garibaldi hinuelf with as much saiiaiaction.asby 
those who imposed upon themadvea 4he grateful taak of doing him 
honour. 



CRYSTAL EALACE. 
The progcamme for the Saturday Conoert of Martfih 26 was as 

follows ;— 

Mosld to the TmpM, Solos by Mlaass Fuuvy Arnytsfs Hid Aoktrtln* BiiiderBea ; 
BMdsN-Hr. Arthnr Matthlson ; A 8. SolUyan. Coactrto, YloUn (1st Movtmsftt), 
M. Lotto ; y lottt. 8oof — ** All that's Briirht mast ftde,** 'Wn Hobsrttne Bandor. 
SOD ; Agsss ZlmBMnnukn. Cavstina— ** Ah, urn stuns*.** )i>ss FMiny Annytego : 
BoIUni. • Solo, violin—" Le Stngbs." H. Lotto ; PscaiUiiL Ovtrtwrt-*** Lwboi<** 
(Mo. a. In C) i Beethoyen. 

The performance, on the whole, was very |;ood. H. Lotto did wrong 
to omit the middle and last movements of Viotti'a intereating concerto, 
and Herr Auguste Manna did wrong to allow it. Better have diapenaed 
with the Paganini. 

The 19th concert of the winter season, last Saturday, waa dedicated 
to music that had reference to Shakespere's plays or poems. Why tlie 
selection should have been devoted to Shakespere on that particular 
day we cannot surmise : unless that the directors were anxious to lie 
first in the field. We think that a fortnight's anticipation waa too 
much, and that the concert would have been more appropriate on 
Saturday next, more like a preliminanr to the ^reat Tercentenary cele- 
bration on the 2Srd. The concert of Saturday, if not altogether worthy 
of the great poet, did honour to him, and the audience accepted what 
waa act before them. The following waa the aelection : — 

OT«rtaro WUNanh SMUtptri^ KohUn. Dost *• I Know a fiaak.** Horn. Gboras« 
**1l9 -Bpottsd iSnakss,'* Stivtns. Bonj:, •« By tbo Slmplidtj of Vanus' Dorss,^ 



Digitized by V^riOOQlC 



252 



THE MUSICAL WORLD. 



[April 16, 1864. 



Bishop. Trio. " O Happy Pftir,*' Shield. Overtan, Entr^aatet and Choniiai, from 
A Midimmm Ififfhet Dream, Mendelssohn. Song, *• Bveo as the San/* Venw and 
Adonis, {Mmry TFImi ttf Windsor), Horn. FalstaiTs Drinklnj Songr, with ehoras, 
« When I iras nonghi but a Tiny Boy," (Merry Wivu qf Wind$oi^, O. Nloolai. 
Comic duet, " His Lore for Me," (Jfdrry m«a« of WvuUor), O. NiooUi. Orertare, 
(Jierry Wlvttof WuuUor), 0. Nioolai. A. Manns, conducior. 

Kuhlau's overture, played for the first time at the Crystal Palace, did 
not please much. The glee of SteYens wafl well sung by 120 voices. 
^* By the simplicity*' was charmingly given by Miss Susannah Cole, and 
Shield's trio— by Madame Parepa, Miss S .Cole, and Mr. L. Thomas— 
encored. Mendelssohn's music to A Midsummer NighC9 Dream — Madame 
Parepa and Miss S. Cole singing the solos— was well done, particularly 
the oyerture and Weddine Maroh. Horn's song from Venue and Adonis 
—Mr. Pape, clarinet, Jk&dame Parepa, singer— was enoored. The 
drinkinff song from Nioolai's opera created some excitement. The 
opera of the Jierry Wioet of Windsor is in the prospectus of both Italian 
Operas this season, and people were anxious to taste the quality of that 
musia Mr. Lewis Thomas sang the drinking song so well that the 
audience would fidn have heard it again, but Mr. Thomas was deaf. The 
duet which followed, from the same op<»ra was capitally sung by 
Madame Parepa and Miss S. Cole. The overture, though well 
executed, did not greatly please. But it was the last piece in the pro- 
gramme. 

After the concert, Mr. James Coward played a selection of sacred 
and secular muaio on the Handel Festival Organ. 



THE LATE T. P. COOKE. 
A great popular favorite is gone. The Dibdin of the English 
theatre is dead. T. P. Cooke— Thomas Potter Cooke— is no more. 
The son of the surgeon of Titchfield Street, the midshipman at the 
blockade of Toulon and the battle of St. Vincent, the hero of the 
wrecked Raven, who leaped from the deck to the stage, is to be buried 
in peace, beneath the sod of Highgate Cemetery. There was an 
attraction about this ** old managile " which marked him out amid the 
common multitude of players. Everybody liked him. No one— not 
even Miss Lydia Thompson— could compete with him in the sailor's 
hornpipe. Sixty years ago, almost exactly, a delighted crowd enjoyed 
his Jack Tar impersonations at the Royalty Theatre. Then he went 
to Astley's, flourishing under the rigime of •* real water." We— or 
our grandfathers, if you please — saw him at the Lyceum, subject to 
that despotic manager Laurent, who afterwards humbled himself so 
deeply as to become a Clown. Very grey-headed people recollect him 
as Obi, or Three-fingered Jack; very hoary ramblers through the 
reminiscences of bygone evenings can recall him as the Poor Soldier. 
They bring back his ghost, l^ that complicated spectral apparatus 
which we style memory, upon* the boards of Covent Garden, the 
Coburg, and the Adelphi ; they talk of his Frankenstein, his Long 
Tom Coffin, his Dirk Hatterick, and his Duke of Argyle. Perhaps, 
however, one of T. P. Cooke's most rich performances has not beien 
universally appreciated, because the joke was enjoyed in secret. 
He was, year after year — so an atrocious babbler tells us-^one of the 
Lord Mayor's Men in Armour on the 9th day of November. What, 
after this, were the characters of Vamey the Vampire, Oordon the 
Gipsy, Epaulette of Fontainebleau, Orson in the Iron Chesty Rinaldo 
in Oil BUuy pr ** the best Frenchman on the stage ?" His Franken- 
stein alarmed the Parisians. They vilified him as <* a walking corpse ;*' 
but the dear tradition of the English public is the William in JUaek- 
ejftd iSua^the William of the white unutterables, the blue 'jacket, the 
black Byronic neck-tie, the whirling cutlass, the splendid hitch, the 
grand ** avast," the chivalry of courage in defence of unprotected 
females— *' All in tlie Downs." T. P. t)ooke was inimitable. There 
was no trickery in him. He had studied the old-fashioned part of 
the old salt, and it became him honestly. The straw hat and the 
broad-collared shirt, the blue jacket, and the bold song, the immaculate 
ducks and the light shoes, the contempt of foreign courage, and, 
beyond all, the inevitable dance, which as a matter of course ensues 
when a British seaman has been married, hanged, murdered, or 
betrayed, made him the delight of boys, the wonder of girls, the 
mystery of those play-goen who asked whether Douglas Jerrold had 
been created for T P. Cooke or T. P. Cooke had lived only for 
Douglas Jerrold. Blaek^eyed Susan was a resurrection for the Old 
House in Surrey; it made the actor famous; it saved the manager 
ftom bankruptcy ; it allured half London over the water; it humbled 
Covent Garden into a plagiarism from transpontine vulgarity. In 
lact, T. P. Cooke was regarded as a living symbol of the British 
sailor, and he hornpiped it so long that, at length, when a great critic 
saw him flying through the dance in his seventieth year, he said ** It 
is marvellous ; but I wish he wouldn't do it." However, until this 
veteran of the drama sustained his supreme loss in the death of his 
wife he walked lightly and erect, and his burden of seventy-eight 
years seemed no affliction ; but when she died, he told his friends, ** I 
am mortally wounded now," and ho broke down and has paiaed awtj> I 



With deep regret we heard of this estimable artist's death. We 
knew him to be earnestly anxious that his life might be prolonged 
until after the cdebration of the Shakespearian tercentenary. We 
heard of him laboring iode&tigably with that best friend of the aotor, 
J. W. Anson, on the Council of the Royal Dramatic College, for the 
humbler and less prosperous belonging to his own long-mimnderBtood 
and maligned profession. We saw in him an example of &mily 
probity and homely providence that obliterated many a reproach from 
the character of the dass to which he belonged. And it was an indi- 
cation of his faithful, hearty, cordial nature that, having once been 
borne on tiie books of the royal navy, he invariably, at the annual 
dinnen of the General Theatrical Fund, returned thanks on behalf of 
that service. Who more proud than he, in fact, of the St. Vinoent 
medal ? But who, again, more zealous when a friend stood in need of 
help? Who, remembering how he had profited by BUneh-eyed Susan, 
came from his sick room, unsolicited, to play at the Adelphi Theatre, 
gratuitously and eagerly, for »« The Douglas Jerrold fund*? That 
was.T. P. Cooke, the player, now dead, who was born in 1786, who, 
by untiring industry, accumulated a fortune, who was unwearied and 
unstinting in his sympathy with the less victorious adepts of bis pro- 
fession, and who, perhaps, went successfully through a wider range of 
characten than any other actor of his time. His William, admittedly, 
was unequalled, and is the model which all future acton in nautical 
parts must regard, whether they earn £50 a night at Drury Lane, or 
60s. a night at the Royal Standard. His Duke Dorsan, in Mr. 
Buckstone's drama^was a masterpiece. His Harry Halyard, in Haines's 
PoU and my Partner Joe, was an impersonation which, by all old- 
fiisliioned nlayffoers, will long be a pleasant tradition ; while his Ben 
Trenant, in Mr. Thompson Townshend's piece The Lbst Ship, was 
precisely the sort of thing which, as Lord Dundreary would put it, 
"cuts a fellah to pieces.*' Bright, jovial, active, and hearty, this 
veteran of the ibot-ughts could have played anything that smelt of 
the sea, fh>m the Ancient Mariner to *< Post Meridian, naif-past four,*' 
or from Tom Tough to Peter Wilkins, tiie Flying Woman, and 
*< famous Admiral Jervis." But nothing ever came up to William and 
the Hompi{)e, to William who would '* never stand by and see a 
female assaulted,'* to William, who rattled through, and rattled 
through it more blithesomely than ever did other mortal man, the 
glory of the British sailor, the triumphant stampedo of the deck, the 
dancing upon the Ark, the able seaman's "joy for ever," the original, 
genuine, indisputable double hornpipe. Who cares whence that 
pleasant jumping came ? Hawkins tells us that the dance was invented 
m England. No matter; it was danced by T. P. Cooke. The 
Tattler avera that we should say "pipe horn." and not "hornpipe." 
The innovation is not to be endured. The seventeenth edition of the 
Dancing Master, published in the seventeenth century, declares that 
this e8|)ecial jig "must be in triple time, six crotohets in a bar, 
although the well-known tune, * The College Hornpipe,' is in duple 
measure." Does not this surpass all patience ? Who thinks of duple 
measures, or kIx crotchets in a bar, when carrying liack his memory to 
the pleasant days when "All in the Downs," T. P. Cooke, the veteran ot 
another century, cuts down his captain, rescues his Sue, stands in readi- 
ness for execution at the yard-arm, is saved, and appropriately betakes 
himself to the light fantastic toe ? But, above this, there is a reason 
why we should give a kindly thought to the memory of the old man 
by whom we and our children have so often been amused, and who 
has now followed his wife, aifd the mother of an only daughter, to her 
rest. The dramatic profession, of late years, has risen higher than 
ever in the public estimation. It is acknowledged and supported by 
every dass. It has assumed an independence never previously- 
attempted. Its morals are, we nuiy scrupulously affirm, from a 
general point of view, pure and exemplary. It is making every 
possiUe effort to destroy the old traditions of profligacy, mendicaDcy, 
and insolvent toadyism. No man worked more genially towards 
these ends than did the late T. P. Cooke. We pay him this tribate* 
we dedicate to his name these reminiscences and regreto, because we 
sincerely feel that his passing away — although in the fulness of time, 
and in the course of nature, after a long and radiant career^is a loss 
to the profession, an event concerning which .the public cannot be 
indifferent— and an incident in the history of the stage which sugges- 
tively reminds us how different is the stage of our day f^om that upon 
whicii our grey-headed veteran, now dead, stepped from the deck of 
the Raven. 



Shakbspkbb it tek Cbyrtal PiLAOK. — The month of April wiU 
be unusually busy at the Palace. In addition to the Garibaldi Ffites, 
great preparations are being made for the Tercentenary of Shakes|«re, 
commencing on Saturday, the 23rd of April. The Shakespere House 
will be Skfae simile of the original. Mr. Parris is erecting it in the 
Centre Transept. The gf^t monument of Shakespere is being placed 
on the Upper Terrace. The Elizabethan Court is being fitted up, and 
will be appropriated to oljecte of Shakesperian interest. j^ 



Digitized by 



Google 



April 16,18640 



THE MUSICAL WORLD. 



253 



MUTTONIANA. 

The following has been shot (by no amicable hand) into Mr. 
Ap^Miitton*8 quarters : — 

Mb. ApHuttom, — Sib, — I presame jcfo. went again to Paris last 
week, to hear MireiUe and La Fiane^ du Roi de Oarbe, Otherwise how 
in we. to aceoant for the insertion, in your column, of subjoined :— 
There was an old twaddler, Ap'Matton, 
*Boiit whose Colomn we don't care a button, 
And we'd all jtist as lief 
He were christened Ap*Beef, 
For he*s simply a calf, this Ap*Matton* 
Kw^9 Im, DroUwich, S. T. Tablb. 

lir. Apm. is exceedingly obliged by the reminder. Mr. Table 
is a Job^ friend, not an Ap^Mutton^s. Mr. Ap'Mutton has pon- 
dered several days over tnis unkindly epigram of his respected 
ooUesgoe, Mr. Dishley Peters. He has even consulted his (Mr. 
Ap'M'a) Muse. The Muse (of Mr. Ap^M.)— coy, as usual — at iGbnrt 
Bid tlim was no remedy ; but, on being pressed, gave out '.What 
Mr. Ap*M. (blushingly) Tentures to affix : — 
There was an old file, Dishley Peters, 
Who said " My names pnzzle yonr metres ; ** 
Bat he*s nobbled for once, 
By himself the old dnnoe, 
And henceforth will be known as " duhad Peters." 
Mr. Ap*M. trusts the above will be understood as it was in- 
(eoded. Mr. D. P. forgot, no doubt, that Peters rhymes with 
mekes— as metre rhymes with Peter, in the old doggrel. 

Mb. AF'MnTToN,^iB, — Should not the pinful spectacle we are 
DOW vitneaaing make Mr. Gye pause before allotting the cliaracter of 
Fiiist to Mario. Yours truly. His Bbst Fbiend. 

Cbeen^ Qarden Gallery^ Tde§day night. 

What ''painful spectacle"? Whose ''Best Friend"? Mr. 
Ap'M. is at his wits' end to decipher the above logogriph. Does 
the writer wish to see any other than Mario in the part of Faust f 
If he does, he is certainly not Gounod's '^ best friend." Neither ia 
he the " beet friend " of Mr. Ap'Mutton, who witnessed a pleasur- 
able, not painful, spectacle " on Tuesday night," in Marions Ferdi- 
iiaiido rXa Favoritd)^ and what is more, anticipates a no less 
pieHnraole i^pectacle on the first night of Fauat — ^that is (not other- 
wise) if Mano plays Faust. On second thoughts, guard Mr. Ap*M. 
fromsodia "best friend"! Dear old Marpio ! Heaven pickle him ! 
Mr. J. O. Hailiwell, uncertain where he resides, has addressed a 
nmoostnuioe to Mr. Ap*M.^s quarters, under the heading of 
"Where do I live?" 

Sib, — Will you kindly listen to the dilemma of an inhabitant of West 
Brompton who does not exactly know where he lives? When I came 
to reside somewhere in Brompton. eight or nine years ago, the locality 
of my htfiue was known as St. Mary's Place, taking its name from a 
new ehurch in the immediate neighborhood. Bye and bve bricks and 
flurtar took the place of green nelds opposite our windows, and the 
other side of tbe street was christened Tregunter Road. This arrange- 
ment went on for a time, when the authorities reconiised both names, 
and nisstii B bjr were informed that they were in ^* Tregunter Road or 
81. Maiy's Pteioe." Barring the absurdity of two names, there was no 
neat harm in all this ; but hitterly the name of St. Mary's Place has 
been blotted out altogether, with an utter indifference to the con- 
vemence of those inhabitants who have made it their address for years. 
If I now ads an acquaintance to visit me at St. Mary's Place, he can't 
find it. If I put '* Tregunter Road," he takes it for granted that I have 
pat changed mv residence, and will not think of iptrnding on jne in 
** the agonies of moving ;" but we have only a very hazy notion indeed 
of where we have moved to. Pray, Sir, take compassion on us, and use 
yoar infiuenee in inducing the proper authories, whoever they may be, 
to rettore the appropriate name in place of a new one which, in its 
absmdity, confers anything but honor on the savory name of Gnnter. 
It would not be amiss if our street nomenclature were altogether placed 
ODder better management, for I believe we are not the om;^ victims to 
a smiUr caprice. There is neariy as much inconvenience in having a 
loQg «taMished address changed as in moving itself. — I am, Sir, with 
Boeae respect, your obedient servant, J. O. Halliwbll. 

Mr. Ap*M. is the milk of human kindness ; but how can he 
"•iiifeen to the dilemma of an inhabitant?" When Mr. Ap'M. had 
qiBvteEB in Tr^;unter Road, his card of addrett was— 





Mb. 


OWAIN AP-MUTTON, 
TBEGUKTEB ROAJ>, 


.»o-, 


... 


ST. MARTS PLACE. 



and when Mr. Ap'M. removed to St; Mary's Place, his card of 
address ^ 



No.- 



Ma. OWAIN APHUTTON, 
ST. MAST'S PLACE, 

TREGUNTER ROAD. 



Now that Mr. Ap*M. Twho gladly took advantage of "the 
agonies of moving," to beg nis convivial friends would smoke their 
pipes where " them listed ") has re-removed to the King and Beard, 
he is very comfortable without any card of address. Moreover, Mr. 
Ap'M. is at a loss to understand the penultimate sentence in Mr. 
J. O. Halliwell's complaint : — 

" There is nearly as much inconvenience in having a long-established 
address changed as in moving iUelf.*^ 

'* In moving itself " is a likely periphrasis ; but it is obscurely 
round the comer. " Moving ttoe//^/" Moving what? Theaddress^ 
No. Mr. Halliday ? Nonsense I Mr. Ap'M. is at his wits* end. 

Mb. Af'Muttom, — Sib, — Knowing the interest you must feel in the 
Danish question, I make no hesitation in sending you a report of a con- 
versation I had yesterday with a gentleman belonging to the orchestra 
of Her Majesty's Theatre. '* Good news for the Danes," said he, with 
a smile, " we are going to despatch 80,000 troops to Copenhagen." 
" Indeed," said I, */! am delighted to hear it; and pray who is your 
authority ? " '* My authority 1 why, a * military swell ' who shall be 
nameless." ** A * military swell '--Oh! I suppose some man in the 
Guards?" " Tes^in the Grenadier Guards. For his part he says, he 
longs for a brush with the enemy." ** I did not know," i responded, 
**you were acquainted with the swells in the Guards, but I sup- 
pose you have picked up the acquaintance of some fellow in the 
stalls?" •'Nothing of the kind," he replied, "he is in our band— 
our first ophicleide." Satisfied with this excellent authority, I hasten 
to send you the news. 

CaiDLBT PiDDINO, M.O. 

Mr. Ap^Mutton has an unde with the Danes, at Ulkebol ; a 
nephew with tJie Prussians, at Broacker ; a oousin-Gennan with 
the Austrians; and a maiden aunt by the paternal side— Miss 
Tabitha Ap*Mutton— who has gone to dress wounds, promis* 
miscuously, in all three camps. 

King and Beard, April Ibth. OWAIN Ap'MoTnm. 



Gknkbal Gabibaldi at tbb Cbtstal Palaoc— An address and a 
sword will be presented this day at the Crystal Palace, to General 
Garibaldi, by the Italian Reception Comndttee. A sword at the same 
time will be' presented to the General's son, Menotti. The presenta- 
tion will take ^lyse in a box, or gallery, entered at the ncMih-east 
corner of the Great Transept, and fadug the Handel orchestra. A 
concert of Italian music will precede this ceremony, supported l^ the 
principal artiUet of our Italian Operas. The Concert wiU take place in 
front of the Great Orchestra. 

Bbightom. — ^Meyerbeer's Dinorah has* been produced at the Theatre 
here,^ under the direction of Mr. Corn, with great success :— Miss 
Thirlwall (Dinorah), Miss Annie Leng (Herdswoman), Mr. Lyall 
(Corentin), and Mr. Corri (Hoel>. Messrs. Potts have announced ^two 
concerts with the Pyne and Uanison concert party, M. Lotto as 
violinist and M. Georges Pfeiffer, pianist. The concert of the Brighton 
Sacred Harmonic Society at the PaviUon on Tuesday, in aid of the 
funds for the erection of a Mission Hall, was fully attended. The solo 
vocalists were Miss Andsell, Miss Attree, Miss Foster, Miss Loader* 
Mr. Anscombe and Mr. Weller. 

Shakespxbiam Relic — The country will shortly possess the famous 
cabinet, carved from the wood of the mulberry tree, pcesented by the 
corporation of Stratford-upon-Avon to David Qarrick on the Jubilee of 
1769. Thiis exquisite work of art, representing scenea firom the plays 
of Shakespeare, carved with spirit and minuteness, together with the 
Garrick corre8i>ondence upon the subject, the medal presented to the 
actor, and a ring containing a miniature of Shakespeare under crystal 
and 6et in gold, has been ^bequeathed ib the British Museum by the 
late Mr. George Daniel, of Ganonbury, book collector, antiquary and 
author, who died last week of apoplexy (aged 76) at the house of his 
son, Dr. Daniel, the Grove, Stoke Newington. Deceased was direct 
descendant of Paul Daoieli, head of a distinguished Huguenot family. 

A VioLONCELix) by Rugerius, the property of the late Msjor 
General Sir W. E>Te, sold for £100 at Messrs. Puttick and Simpson's 
last Music sale. 

MUSIC, &c., RECEIVED FOR REVIEW. 
BouTLSDOB a Co.— Roatlcdgtt'8 niostrated Shakespnre, edited by B. Staunton 

P^rtl. Roatledge's XUoetrated Nfttor.l History, Part I. 
Jaoksoh, Waltobd a Hoodkb.— CongregaUonal ChanU and Anthems, and Coogre ' 

fs^ooal Glmroh Mnalo. 



Digitized by 



Google 



i^' 



tmmoosicm "mam 



[A!pM'i^,n^i 



M 



K. DAVID LAMBERT, Vocalist (Biiss), l«te of Her 

Mijetty'i Chapel Royal, Bt. Qeorgo'f . Commimlcationi respeetfnf enfag««> 

mento to be addrwied to Zi Old ElTet, Dorham. 

SIGNOR SIVORI will remain in London till the end of 
May. Gommwildatteu reRpeettBg Coaoert engagemtnti, fto., to ba addresied 
to Mr. Jarrett, Conoert Agent, te., at Meura. Donoan DaTbon * Co.'a Foreign 
Mqaio Wawhonie, 844 Begent fitreet, W. 



TTEB] 

BPOnOQptolL, 



EBB BEICHABDT begs to announce tliat lie will 

airlve in Town Ap^il 9% AAdreis Tfaorloa Cottage, Thurloe Square, 



MB. VAN FBAAO, 

GENERAL CONCERT AGENT, &c. 
"pEQB'rcspectfelly to infonn Ladies and Gentlemen of 

Jj ttae MnakM ProTeeilon that he conttnaee to undertake the maaageaient of 
Concevlsy MiMne«ik aQ4 Selreae, Alio the superintendenee of Balls, Bands, Choruses, 
JKc., and to solicit their kind patronage for the present Season. 

Me. Van Prai« flatten hhnself that, after his many years' experieooe, and the 
anu>le satlsfisctloo he has hitherto gWen to the Mosical Profession and the Fabllc in 
general, he may be again fhrored irith their commands. 

AU commnnlcations addfesied to Mr. Van Praag, at Donoan Davison A Co.*s 
Foreign Mnslo Warehouse, 344, Regent Street, W., will be immediately attended to. 

Quadrille Bands, for Large or fimall Parties, supplied on. the most reasonable 
terms. 



COLIiEGKB OF QEOAKISTS. 

THE Council hereby offer TWO PRIZES of TEN 
GUINEAS each— one for the best' Artthem, the other for the best Organ 
Uoi9position. Candidates to send in their Manitsoripto not later than June 26, 1864, 
Printed particulars and conditions may be had on application to the Hon. Sec., Mr. 
R. LiMPOs^ Shrewsbury House, Islewoitii. 

MIXBI€» indLading Books firom the Library of the Lttte 
Profbaior Walmieley ; MUSICAL nrSTBtTHEKTS, &c. 



M 



ES8RS. PUTTICK * SIMPSON, Auctioneers of 

lYl Mnsle and Lttermr Property, wUl sell by Auction at their House, 47 
Leicester Square, W.C. (West Side V, on Mosdat, May 3nd, a Large Collection of 
MUSIC In all Classee, among which are Books from the Library of the late Proftvor 
Walmislit; also MUSICAL INSTRUMENTS of varloos kinds. 

•«• Conslgnmtata of Mode or Instruments for this Bale pan be received ontU tbe 
80th Inst. 



MAiRION PITMAN'S "VARIATIONS ON THE 
ELFIN WALTZES ** wUlataortly be published. 

T?AL8TAPFS SONG, " GIVE MB A CUP OP SACK, 

r* BOT," as snagby Mpw Bansfonl (with a ftUMength Portvalt of himself as the 
fit KkHght). '. Th» Mnsio.oomposed eacprassly for him' by J. L. Hattox. Price 8s. 
EMfTom * Sox, 8 Princes Street, Oxted Circos. 



GONOSBTINA MX7SI0. 



COKCSBTO in G teomposed for dfinUo Begondl), B. MOLIQUE Price 100. 

CONciBXQ inB (composed for OiuUo B^9di), F. BOSBN Pzice lOs. 

BO&e<enAli»from"LePxT>pbete'' . . • O.BBOOimi Price 6a. 

MtTSLin A Co., 36 Qreai Marlborough Street. 



QIULIO REQONDI'S NEW GUITAR PIECES, 



B^IVBltlB in D. • . . ; 2s. 64. 

HVTBODUCTtOir 1BT CAPBIOB In IS 28. 6<L 

l^TE^VHOUiGBOISB in D 2fl. Od. 

ler AIB VABCD^in A Ba. 6d. 

8me AZB VABI^ in D 28. 6d> 

AuoKin A Co., 4A Tottenham Court Boad. 



Just published, 

THXESE STXTDIES FOB THE PIANOFOBTE. 

BT 

MRS. MOUNSGY BARTHOLOMEW. 

No. 1. Study on the Shake prioo Is. 6d. 

8. Study on Double Notes „ St. Od. 

8» Btndv on Oot»vee ,» 80. Od* 

Or As Thrm Studiaitk Om Book^ priM u, Cd. 
LoiidoBi Dovoig DATiaoH * Co., au BegeotStftei W.> 



HOGABTH' T'^^VlBtfONIAL. 

COMnrrK :— B. Aguilar, G. F. Anderson, M. W. Balft, Jules Betiedlot, Stendale 
Bennett, Campbell Clarke, W. O. Cusins, J. W. Darlson, Wt D. Dstlsott, A. 
Ferrari, Otto Goldschmidt, 0. L. OraneUen, U. Kirkman» O. A. MaetafMOb John 
Oxenford, J. Sims Reeves, Brinley Rkdiaids. 

Subscriptions already recorded :• 



Messrs. Broadwocd A Sons 
Messrs. Klirkman A Son 
Mdllo. Tietjens . 
Messrs. Cocks A Son . ' 
Joles Behedict, Eiq. . 
Messrs. Chappell ft Co. 
Messrs. Boosey dt Sons 
M.Costa, Era. . . 
Sims Reeres, Esq. 
C. Santley, Esq. . 
H. Bfapleson, Esq. • 
J. Mitchell Esq. . 
J. Walken,Esq., D0O0Smt 
Mesara.-Cock A Co. . 
Madame'Sldnton Dolby 
Mrs. Anderson . . 
Sir George Smart. 
Messrs. Ashdown A Parry 
Messrs. G. F. Anderson, ~ 
M'Muidie, 
W. Dorrell, 
W. G. Cusins, 
F. B. Chatterton, 
Williams, 

Jewson, J 

Miss Laseelles . 

F. Besger, Esq. . 
Cipriani Potter, Esq. . 
Joim Ella, Esq. . 

E. 8. Dallas, Esq. 
Mrs. Dallas . 
Alfred Mellon, Esq. . 
H. Goodban, Esq. . 
W. Sams, Esq. . 
Mrs. John Macfltrren . 
Mrs. J. Holman An^lrews 
Brinley Richards, Bati, 
H. Jarrett, Esq. . 
Bateman, Esq. 
Slgnor Arditi 
W. Kube, Esq. . 
W. H. Weiss, Esq. . 

C. L. GrttneiseD, Esq. . 
Mrs. Orttnelsen 
Campbell Clarke, Esq. 
Mrs. Alfred Mellon . 
J. M. Langford, Esq. . 
Howard Glorer, Esq. . 
L. Jullien, Esq. . 

D. H. Hastings, Esq. . 

G. A. Macfiarren, Enq. 
J. Pittman, Esq. . 
H. Clemow, Esq. . 

P. Sainton, Esq. . 
R. Addison, Esq. . 
J. Turle, Esq. 
C. E. Stephens, Esq. . 



Direotora 
of the 

Philhar- 
monic 

Coooerts 



26 
20 
10 
6 
6 
6 
6 
6 
6 
6 
6 
3 
2 
1 
1 
1 
1 
1 
1 
1 
1 
1 
1 
1 
1 
1 
1 
2 
1 
1 
1 
1 
1 
1 
1 
6 
1 
1 
1 
1 
2 
1 
I 
1 
1 
1 
1 
6 
1 
1 
1 
1 
1 
2 
1 
1 



J. Aseher, Esq* . 
G. Paqne, Esq. . 
T.H. HlUs,£aq. 
Robert Case, Esq. 
C. Boostf, Esq. 
John Thomas, Eaq. 
Harold Thomas, EiM|. . 
W. Qans, Esq. . 
W. Bartholomew, Esq. 
ProAssor W. S. Beanet 
Sir J. H. Lowther 
Reynell, Esq. • 
Dr. Bock . . 

Norello * Co. 
Signer Ferrari 
Madame Arabella- Qoddard 
Madame Laura Baxter 

A. Howell, Esq. . 
Rer. J. Curwen . 
a Patey, Esq. . 
Sfgoor Schira 
M. Meyerbeer 
Madame Goldschmidt . 
Otto Goldsohmidt, Esq. 
George Benson, Esq. « 
Herr Molique 
Madame Lemmens-Sherrtogtoa 
Lindsay Sloper, Esq. . 
Madame Rndersdorlf . 

F. Praeger, Esq. . 
W. C. Mac&rren, Esq. 
Madame Parepa . 
J. L. Ellerton, Esq. • . 

G. A. Osboroe, Esq. . 
Jno. Goss, Esq. . 
W. Pape, Esq. . 
F. Mori, Esq. 
C. Oberthttr, Esq. 
W. H. Cnmmion, Esq. 
M4Ile. Adelina Patti . 
F. Strakosoh, Eaq. 

B. Land, Esq. 
Herr Van Praag . 
F. Gye, Esq. 
£. Aguilar, Esq. • 
J. Blumenthal, Esq. . 
Mbs Emma Heywood . 
J. F. Bamett, Esq. 
Mrs Patten . 
Miss Latham 
Messrs Sutton ana Potter, 
Mr. H. C. Deacon 
M. W. Balfc, Esq. 

J. Jackson, Esq. (Lirerpool) 
M.G. Wilson, Esq. . 
Mrs. Merest 
John Jay, Esq. . 



il 



P.S.— Subscriptions receiTed by the Honorary Treasurer, Mr. G. F. Anderson, 3A 
Nottingham Place, Regent's Park, W.; by the Honorary Secretary, Mr. Campbell 
Clarke, 23 Bedford Plaoe, Russell Square, W.C ; by the Publishers of Tht JiuHeai 
World, or paid into the Union Bank, 4, PaU Mall East, to the aaeouat of ttia 
•< Hogarth TestimonlaL'* 



Mr. CAMrsiu. CLinKa, Honorary Secretory to the Hogarth ' 
mittee, begs to request that intending Sobsoribers may in future adirc 
oDmmnnlcatiQns to his new residenoe, 23 Bedford Place, Russell Square, W.< 



A CANTATA 

Composed for the Opening of tho 
ft NEW TOWN HALL, NORTHAMPTON, 

BT 

CHABIiXIS M'KOBK&LIm 

Prioe9s.6d. 
London :• Cnaifn,' Wo^ A Ca, 201 Begvnt Stitet. 



i^ 



Just published, price 3s. 6d., 

Dedicated to Monsieiir BSfls" FAYIBOCB, 

"L'APPEL," 

GALOP DE CONCERT. 

By EDOUABD DB PABBEI. 

Cbapmll a Co> 



VOGLER'S "MARCH of the DANISH GUARDS/* 
for the Pianoforte, priee 3e.'(sent hal^prloe for stamps). f'Tht Dmaiah 
soldiers are being led to battle to th0 exciting strains of this fine MardL" 

London: rahUabedby D««a4» Davwoh * COnM^BafwHMM, W* 



Digitized by V^riOOQlC 



ip^ieiimk^ 



mwmmis^ worlds 



ns^ 



TirALLACB» '^SONa OR MAY," to be Bung on 

V y ToMday Evening next, April 19, In the Antient Concert Booms, Dublin, u 

• 89)^, nnd in Unii^ by F^rty Papils of Mr. J. J. QAUSjf, ii pnbllahed, prioe Ss., by 

DjifQVL Uktisoh A.Od., 244 ^egei^ afreet, London,, 

RA»DB60BR« CRADLE SO»GK "PBAGBFULLY 
SLUMBER,** to b»«Dnff at the Anttent Concert Rooms. Dnblln, on Tuesday 
nessApijl 11^ aUhn OoB^Umentary Concert to be given to J. J. OiJ|Kur, Es<i.,>2:.. 

DvwaA^,J)Am(a A Co., SUBogent Street, London. 

HABTMAN'9 WALTZ. 



Just Published, 



Afcher*^ l^elebrated Romance, "Alice, where art thf^n P" 

Ai||^ribrmtiftttheLoid*Lientenattt'BSolrte,the Hortioultnral Bh^w^ tl« J>al^ 
Is, Ae., by the Band of the 10th Hussars, under the direction of the Author, 

HEBR SftfK^Z. H|Al^:piA^i 

Prlee4sv 



Duipour Ufffaois^^ Co., ^^':^* 



1% 8^«|e; ap^a»f.all,Mu^ics^lers tai 

ntRK. 



ARffE D'ANNETTA'S DANO.^^ M«8I0 

CharaeterisUoally Illustrated. «. d. 

"TIf Lily qC the Thames Quadrille,** with oometaeoomMAlment ... ... 4 

"^I^NeztQoadrllln^^rRoblh^ Last), idth cornet s%imattlinfiit ... 4.0 

-mSpMtlUppingPoll»,*'dedIcatedtoallspIrit.rap^rrmedlnins ... S 

"Tto Llewelyn Walts,'* dedicated to Mr. Backwen,B.MtardR.W^H. ... S 

" I^fntHU ipirit Walti^**. dedicated.to Mons. Louis (f«l(^t 4.0 

London: Dohoax DAjJBOJt A Co., 244 Regent Street W. 



Just published, prioe 8s^ 

"HOPE ALWA.Y/' 

SONQ FOR A MEZZO-SOPRANO VOICE. 

Written by MINNipA^- 

Composed by EMAKUEL AQUILAR. 

London : Dimoix D^tvqp ^^ Co., 244 Kegifit ^^ti-Wj^ 



Slffi^ BY M R> LEW IS THOMAS* 

"QARIBALDI/^ 

L'lngUltarra fd Frodo OXHSBALE QifffJfi^h 

Pensiero j/u 

GAUTO BiP|A|rplH>9nB,. 

Paoole del Piorsasoni G. |DB VECCHf, 

Musica di un Ital^. 

Price 8s. 

London : DoaoAV Dinsox * Co., 244 Begent B^ni, '^' 



The 



TkfLP»8 POPULAR SONG, " KILJ^JEWflY . 

X)J PoetrjUqr Bnmnv FiLoonn, Esq. Price as. 

"3^ PollPbt ^^ >o long appreciated it when hea^ on the ttaoatrlcal >cardi 
sansft ftUM ba struck, not only, vith the charm of Its sinpip and 11«>cMghly 
ItisPVnelody^-nriiBtantfiting its cUim to its title of ** Kniamey**-4mt also with 
tbe ^stni lanr charm of lU being assoofaited with words so ftall of poetlai 
and.mfliiwJ that surprise is nolooger Mt at the inspirprtfon ^him ta 
fee4r of thaWnsiCvjiartlcularly when it is known that they are from the 
VuncCMr. lUconsr.^^-^JMMqfcl /oif^ 

Lai|App{ Difenw DAfifop ini4)p^ a4ljiUfoat a^nfl» W. 



Just published, price 4s., 
Played ererywhore and always enco r ed, 

**WAVBBIiHT," 

FANTASIA ON SCOTCH AIRS, 

70B THB FLOrOJrOBTX. 

Composed by EMILE BERQER. 

LcodoB : DvsoAV Datisoh f Co., 244 Regent 8treet» W., 

Wlmugr he obtained the abora Composer^ Moroean de Concert, "Lss Echoo de 
Londree,** price 4s. 



Just published, price as., 

"LILLY'S LOVE," 

BALLAD, 

■T 

XBa BHSAS ICACDONHBZiZi. 

s DomiM DiTiMir « Co., 244 Begent Street, W 



Boosgy's iDgtnunenla l latoary,. 

Under this tide, Messrs. BOOSEY is SONS have coUeoted all their 
PopuUu Instrumental Works, and h|kt».a44«d seiwral Nam 
Numbers, to render the series as complete. and^attim^tix^iM possible. 
Orders should specif the numbers only. 

THE VIOLIN. 



I>ittoi, snn uenen ... ... ... 

Ditto, 9rduidj:iew secies 
-' (WMt« ■ "* 



Ditto, (WUtsas by Btoaa8S,LaniM4 and DaMW^> ' ..! 

Ditto, (Country Dances, Reels, Jigs, Strathspeys, Aa) 
One Hundred National Melodiet (EngU^ and Irish) 

DittOfe (Ifia]f«iid Scflitoh) . ... ... ,., ' 

OnoRundred Operatic Malodltts, 1st serlte' !.. 

Ditto, Snd and new series 
One Hundred Christy's l^inatrels' KaV)diet Istseries 

Ditto, 2nd series ... ... ... ... ... .., 

ll One. £^undred BalM/i> by Bitlfp, Wallace, Bs^er, Lipley, ft^ ... 
^a. VfisHycoiLB Natioaftli ai^d Patttotlo Alrs^ uH couatxUs > 
),4. Fourteen Popular Solos and Airs, with TariatioQa. . ... 

lA. Ten Standard Orertures 

li Seleetiona fieom the Mbairiah, and ilMOreatiott -. 

17). De Berioft^ Se^en AirSf.with aUnhn Tariatkm^iNoa 1 to f 

la. Bellini's Ia Sonnambul*. Comptote 

1^. BoniaettValiiMrealaBMvia^' Oomplstit ... 

2a Bellini's Norma. Complete 

21. Doniaetti's liuoia di Iiamniermoor. Complete 

22^ I>oniaatti'sBasired'Aj|iQr#, Opvi^e4s(. ... 

28. Verdi's Bmani. Complete 

24 Anbei'aMaas^iiiello, Complttv ... 

25^ Doniaetti's Don Ppsquale. Comp|^ 

26^ Bellini's PuritanL Oomplele 

27^ Meyerbeer'a lies Huguenots* Complete ... 

28^ BoBsini's U Barbiere. Complete ... 

2Sw Mosart's Don Juan* Complete 

8(K Verdi's U Trovatore. Complete ... 

3L Balfe's Bohemispi Oirl. Complete 

82^ Verdi's Iia Travittta. Complete ... 

88^ Verdi's Bigeletto. Gonplese 

84, Wallaoe's Maritana. Complete ... 

85w Meyerbeer's lie Frophete^ C^Dsplete 

99, Doniaetti's Figlla d0l BM#memi>.» O^pfets * ... 

87^ Verdi'aliuisa Miller. Complete ... 

«8» Flotow's Martha. Complete 

^9^ BalA's Satay^Ua. Conq>lPtBk . 

,40f. Meyerbeer's Dinorah. Complsie ... 

4L One Hundred ZSzeroise8« Studies, dfco., from Great Masters ... 

42b Ereutaer's Forty Studies or Oaprioea fi>rithe Violin 

48^ Bode's Twenty-Five Oaprioea or Studies for the Violin ... 

44^ Fiorillo's Thirty«Six Oaprioolos or Studies for the Vioiin 

j^ Twenty J}isudU for the Violin ... 

ENGLISH CQNCERTINAi 
4S^ One Hundred Dances. 1st Series 
4Z Ditto, 2nd Beriee ... 
i8^ One Hundred Saored Melodies ... 
48^ One Hundred Secular Airs ... ... 1 

50^ FortyfOna National and Patriotic Alrflt of ail oonatties 

GERMAN CONCERTINA* 
SL OjxB Hundred Christy's Minstrels' Popular Songs, 1st Series 
si ]$ltto,dlttd^2&d Series 
Ml One Hundred Songs and Danoes,ji«t Series 
451 Ditto, ditto ind Series • 

ASf Forty-one I^ational and Patriotic Aira, .of aU conaMes 

CORNET-A-PISTONS. 
.M^ One Hundred Daaoea ... 
67, One Hundred Operatic Aira 
5a Twenty "Hya Dueta fiKC Two Oosnatt 

^ ^ ^ ^^ FLUTE. 

AA One Hundred Danoea ... 
ea Ditto, Operatic Melodiea ... 
6L Meyerbeer's IieaHnguenota. Complete ... 
<X Meyerbeer's Bobertle Diablo* Complete... 
681 Auber's Maaanidllo* Complete ... 
«1 Verdi's Bmani. Complete 
8& Verdi's Bigoletto. Complete 
sa Bellini's Puritani. Complete 
67. Bellini's Sonnambnla* Complete ... 
6a Belleni's Norma. Complete 
6a Doniaetti's Iiuoia di liammermoor* Oos^plete. 
7a Doniaetti's Iiuoreaia Borgia. Compists ... 
7L Verdi's n TrovatOM. Complete ... 
71 Moaarf s Don Juan. Cemplete 

78. One Hundred B»eroiaes and , Stndif jBo g thtFllili^jelisM. 

from the works of the Oreat Masters 



lt64 

1 



1 6 



BOOSET AND SOMSi HOLLES STBEETs 



Digitized by V^riOOQlC 



256 



THE HTJSICAL WOfiLD. 



[Apia 16, 1864. 



Gtounod's "FAUST." 



The Opera Complete, with English Words, by 

H. F. Ghoblkt. Price 168. 

Alflo, the whole ot the separate Songs. 



mffW FIAirOFOBTB AKRAJXGSMSNTS. 

The Overture Arranged by the Author ; Solo, 3s. 6d. 

Duet, 48. 

The Eermesse, Transcribed for the Pianoforte, 

by Ffeiffsbt, 48. 

Fantaisie by BeW Favarger, 4s. 

The Soldier's Chorus, by William Hutchins 

GallootTi Ss. 6d. 

The Beauties of "Faust" Arranged as a Duet, 

by WiLUAX HcTOHnn Calloott. In Two^ooks, each, 68. 

The " Faust" Polka by F. Wallerstein, IQustrated 

in Colonn, Ss. 



NEW NUMBERS OF CHAPrejTS MUSICAL MAGAZINE. 
HTMNS FOB THE CHBISTIAN SEASONS. 

No. 4S of GHAPPELL*S MUSIGAL MAGAZINE" contains a 
collection of Hymns particularly adapted for use during Lent. 
Price is. ; poet-free, Is. 2d. 

DIBDIN'S AND OTHEB NAUTICAL SONGS. 

GHAPPELUS MUSIGAL MAGAZINE, No. 46, contains 
Twenty Sea Songs, by Dddin and other Nautical Favourites. All 
with Pianoforte Accompaniment. Price Is., post-free, Is. 2d. 



Jtut PMished, 

CHAPPELL'S 



1. Dulce Domum (Old English Dittie) b.a.t.b. 2d. 

Harmonised Vy G. A. Maofabben. 

2. Down among the Dead Men do. b.a.t.b. 2d. 

Harmonised by G. A. Maofabben. 

3. The Girl I left behind me do. 8.a.t.b. 2d. 

Harmonized by G. A. Maofabbbn. 

4. British Grenadiers do. 8.a.t.b. 2d. 

Harmonized by G. A. Maofabbkh. 

5. Long live England's future Queen 8.a.t.b. 2d. 

(Danish National Anthem) Harmonized by Dr. RnoAULrr. 

6. My Task is Ended - - - a.t.b.b. 4d. 

Song and Ghorus from Balfb's Opera, '* The Enchantress," 
with Soprano Solo. 

7. Thus spake one Summer's Day - s.a.t.b. 2d. 

Part Song by Abt. 

8. Soldier's Chorus ... - t.t.b.b. 4d. 

From Gounod's ** Faust." 



9. The Celebrated Eermesse Scene 

10. Up quit thy Bower - 

Part Song by Bbinlet Rxohabds. 

11. Maidens, never go a-wooing 

Madrigal, by G. A. Maofabbbn. 



6(L 
2d. 

4(L 



CHAPPELL AHD CO., 60. NEW BOND STREET. 



ieO"CrBIEK.'S 




iildiius k 




Twenty of the most celebrated Songs of Schubert, 

ARRANGED FOR THE PIANOFORTE. 

1. Ave Maria 

2. L'Eloge des Lames •• 

3. Adieu 

4. La Elle du Peoheui •. 

5. La Jenne Eille et la HLoit 

6. Souvenii 

7. Le Meunier Yoyageni •• 

8. Le Yieillard 

9. La Serenade 

10. Le Calme Plat 

11. Le PapilloE 

12. Le Joueur de Yielle ... 

13. LesFlaiiitesdelaJeiiiierille2 
14 Barcarole 1 

15. diansondeMtduYoyageurl 

16. Toute ma Yie 2 

17. La Poste 1 

18. L'AtteEte 1 

19. Le Corl)ean 2 

20. Romeo 1 

In one vol., handsomely bound, 

gilt edges £1 1 



2 





1 





1 





2 





1 





1 





1 





1 





2 





1 





2 





1 













"M. Boubier's 'Melodies de Schubert' are excellent 
examples of the best way of arranging a Song for the 
Pianoforte. We have here no amplifications, nor distortions, 
nor variations, nor impertinent arpeggios ; the Melodies, 
with their Accompaniments, being simply woven together, 
so as to form a piece for the Pianoforte. They cannot be 
too strongly recommended to amateurs who wish for some- 
thing new, and at the same time prefer music to noise and 
vulgar display."— Saturday Review, March 26. 

LONDON; ASHDOWN & PARRY, 18, HANOVER SQUARE. 



Printed by Hudsbsov, Bar, ud Fbirov, at Ko. 13, Wlniley Street, Oxford BtrMt, in the Pariah of Marylebone, in the Conntj of Middleaez. 
PnbUHiid by Wiuum Dokuv Dathov, at the Oftee, 344 B«ffn« Street.— AriMnM^, 49^0 14, 1844. 



Digitized by 



Google 






"T&B WOSTB OF AbT APFXABft X08T SMIVBIT Of HunC, tuloi^ ft 1|«Q|UIWBIJ|0 MATKBIAJi^ SO SUBJBOT-XASrZBB, WHOBB BTBIBOT ' 
KUar BB DXDU0TBD! XT IB WHOLLY FOBX AMD POWBBi 490 IT lUOSBg ASD BHIOBLBg WHATBVXB IT BXP]aB88BB.''-^6ff(^ 

8UB8OBIFTION9 7B3BE BY POST^ 20i» FEB AiMJNUM 

Payable la ndyanee by Cash or Pont-Offioe Order to I>XnsrCAN DAVISON Sc CO^ 244^ Bege^. ; Street. London* W. 

{BiffUttand for Tranmisfion Abroad,] 



Vol. 42— No. 17. 



SATURDAY, APEIL 23, 1864. 



PMflM i^' Unstamped. 



I 



HEB MAJESTY'S THEATER 

TITIENS. BET TELHEJM, QASSiE R, GIUGLINI. 

THI» EVENING (SATUBDAT), Apbil 28, 
WIU be repeated DMilMtti'f admired Opera, 

•^UUCREZIA BORCIA." 

Qemitfo, BIffior Onroun; II Doea AUbnso, Signor Qassikb; Rnetlghello, BIgnor 
MiirmaM ; Liverotto, Signor Mabiotti ; Onbetta, Signor Boeai ; Petmooi, Signor 
Oia^Bon; Vitelouo, Signor Bibtaocbi; Maflbo Orsinl, HdUe. BiTTSLBauc; 
>nd Loerecia Borgia, Mdllf. Tmsm. 

Con4notor^-S|OiroB ARDITI. 



To Cooelude wilb the Kew Ballet DirertlBsement, in Two Tableaoz, oompoted bj 
Signor Magbi, entitled, 

««BACCO ED ABIAWNA," 

In which SfDLUE. ABAN7VABT and SioiioB AHMATUBO wiU appear. 



w 



Commenoe at HaJf-past IBight. 
Ftt Tlokets, Yt. ; Beeerred Box Seats^Oi. 6d. } Amphitheatre Btalli, M. and Vi. ; 
Mi«X, at. id.{ Frirate Boxei, in the Upper Circle, aii. 

Bozei, StaUe and Ti<&eli may be had at the Bex-Oilce of the Theatre, open daUy, 
mder the Snperlntendenee of Mr Nngent, from Ten till Six. 

JEW PHILHARMONIC OONOERT, ST. JAMES'S 
BALL, WsDasflDAT Etbhxho, April 37tti.— PUBLIC REHEARSAL, Mokdat 
AmaMmt, April 2&-^ondaotor, FBoriasoB WYLDE, Mui Doc.— The following 
Axficteortbe Royal Italian Opera will ting .— Mdlle. Laobua, Signor Coloctsb and 
Signor Hbbi-Babaldi. Pianoforte, Mr. J. F. BABvm. Oroheitra of IM Per- 
lormen. Principal Violins, Herr Moliqub and Mr. H. Blaobotb. Programmt:-^ 
fmi /.—Overture, Alohymist— Spohr ; Aria, Norma, Mdile. Laobua— Bellini; 
Daet, Sigaor CounrssB and Signor Nbbi-Babaldi— Rossini ; Symphony in C major 
—Scbnbcrt (Morements— Andante, allegro, andante, eeherxo, ilnale): Aria, Mdlle. 
La|^iia--Moxart; Orertnre, Quiaaunu 2W{— Roeslnl. Part Zf.— Concerto in Q 
major— BeetlioTen (Pianoforte— Mr. J. F. Babnbtt ; Movements— Allegro moderate, 
aadaate con moto in E minor,, rondo vivace in C) ; Trio, Mdlle. Laobua, Signor 
CoLOKMU and Signor Nkbi-Babaldi— Meyerbeer ; Overture, Ruy ^la»— Mendel- 
notau Tieketa at popular prioee, of Messra Cramer A COm Regent Street ; Keith, 
Profnie A Co., 48 Cheapelde; and Mr. Austin, St. James's Hall. 

W. QRAEFF N1CH0LL8, Hon. Sea 



MR. KENNEDY'S SONGS OF SCOTLAND. 
musk!; HALL, STORE STREET.- EVERY MONDAY at EIGHT.— 
Mb. KENNEDY, the popular Scottish Vocalist, wiU repeat his successfVa KEW 
EHTEBTAINMENT, entiUed *« THE FARMER'S INGLE,** including favorite 
Old Ballads, Humorous Sonm and Anecdotes. Mr. Kennedjsr has much ploasare in 
aaaooDdng that Mr. Laud, the accompanist of the celebrated Mr. Wilton, will again 
pnaide at tbe Pianoforte. Admission is., 2s., 3s. 

UNDER THE IMMEDIATE PATRONAGE OP 

H.B.H. THE DIJ0HES8 OF CAHBBIDGE, 

AMD 

'HJLH. THE FBINCESS MABY ADELAIDE. 



irRS. MEBEST'S MUSICAL SOIREES, April 29th 

irx (next Friday), May 20th, June lOth and July 1st. Artlttee already engaged— 
Meadsaea LenaMna-Sherringtoo, Weiss, E. Wilkinton, Charlier, Merest, Arabella 
OodAud and Sidney Pratten ; Messra Patey, Carter, Seymour Smith, Merrick, Dlstin, 
H. PUlllpa, WIUy,H. Blagrove, Lasarut, S. Pratten,.GraefrNiohollt and LideL Sub. 
ieriptioa. Family and Single Tickett to be had at the principal Maslosellert, and of 
Mca. Menet, Y Adalphi Terxaoe, Strand, W.C. 

YfR. WALTER MACPARREN'S PIANOFORTE 

IfX PERFORMANCES at the Hakovkb Squabb Rooms, on Saturday Mornings, 
April 3«, May 31 and June 30, commencing at Three o'clock. Frogrammi ^ Pint 
Pvf irm tm te .•—Suite in G minor— Handel ; Sonata in F, Op. 10— Beethoven ; Pre- 
lade sad F^igoe in £ minor, and Fantasia on an Irish Alr^Mendelst^hn ; Sonata in 
' B minor— Clementi. Romance (I4$ttte)^E, J. Loder ; Polonaise in A— Chopin ; 
Koado la A minor— Mnaart ; and Selection— Walter Mac&rren. Subscription 
Haketi, iCt.; Single Tickett, 7t.— 1 Otnaburgh Street, Regent's Park. 



SACRED HARMONIC SOCIE"^- ^, EXETER HALL. 
Conductor, Ma. COSTA.— Fbidat vbzt, Api«Qt19, Mendelssohn's ** ELIJAH." 
PrineipaJ FoeoIMs— Madame RuDBBSDOBrr, Mad-fe'SAnrrcv-DoLBT, Miss Jclia 
Eltov, Mr. Baa RcBVBf and Mr. Waiat. Tickett, St., ftt. and 10s. 6d. ; at the 
Sodety't OiBoe, 6 Exeter HalL -^ 

ARTHUR SKETCHLET will appear at the 

EGYPTIAN HALL, PlcoadiUy, in hit New Entertaiamenti, entitled 
IS," and "MRS BROWN AT THE PLAY." EVERY EVENING (except 

Saturday) at Eight, and on SATURDAY MORNING at Three. Stalls, 3s.; 

Second Seats, 2t. i Gallery, It. The Box Ofllce at the Hall will be open between the 

hours of Eleven and f^ive daily. 

QXTEEirS OONCEBT BOOMS, HAKOVEB SQUABE. 



•• Arxs," 



MDLLE. GEORGI has the honor to annonnce that she 
wlU give a MATINE^ MUSICALS, at the above Rooms, on FRIDAY, 
May 13th, 1864, under the following dittingniahed Patronage :— 
Thb Dowaqbb. DnoHBSB OF NOBFOLX and 

ThB DoWAGBB DOOEXflS Of SUTHBBLAim. 



The Duehen of Sutherland/ 

The Dncfaeta of Argyll. 

The Duchess of Manchester. 

The Marchioness of /KUdare. 

The Countess Constance Grceranor. 

The Countess of Abergavenny. 

The Visoonnteas Neville. 

The Lady Caroline Latcellei. 

The Lady Foley. 

The Lady Adeliza Manners. 

The Lady Blantyre. 

The Lady Leigh. 

The Lady Taunton. 

The Lady Bagot. 

The Lady Jane Repton. 



The Lady Caroline Neville. 
The Lady Anne Beckett. 
The Lady Msry Wood. , 
The Lady Hester Leeke. 
Lady Lilford. 
Lady Wensleydale. 
Lady Graham Montgomery. 
Lady Parker. 
The Lady Mayoress. 
Mrs. Jones of Pantglas. 
Mrs. Arthur Pott. 
Mrs. Bishop Culpeper. 
Mrs. Herbert Ingram. 
Mn. Beaumont. 
Mrs. Tucker. 
MlM HoUiday. 



The Lady Mary Fox. 

Mdlle. Gbobqi will be anisted by the following eminent Artists:— Madn me 
Ababblla GoDOABn, Mdllfc Combtabob GaoBaiaad Madame Lbmhens-Shbrbixoton; 
Signor Gbbbmia Bbttdii. Mr. Lazabub, and Siobob Sxvoai. Conductors— Signor 
Abditi, Mr. Gbobob Lakb, Mr. Bmilb Bbbobb, and Mr. Bbkbdict. 

To Commence at Three o'clock precisely. Stalls, One Guinea; Reserved Seats, 
10s. 6d. ; Tickets, 5s. ; to be obtained at Menrs. Cramer, Wood & Co. ; Messrs. 
Chappell and Co., Sam's •Royal Library, Messrs. Robert Cocks and Co., New 
Burlington Street, Messrs. Cook and Hntchings, Messrs. Olllvler and Co. ; at Mr. 
Payne, at the Booms, Mr. Austin's Ticket Office, Messrs. Keith Prowse and Co., and 
at Messrs. Duncan Davison and Co.'s, 244, Regent Street, W. 



COMOBl 



R. DEACON begs to announce that his THREE 

^ MATINEES of CLASSICAL MUSIC will take place at the Qubbn's 
. MOBBT Rooms, Hanover Square, on Mondays, April 25th, May 9th and June 6th, 
at Three o'clock. Violin, M. Saintox and Herr Polutsbb ; Viola, Mr. H. Wbbb 
and Mr. CLBjaan; Violanceiio, Sinier Pbzsb; Contrabasso, Mr. C. Sbvesb; 
Pianoforte, Mr. Dbacok Two Vocal Pieces will be given at each Mathite. Tickets 
for the Series— Reserved, One Guinea ; Unreserved, 15s. TiokatB to admit Three to 
a Single Matin6»— Reserved, One Guinea; Unreserved, 16s. Single Ticket- 
Reserved, Half -a- Guinea ; Unreserved, 7s. To be had of MeBsri. Olllvler and Co., 
10 Old Bond Street; of the principal Mnsioiellens atthaEoomai and of Mr. Deacon, 
10 Wimpole Street, Cavendish Square. 

THE CAVENDISH ROOMS, 

IiATB BLAGBOVE'S BOOMS, 
MORTIMER'' STREET, CAVENDISH SQUARE. 



Fropileton - Mesgr e. EDWARD HPMPHBEY a nd ITHOMASZCHILDS. 
HHHE MUSIC PROFESSION, and the Public generally, 

I are informed that this elegant suite of Rooms having been thoroughly restored, 
redecorated, and fitted on the maat approved aocoustic principles, may be engaged 
for Chamber Concerta, Pianoforte Recitals. Musical Soirees, Ac., beingZparucuiarly 
adapted for all purposes for which purity of sound is essentUl. 



They are also admirably applicable for Public Dtonen, Wedding Parties, Private 
Soiret DantanUt. and Amateur Performances, for which every requiiite of the first 
description will be provided. 



Digitized by V^riOOQlC 



258 



THE MUSICAL WORLD. 



[April 18, IMI. 



M^ 



TDLLE. MAKIOT DE BEAUVOISIN (PupaofMr. 

_L Bkkbdict) ^U glv» her FIRST PIANOFORTE RECITAL (Twtod by 
Vocftl Matlc), on Saturday Afternoon, Hay 7* at Three o'clock, at WilusIb Rooms, 
St. Jaroes*i>. Ttcketa, 7t. and 68.; to be had of the principal Mnsioaellen, and ox 
Mdlle. Mariot de Beauvoishi. 40 Carlton Hill. St. John's Wood, N.W. 



M 



R. W. H, HOLMES and Mr. G. W. HAMMOND 

will be auUted by Madame LsiOMMS-SHniiuiioroir, Mr. J. Balsxb Chattib- 

TOK (Harpist to Her Majesty the Qneen), Mr. Blagbotk and Mr. LsMMras, at their 
FIRST PIANOFORTE and MISCELLANEOUS CONCERT, at the Hakovsk 
BQUAas Rooms, THIS DAT (Satorday), April 33rd, Half-past Two. Tteketi (all 
roserrec))— Series, One Oulnea ; Single Concert, 10s. 6d. 
36 and 39 Beanmonat Street, Marylebone. 



F 

Cbllan 



R. PREDERIO B08C0VITCH, the Hungarian 

Pianist, begs to annoanoe ftrar Piaaolbrt* Recitals at Messrs. (3ollard and 

.ollard*s Conoert Rooms, on April 29tb, May 13th, May 37th, and Jnne Std. vpon 
Ctonnod's ** Fadst.** Tickets, £1 is. and £3 3s., at OlUrier and Co., 19, Old ~ ' 
Street, W. 

ST. JAMES'S HAIiIi. 
R. AUSTIN b^H to announce that his BENEFIT 



M 



CONCERT will take fSaee on Tuesday ETenlng, May ard, 1804, on whioh 

occasion the following eminent Artistes will appear ^— V e cfff ftrf f M r. Sims RnsTss 
and Mr. Rinwick ; Madame Pabbpa and Miss Mabiam Moes^ JnUtyuuntaHtU^ 



Pianoforte, Mdlle. Madilihb Sohillbb (her first appearance this Season); Harp, 
Mr. J. BALsn Cbattirton (Harpist to the Qneea) and Mr. Jobb Tbomab (Penoerdd 
Gwalia) ; Violhi, SIgnor Sir obi. Choib or tbb Vocal AssoaATioir and Baud ob 
Harps. Condvetfor— Mr. Bbhvdict. To commence at Eight o'clock. Solk Stalls, 
6s. ; Balcony, 3s. ; Area, 3s. ; Admission, Is. Tickets to be had of Mr. Aiutin, St. 
James's Hall ; and of all Mnsicsellers. 

QUEEN'S CONCEBT BOOMS, HAITOTEB SQtTABID^ 

BERR WILLEM OOENEN begs to announce that his* 
MATINEE MUSICALS wiU take place at the above Rooms, on Wednesday, 
4th, 1864, at Three o'clock precisely, assisted by the following emlnexft 
Artists:— FcMtttt—MBdame Lsmmbmb-Sbbbuicoiov, Madame Sbbfhbbd Lbt. 
JiMft-MiMnlo/tito— Violin, Bignor SiroBi; Piaocforta, Herr Wilum Cobbbb; Bar. 
monium, Mons. Lbmmbbsl Cmduetm'^Uon, Lbmmbbb. Kuxmab's Fumotobtb. 
Reserved Seats, 10s. ed. ; Ticket to admit Three, One Guinea ; Single Ticket, 78. ; 
to be had of Herr Willem {^oenen, lOft Great Portland Street, and of Ewer A Co., 
Regent Street 



H 



ERR OBERTHUR begs to announce that his 

MATINEE MUSICALS will Uke place at 16 Gbobtbxob Stbbbt (by the 

kind permission of.Messrs. Collabo'b), on Monday, the 2nd of May. VocalUH-' 
Madame Lsmmbbs-Sbbbbibotob, Mdlle. Iltiba Bbubxxs, Mr. Wilbtb Coopbb and 
Signer BuBDua. A*irumentaliit$—Ud\lte, Mabib Wibck (sister of Madame Clara 
Schumann), Mons. Lbmmbms and Herr Obbbtbub. CSwuftiobrs— Herr Qolluick and 
Herr Mauss. TiokeU, 10s. 6d. and 7s. each; to be had of Mr. OUlvier, 19 Old Bond 
Street, or of Herr Oberthnr, 7 Talbot Terrace, Westboame Park, W. 



M 

Lond( 



ISS EMMA HEYWOOD will sing 0. J. Haroitt's 

ILL nev Song, "REST THEE, BABE," on Monday Erenlng, at the West 
indon Madrigal Society** Concert, Hanover Square Rooms. 



Hamm 
April i 

Monday 



riSS FLORENCE DE^ COUROY wiU sing "THE 

L SONG OF MAY," eoinposed by W. V. Wallaob, at Mcasn. Holmes and 

nmond's Concert, at the Ibaorer Sqvmn Bootoa, THIS DAT (Sat«rday), 

April 33. 

. EMILE BEROER will play his New Pianoforte 

Fantasia on Scotch Airs, ** WAVERLET,** *t th^ Beaumont Institution, on 
Evening. 



M 



R. G. W. HAMMOND will play, for the first time, 

. his Two MoBiOAi. Skbtcbbs for the Pianoforte, ** SHADOWS AND 
BEAMS ** (MS.), at the Hanover Square Rooms, THIS DAT, April 33nl. 



M 



R. BOSCOVITOH wiU play " THE BABY'S SONG," 

Composed for the Pianoforte by Howabo Glovbb, at his Matinee, soth April, 



HERR WILHELM GANZ will play his new Mazurka, 
" VOGLIAKA,** at Miss Fsimy Partridge's Boii^ MasicBle, May 10. 



■y RS. CAMPBELL BLACK, Mezzo Soprano (Pupil of 

Jxi. Dr. Fbabois Rqbihsov, Vloar Choral of the Cathedrals of Christ's Church and 
Saint Patrick, in the City of Dublin) sings In ItBlian, German, and French; she sings 
also all the popular, EagllBh', Scotch, and Irish ifelodi^, knd bas carifoliy studied 
Sacred Music. All Communications respeotiag Engagements to sing at Concerts, 
Ac., to be addressed to her Bt Mo. 7, Well Walk, flampstead, N.W. 



ILf ADAME ALICE MANGOLD begs to announce that 

JLYx sbe is in Town for the Season. All letters respecting engagements, Ac, to 
be addressed to Mr. H. Jarrett, Musical Agent, at MeSBit. Duncan Davison * Co.^, 
344 Regent Street. 



MISS ROSE HERSEE will return to town This Day 
for the Season. 3 Crescent Phtce, Barton Crescent, W.C. 



]V/rADLLES. GEORGI & CONSTANCE GEORGI.- 

IVl All EngagemenU t . . - - -_ . . . _ 

Agent, 344, Begeat 8treet| 



jyi All EngagemenU to.be address^ to Mr. Jabbbtt, Musical and Concert 
egeatStr--*' ' 



DLLE. LIEBHART has arrived in London to fulfil 

her engugement at Her MiOwty's Theatre. CommunloBtioDs to be addrossed 
kt Ontram Villa, Bridge Road, St John's Wood : or to Mr. Jarrsit, Oonoert 
Agent, at Messrs. Duncan Davison ft Od.'s, 3a Regent Street. 



M" 



MR. J. ASCHER begs to announce that he has, returned 
to Town for the Season. All oommunlcaUons to be addressed to Schott * Co., 
163 Regent Street, W. 

R. DAVID LAMBERT, Vocalist (Bass), late of Her 

^.^ Mijesty's Chapel Royal, St deorge's. Commnnloations rsepecttag engage, 
ments to be addressed to 34 Old Elvet, Durham. 



M" 



MASTER WILLIE PAPB has returned from his 
Provinoial Tour. His Annual Recital wUl take place at the Hanover Square 
Rooms, OB fMday Evening, May 13. For engagemenU, publlo and private, address 
No. t Soho Square. 



ONS. LOTTO.— The Provincial Tour of M. LOTTO 

^.^ (with the Pyne and Harrison party) which has beeh atlahded with suoh gresi 
success, will terminate on the 30th Inst, at Dublin, and M. Lotto wni retom to 
London for the season. Arrangements for jwNle or priwU OomurU for May and 
June can be naade on application to Messrs. (2eaitbll and Ca, M Kew Bond Street 



M 



SIGNOR GEREMIA BETTINI hegs to announce that 
he has arrived in London for the season. For engagem.ents, apply to Mr. 
JABBBTT, Musical Bud Couocrt Agent, 344, Reg;en( Street, W. 



SIGNOR SIVORI will remain in Londou till the end of 
May. CoBUBunications reepecUng Concert engagements, Ac, to be addressed 
to Mr. Jatrett, Concert Agent, *c., at Messrs. Duncan Davlaoii A Co.'s Foreign 
Music Warehouse, 344 Regent Street, W. 



MB. VAN P&AAG, 

GENERAL CONCERT AGENT, &c. 
T>EGS respectfully to inform Ladies and Gentlemen of 

Jl the MUaioal ProfettiOB that ho oootinues to undertake the mmnacement of 
Ccmcerts, Matine^, and Soirees, also the superintendence of Halla, Bands, Ctaorues, 
Ac, and to solicit their kind patronage for the present Season. 

Mr. Van Praag flatter* hinalell that, after his many yuBra* experleiioe,aod the 
ample sajlifoetion he has hitherto given to the Musical Profbaskm and the Pnhik in 
general, he may be again l^vored with their commands. 

All oommunioations addressed to Mr. Van Praag, at Donoin Davison A Co.*s 
Foreign Music Warehouse, 244, Regent Street, W., will be ImmediBtely Bttended to. 

QnadriUe Bands, for Large or Small Parties, supplied on the most rsasoaabls 
terms. 



THE INFANT VIOLINIST 
BEublT, 

Batween Bight and Nina Yeftxv, 

Who hat ohtaiued unlversBl sucosss on the Continent, is shortly uxpeotod In London, 

to make his FIRST APPBARANCS. 



^0 PROFESSORS AND AMATEUR8 OP MUSIC. 

Anfthoff Works Engraved and Printed on moderata terou by V, Bowchar, 
LitUe Marlborough Street, Regent Street, W. . 

, Seal and Copperplate Engraver end Printer, 3, Little Marlborough 



Street, Regent Street, W. Door-plates Engraved; Engravlngr on Stiver, Ao. 



^TTANTED IMMEDIATELY IN LONDON: A 

VY PIANOFORTE TUNER who U accustomed to HARMON n7MS. and a 
Front Shopman, well acquainted with the Trade, and who can write a neat hand. lu 
the Country: An experienced Man well acquainted with all branches of the Moale 
Trade, and a good Bookkeeper. Address, stating the ftalleat Partieolam, to ** Z.,*' 
Messrs. Mbtxlsb and Co.'s, Great Marlborough Street, London, W. 



NEW WORK BY PBOgE SSOR SUXIaAH. 
Pabt I., in super-royal Svo, price Ss. ad^ sawed, ^ 

A GRAMMAR OP COUNTERPOINT. By Johh 

.XX. HuLULH, Professor of Vocal Mnsio in King's College and in Quean's College, 
London, and Organist of Charterho us e. 

•«• Pabt XL, treaUng of DwbU CoimUrpoiMt, Jmitatim and F^gM$^ and oompleUng 
the work, will follow shortly. 

LouovAv, Obbbb a Oa, Fistemoctar Bow. 



GIULIO REGONDI'S NEW GUITAR PIECES. 



BfeVSBIE inD ai. ^d. 

IHTBOD VOnON BT CAPBIOS In B g^ q^ 

FBTJB VIIiLAGfiOISlQ In D Sa. Od. 

lar AIB VARDirin A 1te.6d* 

ame AIB VABI^ inD 9b. tdi, 

Avobsbb a Co,, u TotienhBin Court fioad. 

Digitized by V^:iOO?lC 



April 28, 1864.] 



THE MUSICAL WORLD. 



259 



HEB MAJESTY'S THEATBE. 

QABlBAIiDI — ** LUOBKSXA BOBGU," BTO. 

(The limu, AprU 20<A.) 
Lttrt ni^t (Taesdaf ), the magniiloeiit Italian patriot honored 
Her Majest^^ Theatre with his preBence, Garibakli'B yigit was 
Booompanied by demonstrations very sunilar to those which at the 
Royal Italian Opera, last Thursday, created bo much excitement. 
The attendance was fashionable and brilliant, every place being 
oooapied excepting a few stalls (there was no '' pit"), which again 
tdd a tale of speculators more hungry and overreaching than wise. 
T)» seats appropriated to the General were in the middle of the 
Miphitheatxe, exactly opposite the prosoenimn, three of the ordinary 
boxes beiiig ^irown into one for the convenience oi tiie Lurge party 
eqieoted. Esoaping, happily, the obtrusive solicitude whidi made 
iiii passage through the Floral Hall a feat so arduous and difficult 
—a speoud entry, by what is Imown as the *' Pass Room," having 
been contrived for him by Mr. Mapleson — General Garibaldi 
i^peared in his box a few minutes before the time advertised for 
oommeocement. How he was received it is unnecessary to say. 
He was aooompanied by his sons, Menotti and Biociotti, Signer 
Mordini, Colonel Missori, Colonel Chioaao, Colonel ChiumbeiB, 
SignoEB Negretti, Guercini, &c. The moment he arrived the 
^Garibaldian Hymn" (the somewhat oommon-plaoe music of 
which IB from uie pen of one Fantaleoni) was performed by 
orchestra, ohoms, and miHtary band (on the stag^, under the 
direotion of Signer Arditi. 

The opera was Luoreda Borgia^ played for the first time this 

eeascm, and in such a manner as, presuming General Garibaldi 

to he a genxiine amateur of dramatic music, must have afforded 

him infinite satisfaction. The principal characters were supported 

by MadHe. Tietiens (Lucrezia), Madlle. Bettleheun (mffeo 

Onini), Signor Giu^ini (Gennaro), and Signer Gassier (Duke 

AlioDflo). Madlle. IKetjens never played ilie part of the Duchen 

of Ferrara more grandly, or sang tiie music more superbly. Her 

roiee was in first-rate order, and she threw a more than ordinary 

amount of enthusiasm into her performance. The audience were 

as entkunastic as Madlle. Tietjens herself, appreciating and 

applaudmg with equal warmth her every effort, Signor Gkuglini 

sang delightfully, and gave the cavatina interpolate in the last 

act (Signor Arditi's " Colli Nativi ''} with so much real expression 

that he was compelled, bv the general desire of the house, to repeat 

it Signor Gaasier's Alphonso is well*known as a performance of 

dislingaiBhed merit, botn in a musical and dramauc sense. The 

popular trio— ^*^ Guai se ti sfugge un moto '* — ^Wheio the poisoned 

wine is adnunistered to Grennaro by the suspicious and implaoEibl^ 

Duke, to the deqpair of the agonized Luereoa, was, as might have 

been anticsipated, admirably executed by these practised artists ; 

and that it ahould be asked for again, with such unanimity as 

admitted no denial, was no wonder; Last, not least, the new 

eontraUoy Madlle. Bettelheim, created quite a sensation in the 

famous brindisi — "D segreto per esser felice" — whjch was 

encored without a dissenting voice, and repeated with increased 

effect. The rest was to match. Nothing could be better than 

the band and chorus, nothing more efficient than the manner in 

which the finales and concerted pieces were given. At the end of 

the opera Madlle. Tietjens, and the other principal singers, were 

wmmoned before the foot«lights. 

Very little was seen of General Graribiddi during the performance 
of Lucrezia Borgia, He remained at the back of the box, and 
was for the most part invisible to the audience. Between the first 
and second acts (or between the " prologue,^' so called, and the 
first act — ^which amounts to the same thing), Signor Arditfs Canto 

^laziunale .•»— - 

•* Uadre Italia ! rendetU, vendetU I 
Sianio vniU per ralttma gaenai 
Aooorlamo deir Alpl alia vetta 
Che Todiato atraniero ancor aerra .'** 

(the words ^^ by a Lombard ") was performed by chorus, accom- 
panied by orchestra. No great excitement, however, seemed to be 
produced by this ; and at the end of the next act Greneral Garibaldi 
quitted h]0 hox^ to pay several visits— «mong others to the Duchesses 
d Sutherland and Manchester, Mr. Seely, M P., Mr. Stansfield, 
M.P., and the Italian Committee; nor was it until the last act 
lias nearly half over that he returned to the place he had occupied 
Aarmg the evenlug. As the performance drew towards a dcee 



people began to ihink they would get no opportunity of seeing the 
illustrious warrior and ol giving expression to the enthusiastic 
regard universally entertain^ for him. At the termination of the 
opera, however, all suoh appre|iension was dispelled. The new 
war*song, called ^* La Garibaldina," music by Signor Arditi, which 
was heard with such rapture at the Crystal Palace on Saturday — 
a composition as full of vigour as the words are full of patriotic ' 
aspiration — ^formed the appropriate musical climax to the evening's 
entertainment. This waa sung or rather vociferated, by the whole 
company, with a demonstrative energy that could not possibly be 
misunderstood ; and at the characteristic and spirited re/rain : — 

" O Churibaldi !-HAoatro salvator, 
" Te aegnlremo al oampo dell' onor ! 
•* Bisorga Italiar--el sol d! Liberta ; 
«« All ami! allarmi! Andiamr— 

the plaudits were so deafening that General Garibaldi was forced 
to come out from his retreat, and acknowledge the compliment 
thus directly paid him. The applause continuing with unabated 
ardour, ^^La Garibaldina^* was perforce repeated, and this time, 
the instant the refrain, ^^O Garibaldi! nostro salvator'* — ^was 
heard, the audience accompanied it by almoet unanimous clapping 
of hands ( and as the melodv, while bold and striking, is sunple 
and easy to retain, many of them joined audibly in its delivery, 
adding their own voices more eager and zealous than harmo- 
nious, to the vocal strength upon the stage. A free^ burst of en- 
thusiasm was the result ; and again General Garibaldi came forward 
to salute the house, with that quist and dignified reserve which so 
graoelnlly becomes him. He was in his usual coetmne— 4iie gr^ 
capote over the red shirt— a costume bv this time so familiar and 
endeared to his English friends, that they would not willingly see 
it exchan^ for another. After ^^ La Craribaldina " the (^neral 
sent for Signor Arditi and complimented him in words as flatter- 
ing as they were brief. 

Although General Garibaldi remained until the end of Sig. 
Magri^s new baJlet, oidled Bacco ed Arianna Tin which the new 
dancer, Mdlla Aranyvari, appeared, with Sig. Ammaturo, and of 
which we may speak on another oooasion), he was not again visible 
to the audience. The majority, indeed, supposed he luul already 
taken his departure, and gradually be|^ to imitate his example. 
Outside, neVerthelen, there was a dense crowd, anxiously waitmg 
to cateh a glimpse of the hero, and rewarded by seeing him step 
into his carriage, which was driven away amid reiterated shouts 
and cheers. General Garibaldi's entire satisfaction with the enter- 
tainment provided in his honour was expressed verbally to Mr. 
Mapleson, who was in attendance on lum during the evening, 
received him on his arrival, and reconducted him to his carriage on 
his departure. 

0" ■ 

BOYAL ITAT.TAV OPERA. 

ULOBUA^-XABIO— -LA FAVOBITA — ^WAOHTEL-— OUILLAUiai TELL. 

{The Tknu^AprU 18(A) 
As the unlooky heroine oi Doniaetti's La fiaoorita, Madlle. Emilia 
Lagrua ftilly bean out the promise of her Norma. The part of 
Leonara, moreover, has the advantage of suiting her peculiar means 
and the idiosynoracy of her charming talent, from the first scene to 
the last. The second act of Norman in which tenderness and pathos 
are predominating elements, exhibits 3IadUe. Lafprua in a more 
uniformly &voiahle light than the first, where sustamed diguity and 
fiercer bursts of passion are demanded — ^the softer and more womanly 
nature of the sublime DruideBS being for the greater part only revealed 
in that interesting seene where the artless nanative of Adalgisa's love 
callft back vividly the remembrance of her own. Leonora has none of 
those lofiier chaieacteristios which raise Norma to the height of lyric 
tragedy-r-none of those vehement and terrible ebullitions which present 
her as often under the gaise of a vengeful Nemesis as under that of a 
contrite and sufiering woman. From her secret meetings with Ferdi- 
nando — ^which, reawakening a pure feeling in her breast, and filling her 
with grief for the past, ultimately cause her to look up to him as to a 
deliverer, and entertain a regardJor him nearly approaching idolatry — 
she is all tendemess and oonfiding affection. When she learns how 
her chivalrous hero has been betrayed, she is overwhelmed with 
despair ; when, after the marriage, repudiating her alliance with con- 
tumely, he upbraids and defies the Monarch who has thus outraged 
his honor, she is prostrate and ashamed. The rest— to the hut 
bitter interview in the monastery, when the pardon and avowal she 
has wrung, by dint of tears and self-humiliation, from the still loving 
Ferdinando, serves but as prelude to her death^keeps strictly within the 



Digitized by V^riOOQlC 



260 



THE MUSICAL WOBLD. 



[April 23, 1864. 



limiU of the pathetic. The qualiacatioiiB to pre«ent all theae emoUona 
with becoming troth are unqaeitidiiabl^ poaaeaaed by MadUe. Lagnia ; 
and her dramatic portraiture of the Borrowing Leonora is aa vivid 
and graceful aa her execution of the touching muaic which Donizetti 
has put into her lips ia artistic. Her last act ia a masterpiece of ex- 
pression. Here she finds a congenial partner ia Signer IfariOf^who 
— allowing for the rapturona duet:—* 

•• YisB, tnftto oUUio ptr tt, 
T*aiB«ro qoAl Vtaaii^ 
II tao oor torna k me, 
Sol p«r to TiTo omal !**«- 

now beyond his physical capacity, and for an over-exacting passage or 
two in Uie great scene where he casts his broken sword and newly 
spumed dignities at the feet of his ungrateiVil Sovereign (which he 
otherwise aedaims and acts magnificently) — is still a peerleaa 
Ferdinando. The style in which Signor Mario delivers the exquisitelv 
beautiful soliloquy of the fourth act — ** Angiol d'amore "— ia marked, 
too, by « depth of feeling and perfection of vocal utterance as yet 
without parallel. Signor Graziani is welcome as Alphonso IX. ; for, 
though he may not give to the character of that wily potentate the 
histnottic significance with which H. Faure in a measure endows it, he 
more than atonea by the general excellence of hia singing, and 
especially by his delivacy of tne much admired romance, — 

** A tsato amor non tI moilnto lagnU,** 
-—where the unscrapnloua King, when tiie wronged and unsuspecting 
Ferdinando claims, as sole reward for his valiant services, the 
hand of Leonora, wi|h oily blandness backs his soft. Nothing could 
bring out more happily the iuave tones of that rich ana raanlv bary- 
tone which is Signor Graaiani*^ most precious gift^ and which never 
fails, when thus exerted, to arouse the ^mpathiea of an audience 
Lastly, Signor Atxy ia heard to conaiderable aavantage in the music of 
Baldaasare, althou^ a more powerfiil bass than his is jierhaps essential 
to the effaetive declamation of thoae sounding phrases in the JUude to 
Act U., where the proud and hanghty Honk, protesting, in the name 
of Heaven, against Alphonso's design to repudiate his Queen in ikvor 
of Leonora, fulminatea the aaoerdotal vraih at the united heads of 
** Castille " and his seductive mistress. 

La FavorUa, aa a mere dramatic spectade, is too &miliar to firequen- 
ters of the Boyal Italian Opera to need one word of desoriptftm. The 
same may be said of Bo8sini*a gorgeous aad magnificent OniUamM Tsttr^ 
a work as superior to 1m tmlmita in a musical sense aa it is inferior in 
almost eveiy other. On what might l^ave been the fiite of tiie two 
operas had La FavcrUa been aet 1^ Boarini fas he might eopally have 
setZa JiiNwand (TuiteM///.— both of which he declined) and OuiUamu 
Tdl by Doniaetti it is hard to ^peculate. What was chiefly interesting 
in the first (lerformance of Bossini's masterpiece— which took place 
on Saturday night before (as every lover of muJo will be pleased to hear) 
a house orowdad to the roof— mav be briefly stated. Three of the 
principal charactera— Arnold, Guillaume Tell, and Walter— were 
intrusted to singers who had never attempted them before at the 
Royal Italian Opera. Two of these, indeed— Herr Wachtel (Arnold), 
and Herr Schmfd f Walter)— are among the new importations of the 
present season ; . while the .third^-Signpr Qraaiani (GidUaume Tell), 
would Idmost seem to be keeping Jd. Faure*s parte warm until that 
eminent French sbiger shall arrive. As in Pietro and Alphonso IX., 
so in GulUaume TeU, Signor Graziani makes the audience in a great 
degree resret the absence of those histrionic capability ao honorably 
distinguittiing M. Faure ; but, on the other hand, in this last chaiao- 
ter, as in the two nreceding ones, the fine voice of the Italian baiy tone 
and his thoroughly legitimate accentuation of Id* own beautiihl laur 
guage more than compensate for what is missing ffignor Graaiani ia 
no more Guillanme TeU than he is Alphonso IX.; but, in revenge, 
he is Signor Graaiani, — which means an individuality always 
welcome to the frequenters of stalla and bosea. Heir Schmid's superb 
bass voice was noUced in his performance of Oroveso, the Druid, 
on the night of General Garibaldi's visit to the th«itre. Gieat things 
were expected of this gentleman in the music of Bossbii's moat 
classical work; and in the stirring scene of the oath it must 
he admitted that the German singer ftilfiUed anticipation. No such 
Tmss has been heard since the voice of Herr Formes in its prime; 
but whether Herr Schmid is as good an artist as Herr Formes 
remains to be proved. Many proteai he is a better. Oroveso 
and Walter are comparatively ea^ parte to fill ; and ao long 
as the voice is at command, with comet intonation, and a certain 
vigour of ddivery, all goes right. Herr Schmid's second appearance 
may, therefore, be pronounced as l^timatel^suooessftil as his first. 
In the snperUtive trio (for Arnold, Tell, and Walter, Act 11.) he wa« 
really all that could be wished. Herr Wachtel, as Arnold, justified 
every word that was written of his Monrico. The same physical force 
and energy, the aame extraordinary high notes, the aame audacity in 
giving them oat, wherever it suite him beat, respective or irrespective 



of the intentions of the composer, were m observable as in the 
TVopotofs. Herr Wachtel, exulting in his peculiar gifta, and yielding 
everywhere to hia enthusiasm, seems chiefly bent upon prodndng 
** effect** wherever •< effect" can be contrived. He is easentially a 
** sensation " singer ; and as he possesses the means of giving utterance 
te what moves him from within, he rarely misses proauoing the 
desired impression. Criticise Herr Wachtel as we mav ; find evety 
(ault we can ; say, he ought nof to do this, and does it— or that he 
ifUjfht to do that, and dobs it not ;* it amounU to the same thing. Up 
goes the " C " (or some other high note) '* di petto" and down comes 
the applause. This ** C " is Herr Wachtcl's coup d'cpera-^eapo ^opera^ 
indeed ; these high ** chest notes '* would go far to cover a multitude 
of sins ; and so long as they are always ready, when their owner pulls 
the wires, so long will Herr Wachtel carry his audience with him. 
However, he has other qualitieii, which already attract, and which, if 
carefully nurtured, may ultimately lead to exeellenoe. In the duet 
with GuiUaume Tell (Act I.); iu that with Mathilde (Act II.); in the 
trio (Act n.), where the dormant patriotism of Arnold is aroused by 
Tell and Walter, and the desire to avenge liis father's murder makes 
him forget hitf love for the Austrian maiden ; and last not least, in the 
liotoriodslv famous «' Corriam, coiriam ! " (•* Suivea moi '*), Herr 
Wachtel launched those missiles he knows so well to use. and hit 
the bull's-eye in tl^e target of success. As it was with Mannco, so it 
was with Arnold ; freshness, visor and energy, enforced by an 
admirable healthiness of lungs, told their tale, and made their never- 
failing impression. Herr Wachtel once more came forth victorious^ 
and this time, it should be added, firom a fiir more trying ordeal than 
the first. Mdlle. Marie Battu (Mathilda), Sisnor Polonini (Mctlchtal), 
Madame Rudersdorflf (Jemmy), Madame Tagliafioo (Toil's wife), 
Signor Neri Barhuii (the Fisherman, with the baroande— in the intro- 
duction to Act I., a masterpiece firom end to end), Signor Tagliafieo 
(Gessler)— even Signers Fallar and Bossi Qx^ the small parte of Leut^ld 
and Kodolfe)— one and all did their very best. Mdlle. Salvioai 
performed the Xyrolienne with indefinable grace and artistio beauty 
of *'pou ;" and all the other danoea were weU nresented— their efieet, 
as usual, enhanced by the most original and dehcioua ballet music ever 
written. The band and chorus were superb*-4he overtora (eiioated) 
being splendidly played, the fMiU of the first act and the choral mnsb 
at the meeting of the Gantona, in the second, oflering acaroely a point 
for criticism. The life-like beauty of the scenery— especially that 
glowing picture of the Lake of the Four Qsntons by moonlight and 
the animated stage bnsineas, the colminatin^ triumph of which ia the 
wonderful finaU to the second act, made their accustomed mark. The 
entire performance, lodeed— notwithstanding certain cortailmente in 
the music, which cannot be called Judicious, and an " airangement '* 
of the last fmU^ at which Bossini himself would probably feel less 
gratified than surprised — was worthy a great masterpiece, and a 
theatre which owes no little of its reputetion to ite admirsUe repre- 
sentetions of the complex and splenmd lyric dramaa of the nodsm 
French aehool. 

o 

THE OPEBAHGUSE, yi£NNA.t 
[By way of preface to a statiatical summaiy of what waa done i* 
the Operahouae, in Vieiina, during the theatrical aeaaop, just < 



duded, from the lat July, 1868, to the Slat March, 1864, No. 14 
of the Vienna Etctimontn containa a vigoroua Philippic againat the 
mode in which that establiahment ia conducted. Aa the reproacbei 
of the paper appeara well founded, being supported by facta, it ia 
hi|;hly satisfactory to meet once in a wajr, in a publie joaraal, ao 
nunute an account of the state of affairs in one of the first theatrca 
of (Tenhany, an account guided by truth atone, actuated bjr no 
f eelinff aave that of indignation at abuses and omiasionB, and sue* 
ffestea by a love for art only. Whether the bold attack wiQ ha 
followed by any practical effect, or whether, as we unfortunittefy 
have often found in our own paper to be the case, the editor, irldla 
pertinacioualy ininstang upon reforms, is engaged in a taak like that 
of the Danarase, ia something the next season must teach ua. To 
believe in the influence, or even probable influence, of independent 
criticism on those who manage Glennan art-establidimentB, or ia 
the oonductoiB and stage-managers, would be a piece of aangniiia 
optimism. We will, however, give the gist of the article, in order 
to render the state of things at Vienna known abroad aa w^ as 
among ourselves; perhaps a backstroke, awakening a leeHng of 
shame, and leading to amelioration, may oome from LQindon or 
Paris.] 
The negative resulte of the operatic season just finished are now 

* Which is neither more nor less than the plain truth.— Disblby PxTBRa. 
I t From the Niederrheinuekt Muttk ZtUung, 



Digitized by 



Google 



April 23, 1864] 



THE MUSICAL WOBLD. 



261 



piftinly manifest. One solitary nordtj — Offenbach^s IVteinnixen-^ 
coQstitates the entire operatic contribution of aiiy im^rtance ; of 
operas not performed for a long time, one modest specimen only — 
Halery's Motuquetaires de la Reine — was revired, and of operas 
which had not been given for a year or so, Oberon^^ Le PostiUon de 
Longjumeauy Lucrezia Borgia^ La Muetle de Portlci^ and Le Pro^ 
pheUy were re-stodied and partly re-cast. Such is a true and correct 
account of the heroic things achieved during a season of nine months, 
in Vienna, the capital of Austria, and the residence of the Court. 
To attain this magnificent result, the taz-j[Miyers pay annually to 
the state about 200,000 florins, besides a high price for admission 
if they would hear it with their own ears. To attain this magni- 
ficent rosult, man V lines of business are represented three deep, 
and thousands of fiorins laid out on the acquisition of individual 
Toices, or the retention of experienced mediocrity. To attain this 
msgnificent result, the Operahouse employs three conductors; 
three leaders ; two repetiteurs for the chorus ; a genntil leader of 
the choms ; an inspector, who is a sort of stage-manager; a head 
stage-manager; an artistic manager who understands singing ; a 
secretary with literary abilities ; a drawing-room High Ohamb^- 
lain, with a permanent auditor of the rank of a court-councillor. 

And yet the efforts of these gentlemen so noUe and so fruitful of 
advantages, find no appreciation, no gratitude, nor even any but 
offidflliy appointed defenders. What do we ungrateful persons 
require more than three whole new acts by Offenbach, and three 
whole revived acts byHalevy! Does not this represent, in nine 
zaonths, for every quarter of a year the close study of one new and 
(ae old act ! And yet we are not contented I 

It must, however, out of respect for the truth, be stated that 
the management of the Operahouse promised something more than 
it performed, and actually "prepared" one classical opera. But 
the preparations for Gluck^s Iphigenie in Aulis lasted from the 
early put of the autumn to Christmas, and ended in — ^the post- 
ponement of the opera till next season. We are aware that the 
management endeavours to defend itself in a great measure by a 
neferdnce to the indiq)osition of members of the company, and the 
extraordinary leaves of absence granted in July and August. 
With regard to the last, it strikes us that it is far more justifiable 
ia the ontics to reproaoh the management with abusing the power 
of granting leaves of al»ence, than becoming in the management 
to adduce this abuse as an excuse. 

Bat there were actively engaged in July Meadames Fabbri- 
Mulder, Knnss, Tellheim, Kropp, Destinn, Bettelheim, Herren 
£rl, Walter, Dalffy, Von Bignio, Hrabanek, Schmid, and Mayer- 
hofer — ^that is to say, each line of business was at least doubly 
represented. To these names must be added those of the 
conductors, Herren Proch and Dessoff. If the above ladies and 
gentlemen were considered capable of performing the most 
important stock-operas (those of Mozart, Meverbeer, &c.,) they 
mighA abp have bean employed in the relatively satisfactory cast 
of a new/or a revived, opara. From August, however, there were, 
also, Meadames Wildauer and Dustmann, and somewhat later 
3Iai]le. liebhardt, while Merr Draxler, and, in September, Herren 
Back and Ander, also, (the ktter gentleman being, however, pre- 
vented by illness, from appearing tUl about a fortnight after the 
fomer) were actively employed. But, despite of this, it was not 
until the 4th October that we had the revival of Les Mowquetairte 
(aH played, with the exception of one part,' by artists who had been 
m full activity ever since the 1st July), and not till the 4th 
February diat we heard the first and solitary novelty ! 

Ulneas ! That is the grand word of excuse I If, however, we 
pass in review the catalogue, printed in the bilk, of the artists laid 
up by indisposition, we find no longer attack mentioned than that 
Of Herr Ander, who, after the expiration of his leave of absence, 
Qookl not, on aooount of indisposition, t^pear until the 15th Sep- 
tember. With this exception there was not, during the whole 
seaaon, as far as we kiow, any one so seriously ill as to prevent 
new works, or new works not represented for a long lime, from 
being rehearsed. Though, therefore, the rest which Herr Ander 
demanded delayed for a few weeks the rehearsals of Die Rheinnixen 
and Iphigenie^* it strikes us that the period of six or seven weeks 

* It wut at any rate, a clever notion to burden Heiren Antler and Beck 
with tke rehearsiUa of Bacb*a and of Gluck'a operas simnltaneousl j ; hj 
laa pbm both works were delayed, and the prodnction of one of them rendered 
as iiDpoflribility. 



after the production of Die Rheinnixen would still have sufficed 
to bring out Gluck's work, which, moreover, was in a tolerably 
forward state. But even though the production of Iphigenie had 
to be sacrificed to the repeated performances of Offenbach^s opera, 
this alone is no reason for the stagnation which has unfortunately 
been proved to have existed generally. The indisposition of Herr 
Ander did not, after all, prevent him from representing the only 
new tenor purt of the season, and much less .could it prevent 
Herren Walter and Wachtel, on th^ part, from adding a new 
character or so to their list. The neglect dirolayed in this respect 
ia» therefore, mostly, if not wholly and solely^ to be ascribed to 
dilatorinesB or want of tact in giving out the business on the part of 
those who had the immediate management of the theatre, or to the 
adverse want of energy and deficiency of artistic^intelligence on 
the part of those immediately entrusted with the task of represen- 
tation. That everv repertory urgently needs to be freshened up 
every year by novelties and revivius is an elementary truth so fre- 
quently and so pertinaciously advocated in these columns, that afuller , 
or more detailed discussion of it is np longer required. In the same 
manner the complaints, about the small productivity of the present, 
and the antiquity of the classical opera, have been quite often enough 
reduced to their proper limits. However little of importance may be 
now done in the wa^ of opera, what is relativelv best in this little 
should always be offered to the public, for such is the duty of an 
operatic mana^. Just as well as an opera could be ordered of 
Offenbach, native composers might have been advantaged by the 
production of their works during the same season, and a trial 
might have been made with Hiller's Katakomben^ with the new 
operas of Max Bruch, Bichard Wuerst, Gustav Schmidt, and 
others, as well aa with recent French compositions. With regard, 
moreover to revivals, Gluck, Mozart (Jdomeneo)^ and Oherubini, 
to mention only masters of the first rank, woidd — as is so self - 
evid^at that none but the management of our Operahouse can 
fail to comprehend it — of course if properly selected, carefully got 
up, and appropriateljr representea, furnish our repertory with 
most valuable productions ; exercise the most beneficial influeoco 
upon the taste of the public ; and afford our singers the finest 
opportunities for studying sterling operatic works, and for display- 
ing to advantage their own musically-dramatio capabilities. 

That this latter point— the right of every individual member of 
the company to be properly employed — ^is totally neglected by the 
management in ito thoughtless inconsequence, we consider one of 
the sorest points in our operatic organisation. But we apply the 
term : appropriate only to that line of business which affords each 
person an opportunity of appearing before the public in the most 
favourable light, of exhibitmg his best qualities, and, as a zealous 
individual membw of the company, supporting the general eff xt. 
It is, however, to be regretted that, from the want of new p^rts, 
our singers never get beyond their Raoul^s, Robertas, Manrico's, 
their Leonora's, Valentine's, Agatha's, their Marcel's and Bertram's. 
This must stop the development ctf their artistic powers. Was 
not our public imiversally astonished when, on Good Friday last, 
Herr Walter went through the part of Bach's £vangelist in so 
admirably appropriate a style ? With many a good part adapted 
for him, Herr Walter might have achieved a considerable success, 
whQe, at present, he only goes on singing after the ordinary fashion, 
like everyone else. And how is Mdlle. Bettelheim treated at the 
Opera House? What has been done, for the last two years, to 
afford this lady's magni&cent voice, united with so much zeal and 
intdligence, a chance of exhibiting itself to advantage ! Not a . 
single opera has yet been produced introducing Mdlle. Bettelheim 
in a part especially suited to her, and new to us, as a proof that 
the' management is aware of, and knows how to appreciate, the 
talent it possesses Even for Mdlle. Destinn, who is apparently a 
protegee^ nothing reidly advantageous, nothing right, is done ; for 
when the management makes her sing Ortrud, Azucena, and Fides, 
it compromises mora than it advances her; while, on the other 
hand, ner interests would be consulted by her having characters 
especially suited to her. The same fate is in store for Mdlle. 
Tellheim. At first, the beginners are left unnoticed ; they are 
afterwards brought forward, not because thfeir talent, is ripe, but 
because a part happens to fall vacant ; they are then allowed to 
sing, without diie preparation, parts too difficult for them. What, 
too, has been done, duri^ the season, for our best artists — ^for 
Mad. Dustmann, Mdlle. WildaueTi Herr Ander, and Herr Beck ? 



Digitized by 



Google 



U2 



THE MUSICAL WORLD. 



[Apia 23, 1864.' 



For the first lady, nothing at all ; for the rest, the task of singing 
the insipid parte in Die Kheinnixen. Herr Wachtel has not sung 
in any new opera ; the two basses, Draxler and Sohmid, have had 
no new parts; that excellent singer, Majerhofer, has had only a 
bad part in Die Bheinnixen ; the ^romisinff Bignio was exposed to 
failure in a French acting part — m a word, not one of the singers 
' has cause, at the conclusion of the season, to be thankful to the 
management for the business he or she has had. When the manage- 
ment, therefore, complains of the little willingness to oblige mani- 
fested by the members of the company, we may well excuse these 
latter, for what can call forth a willingness to oblige under so 
neglected and neglectful a manaffement ? Something must be done 
for the ambition of an actor ; otherwise he degenerates or becomes 
exacting. 

Just as nothing was done for individual members of the com- 
pany, nothing was done either to make the combined resources of 
the whole establishment work well together, to secure a good 
ensemble. The Operahouse is still without a stage-manager, and 
still without any responsible person in the vocal department. 
Several of our singers possess a feeling for a correct style as well 
as the skill necessary for it — ^but they do not enjoy proper guidance. 
As a rule, the conductors do not take much interest in the matter, 
and are more intent upon their orchestra than anything else while the 
pianoforte rehearsals serve rather to enable the stngers to learn their 
parts than any other object. Herr Salvi, who, at the commence- 
ment of, his managerial career, displayed some natural abilities for 
the proper treatment and employment of the voice, now appears 
unaue to exert those abilities, or to possess no anthoritv. ^us it 
comes to pass that certain performances went off well ; such, for 
instance, were those of Le Postilion de Lonm'umeau^ where the 
artists were; in their proper places, and possessed talent and a liking 
for their parts ; but, in the majority of the worn-out stock operas, 
the success of each separate impeiBonation depends upon the 
momentary disposition of each person^s throat and temper, while the 
whole performance, especially the mise-en'Scene, offends in many 
particulars against good taste, reason, and probability, and, at the 
same time, leaves everything to be desired in appropriate acceasories. 

In this respect the ballet is decidedly better managed. The 
greatest care is bestowed on the way It is got up, and we are bound 
to acknowledge that it is rendered' effective not only by the efforts 
of individual artists, such as Mdlle. Couqui, Mdlle. Friedberg, 
Herren Price, and Frappait, but by a compact and well-combin«l 
ensemble. 

During the 259 evenings the theatre was open, there were 192 
performances of opera, and 67 of ballet. There were 88 operas 
played, one being new, and one revived ; and 1 2 ballets, one odng 
new, and one revived. The operas were : — Adam — Le PostUlon 
(re-studied) 14 times ; Auber — La Muette de Portid (re-studied) 
14 times ; Balfe — The Bohemian Girly twice ; Beethoven — Fidelio, 
five times; Bellini — Norma, three times; Boiifldieu — La Dame 
Blanche, five times; David — Lalla Rookh^ four times; Donizetti 
— Lucrezia Borgia (re-studied), four times; Belisario, once; 
Linda di Chamounix, three times ; Lucia di Lammermoor, three 
times; and Don Sebastian, ihvee timeB \ Dopjder — Wanda, onod; 
Flotow — AUesandro Stradella, seven times ; Martha, four times ; 
Gounod — Margarethe, seven times; Hal^vy — La Juive, seven 
times; Les Mousquetaires de la Heine (revived), five times; EjneutBer 
— Das Nachtlaper in Granada, three times; Marschner — Hans 
HeiUng, three times ; Meyerbeer — Robert le DiMe, twelve times ; 
Les Huguenots, eleven times ; VEtoile du Nord, onoe ; Le Propkkte 

ge-studied), three times; Mozart — Die Zauberfldte, four times; 
on Juan, six times ; Le Nozze di Figaro, once ; Offenbach— 2>ie 
Bheinnixen (new), seven times ; Bossini — GuiUaume Tell, six times ; 
Spohr — Jessonda, three times ; Verdi — // TYovatore, thirteen times ; 
Hernani, four times; Rigoletto, twice; Wagner — Lohengrin, six 
times; Der fliegender HoUdnder, five times; Weber — Der Freis^ 
chutz, six times ; Oberon (re-studied), five times ; Euryanthe, four 
times. 



FECHTER I?. SHAKESPEABE. 
To the Editor of the Musical Would. 

Sib— Surely if ever a man was a victim to Anglomania it is Mr. 
Fechter That cleveractor has clipped, and pared, and trimmed Shakes- 
peare this many a day, and one would have toought ihki was sufficient in 



the way of dramatic novelty and enterprise. But no. Mr. Fechter hu 
evto gone, or rather desires to go, a step beyond. He has gravdy and 
publicly proposed to the Stratford Tercentenary Committee to act " the 
play of HamUt with the part of Hamlet left out." That wMch, up to 
the present time, has beoi but a joke in the mouths of most of us, Mr. 
Fechter is now anxious to turn into a sober and becoming reality an hi« 
share of the celebration of the SOOih anniversary of the birthday of the 
Englidi national poet. Let your readers turn to the correspondence 
which has just passed between the committee and the ^scinating French 
gentleman. It is but another scene in the Comedy <^ Errort by which 
all concerned seem determined to render homage to '* Saint William of 
Avon." I almost hesitate to enter on the topic. There would fteem 
to be no end of the conflicts between Mr. Hepworth Diion and the 
Urban Committee, and poor Mr. Adolphus Francis and the recasant 
members, and Mr. Flower, and last, but not least, Mr. Fechter. " Tan^ 
taene animis,'' and so on, is my only explanation. How is it that, from 
time immemorial, artists, authors, actors, and academicians of every 
distinction, and of no distinction, have been but t6o apt to quarrel, and 
are, by some inscrutable fashion, always protesting to their puUic 
patrons about the wounds and sores to their self-love and their reputa- 
tion inflicted by their fellows and companions in their calling ? Pope 
would not have been ** happy in his misery " — the Hibernicism is no 
bull — without Dennis, Haydon without West, Garrick without Gibber. 
We do but repeat ourselves, I fear, day after day, year after year, and 
these discords are but in the *' conmion order of &ing^." Yet these 
** Shakespeare scandals " are deeply to be regretted^ for it would appear 
that even dealing with things sacred does but embitter the professional 
instincts. 

The hon. secretary of the Stratford-on-Avon Tercentenary Com- 
mittee put me, a day or two ago, in possession of the feud which has 
sprung up between his employers and Mr. Fechter. It will not take 
long to tell. The committee announce ** with sincere regret " that 
Mr. Fechter has broken faith with them by declining ** to put the play 
of Hamlet upon the stage on the 27th inst. and to take the part of 
Hamlet." They affirm in a further paragraph *< that the announcement 
in the preliminary programme was ctrawn up by Mr. Fechter himself, 
and most expensive preparations made, and the stage enlarged under 
his directions expressly to allow of the soenic effects which he required." 
There was for a while perfect amity between th« oommittee and the 
impassioned artist who was <<the sole and fitting one" to play the 
Danish Prince. In a moment, and without even a threatening murmnr 
up to the Easter holidays just past, the committee, to their '* conster- 
nation and surprise," receive a letter from Mr. Bamett, informing them 
** of the painful necessity your late resolution hae placed him under— 
namely, declining the honor of appearing at the Stratford Celebration." 
Poor Mr. Flower and his friends ! Poor town of Btntfotd and iii 
extravagance! Poor Lord Carlisle and -the literary gentlemen who 
were to form the procession at the Jubilee I Presently Mr. Bamett 
explains the cause of complaint thus : — ** The. said resolution giving the 
force of truth to the false and injurious statement spread about by one 
of your members, and published by unfriendly papers — viz., that Mr. 
Fechter, by ' under-current and trickery ways,' forced on the choice of 
hit Hamlet." And in the very next sentence he assures the committee, 
" Mr. Fechter would have felt proud to serve in his humble way to the 
celebration of the Immortal Master, but he cannot afford to lose his 
reputation as loyal artist and honest man through the thoughtless 
resolutions or personal vanities, over which he cannot, nor wu not, 
have any control." 

Towards the close of his letter Mr. ^fiarnett^ however, generously 
makes the oommittee a present of the soenei^ on behalf oi Mr. Fechter, 
and I may add that were I on the committee I should accept the 
offer with gratitude, and employ some tragedian to read the play and 
exhibit the scenery. The audience would probably have an amusing 
and instructive peiformance, even if they did but obtain Mr. Fechter's 
ingenious effects and soenic delights. The Mayor of Stratford and 
the committee are evidently, however, not of this opinion. Poor Mr. 
Flower, in reply to Mr. Barnett*s announcement, protests, appeals, and 
explains, now angry, now nathetic, now imperious, now affecting, in a 
way that would move any human heart. He bitMidly asserts that, ** It 
is my opinion that the committee cannot accept Mx. Feohter's resig- 
nation, or in any way be a psrty to such a breach of fidth with the 
public, the consequences of which must rest with him alone.** To the 
Stratford Committee the withdrawal still remabis a shrouded my^t^ry. 
and they are inconsolable. First they lose Mr. Bellew, and now Mr. 
Fechter has deserted them, and mookmgly hands thenx over bis trans- 
parencies and side lights, the preparations for the Ghost, and the 
churchyard with Yorick's skull, and the newly-dug grave for Opheli;* . 

Happily we here in London cannot suffer any such afflicting distre>s, 
deprivation, or come to such pitiless despair. Wc have been ruthlessly 
tumbled down from our fond hopes of a national celebration in the 
metropolis. The Monument Committee, Mr. Hepworih Dixon, and 
Mr. LinnsBUs Banks, who proved himself a veiy Tyrtasiis the other 



Digitized by 



Google 



April 28, 1864.] 



THE MUSICAL WOELB. 



263 



eTening at Mr. Gambart'a friencUy fettivities for the benefit of the 
statue, still remain to us If any money bams in any one*8 pocket, 
after contributing to the fubscriptioiM hotly solicited by the jubilee 
gentlemem here in town, he had better spend it in the thousand and 
one delights of the Crystal Palace, or send it to the President of the 
Dramatic College, for the school on behalf of which that gentleman 
has so perseveringly advertised. It is a happy reflection that, with all 
that has occurred during the past twelve months, we cannot injure the 
poet's memory in the hearts of good men and true. 

Broad Smnetuarj/t AprU 20. Covsittbt Fish. 



S^keipeart's ^ri 



" This is an ftrt 
Which does mend nature,— change it rmther : bal 
The art itself it nature.** 



One end of art is — to disguise the art, 
By which we strive to picture form and feature. 

Thos — to seem nature in her counterpart, 
Yet he who best creates, is but a creature. 

The greatest artist living here on earth 

Must have materials to perform a change ; 
Great nature gives him them to gather worth. 

By forms and combinations — " rich and strange." 

None yet have said this like our Avon Swan, 

To whom creating nature's gifts were given ; 
Proved by his linking thoughts no other man 

Ere blent, — so weU, that they seem acts of Heaven ! 

Peruse each theme adorned by Shakspeare's line, 

" From gay to grave, from lively to severe." 
If his were art, *twas nature's art divine : 

TiMiich ages long have proved still matchless here. 

This faif^y gifted man without pretence. 

Wrote in bis day to gain his daily bread ! 
Perchance, he thought he had but common sense, 

Despite he all uncommonly well said ; 

Or wrote so well, that to this very time, 
Wit, wisdom, leamhig, logic, all we call, 
** Take him for all in all, — had we but seen him play ; 

Poetic flights that soar to heights sublime ; 
Even as an actor, — he excelled in all. 

If I am asked to prove the truth of this, 

I do so by tbe words he left behind, 

Which Hamlet said 

To them who play'd. 

Tbsy well attest he ne'er performed amiss, 

Who penn'd these sentences so Ml of mind. 

WOLLIAM BaBTHOLOMKW. 



JllinXlDHBC 

Qod spectacle enchanteor 
^ent s'oflfrir ll U vue ? 
Begardez I . . . le bonheur 
Tout fnmpsnt court la me, 
Joyeox, de belle hnmenr, 
H fait one recnie 
Df chaque spectateur, 
£t puis il s*evertue 
A Jeter sa clameur 
An plus bant de la nue. 
Quel spectacle enchanteur 
Vient s'ol&ir Ik la vue ? 

Od va-t-il ce torrent ? 
Vers une apotbeose ! . . . 
II s*avanoe en oourant, 
A lui rien ne s'oppose, 
Se refermant, s'ouvrant, 
Et sans faire one pause, 
Comme le Juif errant 
Qui jamais ne repose. 
Vers un but aspirant .... 
II n'cst d'effet sans cause ! . . 
OH va-t-il ce torrent? .... 
Vers une apotbeose ! 



AtrU, 1864.) 

G'est qu'apr^ trois cents ans 
On c^lebre Shakqpeare, 
L'honune de tons les temps, 
L'honneur de cet empire ; 
Qui fit les ^l^ents 
Esclaves de sa lyre ; 
Qui de ses descendants 
Rests le point de mire ; 
Vers leqnd notre encens 
Monle avec doux sourire. 
C Mt qu'iqir^ trois cents ans 
On c^^bre Shakspeare 

A TAngleterre honneur ! 
Honneur ^ I'Angleterre ! 
Le g^n^ral vainqueur 
Seul avait droit nagu^re 
D*6tre comme un couvreur, 
SW un arc solitaire, 
Pos^ dominateur 
, De la vU^ poursi^re t . . . 
Shakspeare a la primeur 
D'un monmncnt severe. 
A I'Angleterre honneur ! 
Honneur ^ I'Angleterre ! • . . 

Lb Chevalibr db CHATELAnr. 



PHILHARMONIC CONCERTS. 
The oonoert on ^foiiday (the third of the present series) pro- 
fessed some sort of connection with ikud Shakespeare tercentenary. 
The programme will show how the profession was carried out : — 
Part Pirst. 

Overture (6bnbfcinf») 

Canzonet, ** She never told her love " ( Twdflk Night) . . . 

Concerto, violin i- 

Air, " Where the bee sucks" {,TU TempuQ 

Music to A Midsummer NighCa Jheam: — Orerture, 
Scherzo, Two-part Song, **Ye jotted soakes," 

Chorus, Nottumo, March, and Final Chorus 

Past Seooitd. 

Sinfonia Pastorale 

Duetto, " On • ds^ " iTwoOmUlemen of Verona) 

Overture, (,Th4 Merry Wivu of Windsor) 



Beethoven. 
Haydn. 
Paganini. 
Ame. 



Mendelssohn. 

BeethoTen. 

Bishop. 

Nicolai. 



Conductor 



Professor Stbbhdalb Bbnkbtt. 



Paganini's concerto, as Signor Sirori calls it — and how much of 
it 18 really Paganini^s no one better knows — ^looked strangely 
enough among all llie well played and well sung Shakspearian 
pieces of Part I ; but thie peirf ormance of the gifted Italian fiddler 
evoked unanimous sympathy and approval. Beethoven's Coriolan, 
though composed for a Grerman play by Colin, is worthy 
of foemg the prelude to the god-like Coriolanus of Shakspeare. 
The Pastoral Symphony stood just as much alone in Part II. 
as the violin concerto in Part I. It was, however, welcome, as it 
always is. The overture of Otto Nicolai is clever and effective. 
The principal second phrase is extremcJ^ melodious. The singers 
were Mrs. Xockey and Miss Banks. To the first (contralto) fell 
Haydn^s canzonet ; to the second (soprano) Ame's " Where the 
bee sucks ;'' the two-part tong ^with chorus) of Mendelssohn and 
Bishop's duet bringing their umted voices into request. Professor 
Bennett conducted with admiraUe judgment. He has reason to be 
proud of bis first horn, M. Paquis (witness the solo in the 
noUurno% and of his first flute, Mr. Svendsden (witness the 
obbligato at the end of the scherw), — in Mendelssohn's delicious 
music. « 



MUSICAL SOCIETY OF LONDON. 

At the third concert (on Wednesday evening) St. James's Hall 
was orowded as usual. The programme is subjoined : — 

Pabt FrnsT. 

Ovettatt (1^ IsUs of Fingat) liendelssohn. 

Aria, ** Ah I Bendimiqael oars" (ifttrans) Francesco Boesl 

Concerto (in G, op. 46Jl Concertina, Sig. Giulio Besondi ... Molique. 
Bomanze und Arie, *' Trttbe Augen " (Der FreyschHU) ... Weber. 

Orerturs (4l yM jU^ tO • Harold Thomas. 

Past Sbcohd. 

Symphony in E flat 

Caratina (Maria de Rohan) 

Serenade and Rondo Gioioso, Pianoforte ... 
Aria, ** Voi che sapete** (Le Noeae de Figaro) 
Orerturs (The Buler of the SpiriU) 

Conductor 

Why Mendelssohn's Hebrides or FingaCs Bble (FingaVs Cave) 
should have be^i rechristened Islee o/Pingal^ let the English pub- 
lishers of the duet arrangement (pianoforte) explain. It matters 
little what name it bean, however, when played so nobly as on this 
occasion. To Molique^ capital concertino for the concertina, and 
GiuUo Regondi's admirable execution of it^ frequent homage has 
been paid. The overture of Mr. Harold Thomas Tone of the pieces 
rehearsed at the second orchestral trial) was well performed and 
well received. ** As you Like tl" — said a pc^bir connoisseur — **you 
must rdiear it ait Stratford-upon-Avon." Mosart^s divinely melo- 
dious symphony could not poasibly have gone better. The minuet, 
with its pretty trio, was encored. Herr Pauer gave Mendelssohn's 
plaintive Serenade and animated Rondo Fiojoso in his firmest and 
Dest style, and the overture of Weber was vigorously dashed off. 
The singers were both successful. Mdlle. Bettelheim was much 
applaud^l in Francesco Rossi's aria (^^ 1686 '*) and encored in the 
cavatina from Maria di Rohan ; wnile Fraulein Liebhardt was 
admired both in Annchen's song about the imaginary ghost ('*• Nero 
der Kettenhund "), and in ^^ \^i che sapete.*^ Mr. Alfred Mellon 
conducted as he always conducts at these concerts ; and, altogether, 
if the programme might have been made a tri^ stronger, the 
performance left litt le to desire. 



Mozart. 

Donizetti. 

Mendelssohn. 

... Mozart. 

Weber. 

Mb. Alfred Mblloh. 



Digitized by 



Google 



264 



THE MUSICAL WORLD. 



[April 23, 1864. 



MONDAY POPULAR CONCERTS. 

ST. JAMES'S HALL. 



THE ONB HTTNBBSD AND TOBTY-NINTH CONOEBT, 
MONDAY EVENING, APRIL 26, 1864. 



SECOND APPEARANCE OF BIONOB 8IV0BL 



PART I. 

QUARTET, In O, No. 1, for two VIoIIm, VIoU and YIoIoumUo (Jon* 

36, 1860>-MM. BiroH, L. Rxn, H. Wbbb ud PiARi . . Mmai. 

SONG, «*When the orb of day repoMf** (JTuryaiiifti)— Mr. W. H. 

. Cuioiniof Wilber. 

ARIA, *« Meln glXaUgei Hen "— tfadame LsMMcxB-SBiiBiKaTcnr • Ba<h, 

SONATA, In F, Op. 10, No. 9, for Pianoforte alone— Mr. Cbablis 



PART II. 
SOiNATA, in O, Op. 96, for Pianoforte'and Violin—Madame Cbailks 
Halle and Signor SiTOBt (Marcli 10, 1862) . .' . 

BONO, "The Reaper **— Mr. W.H.CvMxmof /*. Clciy. 

SONATA, in A, for Tioloocello, with PUnoforte Aooom— Signor 

PuTTi Bocchtriid, 

80N0, "Marie "•^Madame Lmxtin SHnamoTOH . 

QUARTET, in A, Op. 18. for two Violini, VioU and VIolonoello— 
MM. SiToai, L. Rm, H. Wub and Pum .... 

Cond nctor - MR. BBN EDipT. 

T9 comnmee mt Sight o'dodi prteitO^, 



KOtlCe.— It i« retpeotfoUy eogveited that raoh persona ai are notdeelrons o 
remaining tUl the end of the performauoe can iteve either htfcre ike eommencMMnt 
the last instrumental piece, or between any ttco ^ fAe mwmntnU, to that thuse who with 



to hear the whole may do to without interruption. Between the last rooai pieoe and 
the Quartet for two ViolinB, Viola and Violonoello, an interval of rirn Koraris will 
be allowed. 

Sofa Stalls, Os. ; Baloony, 8b. ; AdmiMion, Is. To be had of Mr. Ausrnr, at 
ihe Hall, 28 PlocadUly ; Messrs. Cbaptill * Co., 60 Mew Bond Street, Ac., Ae. 



NOTICES. 

To ADVERTisBRs.-r7Ae Office of The Musical World i$ at 
Messrs. Duncan Davison & Go's., 244 Regent Street, comer 
of Little Argyll Street (First Floor), Advertisements received 
as late as Eleven o'clock A.M., on Fridays^-hut not later* Pay- 
ment on delivery. 

To Publishers and Composers— Jfiwu? far Review must he for- 
warded to the Editor, car« o/Messrs. Duncan Davison & Co., 
244 Regent Street. 

To Concert Givers.— iVb Benefit-Concert, or Muncal Perfonn- 
ance, except of general interest, unless previously Advertised, can 
be reported tn The Musical World. 



MAiUtlAGE. 
On Thursday, the 7th inst., at the Pariah Church, Cregiina, Rad- 
norishire. by the Rev. Hugh Vauohan, M.A., Rural Dean, ihe Rev. 
John Bbinlky Richards. B.D., Vicar of Llanbister, Radnorrfiire, to 
Eliza, eldest daughter of the Rev. T. Thomas, Rector of Cregrina. 



LONDON: SATURDAY, APRIL 28, 1864. 



ONCE again we must have a word or two with the 
College of Organists. The new association already 
gives signs of going to work in earnest An advertisement 
in our last number announces that prizes of ten pounds each 
are offered for the best church composition and the best 
organ piece. ^ It is impossible not to admire this resolute 
style of making a beginning. The Council, or whatever 
else the governing body may be called, are evidently no 
dreaming set of Utopians. They see no use in waiting for 
any possible perfection in their scheme of operations while 
it is in their power at once to take a positive step in 
furtherance of one of their announced objects. They are 
evidently practical men ; and, therefore, it seems all the 



stranger that the practical and peculiar difficulty of their 
first public operation does not appear to have occurred to 
them. Nothing is easier than to offer prizes — always 
supposing the money in hand, — but there are few things 
more troublesome than making a satisfactory award. On 
this part of the matter the advertisement is silent. We 
are not told how, or by whom, the " figure of merit " is to 
be assigned. But this, surely, ought to have been the first 
consideration. What composers of any real significance 
will enter for snch a race, or what competitors of any class, 
except the winner, will be satisfied with the result, unless 
they be assured that their judges are to be men whose pro- 
fessional rank places them highest in the scale of 
competence ? This is just one of the difficulties of which 
we have already warned the new College. It is a specimen 
of those " fixds " in which matters of art are apt to get 
entangled when an^ attempt is made to pMidy classify 
them in company with the efforts of science, or handicraft, 
or even the rewardable moralities of ordinary life. In their 
very nature they deny the jurisdiction of all attainable and 
absolute rules of fact In spite of the illogical ndsose of 
the term '' laws " in connection with them, they essentially 
are, and ever must be, the creations of opinion and taste. 
Their critics, then, — the "judges" in the case before us — 
must agree in the possession of rules for their guidance ; 
and these rules, again, having no force of natural law, can 
only be binding on the art-conscience of competitors 
through faith in the personal qualities of the authorities 
who wield them. We have italicized the word '* publicly," 
because in the kind of publicity we mean lies the chief part 
of the difficulty. The case — ^not an uncommon one— <^f a 
private individual who may offer a prize for the best com- 
position, in his opinion, of any kind, according to the bent 
of his taste, is completely different. He, literally, " pays 
his money and takes his choice ;*' while his decision is of no 
consequence to anybody but himself. The fortunate victor 
pockets his honorarium ; and his unsuccessful rivals, while 
untouched by the hurt of public defeat, have at least the 
satisfaction of being able to pronounce their judge a block- 
head. We find this constantly illustrated in the prizes 
offered by the various glee-clubs of London and the 
provinces. When one of these competitions is announced, 
it is perfectly well understood that the committee will decide 
purely in accordance with its taste. It professes nothing 
more, and no refinement in the process of judgment is 
expected of it. The glee-club merely wants a new compo- 
sition to suit the tastes of its members, and generally 
contrives to get one. Meanwhile, so nearly invariable is the 
direction in which such selections run, that the general 
inferiority of " Prize-glees" has passed into a proverb; and 
it may be safely said that a complete collection of these 
" decorated " works would— of course with some brilliant 
exceptions — exhibit a volume of as much vulgarism and 
insipidity as any form of music could well assume. Tet no 
special harm is done by such competitions. There is no 
fame to be won or lost in them. The whole result is accom- 
plished as soon as the victor has drawn his " prize," and the 
rest have grown contented to take their labor for their pains. 
The College of Organists, however, with its announced 
prizes for Church and organ compositions, occupies entirely 
different ground. It is not a club established for the culti- 
vation of certain musical whims of no consequence to any 
one else in the world ; still less, we presume, is it intended 
to become what some one has happily called a " Mutual 
Adoration Society." It professes public objects, and its 
operations, therefore, to be of any value, must be capable of 



Digitized by V^riOOQlC 



April 23, 18ff4.] 



THE MUSICAL WORLD. 



265 



bearing the fullest light of public ciiticiBm. It« very title, 
indeed, assumes the enrolment of a selected body of men 
ip9o facto the best of their class; its diploma (the 
difficnltiea of which have been already mentioned) is 
intended, by sheer force of authority, to supercede all other 
forms of testimonial ; and, patallelly, its prizes for composi- 
tion should have power to confer solid distinction. But 
before this can be done we must all know who are to be the 
awarders of this distinction. Before the world can be 
expected to be satisfied that Messrs. A and B have severally 
written the best church anthem and best organ voluntary, 
and bow to them accordingly as chiefs of their class, it will 
require assurance that, among the judges of this " best," at 
least, will be found the ablest organist-musicians the country 
can produce ; and, further, it may reasonably seek to be in- 
formed if there is to he any minimum standard of goodness 
beneath which no composition will be noticed at all. 

The more this difficulty is looked at in detail, the less 
manageable it appears. Nothing can be simpler than the 
advertisement. Prizes are offered for " the best church and 
organ compositions."^ But ''best" in whose opinion? — in 
what manner ? — according to what standard ? There are, 
for instance, multitudinous kinds of organ compositions, 
ranging from such as those of John Sebastian Bach which 
no one now can write, down to those of W61y, Batiste, and 
Lemmens, which almost any one can write; besides, 
perhaps, an infinite intermediate variety that may be 
o6nceived by the judges without having been realized by 
any one else. In church-music, again, &ere appears to be 
quite as much scope for variety of taste and opinion. We 
hear a great deal of talk now-a-days about " ecclesiastical 
art," and " the true church style," and the like ; but very 
soon discover that, in spite of all the hard words they use 
about it, men write simply in the ratio of their power or 
the want of it ; — the frivolous write frivolity, and the stupid 
write stupidity. We need but open any modem collection 
of anthems to find ahnost every variety of style — from the 
most vapid and obvious exercises in simple counterpoint, to 
the more ambitious flight of the pseudo — descriptive, not to 
say melo-dramatic^-yet all warranted as true church-music 
by the collector, whose name, perhaps, stands in the fore- 
most lists of the orthodox. 

Taking thes/ trifles into account, gentlemen-judges, we 
fancy yon have your full share of work before you in the 
forthcoming prize-givings. It seems to us that you will 
have first to determine what u a church or organ compo- 
sition at all, and then to agree, if you can, which is the best 
of those submitted to you. And, further, remember that 
quantity is not likely to be wanting. Composers are, just 
now, an increasingly numerous race ; and they are not, for 
the most part, unreasonably diffident, or self -mis trustful, or 
especially reverent of bigger merits than their own. They 
frequently " publish," indeed, before they have learned their 
parts of musical speech, very generally before they have 
acquired the grammatical use of them, and, most commonly 
of all, without troubling themselves to consider whether they 
have a single idea to communicate. So, with these facts 
before you— ^«id, take an experienced reviewer's word for it, 
they are not exaggerated — again we say, gentlemen -judges, 
look well to yourselves, for you will have your work to do ! 

We offer these remarks in no carping or discouraging 
spirit We take the College of Organists on the highest 
possible ground — the ground, indeed, selected by itself. We 
believe its ultimate object to be the accrediting, by means 
of diplomas and prizes, of a succession of professors to the 
world, whOj as performers and composers, shall, in virtue of 



thode distinctions, be received as competent, without inter- 
ference or question, to fill certain reBponsible offices. We 
recognize in this an important function towards both the 
public and the profession, and have, therefore, thought it our 
duty to point out the most obvious difficulties in the way of 
its accomplishment. If we had not heartily sympathized 
with the object in view, we should not have been at so much 
pains to hunt up the obstacles which beset it. 

Otto Beard, M.D. 



To the Editor of the Musical World. 

SIR, — Those v^ho attended the performance at the Royal 
, Italian Opera at which General Garibaldi was present 
must have experienced sensations of a very unusual kind. 
It was a sensation to witness the heroic patriot in his simple 
and primitive attire, while all around him flashed prismatic 
colours, from gems and gold and costly suits and decorations. 
It was a sensation to see him enjoy the music and the dancing, 
whatever, in short, was passing on the stage, with an emo- 
tion that glowed in his great countenance like light from the 
hidden lamp in an alabaster vase. But to quit from the Gari- 
baldian box for the scene before the lamps : it was a sensation 
to hear and a sensation to behold our admirable Mario as the 
Neapolitan fisherman — a performance, aUowing for certain 
inevitable deficiencies, which I have not seen surpassed in a life 
of many decades. ^The heart of that man or woman who left 
Oovent Garden Opera, on .the night in question, unburdened 
with two immoveable impressions, must — not to bury myself 
in a quagmire of metaphor — be made of " impenetrable stuff." 
That there were some such present, I, nevertheless, incline 
to believe ; for , but let that pass. Enthusiasm 

had exhausted its breath outside the house, and General 
Garibaldi ran the risk of being affectionately sQiothered 
in his passage through Floral Hall. Enthusiasm had 
exhausted its breath outside the house ; and nothing^ over- 
whelming was anticipated from the Masaniello of the evening. 
Enthusiasm had exhausted its breath outside the house ; but 
rCimporte, On this long-to-be -remembered night 



our Mario was inspired. His efforts to grapple with the 
physical difficulties of his part were superterrestrial. Such 
masterly acting was never witnessed in any Neapolitan 
Fisherman — much less any Neapolitan singer. From the 
descent down the rock to the last clutch of the battle-axe, 
it was to match ; genius shone in every gesture and spoke in 
every tone. Each attitude, was a subject for painter's brush or 
sculptor's chisel. An essay could be written on every scene 
— or rather a poem, which would be still more appropriate. 
Happily for your readers, I have no time to write either ; 
and, moreover, I am neither essayist nor poetaster ; so fear 
nothing. 

I speak of this particular night, not of the Masaniello of the 
gifted Sardinian generally. Could I but reckon on such an 
exhibition of genius and skill three times out of five, four timea 
out of seven, or five times out of nine, I would go every night 
Mataniello was played, on the chance — ^as my grandmother 
did when Siddons played in Machethy my father when Kean 
played in Othello, and one of my uncles (maternal I think) 
when Macready played in Lear. You will say Garibaldi 
did it, and the occasion. Be it so. Garibaldi did it; but 
Garibaldi could not have done it had not the materials been 
at hand with which to do it. The fire was within, though 
the grim and illustrious captain called it forth. The energy 
of Mario, in the patriotic duet between Masaniello and Pietro 
was sublime ; and, if his voice occasionally failed him, in the 
upper tones, all was forgotten in the earnestness of expres- 
aion, in the unparalled ease and grace of manner/ in that 



Digitized by V^riOOQlC 



866 



THE MUSICAL WOBLD. 



[Ap>a 23, 1864. 



impassioned vocal accent ^hich freedom might have 
cheerfnlly selected for the utterance of her loftiest and most 
holy aspirations. Even in the minutest histrionic details 
Mario should have been watched with absorbing interest. 
His gentle playfulness with the children, during the ritomella 
of the barcarole, where all join in the dance ; his demeidior to- 
wards Fenella, so brotherly in its tenderness ; and his chivalrous 
bearing, when, snatching her from the rude grasp^of the Spanish 
bravo-— one and aU tended to show how great is Mario as 
an actor, and how in him nature and art combine in producing 
a perfect dramatic and musical phenomenon. Still more might 
be set down. Even now, with his voice in its far west, he 
is the most accomplished singer on the Italian stage, and the 
one, above all others, who may be recommended as a model 
to ambitious tenors. So much, indeed, is to be gained by 
hearing him, that an intelligent student would derive more 
benefit from one of his peiformances than through a dozen 
lessons from an ordinary singing master. Mario's articulation 
alone might be studied with eminent advantage. His 
method of ** producing the voice " (which means, I presume, 
emitting the sound) is, probably, inimitable. At any rate, 
the only way of imitating it, with anything like success, is to 
listen often and attentively to those open tones which are 
the despair of ninety -nine existing tenors out of one hundred 
tenors existing. 

While Mario remains on the stage he can still be 
turned to excellent account. He is the standard to which 
young aspirants may hopefully look upt I know several 
who enjoy a fair repute, and who certainly are not great 
artists,, but who may, at least, become artUU, perforce of 
assiduous and well-directed study. I recommend such 
young and middle-aged " vocalists " to go as often as possible 
and hear Mario, copying, as closely as in them lies, Ms tone, 
delivery, phrasing and accentuation. These are not altogether 
unattainable by those determined to attain them ; but the 
grace of action, suavity of deportment, truthful and natural 
expression — together with that indefinable charm of " man- 
ner" which 

^ Flings hoy'ring gnoes o'er him Hke a'banner — '* 
are beyond the reach of ordinary acquirement. Mario 
possesses them. He took them — as the King of PruBsia 
boasts he takes his crown — from God. 

DiSHLBY PbTKBS. 



Musical Union.— The programme of the Second MoHnde^ on 
Tuesday last, comprised Mosart's truly beautiful quintet in Gr 
minor ; Havdn^s quartet, in G major (No. 66) ; Beethoven^s 
sonata for pianoforte sob in £ fiat (Op. 81^ ; Andante and JmaU, 
from Web^*s sonata, for pianoforte, in D nunor ; and two romaaoeii 
for violm solo. Signer Sivori made his first appearance at the 
Union for seven years. The whole of Weber^s Sonata had been 
played by Mr. HiJle at the first concert; but as, according to the 
analytic programme, or ^' Synopsis,'* *' the inclemency of the 
weather on the 6th inst., deprivei many memben of hearing it,** 
the andante and jflnale were now repeated by the same pianist. 
The other players in the quintet and quartet, were, M. M. L. Ries 
(second vi(^), H. Webb (first viola), W. Hann' (aeoond viola), 
and Faque (viobnoello). M. Jaoquard, from Pans, is to be the 
violoncellist at the next matinee, 

SioNOB Carlo Duoci one of the chief pianisto of the ** SocieU del 
Qu irtetto ** of Floreoce, has arrived ia London. At the last oonoert 
f>t' :lie Society Signer Ducci pUyed a concerto (the OmeertatUck) by 
Welter. Of thifl performance the Boeeherini says : ** II Concerto di 
Weher fd poi suonato con gran maestria dal valentisslmo pianiata JProf, 
Carlo Dueeij di cui abbiamo avuto tante volte ocoasione di lodare la 
grande ability. Tutte le immense difficolt^ di questo pezzo farono 
superate dal Dtteci con valentia straordinaria. II pubblico rimeritb il 
pianista con vivissimi applaasi.'* 

Mb. B. Seabpi has been appointed organist at Shirley, Southamptoo. 



PARIS. 

{From our ovn Oorretpondent,) 

Porta, AmU 30. 

The expected reprise of the Huguenots took place this day week, 
Mdlle. Marie Sax undertaking the part of Valentine for the first 
time. M. Yillaret's indispontion contuiuing, M. Gueyioard, *'the 
indispensable," as the Mendstrd calls him, and the *' useful, '* as 
everybody might call him, was only too gkd to play Raoul^ while 
M M. Belval and Cazaux sustained the parts of Marcel and St. 
Biis, and M. Faure that of NeverA Mdlle. Sax was greatly 
applauded and recalled three times in the course oi tfcie 
evening* Some were disappointed, and her friends claimed for- 
bearance for her on the ground of nervousness, expreaiing their 
conviction that she would be much better after a few representa- 
tions. This is my own opinion, althoi:^h, at her best, I cannot 
believe tiie lady to be a first-rate Valentine. 

Hie Ballo in Maschera has been performed at the Italiens, with a 
a far more complete cast than at the beginning of the season, 
when Signer Fraschini was compelled almost alone to support the 
'^ honour of the curtain." Madame Charton-Demeur, as you will 
readily bdieve, ably and brilhantly sustained the part of Amaha ; 
and Madame de Meric-Lablache gave at leaJrt some importance to 
that of Ulrica. Madame Calderon made her dibut as Oscar, 
but did not seem to produce any marked impression, although 
exceedingly prepooseasing in looks. Signer Delle-Sedie was, as usual, 
received with applause, and eulogised ss powerfully artistic in 
Benato. His pmormanoe indeed, bating its over-elaboration, ia 
excellent. The two conspirators were well supported by Signora 
Agnesi and Antonuoci. Mdlle. Adelina Patti has had a benefit, 
and signed an engagement for next year, with M. -Ba^g^. 
The benefit was a most brilliant affair, literally recalling in tiie 
excitement created, the best days ol Mahbran, Sontag, and Griud. 
The entertainments comprised selections from La Traviata, Don 
Giovanni^ Don Paequdie^ and the Btmr tPAmore. Two causes 
r^ent my noticing this performanoe. First^ I tried stt the Salle 
ventadoar and ooiud not obtain standing voom ; seocmdif , I was 
most deedrous to see Mdlle. Marie Sax, in Valentine, and I went to 
the Imperial Opera, where I obtained not only standing roorn^ but 
sitting room. A friend of mine who Is on the press, and who 
was obliged to attend the performanoe of the Itupuenote at the 
Opera, had sent a deputy to the Italiens and commissipned him to 
telegraph from time to time what was passing. While I was at 
the Opera the following telegrams were received : — 

** 8 heores 1/2. SaUe comble, toilettes ^oiUMaatas et pooitant effaotfes par la 
merreiUeiue fooe que porta la Patti & son entr^ en scene. Ge chef-d'enm 
de Worth fait furore. Arec les premieres notes de la Norina, de 
Don Patqudle^ les flenrs commencent Ik plenroir. Triple suoc^s de femme, 
de eom^enne et de cantatriee. A la chate da rideaui 8 rappels et 10 
booqnets, que a Patti, Delle-Sedie, Scaless et Bettfaii ne sniBseDt poht 4 
porter.»* 

" 9 heoresl 2. La robe-Worth a fut place an eonrt ji^n de la Zertias da 
Don Juan, Zerline est d*ane mntinerie adorable. La ploie de flenrs recom- 



** 10 heores 1/2. La robe* Worth et le eonrt jupon sent remplac^ par la t«i» 
tette de bal. Kons sommes an premier acte de la Traviata, Toatsa loa 
mains battent de rorchestre anx oombles. Apr^s les rappels et l«a Ms* 
nouyelle aTalanehe de bouquets partant des logos et des baignoires les mieoz 
habitues.'* 

11 beuras 1/2. Duo de SJSUiir d'Amore, entre Scaleae et Mlk Patti 
Demii^ ploie die flenrs, -de braves et de rappels. Cette soir^ manpura catva 
toutes les soire^ i b^a^fice." 

A few evenings since, when the Barhiere was plaved, with Mdn«. 
Patti, and Signer Bettini, (as Count Almaviva), it was given out 
that Madame Bettini had presented her husband with a little 
TrebeUi. 

I perceive that some sort of a solemnity for the SOOth anniver- 
sary of the birth of Shaksneare will be got up on Satuidav at 
Paris.* A committee has been formed for the organisation ol the 
festival, composed of the following names:— M. Victor Hugo, 
president^ M M. A. Barbler, Barye, lli. Battaille, Hector Berlioz, 
Chevanard, Alexandre Dumas, Jules Favre, Georges Sand, Theo- 
phile Gautier, F. V. RvLgaJils, Jules Janin, E. Legouvd, Litti-e, 
Alichelet, E. Pelletan, and Regnicr. The performances are to 
commence with a grand banauet, to be served for six hundred 
guests. A representation is to be given at the Porte-Saint-Martin, 

* It baa since, we are toldi been forbiddfla*— En. 



Digitized by 



Google 



^laa 23, 18640 



THE MUSICAL WOBLD. 



367 



which will oompiiae HandU^ selecUoDB from A Midsunaner NiglWs 
Dream, an act of Romeo and Juliet^ and an act of Falsiaff'—bj 
which I suppose is meant The Merry Wives of Windsor. 

The programme of the eighth concert of the Society of the Con- 
servatoire was as follows : — ^Mendelssohn^s music to A Midsummer 
Nighl^s Dream (solos in the vocal pieces by Mesdames Yanden- 
heiivel-Dupr^, and Barthe Benderaii) ; chorus from Eurvanthe^ 
solo by M. de Wast ; the Austrian Hymn, from Haydn^s Quartet 
in C, for all the string instrumenie ; air from Idomeneo, sung by 
Madame Yandenheuvel-Duprez ; Beethoven^s Symphony in A, No. 
7; and Psalm by Marcello. 

Signor MonKini the celebrated tenor, was in Paris a few days 
sinoe, en route horn Lisbon to Italy. M. Bagiev was desirous of 
engaging him for a few representations, but the exorbitant terms 
demanded upset negociation. 

MULTUM IN PARVO. 
Jh the Editor of the Musioal WobEiD. 

Sis, — ^Thanks. Yon have not roasted me on the Ap^Mutton 
spit ; I« therefore, continue my desultcnr notes, which pray make 
use of, or bum. Last week, beinc at Uxbridffe, I attended a so- 
called '^ Lecture and Concert" held by one Titibaon. What tempted 
me I donM) remember ; but I tear out the leaf from my common- 
j^ace: — 

** UzBBmox. — Mr. nihflona* lecture and oonoert in the town-hall was 
imder distingnished patronage. The fint part treated of Lonis PhilHppe and 
the French revolntion, and the second of Italy and her rerohitioni ; both 
interesting sabjects, and well oonndered by the lecturer, who was fireqoently 
apphuided. The musical programme conauted of aongs by Mrs. Banington ; 
A.jnaaoforte solo, introdncmg "Moorir ponr la patrie,*' played by Miss £. 
Lanros, (worthy danghter A a worthy father) which was encored ; a duet 
for violin and piano, on ^* Partant ponr la Syrie," (Mr. Gunn and Miss £. 
Lasama) ; and two Ante solos by Master Churchill Axlidge, the second (varia- 
tiona on ** Mary Blane ") encored. The drum and & band of the 24tii 
Middfawex Vohmteers also played some pieces. Good.** 

The day following I awoke at Nottingham, where a concert, an- 
noonced by one Stone, drew me from my arm-chair before I had 
digested m^ coffee or knocked out the ashes of my pipe. Why I 
went to this pertemance does not occur to me at present ; nor can 
I find any other note in my common-place but the subjoined 
extract from the Nottingham Express: — 

" NoTTCffOHAM. — ^Mr. Stone's grand concert took place at the Mechanics'- 
haU last evening, when the following distinguished artistes appeared: — 
Vooalists, Miss Banks, Madame Laura Baxter, Mr. J. B. Chatterton (harpist 
to the Qoeen), and Mr. J. S. Stone. The various pieces were given in such a 
maimer as might be eapeeted from such an array of talent. Miss Banks was 
espedrnDy happy in the Scotch ballad, " Jock o'Hazeldean.*' And Madame 
Baacto's eompass of voioe in Glover's duet of ^* The Invitation," was shewn to 
gTHit advantue. Both ladies elidted hearty signs of approval. The Fan- 
tMia, on the harp, by Mr. J. B. Chatterton, was so exquisitely rendered and 
shewvd sodi complete maateiy over the instrument, as to call forth rq)eated 
OMoref. The lovers of good music had a rich treat, and we regretted to see 
so meagre an attendance." — jtfottingham Express, 

ATthongh the extract was copied out for me by the head- 
waiter, whose handwriting so strangely resembles my own* that I 
dboold be loth to leave my oheqne-book on the dimng-table, and 
MkhOfOf^h I had forgotten all about having asked him to do it, I 
knew the article could not be mine, by Nottingham Express beuiff 
put at the heels of it^ Besides, I never call English singers and 
plajefs (however *^ distinguished*^) *^ artistes" (even when I feel 
moved, which is not very often, to call them artists) ; nor do I 
write such English as ^^ as might be expected*', after ^^were given" (I 
ahovild inite as might have been expected) ; nor do I like the expres- 
sion, ** array of talent ;" nor should I have punctuated a full period 
after *^ Hazeldean/* to be^nthe next sentence vnth ^^ And ;" nor 
abonkl I have writ " Glover's duet of the * Invitation ' " (but 
Glover's duet, " The Invitation") ; nor should I have stated, (how- 
ever exquisitely Mr. Chatterton's /anfa«a was "rendered" — I 
abominate that word), that he called forth '^ repeated encores f 
nor shoalcl I have regretted to see ** so meagre an attendance," with 
a " rich treat" to console me. I forget why I went, and why next 
day I asked the head-waiter to copy out iJie paragraph from the 
Nottingliam Express^ seeing that it says not one woid about concert- 
bolder Stone, about whose capacities I should naturally have becoi 



anxious to know something ; but (as Candide says) " Tout est pour 
le mieux dans ce meilleur des mondes possiUes,"*^ 

Next day, I found myself (I slept soundly on the way) at Leeds. 
It was on a Saturday (ink illss Uuhrymas), There is a hall at 
Leeds, called Victoria Hall, where concerts are frequently held, 
and where a great festival was conducted by the Cambridge 
Musical Professor, in 1858.* A concert vras held in Victoria HJul 
on this same Saturday; and, troubled with my chronic caeoeikes^ 1 
snatched a hasty repast, and betook myself to that concert. It waa 
a concert by the Pyne and Harrison party, who had already held a 
first concert on the 2nd inst There were also the fiddler, Lotto, 
and the piano-player, Georges Pfeiffer (trom Lutetia). In my 
common-place I find the following abregeoi an article from one of 
the Leeds papers :— 

" The singers were Miss Louisa Pjne, Madame Marcheai, Mr. Harrison and 
Signor Mardiesl ; the instromentalists M. Lotto and M. Pfeiffer. The vocal 
programme included selections from Don Pasquale, MariCanOy Lurline^ The 
Desert Flower ^ Martha and Blanche de lievers. Waa Pyne was heard to 
great advantage. Her smging of WaDaoe's '< Sweet spirit " was exquisite, and 
its repetition was enthusiastically called for. M. Lotto performed two solos, 
one a concerto of his own. In each we had a fresh illustration of the young 
musician's mastery over his instrument. In the celebrated OuiUautne TeU 
duet, by De Beriot and Osborne, M. Lotto was joined by M. Pfuffer, and a 
more effective performance an exacting critic could not have desired. M. 
Pfeiffer also played a Valse by Chopin, and a spirited and original mazurka of 
his own — ^besides Mendelssohn's *^ Andante and Rondo Capriccieo^" a great 
favorite with musicians. The feeling, expression and spirit thrown mto these 
solos gave ample proof of the highest executive qualities in the performer, who 
was Imidly applauded after each. The concert was not so well attended as 
had been expected; but within a period of ten days no fewer than four 
concerts are announced in the same hall. This close proximity is unfortunate." 

I was pleased with M. Pfeiffer's talent ; and, pondering on it as 
I retum^l to my hotel (The Bull with Five Heads — ^which I can 
strongly recommend), I was inspired with a *^ nonsensical rhyme for 
a nonsensical time,'^ which I have submitted to Mr. Ap^Muttonfor 
his column. If he finds it worthy of insertion, he will probably not 
insert ; if the contrary, I have no doubt you will see it. Since 
writing, I have returned to Tewkesbury Point. To-monowl shall 
set out again on my travels. What place I first visit you will hear 
in eiffht days. Yaxtoh Last. 

^$h and Volume, Ttuteebwy PoM^ April ai. 



* It must be a queer one. Mr. Last would confer a real favour on the 
Xditor of ibis leaf if he would mend his fist. — OwAUr Ap'Mutxok. 



SACRED HARMONIC SOCIETY. 

The enormoas attendance in Exeter-hall on Friday night at the first 
performanoe of the oratorio of St. Paul shows that the first great com- 
position of Mendelssohn in this particular style is at length about to be 
appreciated as it deserves. We mean, of course, appreciated by the 
musical public at lar^e ; for, in the opiQion of musioians and connois- 
seurs, St. Paul has always stood high, as the work in which the fas- 
cinatinff individuality of its composer is, more than in any other, 
colours and influenced by his unbounded admiration for John Sebas- 
tian Bach. As Mendelssohn grew older, although his regard for the 
writings of that wonderfhl senius increased rather than diminished, 
he seemed less and less to follow him as a model. The new tendency 
•—as his last quartet, quintet, and other works, witness plainly enough 
-—was towards the genial warmth and broad effects of Beethoven, the 
only master who had ever divided his afrection with the other. The 
interest attached to St, Paul, however, through the fact of its being so 
strongly impregnated with the Bach element, is likcdy to endure. 
Besides, in its way, the first oratorio— as we have on more than one 
occasion endeavoured to show— is not less a masterpiece than the 
second ; and the gradual hold it is obtaining over those who for so long 
a period could be attractedonly by The Messiah, The Creation, and Elijah, 
and who even turned a comparatively deaf ear to Handel's magnificent 
Israel, is one among many contemporary signs of the great advance in 
general taste and appreciation for what is good and great in musical 
art. The increasmff popularity of St. Paul is entirely due to the 
Sacred Harmonic Society, who, from time to time, have brought it 
forward, and always in such a manner as to give it at each successive 
revival a more favourable chance of beinff understood. Mr. Costa, who 
has directed the concerts of the Sacred Harmonic Society since 1848, 
has natorally had much to do with the result— as also, of recent years, 
the occasional practices hy the London contingent of the Handel Fes- 
tival Chorus, under his personal superintendence. 

A fresh analysis of St. Paul not being required, it is enough to add 
to these preliminary remarks a word or two about the performance of 
Friday night, — the best that has yet been heard where it is of most 
importance and of most difficulty to approach perfection— viz., in the 

* What has become of the Leeds Festival?— Disulby pBTsas. 



Digitized by V^riOOQlC 



268 



THE MUSICAL WORLD. 



[April 28; 1864.' 



execution of the chorases. Many of these were taken slower than has 
hith«rto been the ciutom— by which innovation the gain was unques- 
tionable. This was strikingly apparent in the more elaborate choruses 
where fugal episodes occur— such as *' Rise up, arise."' in the scene of 
the Conversion ; »* Oh, great is the depth," at the end of Part 1 ; •* The 
nations are now the Liord's/' at the beginning of Part 2 (the five- voiced 
fugue, in which, «* For all the Oentiles," nevertheless, still leaves much 
to desire) ; ** Not only onto Him." at the end of Part 2 ; and— not the 
least admirable in the catalogue — the Handelian " But our Qod abideth 
in Heaven." This last — with its independent part for the second 
sopranos — to which, supported by wind instruments in the orchestra, a 
measured chorale is allotted, springing out with melodious clearness 
from the complex harmony of thcTest — was never, till now, appreciated 
at its worth. The choruses of a different character fared equally well ; 
instance especially " Happy and blest are they," ** How lovely are the 
rapSHenffers." " O be gracioas, ye immortals T* and *• See what love hath 
the Father." The first and third of these — ^beautiful among the beau- 
tiful— miglit be paired off with " Blessed are the messengers," and 
*' He watching over Israel," in Elijah ; while the third mi^htbe traced, 
both in melody and character, to the slow movement of Beethoven's 
violin concerto ; and the last, with its piquant staccato accompaniment, 
be cited among those inspirations which, wholly peculiar to Mendels- 
sohn, exhibit his genius m its freshest and happiest guise. The more 
dramatic and characteristic, though purposelv less tuneful choruses, 
••Stone him to death," ••Thus saith the Lord,** ••Is this he?" (the 
jpianitnmo at the commencement of which was as finely carried out as 
It is appropriate to the text) — all, in short, except •• This is Jehovah's 
temple," which, somehow, is never exactly right— were famo^nKly 
given ; while the chorales, especially the pathetic '* To Thee, O Lord" 
— which those who heard played by the military band at the late Duke 
of Wellington's funeral can never forget — the solemn and impres- 
save •• Sleepers awake," and •• O Thou the true and holy," with its inge- 
nious accompaniment in the Bach style, were one and all deserving 
high praise. How the choir was sustained bv the band throughout, 
and how the band played the masterly and splendid overture, our 
musical readers need scarcely be informed. The immense importance 
of the instrumental players at these grand performances is as readily 
admitted by the directoiB of the Saored Barmonia Society aa it is im- 
peratively asserted by Mr. Costa himself. 

The solo singing was in all instances good, in some— such as Madame 
Sainton Dolby's '* But the Lord is mindful," and Madame Parepa's " I 
will sing of Thf gre-^t mercies'' — absolutely perfect. It is worth re- 
calling, at a period when every scrap of intelligence concerning Men- 
delssohn is so eagerly aon^ht after, that the first time he ever heard 
Madame Sainton (then Miss Dolby) was at Exeter-hall, at a miscel- 
laneous performanoe, in the course of which this very air from St. Paul 
(•• But the Lord is mindibl'*) was allotted to her. What impression 
her singing produced upon the illustrious musician may be ^thered 
fi-om the fact that, shortly after, he dedicated to her a set of six songs 
(Op. 67). To Madame &nton and Madame Parepa the whole of the 
contralto and toprano music was assigned. Mr. Weiss was principal 
bass ; and, perhaps, few singers' now before the public are capable of 
doing greater justice to the muiic of Paul. That Mr. Weiss can sing 
with expression as well as power was shown by his genuine reading of 
that most touching air, •• O GK>d have mercy,'*' sung by the persecutor 
Saul when stricken, repentant, and converted. The tenor music was 
undertaken by Mr. Cummings, at short notice. This gentleman was 
sulMtitute for Mr. Sims Reeves, whose indisposition, the patrons of the 
Dramatic Colleffe will regret to hear has been as serious as his letter 
gave out, and whose absence was a greater loss to St, Pafd thah to the 
School for Scandal^ the music allotted to the martyr Stephen being 
somewhat more trving than the ballad which, in Sheridan's comedy, 
time out of mind, has made •• Sir Harry with a song," more or less of a 
bore — ^no matter who the sincer, from Braham to I^eves, from Duruset 
to Ferren. Mr. Cummings, however, much to his credit, showed him- 
self quite ikmiliar with hiMpart ; and if more powerfhl declamation, to 
say nothing else, was wanting for the superb recitative in which 
Stephen reproves the unbelieving synagogue, it would have been hy|)er- 
critscal to look for (inging more unaffected and legitimate than that of 
Mr. Cummings in the beautiful air, with violoncello obbligato—** Be thou 
fiiithful unto death." Mr. G. Collins played the violoncello part as 
well as the composer himself could have wished : and the audience, 
pleased in the extreme, insisted upon an encore, with which Mr. Coftta 
ffraciously complied. The subordinate bass parts were intrusted to 
Messrs. C. Henry and Smythnon, vrho—mirabile dietu — gave the little 
duet of the false witnesses (<• We verily have heard") not only with 
point, but with irreproachable intonation. If the next performance of 
St. Paul be better than this, we shall be glad ; at the same time, we 
mav state our conviction that it would be almost Utopian to ex|x>ct it. 

'the fourth great choral rehearsal of the Handel Festival Choir took 
place last night. On Friday next» £lijah will be giyen, at an extra 
concert. 



HER MAJESTY'S TftEATRE. 

Martha confirmed, if it did not improve, the good imprttnott 
made by Mdlle. Yitali, in Rigoletto, although £e part of the 
heroine in Verdi's opera is a far more responsible one than that of 
the heroine in Flotow's opera. Mdlle. Bettelheim was a lively 
^-ancy. Of Signer Giuglini's Lionel, with its sentimental '^M'appari 
tutt'amor,'' it ia unnecessary to speak. The' Plun^ett {droU de 
nom !) was Mr. Santley, who gave the beer song with bonlfadal 
relish. Of the new singer, who undertook the part of Lord 
Tristan, Signor Maszetti, nothing can be said. The opera has 
been played twice, like RigoUtto^ and, like RigoUtto, ia unlikely 
(with precisely the same cast) to be played again. 

For the first performance of Lucrezia Borgia, the first appear- 
ance of Tietjons and Gassier, General Garibaldi*s visit (goodluck 
to him !) &c., &c., see another column, where justice ia oon^ to aU 
of them, not fcx-getting Giuglini and Bettellieun. 

On Tliursday, the Trovatore was given. What of new can be 
said about the Leonora of Tietjens, Sie Manrico of Giuglini, the 
Ferrando of Gassier, or the Di Luna of Santley (with his blandly- 
beatific ** D balen ") ? Nothing of new. What of old? Nothing 
of old! The event of the evening was the Azucena of Bettel- 
heim, a performanoe marked by a Sstrionic talent for which that 
young laidy may now henceforth take credit. 

The new ballet, Bacco ed Arianna, baa been performed every 
evening. Nicolai's Merry Wives of Windsor -the Itidian versioii, 
of course— is in rehearsal. Butcher Baksb. 

i- 

ROYAL ITALIAN OPERA. 

What has already been said about Herr Wachtel's capabilities 
in noticing his Manrico might be, mutatis mutandis^ resaid in 
noticing his Arnold. This was not the only new feature in the 
first performance of Ovillaume Tell (Satm^day'). Dr. Sohmid, aa 
Walter, again aiforded the utmost satisfaction by his rich baaa voice, 
and thoroughly un-Grerman style ; while Graziani, aa Tell, though 
lacking the dramatic intelligence of Faure (or five otheia that 
coul(l be named) compensated for this by letting na haar 
Rossini's music to greater advantage, it must be admitfaeci than any 
of his predecesson on these boards. Having disposed d the trio 
it may be added that Marie Battu played and aang Mathilde aa 
usual; that Neri-Buraldi, as usual, gave the fisherman^a song 
in the introduction ; that Pobnini wore the aged featurea of Melch- 
tal, aa usual, and aa usual wore them well ; that the Ruderadorff, 
as Teirs son, aa usual made an eager stripling ; tiiat Ta^diafico, aa 
usual, in the fisure of Gealer pointed frowningly to GeSer^a cap ; 
and, to oondude, that Salvioni, aa uaual, gave unusual, grace to 
the unuaually graceful Tyrolienne. Aa uaual, the overtore waa 
encored, and the aoene of '' The Oath ^' by the Lake of the Four 
Cantons produced the usual impression. The rest as usual. (For 
further particulars see, aa usual, another cohunn.) 

On Monday — the second of those uninviting extra iu|^t»— 
Norma was pmormed with the second and third acta of MasanieUo. 
On Tuesday, Guillaume Tell was repeated ; and on Thursday the 
Trovatore. This last, however, with a singer in the part of Di 
Luna-^Signor Colonese, about whom tiie read^ti of tbia ahaet 
may, without recking their read, may read what they read in tUs 
sheet as constant readers, this time twelvemonth. 

To-night, Un Ballo in Maschera, 

Bauer Butcbkr. 

o- 

BRioHTosr.—The Town hall was not so fhll aa expected on Monday 
evening, when the Pyne and Harrison party gave their first concert. 
The stalls were half empty, but the cheaper aeats were w«U attended. 
Miss Pyne and Mr. Uarrison were assisted by Signor and Madame 
Marcheei and M. Lotto. The pianist was Mona. Georges Pfeiffer, who 
was applauded after each of his performances. The same party gave 
a morning concert on Tuesday, when there was a &r better attendance, 
and a much more " demonstrative " than at the evenia^ piefTious. 

SioMoR Sohira's Kkw Opcsa.— We underhand that the Ubcetlo for 
the opera on the composition of which Signor Schira has been for some 
time engaged, is now completely finished. The subject, aa we have 
before stated, is the German Deborah, upon which the plaj made 
celebrated by the Leah of Miw Bateman was fotmded. It haa ooaed 
out that two acts of the muHic are already compoped, and those who 
have heard it speak of it in flattering terms. The author of the 
Italian libretto is the well-known Sig. Marcello. 

Mdllb. Adkliha Patti will arrive on the 27th inat. Bropo I 



Digitized by 



Google 



April 28, 1664] 



THE MUSICAL WORLD. 



269 



MUTTONIANA. 

Mir. Ap*Matton is oTerwhelmed. Hia standingB^over would 
suffice to occupj his entire mental leisore, amd he has adopted a 
nsolntion rather to hurry forth (or forward) than to look back. 
For the future, then, henceforth Tor forward), *' standings-over " 
will be dead letters. What Mr. Ap'M. cannot dispose of inconti- 
nent one way he will dispose of incontinent in another. What 
does not flo into his colnmn will go into the basket. Nor can Mr. 
Ap'M. take the trouble of returning contributions that are ejected 
(not to say beneath his notice) ; nor will he pay any attention to 
snonymous communications — or to pseudonymous communications, 
unleas acc o m p an ie d by a card^ to be deposited by Mr. Ap'Mutton in 
the secret drawer of his confidence, there to be locked up with the key 
of his discretion. All this is inevitable ; let it, therefore, be an 
edict— a Muttonian edict. Given at Mr. Ap'Mutton's quarten, 
KvM and Beards Blackchapel—A,D., 1864, this 22nd day of April. 

first— Mr. Ap*M. has received a complaint from a lady, wnich 
ho pleasnrably inserts : — 

Sib,— In a notice respecting my '* VarlAtionB on the Elfin Waltzes *' 
{Mutieal Worlds 9th inst.), you have spoken of me as a pimitte instead 
of a voealiiL I am sorry to trouble you, but must beg that you will in 
some way rectify the mistake, as it is a serious matter that mv new 
song should thus be made out to be an instrumental piece ' Yonr*s 
rospecttully.' Mabion PrruAN. 

Mr. Ap'M. is sorry, but not reiq^nsible. It was doubtleas a 
misprint. 

TSBOKHTBNABT OdBS. 
••/ mB M ionn M< i«y« Ool mdti <Mi mvite,. Of AoMir «f / a0i."->lAAO. 
Ma. Ap'MoTroar,—- Can you spare me a small corner wherein to ask 
a question of vast importance to the musical world and the world in 
geoeral? At the end of February, I think, there appeared, in your 
contemporaEy, the Athmaum, an advertisement setting forth that the 
Society for the Encouragement of the Fine Arts offered two gold 
medbls : one for a Tercentenary Ode for music, the otlier for the music 
required. The odes were to be sent in a fortnight afler, the music on 
a later day# the accepted ode having meantime been printed *' and dis- 
tributed. As &r a* I know, no ode has been printed and distributed, 
nor has a word in explanation been since vouchsafed by the Society. 1 
pceanme no ode was approved, as the medal in that case was not to be 
awarded; bat, if so, surely we might have been apprised of a misfortune 

as little apprehended. Bosdni, Auber, Yerdi^ Meyerbeer^ , and 

, as I happen to know, all intended to compete, and are in a state 
bovdering on insanilhr, from the disappointment — ae well ai . 

Yoor obedient servant, Babnxt BaALLiOAH. 

Apra {not April 1). 

Mr. Ap'Mutton opines that Mr. Bi;^dlagan may possibly be a 
disappointed competitor for the ode not for the accompaniment. 
If so, Mr. Ap*M. stretches out to him sympathy, but can promise 
hifls no redress. (?) 

Ha. Ar'HuTTos. — Sni,~>Tou are a very funny fellow, yet I believe 
you are an honest fellow, for you do jour buaineiM up and above board 
so that there can be no after daps. There is no dauby flattery about 
yoar remarks, what you have to say is to the point, yet I think a many 
of your fajrings are overreached for I cannot comprehend the meaning 
of a many of your answers to correspondents ; but 1 must bear with you 
a little when' I consider the multiplicity of languages you have from 
time to time to encounter, which in my opinion accounts for the 
muddle and medley of some of your sentences. Do not think for a 
moment tiiat I am putting myself in battle array against you, for I 
know that if I did so you would give me a most terriflo whacking, for 1 
am only a dwarf, while you are a giant. My purpose in writing to you 
Is to place myself under your care, for you are a right noble fellow. 
Ten have declared your columns open to all, the ignorant as well as the 
learned ; this kind ikvour of yours induces me to send a few thoughts, 
which I penned at a leisure moment Ton are quite at libertv to put 
them in your department of the Mutieal World if you think them 
appUcaUe. Farion my imperfections and oblige, your's truly, 

SMqfort, April, 1864. Thomas Booth Biioh. 

P.S. — Music ennobldft the human mind, it fills the soul with holy 
thoughts, it purifies the heart, it creates the greatest pleasures we can 
enjoy upon earth ; where music reisns all evil paadom fly from man- 
deceit, envy, malice, and hatred— all vanish from the divine presence of 
music. Music transports the soul from all that is evil to those better 
passions of nature wnich roan inherits from Gkxl — love, virtue, charity, 
nooour, beauty, peace, and religion. It is the voice of Qod which 
tnmsforms earth into a heaven wherin we can rest our weary souls ; it 
soothes our sorrows, it calms our troubled mindii, it reanimates us with 
hope and gives us courage to battle with tUe struggles we have to 



contend with in this life. It drowns all our cares and elevates our 
thoughts to that world above, where neither motii nor rnst does corrupt, 
and where thieves do not break through and steal. — T. B. B. 

> Mr. Ap'M. — alive to well merited complimeni-^-obligingly par* 
dons the imperfections of Thomas Booth Biroh, and ihserts his 
postcriptum^ which he (Mr. Ap'M., of oouise) fails to apprehend. 
KevertheleBB D. C. has f orwarcled a Latin ep^;ram to his quarten ;-«- 

lofanstus Fanstos Doctor quom vertit inept&s 
Marg'ritam ad porcam ta ne poema ^lioas. 

He has also been favoured with an anecdote of Joseph Joachim, 
in Teuton : — 

Der Violinvirtuose Joachim woUte in diesem Winter in Hannover 
das Schlittschuhlausen noch erlemen fiel dabei ttlchtig hin und seln 
Lehrmoister, der Bahnwirter, sagteihm : " Ja, ja so licht (licht) is dat 
nicht, als Viggelin speelcn." 

The subjoined letter is far out of the flights of Mr. Ap'M's com- 
prehension : — 

Dbab Ap'Mottom,— I went, last night, to the Faooriia, for which, 
thanks ; I also went to the " King and Beard," for which, no thanks, 
as 1 met you not, but, instead, mi in with ruffians high Moist and 
Qrogg (my Paul and my Abel) : 

*• And to remftined till paht ths midnlfht hoar, 
When, plooklDf of my disi from my pike 
Found that the chimes h«d irelUnl^h soaaded two ; 
And then with hlitbesome cab towards Islington I sped, 
And found my wife h bed.** 

I am nothing (in this tercentenary year) if not Shakesperian. 

Can't 1 serve you (and myself too) this opera season by going to one 
or other of tlie houses? And did you not sav something about the 
gentle Mapleson putting my name down for the M. W. at H. M.'s 
Theatre ? And shall I not go and see my Therese on Saturday next, 
and didn't you say that I should ffo with you, some day, to my 

Adelioa, when she comes over? and did By Jove ! I'd better stop, 

though, or I shall catch it. Expect to see you to-morrow at the 
" Pope," i&d Friday at St. Fatd. Ever, dear Ap'Mutton^ 

DazNKWATSB Hard. 

D.G.» jriittMiuiita.— Wonderful this week, worth all the paper I 

Docs " D. C." meaxi poster iptum*? If so, good. Muttoniana^ Mr. 
Hard diouLl be reminded, is always " wonderful," and — with def- 
ference to Mr. Diahley Peters — ^^ worth all the paper." 
King and Beard, Blackchapely April 21. Owain Ap'Mutton. 



liiliss Gltk at Edutbueoh. — Macbeth wae read last evening in the 
Queen Street Hall, in presence of a large and appreciating audience. 
As we have so recently deecantAd on Miss Glyn*s style and powers as 
a tragic actress, it would be useless to re-crtticise the manner in which 
she renders so familiar a Shakespearian pUy. And, though reading is 
a different sort of test from an appearance on the stage, much the 
wme talent is required for each, and it was only to be expected that a 
lady so well vented in the resources of her art should show not less 
powerfully in the one sphere than in the other. Though in the 
earlier scenes she read, if anything, too hurriedly, pausing too briefly 
in the transitions from one part to another, this fSulin^ disappeared 
before the close ; and the last two acts were delivered with much im- 
pressivenoss, emphasis, and effect. It is, indeed, in delineation of 
potent and whelming passion that Miss Glyn excels ; and the dreadful 
close of the tragedy, when horrors have on horrors' head accumulated, 
she rose to the full height of the great argument. The incantation 
scene was also given with a fine weird force and depth of feeline. 
while the sleep-walking mu^terings of the remorse-haunted Lady 
Macbeth were rendered with a dramatic skill tliat left nothing to bo 
desired. It is a great merit in Miss Qlyn that her style is enti^il^ her 
own ; and, however much tempted the hearer is to make comparisons, 
comparisons are rendered as dirn'Milt as odious by the individuality of 
her stady and interpretation of the play. The works of our great 
drainati:it may be shown in a thousand lights, and yet in each prove 
equally true to nature, as a luctot and many-sided crystal may at once 
retain its own brilliance, and reflect the tint of the atmosphere in 
which it is exhibited And among the many renderings we have had 
of this great tragedy, Miss Glyu's may be safely commended to the 
notice of all lovers ot Shakespeare.— (Sec/^Muin). 

Brboo.h. — A concert of vocal and instrumental music took place in 
the large school-room on Monday night, and was so sisccesiful as to be 
repeated on Tu&iday. The *' artists" were Misses Lloyd, Miss 
Roberts, Messrs. Lloyd, F. and J. Grizzel, Lediard Stow, and Master 
Lloyd. The several pieces were well received, especially the piano- 
forte and concertina performance of the Misses Lloyd, which wh» encored. 



Digitized by V^riOOQlC 



270 



THE MUSICAL WORLD. 



[April 23, 1864. 



A SCHOOL OF DRAMATIC ART. 

Why Q&imoi we do ■omething to found a school of dramatio artV 
QeDtlemen who have won themselves a certain reputation as dramatic 
writers recommend us to build or endow a Shakespeare theatre, at which 
the plays %f Shakespeare may meet with the same punctilious reverence 
and good treatment as those of Moliere at the Theatre Fran^ais. But 
we would go a step further. Why not a dramatio academy, such as 
Paris possesses, notoriously to the advantage of all who practise public 
speaking. We are all of us just now very willing to don the sock and 
buskin en amaUur, Theatricals and ohaxades have become nart of our 
winter amusements in the best houses, and are not disdained by states- 
men, soldiers, diplomatists, philosophers, and even the bucks who ignore 
all other intelleotual recreation, bee what a test of the time itis when 
we find that the Saturday Reoieip has gone out of its way to praise our 
amateur histrions, and singled out especially one honourable lady who 
is considered to dance an Irish jig with truer feeling and more national 
gusto than any one on the boards of the regular theatres. For our 
own nart, grave as is our calling, we must allow that even the bhmders 
and snortcomings of amateur theatricals are far before thelistlessness— 
until a lion enters— of a *' reception," the sedate heaviness of a*' oonver- 
sadone," or even the oonfyision of a miscellaneous ** ball." As for the 
aotors of the present day, it merelv depends upon themselves to ensure 
their own Mtaiui^ in doors or out of doors, with the best of us, laymen 
or divines. We admit actors, as we ought to do, into our homes, just as 
freely as any other of the public dasses connected with our int^ectual 
instruction or amusement ; and we will venture to say that the &vourite 
comedian of the day is just as well received and made as much of as 
the keeoest-witted member of either house of the Legislature. Per- 
haps, in these orderly times, when jokers are at a discount in the House 
of Commons, or, at any rate, do not crop up to the surface so readily as 
in bygone days, that is not saying much. But we must all agree that 
there can be no reason against the establishment of a dramatio school. 
There is a Koyal Academy of Music. We do not obtain very great 
things thence, and the great geniuses of th^ profession rather disdain 
the polyhymnian seminarv at the nortii-west comer of Hanover Square. 
But we do something, and perhaps some of these davs we shall do a 
great deal more for a musical education. So, it would be quite fiiir to 
ask the nation high and low, to help tiie establishment of a " school 
for actors." We have not too many who hold the glass up to Nature, 
show virtue her own feature, scorn her own image, and the very age and 
body of the time its form and pressure, notably well. We put up with 
a large amount of dross, or say rather setting, for the exhibition of the 
rare gems that delight all eyes and ears at our theatres here in town. 
It must be confessed that it is rather the age for " stars" and " sensa- 
tion actors and actresses," as well as startiing pieces. And we have not 
attained to the completeness and noint of the French stage, afforded by 
the competent sabdrainates as well as the suitable princmet of a dra- 
matic company. If the Tercentenary Committee woula but take up 
with this idea they might stUl ** bring up the reports of the dramatic 
and entertainment committees," the ** aid" committees, and the com- 
memoration committees, and the numberless other personages or per- 
sonifications, which have helped pretty nearly to swamp their labours. 
Then they might turn-to the worthy Master of the Dramatic College 
and declare that they had indeed founded a " Shakespeare School," 
where the memory of him who has taught more lessons of virtue, 
preached richer sermons of charity, and instilled higher resolves than 
ever came from philosopher, priest, or hero, would be consecrated to 
the national benefit as long as the English tongue endures. 
King^i Ltg9, T^sion^way, AprU 20, Covbntbt Fish. 



Ksw Philhabmovio Socixtt.— The third SoirSe MutieaUwu held on 
Tuesday, at the St. James's Hall, a large number of the members and 
their friends attendmg. The programme was interesting and well 
« rendered." Most important was Herr Molique's quartet in, E flat, for 
nianoforte, violin, viola, and violoncello, camtally j^yed by Miss Anna 
Molique, Herr Jansa, Herr Molique, and Mr. J. Lintott, an amateur. 
Two pianoforte solos—" Serenade " and " Sea Captain's Song "-—by Mr. 
T. M. Mudie, performed by the composer, should be heard again. Most 
applauded among the vocal performances were two national Swedish 
ballads, sun^ very charmingly by Mdlle. Enequist; and among those 
most deserving notice was *' Non pui andrai," sung by Mr. H. Chandos- 
Pole Gell, who, amateur though he be, siuffs like a genuine artist, to 
say nothing of the fine barytone voice which he is lucky enough to 
possess. Further, there were two part-songs by Mendelssohn—" O would 
that mv love " and " Wert thou in the cauld blast "—sung by tiie mem- 
bers of the choir; Mercadante's duet, "Di conforto," given by Miss 
Eleonora Wilkinson and Mn. Merest ; two vocal sdos— <• Holy Virgm " 
by Henry Baumer, and "I saw thee weep," by Maria B. Merest— botii 
sung by Mrs. Merest ; the romanza, flrom Faust, " Le parlate d' amor," 
rang by Mi« Eleonora Wilkinson; and duet for pianoforte and harp 



(ECalkbrenner), played by Miss Fynes and Mr. T, Wright. The whole 
SoirSe passed off brillianUy. The next will take nlaoe on Tuesday, the 
17th of May. ^ 

Phii^habkokio Conobbtb.— The symphonies at the next (the fourth) 
concert are Haydn's Ko. 10 (E flat) and Beethoven's C minor (No. 6):; 
the overtures Cipriani Potter's Cymbeline and Spohr's Der AUKtmyMi. 
The concerto is Mendelssohn's No. 2 (D minor)— pianist Ux. W. 
G. Cusins. The singers are BCad. Lemmens and Mr. Weiss. 

Oh Tuesday the Lord Mayor received a telegram ftom Milan, 
expressive of the deUgfat of the Mihmese at the enthusiastic reception 
of General Garibaldi V ^^ English peo|de. 

SiGNOB PiATTi has arrived in London. He is to play in the quartets, 
and also a solo, at the next Monday Popular Concert. 

Hkbb Joseph Joaohih is expected in London on the 20th prox. 
Mad. Joachim, we are informed, is not coining. 

Hbrb Ebnst has completed a new quartet and some other pieces 
which will shortiy be heard in public. Good news. 

Mb. Bipfinoton Pipe is gone to Ashby de la Zouch, on a visit to 
Dr. Chidley Pidding. 



MUSIC BECEnrED FOB BEVIEW. 
AxDBiwa (M aaoh^fter).— ** Lm OIbwuiz.^ for the pUaofbrte, by Biohuil HoAosii. 
Cbambk, wood a Co.— ** a Cantata composed for tlio openlnf of tlie Town Hall 
Northampton," by Chariot M«KorkelL * 



D 



Jut PnbUahod, prloo 6s. 

UO in A for THE PIANOFORTE AND VIOLIN, 

Composod t^ 

JAMXB IilLA BUMM3DB8. 

London: Duhoav Datisov and Co., Si4, Begont Street, W. 



PnbUshed this day, 

<< HARK, THE BEIiLS ABE BINaiNa," 

NEW SONG 

BT 

HBNBY SMAHT. 

The Words by W. H. BELLAMY, Esq. 
Companion to his oelebmted *• LADT OF THE LEA." 
Price 3s. 
London ; DpiiOAir DiTisoy A Co., au Begent Street W . 

VOGLER'S "MARCH of the DANISH GUARDS." 
for the Pianoforte, prioe 3g. *< The Danish soldiers are bebig led to faatae to 
the exciting strains of this ilne HSroh.** 

London: Published by Dovoax Datxsov<A Co., au Begent Street, W. 



HABTMAN'S WALTZ. 



Just Pnblbhed, 

THE above oompositiony dedicated to Ladt Alice Eekb. 
and founded on 

Ascher's celebrated Romance, "Aliee, where art thou?" 

As performed at the Lord LieQtenant*s Soirte, the Hortioaltaral Show, the Dablin 

Castte Balls, Ac., by the Band of the lOth Hiunrs, under the direction of the AutlMr 

HEEB ERNEST HAETHAN. 

Prlee4s. 

LoQdon: DUMOAV DiTiaox A Co., 34i Regent Street; and of all VosioseUsrt Ik 
Town and Coontiy. 



Jolt pabllBhed, prioe 8s., 

"HOPE ALWAT/' 

SONG FOR A MEZZO-SOPRANO VOIOE. 

Written by HINNIE, 

Composed by EMANDEL AQUILAE. 

London : DnioAv Datbov A Co., 344 Regent Stareet, W. 



SUNQ BY l\1 R. LEW IS THOMAS. 

''QABIBALDV 

I/InghUtem al Prode GEHEEALE OABIBALDI, 

Pensieropar 

OAJNTTO B PIAirOFOBTIS. 

Parole del Paofsssou 0. IDE ySCGHI» 

Knsiea di on Italiano. 

Prioe 38. 

London: Duigix DAnsov A Co.,au BsgintBtrssti W« 

Digitized by 



>Btrtst| W* T 

v^oogle 



kpA 2Bi 18«4. 



THE MUSICAL WORLD. 



271 



HOGABTH !FB8TIMONIAIi. 

CominTn ^— E. AcniUr, G. F. Anderson, M. W. Balft, JalM Benediot, Storndale 
Vennttt, Campbell Clarke, W. G. Cnslni, J. W. Darlson, W. P. Dartion, A. 
Fermi, Otto Goldsohmtdt, C. Ii^ Oranelien, H. Kirknuin, 0. A. Maetarren, John 
OzenfDnl, J. 0I«i« Reeves, Brinlef Rlehardi. 

SvlMElptloiu already reoorcM :— 

60 



Ifeurs. Broadwodd A Sons 
Meesrt. JDrkmaii 4( 8ob / 
MdUe. Tleljens . . 
Messrs. Cocks A Son • 
Jales Benedict, Esq. . 
Meesrs. ChappeU t Co. 
Xessrs. Boooey M Sons 
M. Costa, Bs( 
Sims Beeves, 
C. Santley, I 
B. Hapleson, £si 
J. Mitefaell, Esq. 
J. Walker, Esq., DM^ Ntm 
Messrs. Cook A Co. . 
Madame Sainton Dolby 
Mn. Anderson 
Sir Geor^ Smart. 
Messrs. Astidown A Parry 
Messrs. G. F. Anderson, ' 
M*MttTdie, 
W. Dorrell, 
W. O. Cnsins, 
F. B. Cliattertflo, 
WllUams* 



Directors 
of the 

Philhar- 
monic 

Concerts 



Miss Lasoelles 
F. Berff«, Esq. . 
ClprUnl Potter, Esq. 
John EUa, Esq. . 

B. S. Dallas, Esq. 
Mrs. Dallas . 
Alfred MeUon, Esq. 
H. Goodban, Esq. . 
W. Sams, ESsq. 
Mrs. John Mih**!**' '^" 
Mrs. J. Holman Andrew* 
Brinley Richards, Bsq. 
H.Jarrelt,Esq. 
Bateman, Esq. 
ffisnorArdtti 
W.Knh^Esq. 
W. H. Weiss, ] 

C. JU. Grflneiseo, 
Mn. OrOnelsen 
Oampbell Clarke, Esq. 
Mrs. Alfred MeUon 
J. M. I^agfiird, Esq. 
Howard Glover, Esq. 
L. Jolllen, Esq. . 

D. H. Bastings, Esq; 
O. A. Maefhrren, Esq. 
J. Pittmao, Esq. . 
H. Clemow, Esq. . 
P. Sainton, Esq. . 
R. Addison, Bsq. . 
J. Torle, Esq. 
C. E. Stephsns, Esq. 



96 
30 

19 
5 

B 
fi 

5 
S 

6 
6 
6 

3 
2 

1 
1 
1 
1 
1 
1 
1 
1 
1 
1 
1 
1 
1 
1 
2 
1 
1 
1 
1 
1 
1 
1 
6 
1 
1 
1 
1 
2 
1 
I 
1 
1 
1 
1 
6 
1 
I' 
1 
1 
1 
2 
1 
1 



J. Ascher, Esq. . 

G. Paqoe, Esq. 

T . H. Hiqs, Esq. 

Robert Case, Esq. 

C. Boo8€, Esq. . 

John Thomas, Es<;t 

Harold Thomas, Esq. . 

W. Gans, Esq. 

W. Bartholomew, Bsq. 

ProllMSor W. S. Beanet 

Sir J. H. Lowther 

Reynell, Esq. 

Dr. Book . . > . 

Novello A Co. • 

Signer Ferrari 

Madame Arabella Qoddard 

Madame Laora Baxter 

A. Hovrell, Esq. . 

Rev. J. Cnnmn . 

C. Patoy, Esq. 

Signor Sohira 

M. Meyerbeer 

Madame Goldsehmidt . 

Otto Goldsehmidt, Esq. 

George Benson, Esq. . 

Herr Mollqne 

Madame Lemmens-Sherrlngton 

Lindsay Sloper, Esq. . 

Madame Radersdorff • 

F. Praeger, Esq. . 
W. C. Macfiurren, Esq. 
Madame Parepa . 
J. L. Ellerton, Esq. 

G. A Osborne, Rsq. . 
Jno. Gobs, Bsq. . 
W. Pape, Esq. . 
F. Mori, Esq. . . 
C. ObertfaUr, Bsq. 
W. H. Cnmmlngs, Esq. 
Mdlle. AdeUna Pattl . 
F. Strakosch, Esq. 
E. Land, Esq. 
Herr Tan Praag . 
P. Gye, Esq. . .' 
E. Agullar, £ 
J. Blomenthal, J . 
Miss Emma Heyirood , 
J. F. Bamett, Esq. 
MrsPfttten 



£ 
1 
1 
5 
6 
1 
S 
1 
1 
1 
5 
20 
2 
1 
5 
5 
5 
1 
1 



10 10 

10 

1 1 



10 
6 6 



.tterjl 



Messrs Sutton and Potter) 

Mr. H. C. Deaoon 

M. W. Balfe, Esq. 

J. Jackson, EsqTXLiTerpooI) 

M. C. Wilson, Esq. • 

Mrs. Merest 



1 
1 
1 

1 
1 
1 
1 
1 
26 
1 
1 
1 



John Jay, Esq 1 



P.B.— Snbsorlptioas reoelTed tar the Honorary Treasurer, Mr. G. F. Anderson, M 
Hottingliam Place, Regent's Park, W.; by the Honorary Secretary, Mr. Campbell 
Clarke, 23 Bedfbfd Place, Russell Square, W.C : by the Publishers of Th$ MMdoal 
Wvrtd^ or paid Into the Union Bank, 4, PaU Mall Bast, to the aoooont oT the 
« Hogarth Testimonial.** 

Mr. CiHPBaLL CuRn, Honorary Secretary to the Hogarth Testimonial Com- 
fldttee, begs to request that Intendlog Subscribers nay in AiftUM address their 
oommnnicattons'to his new residence, 23 Bedford Place, Russell Square, W.C. 



f'ALSTAFFS SONG, " GIVE ME AOUP OF SACK, 
i 



BOY,** as sung by Mr. Ransford (with a AUl-lengtfa Portrait of himself as the 
The Music composed expressly for him by J. L. Haitoil Price as. 



Knight). 



RAnroED A SoH, 2 Princes Street, Oxford CiroiB. 



OQNOEBTINA MUSIO. 



CONCBBTO In (composed for Ginlio Begondi). B. M OUQUS Price lOe. 

CONCSBTO In D (composed for Ginlio BegondD, F. BOBSN Price 100. 

SOLO on Airs from "Le Propheie" . . . G, RBOOin)! Price Os. 

MsTSLn A Co., 36 Great Marlborough Street. 

A CANTATA 

Composed for the Opening of the 
NEW TOWN HALL, NORTHAMPTON, 

BT 

CHABIiBS M'KOBKEIiIi. 

Price 7s. 6d. 
Locdons Cbamo, Wood M Ca, 201 Regent Btresl. 



THE 



"Ptnj mm flf wkhmr 



TO BE READY NEXT WEEK, 

THE MUSIC 



FROM 



OTTO mCOLAI'S OPERA. 



TO BE PERFORMED 

AT 
UNDER THE TITLE OF 

FALSTAFF;" 

IN ITALIAN & ENGLISH. 



€i 



THE COMPLETE OPERA 

FOR 

PIANO SOLO, 

and various Arrangements by Madame 0T7BY, 
QANZ, FAVABQEB, NOBDMANN, 



LONDON! 

BOOSET & SONS, Holies Street, W. 

Digitized by VjOOQlC 



304 



THE MUSICAL WORLD. 



[May 7, 186*1. 



Gouno<rsJ^UST." 

ihef Opdra- Complete, with English Words, hy 

*H. F'. Ohoblet. Price 168. 

Also, ihe whole oi the separate gs 

N3BW FIANOFOBTB ABRAJrGEMKNTS. 

The Overture Arranged by the Author ; Solo, 3s. 6d. 

Duet, is. 

The Eermesse, Transcribed for the Pianoforte, 

by Pfeiffbbt, 48. 

Fantaisie by Behe^ Favarger, 4s. 

The Soldier's Ohorus, by William [Hutchins 

CallootTi ds. 6d. 

The Beauties of "Faust" Arranged as a Duet, 

by WiLUAM HuToimis Gaixoott. In Two Books, each, 6s. 

The "Faust" Polka by F. Wallerstein, Illustrated 

ia Colours, Ss. 



NEW NUMBERS OF CHAPPELL;S MUSICAL MAGAZINE. 
HYMNS FOB THE GHBISTIAN SEASONS. 

No. 45 of CHAPPELL'S MUSICAL MAGAZINE" contains a 
collection of Hj^ns particularly adapted for use during Lent. 
Price Is.; poet-free, Is. 2d. ^ 

DIBDIN'S AND OTHEB NAUTICAL SONOS. 

CHAPPELL'S MUSICAL MAGAZINE, No. 46, contains 
Twenty Sea Songs, by Dibdin and other Nautical Favourites. AH 
with Pianoforte Accompaniment. Price Is., post-free, Is. 2d. 

Juti Fvblished, 

CHAPPELL'S 



1. Dulce Domum (Old English Dittie) b.a.t.b. 

Banponized by Q. A. HAorABmsH. 

2. Down among the Dead Men do. b.a.t.b. 

Harmonized by G. A. Maofabben. 

3. The GM I left behind me do. 8jl,i*.b. 

Harmonized by G. A. Maofabuxn. 

' 4. British Grenadiers do. s.a.t.b. 

Harmonized by Q. A. Maofabbeh 

5. Long livd England's ftiture Queen 8.a.t.b. 

(Danish National Anthem) Hannonized by Or. Rimbault. 

6. My Task is Ended - - - a.t.b.b. 

Song and Chorus from Balts's Opera, ** The Enchantress," 
with Soprano Solo. 

7. Thus spake, (me Summe/s Dayr 8.a.t.b. 

Part Song by Abt. 

8. Soldier's Chorus - . - - 

From Gounod's ''Faust." 

9. The Celebrated Eermesse Soen^ 

10. Up quit thy Bower - 

Part Song by BBiMLir Riohaads. 

11. Maidens, never go a-wooing 

Madrigal, by G. A. Macfarbkn. 



T.T.B.B. 



2d. 
2d. 
2d. 
2d. 
2d. 
4d. 

2d. 

4d. 

6d. 
2d. 

4d. 



CHAPPELL AND: CO., 50, HEW BOND STREET. 



I?0"UrB3IEIEe;^S 




iilaiks k 




Twenty of the most celebrated Songs of Schubert, 

ARRAN GED FOR THE PIAN OFORTE. 

"M. Boabier's 'IfidlodieB de Schubert' are excellent 
examples of the best way of arranging a Song for the 
Pianoforte. We havi9 here no ampIifiCatiDns; nor distortions , 
nor variations, nor impertinent arpeggios; the Melodies, 
with their Accompaniments, being simply woven together, 
so as to form a piece for the Pianoforte. They cannot be 
too strongly recommended to amatenrs who wish for some- 
thing new, and at the same time prefer music to noise and 
vnlgar display.''H3atnrday Review, March 20. 

1. Ave lHaria 2 

2. L!Eloge des Lann^ ... l 

3. Adieu ... 1 

4. La Me du Peolieiii ... 2 

5. La Jeune Fille et laJfort 1 

6. Souvenir •• «. -. 1 

7. Le ieunier Yoyageui - 1 

8. Le Vieillard ••. 1 

9. La Serenade >. 2 

10. Le Galme Plat ..... 1 

11. ;Le Papillon ... «. 2 

12. Le Joueur de Vielle ... 1 



















18. LesPlaintesdelaJeun6Fille2 

14. Barcarole 1 

15. GliainsBBideMtduYoyageurl 

16. ToutemaYie -^ 2 a 

17. LaPoste «* - 10 

18. L'Attente: .•■ . ..- . 1 

19. Le Corbeau •• - ... 2 

20. Bx)nieo - ... 1 

In one vol., handsomely bound, 

gilt edges >.. .- £110 

LONDON: ASHDOWN k FABRY, 18, HANOVERSQaAKB. 



Pilirttd Iqr nmnBOi^^uihud fn^w* •^t No. 13, Winrlesr.SlrMt, 0x1]^ 8to«et, In ttM Fkridi of Marylftbona, in fh* Coosty of MUimtiK. 



L by WiLLUii DuxoAi DATiioa, »t the Offloo, 344 Begwit Strtet.-'Arfvmay, May ?, IM4. 



Digitized by 



Google 






**TbB WOKTH of AsT AFPBAB8 MOST EUOTBHT IN MuSIO^ SDTGB IT 
XUST BB PEDUGTED: IT IS WHOLLY FOBM ABD POWBS, AND IT 



NO ICATSBIALi NO SUBJBOT-MATTBB, WHOSB BFTBOT 
AND ENN0BLB8 WHATKVBB IT EmXSSmJ'^'Odthe. 



sxrBSCBiFTioir, vRsm by post, SOb. FBB AlSmXJM 

Payable in advance by Gash or Post-Oflloe Order to DJTSOAJX DAVI80K As CO., 244» Begent Streett London, W. 

{BegUUredfor Tranmuikn Ahroad.'] 



Vol. 42— No. 28. 



SATURDAY, JUNE 4, 1864. 



l^-i^ifia^- 



HBB MA JESTyS T HEATBE. 

TinENS^ LTKRHABT, TBSBELLI; 
ICABOXLLO JX7K0A, SANTLBT, GASSIEB, aiUaUNL 

<<x,Bs HuauBxroTa" 

THIS EVENINQ, SATURDAY, Junb 4, wiU be Ferfonned, 
Xeywboer'i Gnad Op«rft, 

"LES HUGUENOTS." 



HOTICB.— On this oooMion (owlnff to tlM Iragth of tlio Op«ra), the Doon will 
opw ftt B»lf-pMt Sereo, and tb« FeribnntnoM oommence at Bight o'olook 
prcdMly. 

•^PAUST." 
TITIKKS, .TBTPKTJJ, 8ANTLEY, GASSISBi aiUaUNL 

GRAND BXTbTpEBFORMANCE 
of Goimod^ Mlebntad Open. 

"FAUST," 

MONDAY EVENING NEXT, JUNE 6th. 

Hadame HABBIEBS WIPPEBK 

If tfMTtly ezpaoted, and will make her flnt appearanoo in Meyerbeer*^ thtf^mm^ 

"ROBERT LE DIABLE," 

The following is the distribation of the parts :— 

Boherto - Signer aABDOvi. ' Bambaldo Signer BnTTin. 

Bertramo - SIgnor Habobllo JnaoA. 

(His Arst appearance in that oliaraeter in England.) 

UnPrltre - SIgnor Qissna. Albert! . SIgnor Bom. 

Elena - Ifdlle. Cktkaak Bibiita. 

IsiMla - Mdlls. l4»Bn4BT (her flrst appeaxange in London in that oharaotsr). 

and 

AUee Madame iTAM»t»fn y WirriBXi 

(Her flrst appearance in England J 

NOTICE. 
The New Opera, 

"MIRELi-A," 

|vhiih is in rehearsal,) will be shortly produoed on a soale of great eoAtpletensis, 
nnder the personal snperintendenoe of 

IL OOXTNOD. 

The priBolpat diarseters by Mdlle. Timm, Mdlle. Tbbbblli, Mdlle. Bbbovz (her 
Brst appearaneel Mdlle. Volpixi, Signor Gabsxbb, Signor Maboillo Juboa, Mr. 
SABn.8T, and Signor Qnrauxi. 



Oondnotor 



SiOBOB ABDITI. 



In active preparation, Beethoven's 
••PIDBIiIO." 

Florestan - Herr Dr. Guxs 

(of the Boyel Opera, Hanorer. his first appearance). 

Leonora - Mdllo. Titisbb 

(Her first appearance in that character). 

SIgnor ARDITrS 
QBAND MOBNING OONCJEBT 

WUl take place on FRIDAY, Jnne lYth. 

Tbe Opera will oommenee at Half-pest Eight o'clock on each Erening except 
Snftnday, Jnne 4th, when (on account of the length of the Performances), the Doon 
vlll open at Half-past Seven, and the Opera commence at Eight o'clock. 

PRICES 

FU TldMti, Ts. ; Reserved Box Seats, lOs. 6<L ; Amphitheatre Stalls, Ss. and Ys. ; 
Gallery, 2s. 6d. ; Private Boxes in the Upper Circle, 21s. . 



Box-oAee of tbe Theatre open daily, ttom Ten tiU Six. where places may be 
•eewed. Also at Mitchell's; Bubb't; Lsoon and OUler's, Bond Street; Lender's, 
Opeta Colonnade; Sam's, St. James's Street; Cramer, Wood, and Co.'s, and 
HMmoad's, Regent Street ; Keith, Prowse and Co.*s, Cbeapsidet and at ChappeU 
«i^ Ca.*«i M Nfw 11094 Street, 



MUSIC IJBB ABY OOMPA NY (Umited). 

Ta^^ary DipH and Officu : 
No. 171 NBW BOND 8TBEST (Opposite Bnrlisgtoii Gardens). 

rpHIS Oompany, which has been established for the 

I Ciitmlatlon of Mnslo npon the Library System, COMMENCED BUSINESS 
atihe above address on the Isr JUNE, 18f4. 

Bnbsoription firom 10s« Od. upwards, 

TERMS OF SUBSCRIPTION. 
1. Bnbseribers of 10s. 6d, per annum are (Two pieces of mnsie at a time, to be 

entitled to ( changed not ofter than once a week. 

Poor pieces of mniio at a time, to be 
changed not oftener than once a day ; 
or ten pieces if changed only once a 
^ month* 

Eight pieces of mnsie at a time, or 
< sixteen pieces, if not changed oftener 

_ (^ than once a month. 

4. 8nbMribersof£3Ss.perannnm,£22s. (Twelve pieces of mnsie at a time, or 



3. Subscribers of £l is. per annum are 
entltted to 



S. Subscribers of £2 2s. per annum, 
£1 lis. ed. flir six months, or £1 Is. 
the quarter, are entitled to. 



twenty pieces if not chfmged oftener 
than onoe a month. 
Sixteen pieces of music at a time, or 
thirty-six pieces, if not changed oftener 
than onee a month. 



for six months, or £1 Ss. the qoarter, < 

areenttttedto < , 

S. Subscribars of £* 5s. per annum, £3 3s. i" 
for six months, or £1 16s. the quarter • 

are enUtled to i 

N.B.-^Music marked Ss. to be considered one piece ; firom 3i. to 6s. two pieoei ; and 
so on in proportion. 

Subscribers have the privilege of purchasing muilc in the Library at one-third of 
the marked price, and cheap music or bound books at a flraotion above prime cost. 

Applications for the remaining sharei may be made to the Secretary, at the above 
addrese. The shares sie £6 shares, upon which a deposit of lOt. is payable onappli- 
oation and £1 on allotment 
Original shareholders will ei^Joy the Ibllowing privileges, in addition to their rights 



_ holder of four shares will be entitled to the privileges, firom time to time, of an 
tiip p^i subioriber of £1 Is. 

A holder of eight shares will be entitled to the privileges, firom time to time, of an 
annual aubicriber of £2 2s* 

A holder of twen^ shares will be entitled to the privilege!, firom time to time, of 
an annual snbMriber of £6 5s. ^„,v«« 

Jf<iy30,1864. , BY ORDER. 



MB. J. ASOHEB, Pianist to H.M. the Empress of the 
French, begs to annoonoe that his MATINEE MUSICALS wiU take place 
>nday, the 2vh. June next, at the Qvbbb*8 Cobobbt^Rooms, Hanover Square. 
Further parttoulars will be duly announced. Stalls, One Guinea ; Reserved Beats, 
10s. 6d.: mav be had of Mr. Ascher, No. 163 Albany Stieeti Regenfft Park, and of 
the principal Muslcsellers. 



THE CAVENDISH ROOMS, 

IiATE BIiAGBOVS'8 BOOMS, 
MOBTIMEB STREET, CAVENDISH SQUABE. 

Proprietors - Messr s. EDWABP HUMPHBKY a nd THOMAS iCHILDS. 

THE MUSIC PROFESSION, and the Public generally, 

1 are Informed that thU elegant »itU4 of Rooms having been thoroughly restored 
redecorated, and fitted on the most approved aocoustio principles, may be engaged 
for Chamber Concerts, Pianoforte Recitals, Musical Soirees, Ac., being particularly 
adapted for all purposes for which purity of sonnd is essential. «^ * 

They are also admirably applicable for PubUc Dinners, Wedding Parties, Private 
£Wr««i)«i«a«<e«, and Amateur Performances, tor which every requisite of the.flrst 
description will be provided. ^^^___^«__«_ 



J. lb BOBCKEIi'S CANTATA, 

"RUT H," 

Lately performed with so much success at the Victoria Rooms, Clifton, U now published, 
Complete, Price ISs. 

The Bridal SCaxoh • ' 2** S^* 

••O oaU me Mara,'* Bedt. and Air (Contralto) • • • as. Od. 
The other Numbers are now ready, price 21., Si. «d. aad 38i each: 

BootBT a Soire, HoUn 8tr«ft, London 



Digitized by 



v^oogle 



306 



THE MUSICAL WORLD. 



[May U, 1564. 



QUEEN'S CONCERT ROOMS. HANOVER SQUARE. 
UKDER DISTINGUISHED PATRONAOB.— A GRAND MORNING 
CONCERT win be ffiTen at the abore Rooms, oq Tharaday, May 26th, 1864, In AID 
of the FUNDS of the LONDON SURGICAL HOMB. The following eminent 
ArUstes have kindly yolnnteered their lenricet :— liadame Paeepi, Mdlle. Fobtdha, 
Mlu Stabbaob, Madame Saistov-Dolbt ; Mr. LiKoeAT Slopkb, Slcrnor Fobtuv a ; 
Slirnor Pibtbo Fobtuica, Mr. Lahsxibb, Herr Obbbthub ; r the Infant Violinist, 
Bbhoit (aged nine yeara) ; M. BinRoir, Maatmr J. a Abudob, Master Wilub Papb. 
To commence at Three o clock. Conductors, Mr. Fbbdkbio Abohbb and Mr. Lixpsat 
Blopbb. Kibkxab*8 Piahofobtb. Tickets, ais., 10s. 6d., 7s. Id. and 5s. ; to be had 
of the principal Mttslosellers. 



MR. ARTHUR SKETCHLEY wUl appear at tihe 
EGYPTIAN HALL, Piccadilly, in his New Entertainments, entitled 
•« PARIS." and *«MRS BROWN AT THE PLAY,** EVERY EVENING (except 
Satardav) at Eight, and on SATURDAY MORNING at Three. SUIls, 3s.; 
Second I^U, as. ; Gallery, Is. The Box Office at the Hall ^ill be open between the 
hours of £le?en and Fire dally. 



TViTR- KENNEDY'S SONGS OF SCOTLAND. 

lYJL EVERY MONDAY EVENING, Mdbio HAL^ Stobb Strbbt, Bedford 
Square; and on the SATURDAY MORNINGS In May at the HANOrxB Sqoabb 
Rooics. Pianoforte Accompanist, Mr. Laxo (so long associated with the celebrated 
Mr. Wilson). 



4PT0MMAS'S TENTH HARP RECITAL, Mav 18th, 
at the Havovbe Sqitabb Rooms, consisting entirely of his own performances. 
Programme contains Beethoren's Moonlight Sonata, Chopin's Marohe Fun^bre, 
Mendelssohn's Song without Words (No. 6, Book 6), Handel's Harmonious Black- 
smith, and Aptommasls Valse de Concert, Tarontelle, Sounds from the Emerald Isle 
and Sounds firom Home (Welsh DescrlptlTO Fantasia). Family Tickets (to admit 
Three to Reserved Seats), One Guinea ; Reserved Tickets, 10s. 6d. ; Unreserved, 6s. ; 
at the principal Mnslcsellers. 

MISS FANNY CORFIELD wiU give a MATINEE of 
CLASSICAL PIANOFORTE MUSIC, at 10 Gbobtbbob Strbbt (bv kind 
permission of Messrs. Collard), on Wednesday, May aAth, at Three o^dock. 
roealisto— Miss Stabbaob and Miss Palmbb Lislb. In$trmnentalist$~Uim Faicvt 
CoBPiBLD, Herr Jabsa and M. Paqub. TfckeU, Half-a-Gnineai to admit Three, 
One Guinea ; at OIliyler*s, 19 Old Bond Street i and of Miss F. Corfleld, 29 Burton 
Street, Eaton Square. 

MISS ELEANOR ARMSTRONG legs to announce 
that she will give an EVENING CONCERT, on Saturday, June 11th, at the 
Hakovbb Sqvabb Roomb. Full parttcolars will bo duly advertised. 36, Osnaburgh 
Street, Regent's Park. 

MDLLE. LOUISA VAN NOORDEN has the honor 
to announce that her ANNUAL CONCERT will take place nnder distin. 
gulshed patronage^ at the Qvbbv's Coxobbt Rooms, Hanover Square, on Wednesday 
evening, 29th June. Conductor, Signer Abditz. Particulars will be duly announced. 
116 Great Russell Street, Bloomsbnry. 

QIGNOR GIULIO REGONDI has the honor to announce 

O that he will give a Morning Concert on Thursday, June 30, at the Queen's 
Concert Boom, Hanover Square. To Commence at Three o'clock precisely. On 
which occasion Signer Giuuo Rboohdi will play, far the first time in public, several 
original Compositions, on both the Guitar and Concertina. Further particulars wHl 
be dv ly announced. 

lyiTADAME PAREPA will sing Asoher^s new Alpine 

lYJL Song, ** Thoughts of Home,*' at the (3omposer1i Mating, at the Hanover 
Square Rooms, June Y. 



QIGNOR GARDONI wfll sing Aschbr's celehrated 

O Song, *• Alice, where art thou t ** (In Itallas), at the Coitopoeer*8 Matinee, at lbs 
Haaover Square Booms, June S7. 

TTERR REICHARDT will sing Meyerheer's " Pr&s de 



II Tol** (Neat to 
^nSu FlschermXdehlin 
James's HaU, Tuesday, 



ttee), irlt)i yiolpnoe]lo;^bbntatq 
^ (The Fishermaiden), at the Mni 
, May 17. 



. (Hone, JaoqitabdI, and 
Musical Union Mating St. 



SfERR REICHARDT will sing his new Song, 'f MY 
L HEART'S IN THE HIGHLANDS ** (Mein Her* ist im HochlandJ, at the 
amont Institution (Mr. Carder's Concert), May 30th, and at Mr. Allan Irving's 
Concert, June la 



MADAME WINTER will 
New Fantasia on Scotch Airs, " WA' 



ilay Mr. Emilb Berger's 

>E Y," at her Mating on May 16. 



MONSIEUR ASCHER will play his popnkr Pianoforte 
Romance, ** ALICE," at Madame Puzai's Mating, at the Hanover Squax« 



Booms, May 80. 



MRS. CAMPBELL BLACK, Mezzo Soprano (Pupil of 
Dr. Frabcis Robimboh, Vicar Choral of the Cathedrals of Christ's Chnroh and 
Saint Patrick, in the City of Dublin) sings in Italian, German, and French ; she ^fnpi 
also all the .— »—»-«. c.-,*.. ,_. . ,rr — ♦. . - .. .■»..«^. 

Sacred 
Ac. 



iini f acncB, m tne uity or iiubiin) sings in Italian, German, and French ; she ^fnpi 
10 all the popular, English, Scotch, and Irish Melodies, and has carenilly stiuliid 
icred Music. All Communications respecting Engagements to sing at Concerts, 
>., to be addressed to her at No. 7, Well Walk, Hampstead, N. W. 



ITADAME ALICE MANGOLD hegs to announce that 

jyjL sh4 is in Town for the Season. AIL letters^ respecting engagements, 4ce., to 
344 Regent Street.' 



. Jarrett, Musical Agen^ at Messrs.. Dnncan Darison k (So.'k, 



ISS ELEANOR WARD <Pupil of Mr. Benedict) 

begs to acquaint her MAids and pupils that she bas removed to No. •l,Albany 

itreet. Regent's Park, K. W., where a^llcations fur Concerts and Leesons, Ae., Ao., 
may be addressed. 



Street, 



MADLLE8. QEORGI & CONSTANCE GEORGL— 
All Engagements to be addressed to Mr. Jabbbtt, Musical and Concert 
Agent, 244, Regent Street 

DLLE. LIEBHART has arrived in London to fulfil 

her engagement at Her M^esty's Theatre. Conunnnicatlons to be addressed 

to her at Outram Villa, Bridge Road, St John's Wood ; or to Mr. Janrstt, (Concert 
Agent, at Messrs. Duncan Darlson ft C6.*s, 244 Regent Street 

R. LEONARD WALKER, Bass Vocalist, begs to 

_ _ announce thkthe has recovered Crom his late severe indbposf Uon. and will sing 
THE STIRRUP CUP" (Abditi) and "LARGO AL FACTOTUM," at Miss 
Kate Gonlen's Mating, at Collard's Rooms, May 3lst. . For engagements for Con- 
certs. Lessons, ^, apply at his residence, 47b Welbeek Street, Cavendish Square, 
or to Messrs. Duncan Daviton A Co.'s Foreign Music Warehouse, 244 Regent Street. 

R'. DAVID LAMBERT, Vocalist (Bass), late of Her 

Majesty's Chapel Roval, St George's. Communications respecting engage- 
ments to be addressed to 34 Old Elvei, Durham. 



M' 



M' 



IJ ASTER WILLIE PAl^E haff returned from his 

ill. Provincial Tour. For engagemenU, public and prlTate, addrees Ko. 9 Soho 
Square. 



M 



ONS. LOTTO.— The Provincial Tonr of M. LOTTO 

(with the Pyne and Harrison party), which has been attended with sneh great ' 

snocees, having terminated, M. Lorvo has retomed to London fbr the aeaaon. 
ArrangemenU for pttbUe or jrlvate OoiMttt for May and June can be i 
application to Messrs. Chappbu. and Ca, 60 New Bond Street 



SIGNOR GEREMIA BETTINI hegs to announce that 
he has arrived in London for the seiuon. For engagements, apply to Mr. 
Jabbbtt, Musical and Concert Agent, 244, Regent Street, W. 



HERR REICHARDT has arrived in Town for the 
Season. Address— Hlnde House, 14 Hlnde Street, Manchester Square. 



G 



to 5PH& PBO:i^SBtON. 
LASGOW CITY HALL SATURDAY EVENING 



COMCERTS.—Mb. AIRLIE, the Secretary, wiU be In London on the 2Srd 
Mrs or so, and may be < 
Hotel, 33 New Bridge Street, BlackfHars. 



Instant, to remain for ten dm or so, and i 



I commuiiicated with at ^ngoa'a 



MUSIC Busixrssa 

WANTED to dispose of, a Small MUSIC BUSINESS, 
with a good Tuning ditto attached, in one of the Midland OonnUea. 
Reference, Mr. Williams, 123 Cheapslde, London. 



OBGANI8T FOB ST. MABT*? OHUHCH» WARWICK. 
A N ORGANIST will he REQUIRED for the Grand 

jLjL Organ in this Church (which is now in progress of rebnilding by Meesrs. IIili. 
* Sobs, of London, at a cost of £A00). Tbe Organ contains 4< Stops and 2342 Plf^a. 
Candidates must be prepared ftr m test ofPtofetiioiial Skill on a day to be fixed. 
For fbli particulars, apply, not later ^an Wednesday, June 8th (by letter only), to 
the Vicar or Chuohwardens. Candidates mnst be hma/UU Charohmen and Com- 
tnunleants. 

TIT ANTED, a BANDMASTER <an Englishman), for 

V Y tli« lit BattalipB 10th Begtmfnt, now. under ordera fbr the Cape of Good 
Hope. Apply by letter, tUUing ttrnu, to Captain Stammbbb, 1st Battallos& loih 
Regiment, Preeident, Band Committee, Kilkenny. 

"XTT ANTED, a TUltER for the Country^ Liberal wages 

Y V for a First-class Tuner. Apply, F. O., care of Messrs. D. Davidson & Co.. 
244, Regent Street, London. * 

E beg to inform the Trade and Profession that tbe 

. . 0>p7rightofEugtaeKetterer's"GaStaoa^''Op. Ifl, is our property, ana 
therefore have caused Mr. •Joseph Williams, 123 Cheapskie, to withdmsr hu un. 
authorheed edition. SCHOTT k CO., 159 Regent Stmct, V^, 

'. ' A CANTATA 

Composed for the Opening of the 

NEW TOWN HALL, NORTHAMPTON, 

bt 

OHABIiBS M'KOBKEIiIi. 

Price Ts. 6d. 

London : Cbambb, Wood & Ca, 201 Regent Street. 



w 



Digitized by V^:iOOQIC 



mjUfU^ir} 



THE MUSICAL WOBLD. 



307 



HER 3IAJ£STY*S THEATBE. 
Fautaff. 

It is ringtLbnr that an opeta of gooh Uvely pretensions as Dm Imti^ 
Weibir von WimUor should have been so long in making its way to 
England, especially when we take into aocoont the faot that its Ubretio 
U Miriyed from one of the most popular of Shakespeare's plays. For 
fifteen yean this work of the late Prassian KajmdmeitUrhas been more 
or less fiimoos. Flayed repeatedly in the ehief towns of Germany, it 
has even foand iavor with Italy, France, and Belgium ; and yet in this 
country, with two Italian operas and periodical visits from ^nch and 
0<3raian operatic '< troops," to ny nothing of our own hybrid attempts at 
what by courtesy is styled " National Opera,'* from the days of Lee 
and Kemble to those of Pyne and ELarrison'-attempts in which 
invention was generally the exception and borrowinff the rule— the 
lyric <* Merry Wives " has unUl now been treated with disdain. There 
was onoe a talk about producing an English version of a less 
meritorious opera fW>m the .same pen ; but happily for Otto Nicobu's 
credit his best work has been heard first. Had Jl TevMiario, which was 
written for the Italian stage, been pitched upon 'by Mr. Mapleson, the 
probability of our ever hearing its far superior successor, which was 
written for that of " Vaterkmd" wovld be vague ; now, however, ths 
reception accorded to Dte luatigm W(nber, under its new name of 
FaUiaf--tk reception not more unanimously gracious than richly 
deserved — ^holds out a chi^ce even for the weaker composition ; and II 
Templario may fairly be looked for in the prospectus of 1865. 

lliat FaUtaff has hit the public taste is unquestionable. There are 
many reasons to account for this. Perhaps half the success of M. 
Qomiod's Fmut, despite the beauty of the music, was owin^, both here 
and elsewhere, to the simplicity of the plot and the familuvitv of the 
subject But if the inciaents and personages in Goethe's celebrated 
poem were fiimiliar to us all in England, how much more intimately 
are we acquainted with the incidents and personi^ of Shakespeare's 
adnUrable comedy? If we knew Faust and Mephistopheles and 
Margaret well, we know the Fords, the P^ges, and •< fat Sir John ** 
still better. Thus a d^Boulty is at once got over, always in some 
degree an impediment to the immediate appreciation and enjoyment of 
anew opera. Moreover, Herr Mosenthal's libnUo is very skilfully 
contrived. The first act of 7%s Mtrry Ww6» of Windaot is altogether 
discaffded. It possesses no feature to stand out effectively in an 
operatic framework, and would therefore have been simply an incum- 
brance. The other four acts are, with like judgment, compressed into 
three. The dramatU penome, too, are numerically rodnoed— an equally 
necessary ttmj for, though something might have been made of Sir 
Hugh the Weldi parson, and something more, perhaps, of ** Mine 
Host of the Garter/' it was just as well to shut out Mrs. Quickly. 
ShaUow would have been a mere nonentity, Pistol, with his bombastic 
jargon, in a musical sense, an imi»acticability, and the retention of 
fisrdolph, Nym, the other followers of Sir John (to say nothing of 
Simple and the rest), an overcrowding of the score to little or no 
purpose. As the book exists, the opera is very properly entitled 
Faittaf. In each of the three acts Falstaff is the conspicuous figure ; 
and each includes one of those well-known misadventures, the result 
of his secret visits to the mischief-loving wives of Masters Ford and 
Page (tiansUted hy the German librettist into Fluth and Reich). 
Naming the buck-basket, the old woman of Brentford, and Heme the 
Hunter, is enough, without a word of comment or description, to bring 
the whole to the mind of every one who has seen or read the play of 
Shakespeare. He who has done neither should make amends without 
loss of time ; it were cruel to forestal his pleasure. The other scenes 
comprise the meetans between Sir John and the supposititious Brook 
(Bach) ; the loves of Anne Page and Fenton ; the rivalry of Dr. 
Gains and Slender (Junker Sp&rlich), reelected suitors; the jealous 
ebullitions of Master Ford ; and the plottlngs of the merry wives for 
the discomfiture of their stout and unctuous Giovanni. A new scene, 
by Herr Mosenthal, invented for the sake of giving Falstaff a 
Bafi^htn^^'Mi song, precedes his first interview with Brook; and, 
legitimately enough, the last of all— in Windsor Forest, where, under 
the shadow of Heme's Oak, the amorous knight is duped and 
tormented by imaginary imps and flaries-*-is used as an occasion for the 
introduction of the ballet element. 

The music of FalttafiB, above all, remarkable for spirit and fiaency. 
It nowhere flags; and if it fidls to exhibit a vein of striking and 
original melody, it is graceihlly tuneftd from beginning to end, con- 
taining scarcely a single example either of direct plagiwism or unin- 
tentional resemblance. A certain freshness distinguishes piece after 
piece; and this is ftxrther enhanced b^ orchestral accompaniments 
which, besides being written with muaidan-like ingenuity, are set off 
Ij varied, clear, and sonorous instrumentation. The overture, a showy 
oumposition of the French school, contains, among other good points, 
a caaiMU phrase, which seizes and captivates the ear the moment it is 
baud, and is, indeed, the most genuine melody in the opera. Professor 



Steradale Bennett, at the Philharmonic, Dr. Wylde, at the new Phil- 
harmonic, and Herr Manns, at the Crystal Palace Concerts, had already 
introduced this brilUaixt prelude to our musical public ; but we doubt 
if it has ever been so finely played as by the band at Her Alajesty's 
Theatre, which, under Signor Arditi's able and zealous direction, is 
rapidhr attaining an exceUence that would do credit to any operatic 
establishment. The two most important finales — the first, embodyitig 
the incident of Falstaff's being conveyed away in the basket of foul 
linen, the second that of his escape, as the old woman of Brentford, 
under the cudgel of the exa^rated Ford—are skilfully constructed 
and full of animation.' The smaller concerted pieces, the duetA, and 
the solo airs, are all, in a greater or lesser degree, attractive — some few 
being really beautiful. In the forest scene— with Heme's oak and the 
moonlight gambols of the mock fairies — although Nicolai may here be 
said to inva!de the province of Mendelssohn hiniself, the King of Fairy 
music, he passes the ordeal triumphantly, disdaining to pilfer and 
avoiding to parodv the thoughts of that gifted and inspired master. 
The fairy music in Falttaf is rhjrthmicid, pretty, often sparkling, 
replete with ^ety, and never once far-fetched. Of high fancy and 
subtle poetry it reveals no trace ; but, in the absence of these, it pleases 
all the same; and the sprites and fairies not being genuine, it i% 
perhaps, just as dramatically appropriate. To cut short, however, this 
almost unqualified, but assuredly well merited paneg3rric, the music of 
Otto Nicolai is of that agreeable sort which does not tire, and of that 
commendable sort which eschetrs prolixity, extravagance, and hyper- 
sentimentality. If it never rises very high, it never descends to 
platitude ; if almost invariably light, it is very seldom trivial, never 
uripid ; and, best of all, if nowhere deep, it is also nowhere dull ; so 
that, while we are rarely — to use a commonly accepted expression — 
*< carried away," it never creates in us an impuUe — in no less homely 
phrase— to ** take ourselves off." 

The performance of FaUtaff is in many respects first-rate, in some— 
the overture, the concerted music and orchestral accompaniments, for 
instance — ^beyond criticism. The cast of the dramatit persona is 
remarkably efficient. To allude at once to the feeble point — and that 
only feeble by comparison : the Falstaff of Signor Marcello Junca is 
destitute of humor ; And so we liave the bodr without the soul of that 
most corpulent knight. Signor Junca — ^himself a gentleman of 
unusually substantial dimensions— both dresses and looks the character 
well ; but the spirit of it eludes him altogether ; and— to quote Kym « 
—"that's the humor of it." Nor is Sgnor Junca's voice by any 
means as imposing as his p^tique ; and unfi)rtunately the music which 
Nicolai has put into the mouth of Sir John—all, even to the Baccha- 
nalian, 

" Ound' en anoora In qaeir sta 
OlM wtflasa dl mala • ben,** 

characteristic enough— goes for little or nothing, or at any rate produces 
no effect. The most that can be fairlv said of Signor Junca's perform- 
ance, is that it is painstaking. With a stronp^ French accent and a 
weak French voice, ne oomUnes none of the Italian method so desirable 
in Italian opera. He does his best, however, and must be taken, we 
suppose, eum grano idlu ; but, with all his substance he is not even the 
shadow of Falstaff The other gentlemen are nnexceptionably good. 
Mr. Santley's perfect execution of the music allotted to Ford surprised 
no one ; but his intelligent and forcible dramatic impersonation of that 
suspicious husband surprised all, except those who have been accus- 
tomed to watch with interest thegradual progress which this admirable 
singer Is making as an actor. I>(ord's mtuic contains not a single solo 
air ; and Mr. Santley has the good taste to refrahi from introducing 
one. Signor Qassier efibcts all that can possibly be effected with the 
operatically unimportant character of Master Pa«Ct his carefhl embodi- 
ment of which is not the only proof he has aftorded of what a true 
artist can do to raise a small part into rignificance. In Fenton, Signor 
Giuglini has rimplv to put on a love-lorn look, and to sing well. He 
does both in a pmct manner ; and one of the hits of the opera is his 
exquisite delivery of the soliloqny, *' Nel boschetto e I'usignuolo "—a 
charming air, in which it is difficult to know whether most to admire 
the expressive grace of the melody or the ingenuity of the accompani- 
ments. The "meny wives "are jewels both. One might imagine 
that Mademoiselle Tietjens had got Shakespeare by heart (nothing 
sinnge, by the way, in a German J so thoroughly does she fill up the 
personage of the buxom Mispress Ford. Her acting — ^both in the scenes 
with her jealous mate and in those with the amorous Sir Johiv-is in 
the highest spirit of comedy ; while her ringing is everywhere admir 
able. It is rare to find one eminently suited to fhlfil the duties of a 
** Tragedy Queen " so thoroughly at home and so thoroughly natural 
as Blademoiaelle Tietjens in the purely comic character of Mistress 
Ford. Mademoiselle Bettelhdm has risen another step in public esti- 
mation by her impersonation of that other '* merry wife " — the serene 
and happy Mistress Pase. In a dramatic and a musical sense it is 
equally to be praised. Not to enter into further detail, we may point 
to the last interview of the two married ladies with Sir John Falstaff-* 



Digitized by 



Google 



308 



THE MUSICAL WOEm. 



pfjiyU, 1864. 



Just beforo the arrival of the imps, iprites and fidries to tormeDt him 
— as to a masterpiece of singing and acting on the part both of 
Meademoiselle Tietjens and Bettelheim. Their united delivery of the 
melodious and insinuating mock-profession of love, '* Piu di me stesso 
io t'amo, — Ah I Sir John, is absolute perfection. Mdlle. Vitali sings 
the music of Anne Page very prettily, shining most in the charming 
duet with her lover, Fenton (Sif^nor Qiuglim) — ** Sempre in dubbio, 
senza fede." This, by the way, is enriched by a graceful accompani- 
ment for solo violin, which is executed by Mr. Garrodus in a manner so 
thoroughly finished that it fairly shares with the singers on the stage 
the attention and applause of the audience. The minor parts of 
Slender and Doctor Caius are tolerably sustained by Signers Manfredi 
and Mazzetti. 

The opera is got up with every possible care and attention. The 
costumes are new, and, for the most part, historically appropriate ; the 
action of the finales is bustling, life-like, well sustained ; ana the whole 
arrangements of the moonlight scene in Windsor Forest, so cleverly 
**8et" and beautifully painted b^ Mr. Telbin — including the spritely 
evolutions and dances of the fauries (for which credit is due to the 
intelligent direction of M. Petit) — are such as to present one of the 
most picturesque spectadee ever witnessed on the boards of Her 
Miyesty's Theatre. 

Since the first perfomiance of Fahiaf, a ballet dwertiument has been 
introduced between the first and second acts, for the purpose of 
bringing forward a new dancer^Madlle. Beretta. Now, that Madlle. 
Beretta is a thorough mistress of her art, and, in the important 
attribute of grace alone excepted, equal to the most accomplished pro- 
fessors of modem times, can hardly admit of a doubt. But, were she 
twice as clever, the interpolation of the diveriiuement prepared 
expressly for her would not be a bit the less out of place in a new 
opera of genuine merit and real dramatic interest. Surely the ballet 
might come after FaUtafft instead of being thrust into the midst of it, 
and thus diverting the attention of the audience from its legitimate 
object. 

e ■ 

ROYAL ITALIAN OPERA. 

Hi BABBIXBX DI STVTOLU— ADELINA PATTX^BOVOOKI^UABIO, 

(Th» Tinu9.~~May 9M.) 
Saturday night was the most brilliant of the season. First we had 
the immortal Barbiere di Sw^flia — the comic ehef'4'ceuvre of the greatest 
master of comic opera ; then Ronconi, the most mercurial, vivacious, 
mischief-loving, and irresistible of Figaros; then Mario, still the 
Almaviva of Almavivas, the most peerless ** gentleman " on the Italian 
operatic stage; and last, diough not least, Adelina Patti, a Bosina 
worthy such a Figaro and such an Almaviva— such a Bosina, in short, 
as, in a dramatic sense, has not appeared since Giulia Grisi was in her 
prime, and from a musical point of view may rank with Persian! and 
Bosio. The audience, too, was the most brilliant of the present 
season— just such an audience as attended the theatre when General 
Garibaldi honored it with his presence-— numerically, indeed, su|>erior, 
inasmuch as the public, not mulcted of its Just rights by the inter- 
ference of hungry speculators, was enabled to gain admission untaxed 
with exorbitant overcharges. The performance was in most respects 
admirable. The masterly and splendid overture, played by Mr. Costa's 
band in its very best style, was encored with rapture ; and as the opera 
began bo it went on to the end. Madlle. Adelina Patti has returned 
with her voice as ** silvery " and penetrating as ever in the upper 
tones, while in the medium and in the lower register it has gained 
additional mellowness and force*. Her " Una voce poco fib " — ^thutime 
in the original key — was a marvel of vocal fluency, allied to drap[iatic 
expression which imparted significant meaning to every phrase. In 
the duet with Figaro—^* Dunque io son " — she was inimitably piquant, 
tlie ornaments and fioriture introduced in this as in the eavatirm being 
amply justified by the elegant taste and unerring acourad^ that marked 
theur execution. Both cavaiina and duet were unanimously applauded. 
In the scene where Bosina has to listen to the reproadies of the jealous 
Bartolo, Madlle. Patti showed, not for the first time, that she could 
listen as well as sing. Her by-play, her gestures of impatience, her 
playful mimicry of her testy guardian were as graceful and pretty as 
they were incomparably natural. In the lesson-scene Madlle. Patti 
introduced the grand orta, "Bell' raggio," from Semiratnide, with 
Bossini's own elaborate variations and embellishments. This was a 
startling innovation, but one completely sanctioned by the subsequent 
protest of Dr. Bartolo, who exclaims — ** La mutka a miei tempi era aUra 
COM*'— illustrating his disapproval of the modem bravura by an impo- 
tent attempt to reproduce his impressions of an old-fiE»hioned air in 
which Cafariello (or ** GarafficUo," as Mario used to pretend to under- 
stand him) was wont, in the youn^ days of Bartolo, to be fiimous. 
Moreover, it exhibited Madlle. Patti's talent in a wholly new light, 
proving her an accomplished mistress of a vocal school in which 
hitherto she has had no opportunity of displaying her proficiency. 



Her entire performance, indeed, was such as deisurly io evidence the 
satisfkction she must have felt at once more appearing before her 
earliest appreciators in the Old World ; and how glad they were, on 
their parts, to welcome her again was manifested by the enthusiastio 
applause that greeted her apparition at the window, when Almaviva is 
watching for Bosina's hiUA-doim beneath the balcony. The duet 
between Almaviva and Figaro— <* AH' idea di quel metallo'*— was 
never acted with greater vivacity by Signers Mario and Bonooni ; nor 
were the florid passages of the aUj^o— "A che d'amore "^ever 
d^vered by the former gentleman with more irreproachable facility 
and taste. This was one of the marked successes of the evening. 
Signor Mario, indeed, was in better voice on Saturday than on anv 
previous occasion during the present season ; while Signor Ronooni's 
peculiar humor imparted life and interest to every scene in which - 
Figaro is a prominent figure. Signor Tagliafioo*s Basilio preserves all 
its salient characteristics ; and his ** La Calunnia " was as enei^eti- 
cally stentorian an example of vocal declamation as ever. Signer 
Ciamtd, as Dr. Bartolo, was more caretul and dry (if possible) than last 
season ; and Madame Tagliafico, in the little fiart of Bertha, gave the 
quaint amUa^ *' 11 vecchietto cerca moglie," with her accustomed point , 



A DREAM OF THE OPERA. 
Br Yaxton Last. 

The setason came to an end last night with Luerezia Borgia, the i 
from Belly, and the ballet of Mamn VEtcaut, The house was crowded 
to the ceiling;, and the performances went ofif with the greatest idaU 
Grifd, Alboni, Mario, and Tamburini sang and acted with their usual 
exoeUenoe, and the eneoree and recalls were frequent. Alboni had to 
sing five times in almost immediate succession, being encored twice in 
the " Brindisi," and again in the Tyrotim .from Betly, which followed 
directly after the opera. The National Anthem was sun^ with immense 
enthusiasm at the end of the operatic performances, Gnsi and Alboni 
taking the principal verses. A general call was then made for Mr. 
Costa, who appeared before the curtain, and was cheered from all parta 
of the house. 

The policy of the directors of the Boyal Italian Opera during the 
present season, as during the last, has been to rely on toe excellence of 
the eneemiU rather than upon the preponderating influence of any one 
particular star ; and by this means only have they been enabled to make 
head against the unexampled popularity of Mdlle. Jenny Lind at 
the rival establishment. They have brought their second season to a 
close with honour to themselves and with satisfaction to their sub- 
scribers and the public. The novelties they have produced have been 
for the most part successful— in one instance wonderfully so. The 
preetioe of their inimitable band and chorus, which may be fairly styled 
the finest in Eorope, has continued unabated, and Mr. Cobta, than 
whom a* more able, conscientious, and inde6Eitigable ch^d'oreheatre never 
winded the b&ton, has given new proofs of his admirable talent and 
indomitable zeal. It is enough to point to the Huguenole to prove 
beyond a question the immense importance and ability of Mr. Costa in 
the office he fulfils; what cost the celebrated M. Habeneck 18 months 
of hard labour scarcely cost Mr. Costa as many days. 

The events of the season just concluded may be briefly reviewed. 
First as to the ^roujM — the premiere au^ete have remained the same as 
last year, with two important additions. Grisi has maintained her 
supremacy in the loftier walk of l>Tical tragedy, and her Norma, Anna 
Bolena, Luerezia, and Semiramide, must still be pronounced unap- 
proachable. Moreover, in a part quite new to her — Leonora, in La Favo* 
rita—Oriu has added another to her many triumphs, and rarely has she 
enchanted the public more thoroughly than in the last act of Donizetti's 
most ambitious opera. To Mario an equal share of praise is due for 
his performance in this elaborate work. Not only, However, in the 
Fawrita has this distinguished artist laid fresh claims to applause ; in 
the Buffuenote, the masterpiece of Meyerbeer, he has won for himself a 
hi|;her place than, with all his talent and popularity, he has hitherto 
occupied in public esteem. With the physical endowments and the 
great natural feeling which belong to him, Mario has only to conquer 
an occasional apathy, which is gradually wearing itself away, to become 
the greatest dramatic tenor singer since the best days of Bubini. With 
a voice more beautiful and almost as powerful as Donzelli's and a re- 
finement of stvle scarcely inferior to that of the renowned vocalist pre- 
viously named, Mario is a far better actor than either. The illness of 
Alboni at the commencement of the season threw a cloud over her . 
popularity, which it took some time to dispel, although it must be 
owned she never displayed more consummate excellence than in her 
last performances of Taneredi. Not until the Oenerentola was produced 
did the superb contralto entirely reinstate herself in the good graces of 
the public, but in that delicious comic opera she outshone herself, and 
I •roved her ability to sustain the most florid and difficult metgo etprano 
parts with as much ease and effect as those which exclusively apper- 
tain to her naturtd register, and in which she had already been unani- 



Digitized by V^riOOQlC 



May 14, 1864.] 



THE MUSICAL WORLD. 



309 



moady pronoanoed unrivalled. Perdani's appearances have been rarer 
than her deserts warranted, bat she has maintained her position as 
the Qaeen of the florid school of vocalization ; her Amenaide (in Tan- 
credi)t new to the English pablic, was one of her most brilliant essays, 
while as Rosina, in the Barhiert^ she showed no diminution of that 
extraordinary fiicility which has placed her alone .in her own especial 
walk. Salvi, who, where Mario is not, has every qualification to fulfil 
with ability the functions of primo tenore awoliUot although drcum- 
sUnoes have prevented his appearance in more than two or mree parts, 
has always been heard with satis&ction. Marini's uncertain intonation 
was wont to be a frequent theme for reprehension, but he has won for 
himself a now name by his assumption of Marcel in the HuguenoUf 
which has been universally praised. Amongst the tidera minora T&g' 
liafico, if only for the firalUess style in which he sang the music df the 
Commendatore in Mozart's Don Oiovannif deserves a word of honour- 
able mention. The Ihn Oiovanni reminds us of Tamburini, who ought 
to have been mentioned among the first and greatest; this splendid 
actor and most flexible of baritones, albeit not alwa^ so sure as of yore 
in the higher department of his register, yet rdmams without a rival 
in those parts which are peculiarly fitted to him — Fernando (in La 
Oaoa Ladra"), Alphonso (Lueraia), Henry VIII. {Anna BoUna), the 
Count, in FigarOt and Don Giovanni, for example — ^while lately in the 
UufpienoU he has shown what a first-rate artist may do with a small 
part. St. Bris in Paris was only a third-rate character, but Tamburini, 
Dy his acting in the scene of the contpiraHon, has elevated it to one of 
such high importance that his absence would be a sad drawback to 
future representations. 

The principal additions to the troupe of last year have been Mdme. 
Pauline Viardot Garcia, Mdme. Castellan, and M. Roger. Mdme. 
Castellan is always the graceful vocalist, who sometimes rises to the 
highest excellence, and rarely descends to mediocrity. M. Roger has 
yet to be jnd^^ ; he made a very fiivourable impression, early in the 
season, by his performance of Edgardo in Lueia^ and recently sup. 
plied Mario's place in the HuguenoU in such a manner as to entitle him 
to distinguished pndse, but indisposition prevented him from doing 
justice to the difficult tenor part of Arnold, in OuiUaume Tdl, and the 
non-performance of the promised ffayeUe, in which he made so great a 
sensation in Paris, has left us as yet without an opportunity of criticising 
him in an opera written expressly for him, and peculiarly suited to his 
capabilities. 

Mdme. Viardot Garcia has won her way into public favour step by 
ftn> ; her ddlnU, as Amina in the Somumbyla, fiuled to justify the expec- 
tations raised by her continental fame, while little positive could be 
gleaned firom her vivacious singing in the comic duet from La Frova 
with' Tamburini. But the rifaeeiamento of Borneo e Oiuliettat and sub- 
sequently the JBvfuenott, have shown us Mdme. Viardot in her proper 
sphere, and enabled us to class her among the most accomplish^ 
artiste ; her conception and execution of the character and music of the 
unfortunate Valentine belong only to genius of the most elevated order. 
In spite of the defects that are inseparable from her peculiar character 
of voice Mdme. Viardot has succeeaed in attaining a &cility that has 
few parallels, and the discrepancies of the organ are often entirely lost 
in the genius of the artist. 

CortadI Setti, LuigiMei, Soldi, and others among the new engage- 
ments of the present season, have been found occasionally useml in 
subordinate parts, but have not otherwise distinguished themselves. 
Maasol was heard only once, as the King in La Favorita, but the im- 
presrion he made was favourable. 

Ronconi we name last, because, owing to some didigreement with the 
management that has not been clearly explained, the theatre was de- 
prived of his services early in the season. Ronconi appeared only as 
Figaro, in the Barhiere, but his impersonation of this character would 
have been quite sufficient to stamp him as a perfect artist had not his 
sublime performances in the Due Foecari ana Maria di Rohan already 
elevated him to the highest rank. Ronconi is equally admirable as an 
actor and ae a singer, equally great in tragic and comic opera, and his 
seoeesion from the troupe has been not more a loss to the establishment 
than a disappointment to the public. 

In addition to the popular modem operas, which obtained so much 
&voar last season, several have been added to the rSpertoire^ most of 
them revivals, but one entirely new to the Italian stage. The three 
greatest successes among these have been the OenerentolOf the Favorita^ 
and the Ht^uenote. The last acts of the first two have continued to 
form attractive features in the programmes up to the end of the sea- 
son, and the latter may be cited as the most decided triumph hitherto 
achieved by the company. The Huguenote has developed the resources 
of the establishment more thoroughly than any other work ; the or- 
chestra, the chorus, and the principal artists had an equal chance for 
display, and the miie en eeine was almost without precedent for splendour 
and completeness. The growing importance of the orchestral and 
choEil departments of a lyrical establishment is a sign of the times 
which may be regaided with oomplaeoocy by those who take an in- 



terest in the progress of musical taste in this country. Eneoree are now 
awarded to overtures, choruses, and other concerted pieces, which for- 
merly were listened to with indifference, or merely endured as a neces- 
sary infliction. It is nothing more than simple justice to add that 
much of this is due to Mr. Costa, who has worked for many years 
zealously, though silently, in the cause of art, and only recently has 
been rewarded by seeing his labour appreciated by the public. The 
success of an opera now not unfrequently depends upon the efficiency of 
the orchestra and chorus, and a remarkable case but lately occurred, 
when but for these too often neglected elements of opera Rossini's 
masterpiece, OuUlaume Tell, would have proved a dead failure. 

With these remarks we take leave of the Royal Italian Opera for 
the present, trusting that next season the management may reap the 
benefit of a policy commendable in most respects for liberality and in- 
telligence— ((7omiiion/>2ae»— 18 ). 



A GERMAN CRITIC ON A FRENCH COMPOSER'S 
OPERA* 

WsniAB. 

Die Statue, a romantic comic opera in three acts, libretto hv MM. 
Michel Carre and Jules Barbier, translated by Herren Draxler-Manfred 
and Ernst Pasqu^, music by Ernst Reyer, affords us an opportunity 
of speaking in fiivourable terms of an artist with whom we were 
previoudy unacquainted. The libretto, which is taken fh>m the 
series of fairy tales in The Arabian NighU, is, it is true, treated 
after the style of the opera books of former days, with dialogue inter- 
mixed, and, despite his /our fathers, is not particularly important; still 
it has enabled tne composer to prove in the most satisfactory fashion 
his really considerable talent. The music is original (though bearing 
marks of a thorough study of the works of Weber, Berlioz, Mendelssohn. 
Meyerbeer, and Wagner), fiery and brilliant, and, which is the principal 
thing, characteristic witnout being bizarre. The leading motives of 
the opera are easily caught, though the composer has not made the 
slightest concessions to the bad taste of the public ; anything like sense- 
less and tasteless roulades or clap-trap cadences is not to be found in the 
whole work. The instrumentation must be entitled admirable, delicate, 
and clever. More particularly interesting is the rhythmical portion of 
this opera. The orchestral accompaniments are Mligato, and render 
the work rather difficult for banos which have not great practice ; 
indeed, it is, on the whole, especiifily in what regards the vocal portion, 
only to be executed by well-trained forces. As it was a festival opera 
(having been selected for performance on the birthday of our art-loving 
Grand-Duchess Sophia), it is not surprising that the scenery, costumes, 
etc., were most brilliant and characteristic, nor that the entire perform- 
ance, under the certain and clever guidance of Herr E. Lassens, mu^cal 
director, deserves to be called a very satisfactory one, as may be said 
also of the repeat, with certain modifications, two days afterwards. 
The cast was very good. Mad. von Milde (Margiana), Herr Meffert 
(Selim), Her von Milde (Amynd, his guardian spirit), Herr Schmidt 
(Ealum-Baruch) and Herr Kropp (Seum's slave), are deserving of 
especial praise. The lady was rapturously called for twice while the 
piece was going on, and, with the composer and Herr Meffert, twice 
afterwards. On the present occasion, as on the previous one, the chorus 
was distinguished for its numerical weakness, wnich has been so often 
censured. 

After these general remarks, we will attempt to sketch the work in 
as concise a manner as possible. The first act is preceded by a character- 
istic introduction, the. motives of which are taken from the opera. 
After the curtain is raised we hear the graceful chorus : ** O balsamische 
Luft," with a charming orchestral accompaniment in the Po^onaiM style. 
Selim and his compamons, under the effects of opium, are lying about 
in lazy repose. SeJim's guardian spirit suddenly appears and urge^ his 
pnAigk to abandon this dreamy life, since he can oner him something 
better and higher, if he will only follow his advice. Selim promises to 
do as he is desired, and prepares for a journey to Balbeck, while the 
graceful introductory chorus is once more heard. There is now a 
change of scene, and we have a somewhat long orchestral interlude, 
most admirably adapted to Margiana's entrance. In a simple and 
feeling romance, Margiana celebrates the praises of the cool and 
refreshing spring, to which she is ffoing down. Meanwhile, Selim 
staggers in, perfectly knocked up by his journey, and his slave. Muck, 
sings a piquant song : ** Lieber will ioh hftngen," in allusion to the 
hardships suffered by both of them on the road. He is not con^led, 
until Margiana has given him both meat and drink. When she has 
done so, he rapidly departs. Selim, also, is refreshed by Margiana, and 
begs her to raise her veil, so that her portrait may be engraven on his 
heart. After refusing for some time, Margiana grants the desired 
&vour. The impression which she produces upon Selim (who, by the 
way, is not an object of indifference to her) is instantaneous, and they 



^ Prom the N^m BtrMim Mutik-ZHtimg. 

Digitized by 



Google 



310 



IHE MUSICAL WORLD. 



[May 14, 1B64. 



both express their feelings in a longish daet» which might, perhaps, he 

shortened with advantage ; if it were, the fine climax at the end would 

come out more etroDgly. Margiana quits Selim, whereupon Amynd 

appears and again reminds him of the happiness in store for him. His 

ballad : " Ein Schatz dieser Welt," was sung by Herr von Milde with 

great warmth and in a masterly manner. Hereupon Selim, having 

been invited to do so (by a chorus of spirits behind the scenes), enters 

a gloomy funeral monument, in order to procure fhrther information 

with regard to the treasure destined for him. This is succeeded by a 

very catching march to the chorus of the caravan that is crossing the 

stage. Margiana, on her return, in vain seeks Selim, and sorrowihlly 

departs. The last tones of the caravan die away, and Selim, amid 

thunder and lightning, appears from the mysterious halls he has 

visited, and informs the astounded Muck what he has learnt 

about the happiness in store for him : he has seen, in the heavenly 

abode, twelve statues, "formed by god-like hands, all gold and 

diamonds, but, in the midst of the twelve statues, there is an 

empty pedestal." Out of the air are heard the enigmatical words: 

" The thirteenth statue is of incalculable value ; the Spirit Am}rDd has 

bestowed it upon you. Do you, however, select an innocent girl, and 

then return ; bring her in all purity hither, and the empty pedestal 

will then display the promised statue to your view/^ Selim swears to 

his protecting spirit Amynd that he wiU observe these conditions, 

though Muck cannot repress certain misgivings. A short trio follows, 

Amynd's warnings, supported by the chorus of spirits, being once more 

heard, this time in conjunction with the trio. This brings the first act 

to a conclusion without any particular eifect. The second act, also, is 

preceded by a short introduction. The neighbours of the miserly old ' 

shopkeeper Ksdum-Baruch make their appearance. Ealum-Baruch 

sings a song in praise of his ncice, Margiana, who is on a visit to him, 

and informs his friends that he means to make her happy by bestowing 

his hand upon her. His friends, on being invited to the nuptials, return 

thank?, and beg that he will provide musicians and costly viands. His 

joy is very soon over-clouded, when Muck, at Amynd*s command, 

a))plies, on behalf of his master Selim, for the hand of the old man's 

beautiful neice. Ealum, of course, receives the request most uniavor- 

al>ly, and the wooer is kicked out of doors in aught but gentle fashion. 

Wlule his slaves are making all kinds of preparations for the feast, 

Kalum sends for Margiana and tells her what good fortune he intends 

for her. The maiden is naturally not edified with his declaration of 

love, and,firmly rejects his hand, with or without a heart, referring to 

Selim in a beautiful romance with a grand air, and expressing her horror 

of a union with* her miserly uncle. Meanwhile, Amynd has transformed 

himself into Kalum*s double. The old man is not a little astonished 

when the living image of himself comes down from the upper-storey of 

his house, and behaves as if he were the master of it. The comic scene 

resulting from this meeting was admirably acted bpr Herren Schmidt 

and Von der Milde, and the quarrel duet, •* Allah huf ! wer steht hier 

vor mir? '' is most certainly not the worst piece in the opera. Ealum 

at hbt hastens out to cet the intruder arrested by the police-officers. 

iSelim now appears, and demands an explanation from the pseudo Ejilum 

for having used Muck in so unamiable a manner, and for withholding 

Margiana from him. Amynd declares that he has no objection 

10 the marriage of his neice with Sch'm. The latter celebrates in a 

cavatina, **Wie der Morgen beleuchtel die blahenden Baume," his 

meeting with Margiana in the desert. The young lady herself then. 

apiK?ars, and is given to Selim. The neighbours, who next enter, are 

rather a^tonithed at the sudden change of miqd that has come over 

their old friend, and end by wishing the youns couple all health and 

ha]>pine8s. Muck actively Sets to work, making preparations for the 

marriage, when the real and enraged Kalum comes in with the officers 

of justice, who set up the tragic-comic strain, ** Fort mit aller Sorgen- 

Bchaar," with which are combined a march and the chorus of Kalum's 

friends. The old miser presses poor Muck very hard, but, together 

with the officers, is changed into a musician, and, with them, is obliged 

to accompany the neat chorus, " Die c}-rabeln erklingen," the festivities 

being enhanced by a well-arranged ballet. Beibre leaving, Slargiana 

describes, in a song, her meeting with Selim in the desert. At this, 

Selim's attention is aroused ; he looks with curiosity at his wife, who 

has hitherto been veiled, and starts. Both depart. Kalum is restored 

to his original shape, but, with the officers, is kept a prisoner tfll early 

the next morning. This closes the second act. In the introduction to 

the third act, we have a picture of the approach of the raging simoon, 

and, coml>ined with it, a cliaracteristic cnorns, Selim and Margiana 

are overtaken by the destructive rtorm, and, with death before her 

eye?, Margiana a!»k8 Selim why he keeps so much alOof from her. Selim 

confesses that lie has sworn to sacrifice her to the spirits, but that, since 

he has recognised her, he looks upon his purpose with horror, and is 

unable to fulfil it. In a magnificent duet, the two lovers pour out their 

most inward feelingsi, till Amynd appears and reminds Selim of his 

oath, while unseen spirits utter the words, " Ewiger strafe verftlllt, wer 

Boinen schw;v nicht h&lt" (*^ Eternal ponishment awaits him who does 



not keep his oath"). Despite of this, Selim will no^ part with h^ 
whom he has thus found again, and she gives herself up, of her own 
accord, to Amynd. The wretched Selim sinks into a magic deep, and 
Margiana proceeds, hand in hand with Amynd, into the dazzling hall 
of spirits. A charming ballet delights the eye, until, at length, 
Selim enters to receive the promised statue. After the fine 
chorus, «* In der Erde Schacht," Ac, the "gift of hell," as Selhn calls 
it, rises, thickly veiled, out of the ground. Selim is about to shatter it 
with his sword, when the statue lifu its veils and exhibits to his 
entranced gaze the form of Margiana herself. Amynd's magnificent 
ballad, ** Em schatz dieser welt,'^ now enlarged, chorus-like, makes an 
effective ending to this admirable work. 



Mb. Wiuitb Coofeb's Coxckbt took place on Wednesday evening, the 
4th, in St. James's Hall. The programme was unimpeachably exceUent, 
the chief feature being entitled Oraiiella ; A Mutiad Story, by J. J. Lons- 
dale, Esq., of Bradford, set to music, in the canUtta form, by Miss Yii^ia 
Gabriel. This young lady's compositions are known and deservedly 
valued by all who like to see our amateurs provided with.songs of real and 
genuine merit, devoid of affectation and pretension, in all senses of the 
word. The new work is a more ambitious one than any other from her 
pen, and has served to show that her talent can rise to higher branches of 
the art of composition than that in which it had been previously exer- 
cised. The work is fuU of tune, but it wants continuity, variety, and 
unity of idea. The writing for the voices is always vocal, as is also the 
writing for the instruments. It is carefully, and, in numy places, in- 
geniously scored, with a prudential avoidance of tuUi passages, and 
attempts at grand effects which have ** shivered the timbers" of so manj 
young sailors on the dangerous waters of the sea of musical composi- 
tion. In her libretto Miss Qabriel has been fortunate in finding words 
of unimpeachable excellence. The cantata is too long for a detailed 
criticism at this busy period of the season ; so, choosing the more com- 
mendable numbers, we must single out, as a beginning, the redtatire 
and aria, " cruel sea," sans by Mdme. Sainton, with the greatest j)oe- 
sible effect. The melody of this song is the best that has Leen given 
us by Miss. Gabriel ; and those who remember the ** Forsaken, (so 
charjiingly sung bv the lamented Catherine Hayes) will know that 
this is no mean praise. The trio, '< Where is the ring of betrothal ? " is 
original, and written with no turgidity or apparent effort ; and the last 
chorus, ** The storm is over," is the best in the work. We are sura to 
hear this work again, and are sure to find it improve on acquaintance. 
The characters are Graziella (the heroine), sung with much force and 
power by Mdme. Parepa ; Gaetana (friend of Graaella), by Mdme. 
Sainton; Andrea (her husband), thoroughly well represented every 
way by Mr. Lewis Thomas ; Ernesto Qover of Gaetana), Mr. Winn ; and 
Iluperto, sung by Mr. Wilbye Cooper in admirable style, as the tenor, 
victorious (as tenors always are), finally married to Graziella. The 
work is interesting on manv accounts, not the least of which is its proof 
tliat some at least of our lady amateurs can see and feel the value of 
the art of music as a study. The cantata was followed by the overture 
to J)ie luati^n Weiber^ or, Li Spori AlU^fri, or, FaUtaff, of KicoUi. 

The first part of the concert began with the overture and prayer 
from MatanuUo. lli. Wilbye Cooper sang a duet with Mr. Winn, •* I 
pescatori," of Gabussi, and proved his title to be considered one of oar 
best English singers. Mr. Wadsworth, a new composer, was fortunate 



enough to have nis name introduced to the public by Miss Banks, who 
sang ** A maiden sat complainins," no douot on other grounds than 
having to sing a song of Mr. Wadsworth's. Mr. Charles Hall£ played 
Dobly, the always new Concert Stuck of Weber ; and Herr Lauterbach, 
a young German violinist, with a powerful tone and excellent style, 
gave the '• Tremolo," of De Beriot. Mr. Lewis Thomas sang " I'n^ 
a roamer," with the dash and spirit it demands, and Mdme. Parepa, tho 
'< Serenade" of Gounod. Signer Kandecger's trio, " I Naviganti," tfxng 
by Atiss Banks, Mr. Wilbye Cooper, anoMr. Winn, ended this pari of 
the concert. 

The band was conducted by Mr. Alfred Mellon, which was a guarantee 
for its perfect efficiency. After the cantata Miss Gabriel was loudly 
called for, and appeared, to acknowledge the hearty welcome her new 
work received. TiDBuar How. 

Miss Rose HxasKEgave a concert at Myddelton Hall, on Friday even- 
mg last, for the Bamsbury Literary Institute, with the assistance of 
BdUdame Helen Percy, Mr. Carter and M. De Fontaoier — vocalists ; 
and instrumentalists, Herr Goffrie, Violin, MM. Lehmeyer and Emlle 
Berger, Pianoforte. The hall was filled, and the audience were well 
pleased with their entcrtaiimient. They obliged Miss Rose Hersee to 
sing three times the new song composed for her bv Mr. Emile Berger, 
entided •* The Knight and the Maiden" and encored M. De 
Fontanier in Adolph Adam's air bouffe '* Le Tambour Major.** 
Mr. Emile Berger was recalled afler his fuUaua on Scotch aire 
0* Waverley"). Herr Lehmeyer and Mr. Enule Berger ^cconipaaied 
the vocil munc* 



Digitized by 



Go ogle 



May 14, 1864.] 



THE MUSICAL WORLD. 



311 



LETIEBS TO THE EDITOR. 
Good Rbasohs fob Bad Oboans. 
8iB, — ^Yonr siiicle on " Good Reasons for Bad OrgBos " is fo correct 
that I am tempted to make a few remarks on the sabject. There are 
English organ-builders who can and do bnild good organs when they 
are mid a Uk price for iheir work, bat so long as wUmited ccmptUtion 
U aUowed hv committees, and the hweti ettmaU accepted, so long will 
there be bad English organs. As a rule, when an organ is required, a 
committee is formed of persons who know nothing of the duties they 
are called upon to perform. They obtain estimates on specifications by 
farions boilders (histead of having a proper specification drawn up by 
some one who understands an organ), then compare them to see who 
offers the largest number of pijpea and reg%gUr$ for the smidlest sum, 
which is simply offering a premium to the builder who can make an 
organ appear the largest on paper — single stops will hare two registers, 
svreral will be deficient of tne lower octave, inexpensive stops with 
fiuBcy names and plenty of mixtures to sweU up the number of pipes, 
bat even here the evil does not cease, members of committees are some- 
times very much to blame. In illustration, I will quote two mstances, 
which could be multiplied, but they may suffice : — Some time since, 
specifications and estimates were sent in for an organ to be erected in a 
church in the south of England, cost not to exceed £300. The com- 
mittee being laree, a sub-committee of five were chosen to examine the 
specifications and report thereon. The minority were in favor of one, and 
oUled a meeting of the general committee ; in the interim, one of the 
five, the mmorUy, informed his favorite builder of the probable result, 
who drew up a fresh specification, ofiering sixty pounds^ worth of addi- 
Uonal work without any extra charge, which was brought forward with 
the report ; the result was an adjournment, and the new specification 
with the report referred back to the sub-committee. The builder whose 
specification was first approved of was applied to, to reconsider his esti- 
mate, and to reduce his price, which he very properly refused, and loet 
the order. The estimate accepted was by a London builder ; the one 
refused, pcovincial. 

No. 2. Specifications were required for an organ to be erected in a 
ehapel in the north, price not to exceed d^60. Amongst the number 
tent in two were the same in price and contents ; one builder was in or 
near the town when the estimates were under consideration, and got to 
know, through a member of the committee, that he was not likSy to 
be socceosfhl ; he actually took off twenty por cent, from his estimate and 
•ecored theorderl 

Of eourse, organ-builders must live hy their work, and if low prices 
are given you must not be surprised to near of bad or^ns, built of un- 
seasoned wood, bad metal, ana deplorable workmanship, which is only 
found out when it is too late. I have seen organs without a particle of 
tin in the pipes, with the exception of what is contained in the solder, 
wood composition pedals, deal upperboards, spruce used for fitting up, 
iiiany parts of the internal work finished with a jack plane, but with a 
showy key board and fine dnw stop knobs, names given to stops quite 
ftjreign to the pipes in the organ, either from the ignorance of the 
builder, not knowing the nature of the stops represented, or for cheap- 



With rejiard to the Doncaster or^n, it is composed of good mate- 
rials, judiciously disposed, and no stmt. The workmanship is good, 
and the tone excellent ; further, it contains a greater variety of tone in 
the flue work than any other organ I liave yet heard in England, 
though I think another, now erecting by the same builder in South 
Shields, will surpass it. 

You refer to Ducroquet's fine piece of workmanship exhibited in 
1S51. Such machineiy in an organ has never been constructed in Eng- 
land, though in Paris it u generally adopted. I have had the privi- 
lege of examining several orsans in course of construction by the same 
bulder, and the work was of the same quality, but this was noteon^u 
ti n w9ork. I have heard it said that when things come to the worst 
they must take a turn. It is so in organs; the evil is now likely to 
care iteelf. Already I hear of builders who refuse to estimate when 
they learn that the cheap bm'lders have been invited, and this refusal 
naturally leads to inquiry. There is some talk of two of the leading 
builders in London forming a limited liability company, with a view of 
domg away with the sharp competition at present existing. May good 
roolt from it, though I do not see how this can cure the evil. I should 
be ^ad to hear the opinions of other organ-builders on the subject ; in 
the meantime I beg to subscribe myself Onb of the Cbaft. 



Sib, — ^Being in the neighbourhood on Saturday last, I raiTd over to 
Newcastle to hear the organ at the Town Hall. Mr. Rea gave the G 
minor Pedal Fuge by J. S. Bach — slow but sure—the overture to £uy 
Bias (Mendelssohn), and the Egmont march (Beethoven), with some 
lighter pieces between. The organ, though rather fierce^ is a grand 
ioetmiiientt ^xA Mr. Rea makes the most of the resources at his 
eonunand. The overtwe wm|j»pitally played. . ^^ 

jrewcatth-yfm'Tynie. 



Sib,— On my way from the north I halted at Doncaster on Sunday 
morning, May 1st. On attending the evening service Mr. Rogers, by 
his admirable performance, proved that both his organ and himself are 
worthy of all praise. I was somewhat sceptical as to all that had been 
said about the instrument. But the beau^ of the gambas and flutes, 
the resonance of the pedaU^ and the prodigiotu mate of tone from the 
full organ, came out in a way that seemed almost a defiance of criticism. 
The service was Arnold in A ; the anthem, <* God is my hope and 
strength.'* The concluding hymn was sung by choir and congregation 
in admirable style, and iheout voluntaiy was a fantaeia in D minor. 

I>onea9ter. * * Pkteb Pbdal Pifb. 

ThB SbBVICXS at WoBOBSTBB OlTBBDBAL. 

Sir,— The Athenmum of Saturday contains the following very 
erroneous statements : — 

"At a late meeting, held with the view of • completing the extensive works 
of restoration in the Cathedral at Worosster, the Bishop of that see took tho 
opportunity of expresstm; his wish that tiie serrioe-music performed there 
should be more congregational and less choral, and of deprecating the custom 
of holding triennial musical festivals in consearated bnildiiigs. Since the days 
when Newton, of Olnej, fulminated against Handel, with equal zeal and want 
of knowledge; tbe question has been always a debated one. Should the 
Bishop's counsels prevail, the mieetinga of the Three Choirs will receive a vital 
blow.'^ 

The readers of MtUtoniana know that the Bishop of Worcester 
said nothing of the kind attributed to him here, and tJiat the only 
person at the meeting who supported such opinions was tJie Earl of 
Dudley. It is of more consequence to point this out than mAj be 
thought at first, when we reflect on the comparative influence of the 
opinions of the two Peers ; and it seems almost necesuiy to point 
out the blunder or misrepresentation of the Athenasum because^ 
perhaps not unintention&Uy — ^from some cause or other not very 
intelhgible, that very flat sheet never meddles with Worcester 
Cathedral except to misrepresent something or the other. 

1 am, Sir, Luxe Double. 

Woreetter, ShamUea, May 11. 



CAROLINE BETTELHEIM. 
FBAmiEur CiBOUNB Bbttelrbix, Prima-Donna at the Imperial 
Theatre, Vlemia, now recognised as one of the first contralto singers 
in all Qermany, was bom in Pesth, on the 1st of June, 1846, and edu- 
cated in Vienna as a pianist. On the pianoforte she attained, under 
the durection of the well-known professor, Carl Goldmark, such profici- 
ency, that, at one of his concerts in the year 1861, she created a perfect 
furor. At the same time she made great progress in singing, and 
obtained, in the same year, an engagement at the Imperial Theatre, 
Vienna, where she is now accepted as one of the most accomplished 
artists of the day. In a short time she not only became a great 
fiivorite with the public, but was sought for in the highest circles of 
the aristocracy, and invited to all the concerts at court. In fact there 
was no concert, no oratorio, without Fraulein Bettelheim. Her success 
was so immense, that invitations one afler the other followed from all 
parts of the country. In the beginning of December, 1868, she went to 
Leipzig and Bremen as singer and pianist, and created such excitement, 
that the critic, quite puzzled, hardly knew whether her vocal or instru- 
mental performance was to be preferred. Fraulein Bettelheim is not 
only largely indebted to nature, but has received a first-rate education. 
Her singing is noble and full of expression, and her acting lively and 
animated. Her voice isa powerfhl and pleasing contralto of great compass, 
comprisiDg nearly three octaves, from the deep D to the high C. Her 
appearance is extremely prepossessing. She has a very intelligent 
F&jrsiof^nomy, large black eyes full of fire, and a most graceful figure. 
Fraulein Bettelheim has a great future before her, not only on the 
stage, where she appears in the parts of Azucena, Maffio Orsini, Nanc^^ 
Gondy, Pierotto, Bertha von Simiane, Fr. Reich, Maddelena, etc.— but 
also in the concert-room, sacred and secular. Her beautiful,. deep and 
sonorous voice exercises great power over the mind and heart of every 
hearer. .As a sign of Mdlle. Bettclheim's uncommon talent it may be 
mentioned, that although she had never put a foot on the stage before, 
she was entrusted, after scarcely a twelvemonth's engagement, with 
the whole of the principal contralto repertory. — Vtenna Preeee. 



Mb. Qeoboe Case and Miss Gbaob Eoebton (Mrs. Case) sailed on 
Thursday, the 12th, for Sydney, New South Wales, in the Monarch, 
from Plymouth, uoder an engagement of Mr. E. T. Smith. 

M. WiBNiAwsKi is in London. He will make his first appearance at 
the next (the 15Ut) MoQday Pppulav Concert 

Mb. Vixoent Wallaoi has returned to London^-^ 



Digitized by 



v^oogle 



112 



THE MUSICAL WORLD, 



[May 14, im. 



MONDAY POPULAR CONCERTS. 

ST. JABfES^ HALL. 

THJB ONX HUnDBKD AJVB FZVT7-TIB8T OONGXBTi 
MONDAY BVBNINQ, MAT 16, 1864. 

FI£8T AFFSABAMCK OF 

M. WIENIAW SKL 

FABT I. 
QtJABTET, In D iitt|or, Op. 44, No. 1, for two Ylottnf , VIolA ud 
Yiolonello— MM. Wicidawsei, Cauooui, Soiuubs mmI Putti 

BONO, ** O niddinr thMi the oharnr '*^Mr. Sinur .... 

BONO, •*L'aIr da BoMlgnol** (£<• Snm-U /mmmMj— MOllt. 

EHiQQur FMorJfiMM. 

PABTITA, In O, Ibr PiMiolbrto ftlooo— Mr. Cbiblu Bujl* • v 

PABT II. 
QUABTBT, In F, Op. 69, No. 1, Ibr two Violin*, VloU and YlolonoeUo 
—MM. WnaAwm, OiuoDin, Bohuvu uid Putti • 

BONO, ««TheVnUt3r"-.Mr.8AiiTLiT 

BiVEDI8H80NOB-MdU«.BinqiinT ....*.. 

SONATA, in C minor, for Pinnolbrta ud Violin— Mr. CHinLss Halls 
and M. Wisvawskx 

Condnolor • MB. BBNEDICT. 

To opmiMiMi 9l Eighi o*cteek prteliely. 

NOTICE.— It It refpeetftilly nygMtod that tnch pertona u art not dttfroot of 
remainin g tillt lio end of Uie perform ance oan leave cfMer fi^ert ik$ etmmmteemmi 9f 

to liear the whole may do to without intermption. Between the latt Tooal piece and 
the Sonata Ibr Pianolbrte and Violin an interval of nra MuniTBt will be allowed. 

Sofh Btallt, fit. ; Balcony, St. ; Admittioo, It. To be had of Mr. Ausnir, at 
the Hall, 28 Plcoadilly ; Mettn. Chappill * Co.. C0 New Bond Street, Ac., Ac. 



M 



ONDAT POPULAR CONCERTS, ST. JAMES'S 

__ HALL.— On Monday Ereninff, May 38, Hon JOACHIM wUl make hit 
fTrtt Appearance thit Beaton, and will lead Beethoren^t Batonmowtki Quartet in C, 
and a Quartet by Haydn. Pianol5rte, Madame Ababilla Oodoabd \ violoncello, 
Signor FiATTii Vocalitt, Mlit Bambb i Conductor, Mr. Bbwbmgt. Bolh Btallt, fit. ; 
Balcony, at. ; AdmittlOtt, It. Tlckett and Prognunme at ChappeU h Co.1t., fiO New 
Bond Street I and at Auttln't, ifi Piccadilly. 



ERNST'S CONCERT.— MONDAY POPULAR 
CONCEBT, St. JAMBft Hall, Monday Evening, May 80, en which oceation 
a new Qmurtet and other Compceltiont by Herr Ennar will be permrmcd. Pianoforte, 
Madame Ababilla Goddabd and Mr. Chablbb Balls; Violin, Herr Joacbix 
and Big. Bivobi. Vocal!ttt, Mdlle. Bittblbbim, Mr. Bastlbt and Mr. Sm* Bbbvbs. 
Conductor. Mr. Bbsbdict. Bote Btallt, 10a. fid. and fit., may be obtained of ChappeU 
* Co., fiO New Bond Strtct. 



R. CHARLES HALLO'S PIANOFORTE RECITALS 

(Br. JAMia's Hall).— The FOUBTH BECITAL wUl take place on Friday 



M 

Alternbon, May 27th. To commence at Three o'clock prtdtely. 
Past I.— SooaU, in E flat. Op. 17, Na 1 (flnt time)— Haydn. ** Barpelchord Lee- 
tons,** in O, D, and A major (repeated by detlre)— Scarlatti. Variationt and Finale 
Alia Fnga, In £ flat. Op. 8fi (flnt ttme)-Beethoven. Pakt IL— Qrand Sonata. In A 
minor, Op. 42— Sconbort. ** Klndencenen,** Op. 18— Schumann. Prelude and 
FngDc, in fi minor. Op. 3fi, No. 1— Mendelieohn. Btndlet, Op. M, N a 14, in E flat 
minor, and No. 15, In 6 flat, «« La Chatte.** Study In B flat (flnt time)— HeUer. 

Soflt Stalls, lOi. fid.t Balooay, 7t.; Unreserved Boate, 8i. Tieketo may be 
obtained at ChappeU and Ca's, fiO New Bond Street; Cramer and 0>.'t, BMcnt 
Street ; and at the HaU, 2fi PicoadUly. 

irOTICBB. 

To Advebtisebb.— 7Ae Offict of The Musical Wobld it af 
Messrs. Duncan Davison & Co's., 244 B^tmi Street^ corner 
of Little Argyll Street (First Floor). AdverOeements received 
aslaUas Eleven o'Clock A.M.y on Fridaye^-hut not later. Pay' 
meut on delivery. 

To Publishers and Composers— Jifi^tc far Review must he far- 
warded to the Editor^ careo/MESSBS. Duncan Davison & Co., 
2U Rgyent Street. 

To Concert GlVERS.~iVb Benejit-Concerty or Musical Perfarm- 
aitce, except of general interat, unless previous^ Advertised^ can 
be reported in The Musical Wobld. 



DEATH. 
On Saturday, May the 7tb, Jobh Custton, Esq., the well-knovm 
Flautat, at hifi reridenoa, Paroy Btnet^BadM Squaro^ aged 54. 



LONDON: SATURDAY, MAT U, 1864. 



T 



HE letter of '' Mr. Simon Half,** which appearcd in our bafc 
week's impreBDon, has elicited a world of ooireBpoDdence ; bat 
from among the many commnnicationa addresBed to us we are 
oompelled to reBtriet oonwlveB to the one which on peruBal aeemed 
most to^the point, and therefore most deaerving of attention. We 
sabjoin it without further preliminaiyJ 

THE ENGLISH OPERA ASSOCIATION. LIMITED. 

Sm, — ^Allow me to refer your correspondent, < Simon Half/ todauie 
zvii. of the Joint-Stock Companies Act, wherein I think he will find 
that at least a portion of the information he seeks is easily obtainahLe, 
even if he is not a shareholder in the company. « Once, at least* in 
every year a list shall be made of all persons, who, on the fourteenth 
day succeeding the day on which the ordinary general meeting of the 
company, or, if there is more than one ordinary meeting in each year, the 
first of such ordinaiy general meetings is held, are LoiderB of shares in 
the company; and such list shall state the names, addresses, and 
occupation of all the persons therein mentioned, and the number of 
shares held by each of^ them, and shall contain a summary, speeifying 
the following particuUrs : — 

'* 1. The amonnt of the nominsl capital of the company, and the nembsr of 
ahans into which it is divided. 

2. The number of shares taken from the eommencemtnt of the oompai^ up 
to the date of the sunmary. 

8. The amount of calls made on e§i6k share. 

4. The total amouit of calls that hare been receiTed. 

6 The total^amoont of calls unpaid. 

6. The total amount of shares forfeited. 



" Such list and summary shall be completed within seven days after such 
fourteenth day as is mentioned in this section, and a copy thereof, 
authenticated by the seal of the company, shall forthwith 



to the registrar, and anv person mav iaqpeet and take cosies of IbBjaHf 
Sulgect 1. The regulations under which a person is herdnafler declared 
to be entitled to inspect and take copies of any document kepi by th^ 
registrar. 

*' Clause zrSi. imposes a penalty of £6 per day for ereiy day after ths abeie 
mentioned time that the company shall n^ect .to lodge such retom with the 
'registrar. 

** Clanse zsliL states that soeh register at the ofBoe of the eempaqy shall be 
open to the inspection, of sny shareholder ^ro^ti^ end to the inqpeotaoa of aaj 
other nenon (not a shareholder) upon payment of one shilling* ths eompaay 
being liable to a penatty of £2 for each rsfasal to allow such inspection.'' 

The English Opera Association, having been in eziatenee three 
years, should have made at least two such returns as are eon* 
templated by the act in the clauses alluded to. Thua much aa 
to share capital. With reference to expenditure and UahOitiea 
the act specifies that the books shall be kept by •* double entnr," thus 
enabling the financial poeition of the company to be asoedained at any 
moment ; and Table B, under the head of 'Accounts,' states thai ** the 
books shall be open to the inspection of the shareholders during the 
houn of business.*' There need , therefore, be no difficulty in obtaininK 
all the information, of which your correspondent seems so desirous, boa 
I hardly think that the EngUsh Opera Association can be called upon 
to pMish such information for the benefit of the world at Urge. — I am^ 
sir, youn obediently, LATxvDBa Prrr. 

P.S. — Pny find room for the above. No one can compel, or indeed 
have the ri^^ht to ask, a company to publish a statement at any other 
time than that of the general meeting, and then only for the ahare- 
holdess.— L, P. 

It win be Been in another oolumn that ''Mr. Half *" resnmes thtt 
discunion, and that he promiaea to continue it. All we wiah to be 
understood is that The Musical World advocates neither Me. Oar 
columna are open to the promolyMaon of every opinion which has fair 
argument to support it— with the single stipulation that no per- 
aonality, no acrimonious remark^ ahall give bittemeoi to the ooai* 
trov e ray. Aa f ar as our own feelings are concerned we should 
rejoice indeed to see a National Opera eatablished on a firm bnain, 
and wiah every possible succeBS to the new-bom and apparently 
straggling AsBodatifon. TUiwithdaedflieraiceto''lfr.Hall,** 



Digitized by 



Google 



May 14, 1864. 



THE MUSICAL WORLD. 



813 



THE ENGLISH OPERA. ASSOCIATION, LIMITED. 
What is its Financial Condition? 
' To ihe Editor of the Mubioal World. 

SIB,— I b»Te had aoceas toofBcial documents of the English 
Open ABBOciation, which enable me to famish reliable; inf9r- 
maiion about the financial reBonroes of ihe concern as they stood 
in July last. 

It appears that the Assodatioa wasptegistcred in June, 1861, by 
Messrs. Balfe, WaUace, Weiss, lidel, and others, who subscribed for 
ten shares each. In the first year-— that is, up to July, 1862 — 
only 1825 shares had been subscribed for on which £609^in cash had 
becoi paid. As far as July, 1863, the totalj^number of shares sub- 
scribed for was 2630, and the amount of money paid was the insig- 
nifieant sum of £1374, leaving a balance of £1256 owing by share- 
holders. The total number of shareholders was 112. This was 
the actual position of affairs in July, 1863 ; since when, a spasmodic 
effort has been made to increase the capital by appeals to the public, 
through the medium of costly adrertismentB*— but from aU I can 
ascertain, with no material result. The shares are a drug in the 
market, and have been so for the past three years. With regard to 
the amount of money the Associatibn has now in hand, there .'can- 
not be mueh. The Itotal receipts in two years amount,*a8 I haye 
said, to £1374 ! During this period, many eipenses |haye been 
going on— 4uch as secretary, derks, rent of ofi&ces,7postage, 
stationery, law costs, accountant's charges, adrertdsments, &c., 
onaToidable in the working of a joint-stock company. Taking 
a Tory moderate view of the matter, it is questionable whether the 
£1874 paid up is sufficient to disourse tte responsibilities incurred. 
Let us suppose the following scale of expenditm^ to have been 
adopted during the first two years of the Association's existence : — 

Secretary— 2 years, at £150 per annum . £800 

Clerk— „ 100 „ . 200 

BeotofOffioea^,, 80 », . 160 

Begistntlon Fees 20 

LawCotU 100 

Stationery, Books, ^^c . • . . 150 

Printing 200 

PosUge 100 

Total . . . £1230 

Deducting this sum from the capital receiyed, the result is : — 

To Capital Paid up £1874 

To Expenses, per estimate . 



Balance 



1230 
£144 0. 



Berides the expenses enumerated, other outlays, including a heavy 
mm for advertisments, havie been requisite, quite sufficient to use 
up this balance of £144 — ^to say nothing of what is owing by due 
from shareholders. 

Now, with respect to the progress the Association has made in 
two years : — in the first thirteen months — ^that is from June, 1861, 
to July, 1862— only 1825 shares were subscribed for ; in the next 
twdve months, viz., from July, 1862, to July, 1863, only 805 
additional— many being taken by members of the profession, in 
expectation of getting employment. 

Here is a rapid rate of proppress in a national institution, intended 
to advance the cause of music I Here is an exhibition of strength 
to justify the loud-sounding pledges of the prospectus ! What 
rdiable security do these sha^olders possess, that the Association 
win o|)en its doors for a number of seasons, and realize the promised 
*' privileges to shareholders *' in the form of admissions according 
to the amount of capital paid up ! What security is there that it 
win ever commence DusineBS at all? Is it the £144 of capital, 
which it is to be hoped had not been spent in Jul^, 1863 ?— or is it, 
tliat every arrangement of the Association, involvmg responsibility, 
IB to be xnade on the basis of credit, in which no one is to be directly 
Teq;K»sibIe? If the latter, where must the inconvenience end to 
an who are interested? The result will, indeed, be a sad one ; 



* Aa wiA at fa$(lieiftisg ciroahts* 



for the hopes of success which have been raised cannot possibly be 
realised; and many hard worked professional persons, to whom 
a few pounds are of more or less real consequence, who have 
been induced to tske shares, in the belief that the Association 
wovdd prove a blessing to them, are doomed to disappointment. 
Thdr only satisfaction will be to find the small sums they have 
invested m shares absorbed in paying the salaries of officials, &c. 
The idea of the Association ever opening Covent Garden Theatre, 
unless the fimds are largely increased, is Utopian ; and the sooner 
subs^bers undeceive themselves the better. 

Of course, I do not know the precise number of shares subscribed 
at the present moment : but I hone it is suffidentiy large to justify 
a hmk that some littie confidence may be repwed m the 
financial powers of the Association. It is quite clear that until a 
oonsideraole sum of money is paid up, to meet liabilities, the enter- 
prise cannot be safely trusted. It wiU be for the committee of 
management to give information on this all important subject, and 
thus fUlow an opinion to be formed. Let the commercial character 
of the AsBOciation be clearly and promptly revealed, in order that 
artists Twho can ill afford to lose money) may know the ground 
upon wnich they are treading. 

Being in possession of full particulars with r^aid to the number 
of shares held by each member of the committee, and also with 
regard to shareholders generally, I will, in a future letter, draw 
attention to these points as well as to the general management of 
the Association. — ^X am. Sir, your obedient servant, 

Simon Half. 

f ■ 

MEYEBBEEB.* 
I. 
rpHE civilised world is poorer by a great man ! On the 2nd 
jr Ma;f, at six o'clock in the morning, Giacomo Meverbeer died 
atlParis, in his 7l8tyear. Berlin, his native city, will feel the Iosb 
severely, and Paris voll feel it no less severely ; in neither city will 
his place be easily filled. What Art loses in him, is something 
which, shaken as we are by the first tidings of his death, we 
cannot yet estimate ; artists, however, will henceforth miss a col- 
league always ready to appreciate their efforts, while the needy 
amonff them will have to r^p^ an active benefiactor and a warm 
frien£ We want no monument to keep him present before us ; 
during his lifetime he erected one for himself in tiie hearty of two 
great nations. Germany and France call him with equ^ right 
their own. No one represented, like the Deceased Master, the 
oonnectinff link in the Ajt-tendendes of the two nations. To the 
more ideal view of art, which is peculiar to Germany, he united the 
feeling for outward magnificence and effect, to which the French 
lay claim ; the two sty& combined charmed equally both nations* 
With the power of magic, Robert le Liable, Lea Huguenots^ and 
Le Prophke, have worked and still work upon us I Since the 
great masters of the Art, no one, perhaps, has ever become more 
popular than Meyerbeer. Wherever th^ are theatres in 1^ two 
hemispheres the multitudes fiock to his operas. During the winter 
just passed, Berlin has lost many men of importance and influenoe, 
but tne last blow was the heaviest, for, as we have aheady said, 
it does not fall upon us alone ; whoever takes a delight in music 
wUl join us in oeploring that Meyerbeer's lyre is for ever dumb ; 
that its strings will no more re-echo with those sweeping and in- 
toxicating strains which so quickly and so irrewstibly found their 
way among all peoples. Whether anything from the papers of the 
celebrated Deceased will be given to the public is assuiedly a cir- 
cumstance about which he himself has left directions ; for be was a 
careful father, who sent none of the diildren of his intellect into 
the world, without their being well endowed, and brought to the 
highest possible pitch of perfection. We must reserve, for more 
tranquil consideration, a detailed estimate of the merit of the 
Deputed One. These lines, written under all the agitating in- 
fluence of the mdancholy news, are simply devoted to the mournful 
duty of placing that news at the head of a paper which has so often 
heralded his triumphs. 

May the words of the poet, who has aided us Germans in sup- 
porting so many heavy lones, be to-day again our consolaticm: — 

" Denn er war nnaer ! mag der stolxe Wort 
Den heiben Bohmerz gcwaltig Ubert5iiai." 

^ iremMutik'ZtUm^(fi9^ ^ 

Digitized by V^:iOOQIC 



814 



THE MUSICAL WORLD. 



[May 14, 1864. 



n. 

WHEN, in our last number, we commenced giving the biography 
of Meyerbeer,* according to M. Fetis, we had no idea tnat 
it would «o soon become a necrology. The great compoeer died in 
Paris on the 2nd May at six o'clock in the morning. He fell a victun 
to a cold in the abdomen, which at first had no appearance of ending 
in the fatal manner it did. . £yen as recently as a week previous to 
his death he was so well as to think of setting out upon a ioumey. 
During nearly the whole period of his illness he retained his con- 
sciousness ; only towards the end he was attacked by weakness, 
though without any pain. His departure from this life was a 
gentle transition. 

He left minute directions with regard to what is to be done 
with his mortal remains. The corpse is to be laid out and watched 
for three days in Paris, and then conveyed, by the road he has 
fixed upon, to Berlin, where his will b to be opened. His daughtm, 
who had been summoned from Baden, arrived in time to receive 
his last brea^. 

Since last October he had not left Paris, so that he might per- 
sonally superintend the eetting-up <^ his Africaine^ for the per- 
formance of which he thought he had at length found efficient 
artists. These, according to report, were Mdlle. Sax, Mdlle. Battu, 
and Herr Wachtel. Rossini is said to have been the first, on the 
receipt of the fatal news, to hurry off to the house of death. 

The sad event has given rise in Berlin, the birthplace of the 
Master, to researches regarding his birth-day. The examination 
of the register of births for the Jewish community there proves 
that Jacob (Meyer^ Beer, son of Jacob Herz Beer, sugar-boiler and 
banker (who died m 1825), was bom on the 2drd September, 1791, 
and, consequently, had attained the age of seventy-two years, 
seven months, and a few days. At a later period of life he assumed 
the pnenomen of Meyer, in conformity with the will of his grand- 
motner (or aunt, as some sav^, who bequeathed him a considerable 
fortune, but he did not call himself Giacomo Meyerbeer tiU he was 
in Italy.f 



NOTICE. 
In consequence of unusual press of matter our notices of the 
third New Philharmonic Concert, and other important matters, 
are unavoidably postponed until next week. 

H. Levassor. — M. Levassor is again among us, with his comical 
acenes and stories, or, to use his own language, * Levasspr" is ** en 
vuife" The more this admirable artist is seen and heard the more is 
he likely to be appreciated. Without change of costume, without 
scenic accessories, iie produces his efTect-s by the aid of sheer humor, 
which displays itself under a thou>and different aspects. While his 
■ ** fun " is most exuberant, his gravity is most insuperable, and he has 
the rare art of making an audience roar with mirtti, while he himself 
appears unmoved. His newest morceau, entitled J.e Mai de Mer, con- 
sists of a dialogue between an English dramatist, represented by 
liinisclf, and the captain of a steamer, played by an asi-istant. It is an 
essential quality of the Englishman that he talks bad French, and, old 
as this Joke is, it becomes new from M. Levassor's treatment, 
rrobably, if he launched out in our vernacular his English wonld be 
even worse thau the French of the satirized Briton, but he cautiously 
limits himself to a few words, which he pronounces with scrupulous 
correctness, while in the Anglican French he riots ad libitum. The 
stoUd demeanour of the English traveller, the pomp with which he 
shields his own ignorance, his easily titillated vanity, are all admirably 
sustained, till the drollery takes a new turn through the effects of the 
sea, and the advance of the *' mal de mer " is portrayed with inarvellons 
aptitude. As a farcical contrast to this highly-finished scene we have 
Jjee Coeaeeeret de la Dance, in which M. Levassor, himself a host, per- 
forms the work of a whole ballroom, executing in succession, 
quadrille, valse, polka, varsoviana, cotillon, and " grand pas." In some 
of hb pieces he is assisted by Mdlle. Tessibre. 

* Niederrheinieeke Muiik-Zeilung. (Cologne.) 

t In r«ference to our statement ooneeming the completion, by Meyerbeer, 
of an unfinished open by C. M. von Weber, we have been informed on good 
authority that Meyerbeer oeitainly made Weber's widow an o^Ter to complete 
the opera in qnestion (Z^te Drei FinUfe), bat that his other occupations would 
not allow him leisure to do so. The libreUo was written by Theodor Hell, but^ 
according to Meyerbecr*s own statement, afterwards re-written for him 
(Meyerbeer) by Mad. Birch Pfeiffer. Weber had finished someQiing more 
than the firrt aet ol this opefi. 



MONDAY POPULAR CONCOBRTS. 

The 150th performance since the instituUon of these entertainments 
was given last night, in the name of Madame Arabella 
Goddard, who has been professionally connected with them from the 
beginning (in February, 1859). The history of the musical art, in this 
or in any other country, offers no precedent for the success of the 
Monday Popular Concerts— an average of thirty of which have been 
annually held for five years consecuuvely, with no other attractions 
than string quartets and quintets; pianoforte solo sonatas; duets, 
trios, quartets, d;c., with accompaniment of string instruments ; and 
two or four vocal pieces, according to the general character of the 
selections. The executants have doubtless been of the first class ; but 
the real secret has been in the music, which is of a sort that can never 
wear out, and the repertory of which wonld provide materials for 
1,000 concerts with a new programme at each. Some pieces; however, 
will bear frequent repetition, and, indeed, are constantly inquired after, 
so that there seems to be little chance for a long period to come of 
getting through even half of what the greatest masters have 
bequeathed us. This, however, is in favor of the durability of con- 
certs which cannot be attended too regularly, inasmuch as every 
hearing of such music as they are the means of bringing forwaid 
entails a certain amount of good. Haydn, Mozart, Beethoven, and 
Mendelssohn were quite as much in love with tJieir sonatas, trios and 
qiurtets as with their orchestral symphonies, and quite as muoh in 
earnest while composing them. ' It is the duty, then, and should be the 
pleasure, of whoever reverences the names of those illustrious men-— 
men for all time and for the world at large— to become acquainted with 
works on the production of which the authors themselves ezpepded so 
much pains, in the cultivation of which they took such delight, and 
on the excellence of which, as firmly as upon anything that came from 
their pcn!>, they rested their claims to the recognition and gratitude of 
posterity. The public career of Madame Arabella Goddard from the 
beginning procUumed her a holder of this creed ; and the approval 
with which she has been honored can only have served to strengthen 
her conviction of its soundness. Her programme last night — when St. 
James's Hall was literally crammed to suffocation — was just such a 
programme as might have been expected from her antecedents and 
from those of the Monday Popular Concerts. It is short enough, as 
well as good enough, to be cited : — 

Qoartet, in D minor, strings Monrt. 

&»nf , ** tn mj wild monntain vjilley,** ... ... " ... Benedict. 

Song, ** Sing, Maiden, Sing '* W. S. Bennett. 

Sonata in K flat. Op. 31, No. 3, pianoforte ... Beethoven. 

Sjuarlet, In B minor, for pianoforte and strings Hendelisohn. 

ong,*'Ad«IaIda** Beethoven. 

8ong,*«Zalelka** MendelSMrim. 

Sonata in G, Op. 30, pianoforte and violin BeetlMven. 

Conductor, Mr. Benedict. 

A finer performance of the quartet in D minor— one of the most 
beautiful of the six which Mozart, in such warm and affectionate 
terms, inscribed to Haydn, his enthusiastic admirer, intimate friend, 
and at that epoch only possible rival — has probably never be^ heard 
than that of Signer Bivori, Herr Ries, Mr. H. Webb, and Signer Piatti 
on the present occasion. In each of the other instrumental pieces the 
concert-giver was herself engaged. The sonata of Beethoven, pertiaps 
the most beautiful and certainly most fitnciful of the set of three to 
which it belongs — although by no means easy to play with fluency and 
correctness, more especially the characteristic final orecto — demands 
poetic feeling and varied expression, no less than nicile execution. 
The quartet of Mendelssohn—the last and grandest of three which, 
considering the age at which they were written, have no parallel in the 
musical art— is not merely a composition full of fire and genius, but a 
positive avalanche of notes. The only interval of repose is fbimd in 
the melodious andante, the ** cloying sweetness " of which the composer 
excuses in a letter to his &ther on the plea that it causes the tcMno^ 
immediately following, to sound all the more vigorous and brilliant. 
The first aUs^re^ the echerao (earliest of those extraordinaiy movements 
which, more vividly than anything else, reveal the powerihl and inde- 
pendent originality of Mendelssohn), and the finale are as im- 
petuous in style as they are in fancv exuberant and in conduct masterly. 
Beethoven's sonata for piano and violin (the last of three dedicated 
to the Russian Emperor Alexander— to which set the puxd. sonata in 
C minor belongs) is one of his most joyous and sparkUng inspirations. 
In all these pieces Madame Arabella Goddard was happy enough to 
create such an impression as proved that her eflforts were thoroughly 
appreciated by the vast audience for whose entertainment she was per- 
forming. In the qoartet she was admirably supported by Signor 
Sivori, Mr. H. Webb, and Signor Piatti— the last of whom, where 
the theme of the andante is allotted to the violonoello, played with 
a richneM of tone apd a perfection of phrasing that any singer might 
envy. In the sonata Maoame Uoddard had the good fortune to be 
associated with Signor Sivori, whose CQa^g ffA vxeention of th« 



Digitized by 



Google 



May U, 1864.] 



THE MUSICAL WORLD. 



315 



Tiolin part in each of the three moyements were irreproachable. 
With nnre exceptions— although it came at the end of the concert — 
the entire anaienee remained to listen to this genial work of 
Beethoven, which has seldom elicited heartier applause. 

The vocal music could scarcely have been better chosen. The 
plaintive romance from Mr. Benedict's LUy of KUlamey^ and the 
beautiful song of Mendelssohn (to 'Goethe's "Suleika") were sung 
with genuine feeling by Miss Baoks ; while Mr. Sims Beeves, both in 
Professor Stemdale Bennett's graceful canzonet and the immortal 
•* Adelaide" of Beethoven (accompanied by Madame Goddard), 
delighted the audience beyond measure. ** Adelaide "—which he has 
never on any occasion sung with more genuine expression and refine- 
ment—was loudly called for again ; but Mr. Beeves, following the 
example already set bv Signer Sivori (after the minuet in Mozart's 
quartet), respectfully declined the compliment. Mr. Benedict ac 
accompanied his own romance, and the songs of Bennett and Mendel- 
isohn—how it is unnecessary to add. 

At. the next concert M. Wieniawski (the first violinist who ever 
idayed at the Monday Popular Concerts) is to lead the quartets.— Timet, 
Ma^ 10. 



MONDAY POPULAR CONCERTS. 

The IfiOth concert, on Monday, was for the benefit of Madame 
Arabella Ooddard. Seldom has so vast and brilliant an audience 
assembled in St. James's Hall. The name of the young and gifted 
lady, who, with queenly dignity, has held the sceptre of the pianoforte 
since 1859, when the Monday Popular Concerts were instituted, and 
the attraction of a programme crammed full of interest, were quite 
enough to account for the overflowing attendance. Nor was anyone 
disappointed in the anticipated treat. A richer feast of mu&ic'was 
never offered to a music-loving crowd. It was worth the money to 
hear Mozart's Quartet in D minor— played as it was by Sivori, L. Uies, 
H. Webb, and Piatti. It was worth the money to hear Sims Beeves 
give Stemdale Bennett's canzonet, *< Sing, maiden, sing," with such 
unaffected expression, and Beethoven's ** Adelaide '* (accompanied by 
tiie concert-giver) so divinely. Then there was Miss Banks, as 
pleasingly unobtrusive as ever, with two of her prettiest songs— Bene- 
dict's " In my wild mountain valley,*' and Mendelssohn's ** Suleika '' 
{No. 1)— both gems. Last not least, Arabella Goddard herself seemed 
inspired. Never has she played Beethoven's music with more soul, or 
Hendelseohn's with more fire and irresistible entrain. The poetical 
■onata in £ flat (Op. 31), with its magical preeto, and the vivacious 
sonata in G, Op. 80 (with Sivori, as violinist), were the excerpts from 
Beethoven; the wonderful quartet in B minor (Op. 8)— which 
Mendelssohn himself used to love to play — was the specimen from 
Meudelseohn. All three were literal perfection, and all three were 
^iplauded with rapture. The whole concert was a triumph, and added 
a new laorel to tae alreadv overcharged brow of Arabella Goddard. 
Hr. Benedict (As could not have been absent) was conductor. 

Next Monday (161st concert) M. Wieniawski plays. 



ROYAL ITALIAN OPERA. 
On Saturday, the Barbiere of Roosim, with three of Roeini^a best 
liTing interpietera — ^Adelina Patti, Mario, and Rcmooni. Overture 
encored. *'Bel' raggio^' for Roflsini^s LeaBon. Brilliant flucceaa 
(see another pAge)* On Monday, Le Propkkte — second time. Same 
impression. On Tuesday, the Barbiere again. Same impression 
as on Saturday. On Thursday the Huguenots — ^first time — with 
Pauline Lucca (Valentine), Faure TSt. firis), and Atry (Marcel). 
First abearance of Faure, and Atry^s first appearance as Mburcel. 
Lucca m (apology). Mario transcendent. Particulars in next 
number. To-ni^t, Robert le Diable — ^first time. 

Baker Butcher. 



HER MAJESTY'S THEATRE. 
FalstaffyrdA repeated on Saturday, Tuesday and Thursday, with 
continued sacceaB. Mdlle. Beretta now dances at the end of the 
opera, instead of between the first and second acts. Tani mieux^ 
tte is all the more welcome. Butcher Baker. 



HxEB JosKFB Joachim is expected on the 2(Hh inst. On the 28rd 
he ia to play one of Beethoven s Rasamowsky quartets, a prelude and 
fogae of Bach, and a sonata with Madame Arabella Goddard at the 
l&nd Monday Popular Concert. 

Sio. SivoBi leaves London for Paris, to-day ; he will return, however, 
the. week after next, to play as a volunteer at the Monday Popular 
Coneeri, whieh is announced in the name of Herr Ernst for the 80th 
insk The fiici does the accomplished Italian artist honor. ' 



MR. RANDEGGER'S NEW OPERETTA— 
*• THE RIVAL BEAUTIES.*' 
( To the Editor of the Musical Wobld J 
Dead Sib, — The brief notice contained in last week's Musioal 
"World of the above work, which lias just been performed in Loeds 
for the first time, is scarcely sufficient, I think, for the undoubted 
ability and excellence which it possesses. With your pennission, there- 
fore, I propose to give you a further account of the «* Bival Beauties," 
and to endeavor to do that justice to Mr. Randegger's talents which, in 
my opinion, he fuUy deserves by the production of this work. Its 
success in Leeds has been decided, and tiio Leodensians, not prone to 
excitement in such matters, have warmed into increased enthusiasm at 
each successive performance. The composition abounds in piquant , 
lively melody ; natural, spontaneous tunes, which, without a particle 
of vulgarity, are easily impressed upon the memory, and leave a desire 
for more. The concerted music, too, as well as the solos, bear evidence 
of excellent musicianship, and a knowledge of what is, and what is not, 
best suited for the voices. The numerous encores nightly bestowed 
upon the favorite pieces in the work, support and confirm this opinion ; 
but I will not forestall the deductions which may be made from the 
more detailed criticism which I will now attempt to give you. The 
libretto, written by J. P. Woolcr, Esq., is very clever ; especially com- 
mendable is the capital plot, as well as the lively dialogue, and excel- 
lent verses and situations. The characters represented are : Sir Percy 
Bingwood (Mr. W. H. Cummings, tenor) ; Stephen Lynn, a miller, 
(Mr. J. G. Patey, baritone) ; Tom Deloraine (air. G. F. Marler, bass) ; 
Lady Edith Carleton (Miss Julia Elton, mezzo soprano) ; Alice Lynn 
(Miss Emily Spiller, soprano). 

The following epitome of the plot may not be uninteresting : — 
The first act opens at Stephen Lynn's cottage, in a village on the 
Kentish coast. Tom peloraine makes his ap{)earance, and informs them 
that he has smuggled over from France (besides his usual quantity of 
brandy) a young English gentleman. Sir Percy Ringwood, who has 
been exiled, but secretly returns to claim as his wife. Lady Edith 
Carleton, who in her turn has fled from her own mansion in London to 
avoid this very match. Before, however, Sir Percy Ringwood is in- 
troduced, she persuades Stephen Lynn to allow his daughter to be in- 
troduced to the stranger as the London lady, and herself as Alice 
Lynn. The miller agrees to this, and at the same time determines, if he 
can, to arrange a marriage between his own daughter and Sir Percy, 
who, after his introduction, soon finds out that he is in the company of 
the Lady Edith ; upon this supposed discovery, he immediately deter* 
mines to marry her as soon as possible, but he also discovers that he 
loves the miller's pretty daughter quite as well, in fact better tlian the 
Lady Carleton, who is so fond of coquetting and finery that she acts 
her assumed character admirably. While this is going on, the real 
Lady Edith finds out that the is in love with the cavalier, and in vxiii 
tries to make him believe that ehe is the real Lady Edith, and has only 
changed places with the miller's daughter. At the end of the first act, 
however. Lady Edith pretends to see all right again, but only does it 
because she has thought of a better and a surer method of proving to 
the mystified Sir Percy that the miller's daughter is only acting her 
part. The second act commences with a plot between Lady Edith 
jwho is yet personating Alice Lynn) that she shall dress up as an officer 
m the King'iB Service, and arrest Sir Percy Ringwood ; while Deloraine, 
disguised as a cliancery officer, arrests Alice. During the preparation 
of this plot. Sir Percy has proposed to Alice (whom he still supposes 
to be Lady Edith) who, of course, does not refuse ; and, to make things 
safer, fills his blank license with the names of Tom Deloraine and 
Alice Lynn. Under these names they determine to be married. 
Before this can be effected both Sir Percy and Alice are arrested, and 
Lady Edith, in the disguise of an officer, informs Sir Percy that the 
person whom he supposes to be the Lady Carleton is no such person, 
and that the " countiy wench" whom he loved so much was the Lady 
Edith. Tom Deloraine in the meantime discovers himself to Alice, 
and marries her as the price of her release. The officer discovering 
herself to Sir Percy, who has his pardon presented to him by Deloraine, 
to whom it was given before they left France, on the condition that Sir 
Percy was to have it if he succiseded in marrying the Lady Edith, 
brings the piece to the usual happy conclusion. 

The general character of the music throughout the work is indicated 
by the style of the first duet between Stephen and Alice, ** Now, Alice, 
mind you keep an eye." There is a vivacity and sprightllness of tune 
not altogether unlike Donizetti, whilst in form and clearness of construc- 
tion Mr. Randegger has evidently studied Mozart. The fir^t song in 
the key of D, triple time, is sung by Lady Edith, <*0h, would I were 
a village girl." It is pretty and flowing, but by no means so effective 
as some of the other pieces in the work. The succeeding duet, " Now 
I teU me all/' sung by Alice and Edith, is charming. To a succession of 
sparkling dance-tunes, Alice informs Edith of the dear delights of town, 
its eoncertir balls, plays, and routs. The first tenor song, *<l!lie 



Digitized by V^riOOQlC 



B16 



THE MUSICAL WORLD. 



[Ma7l4,1864. 



brightest sky that ever shone," is a lively melody in E flat, and the 
manner in which Mr. Cammings renders this graoefol melody, particu- 
larly the last line, where he sings the high B flat direct from his chest, 
is received with enthusiastic demonstrations of approval An animated 
dnet in A flat, ** Halt there. Captain," between Edith and Sir Percy, 
is as lively and appropriate as it is fluent, effective, and well written. 
After a pretty ballad in D flat, containing essential elements of popu- 
larity, with the burthen, •* Til never forget thee, beloved old mill/* we 
have a quartette (" You're back again then, miller,") and an unaccom- 
panied quintette, (" With surprise she's confounded") which are amt^ng 
the best written and most effective " numbers" in the whole work. 'J'he 
individuality oCeach character is well preserved, and both pieces are 
nightly entiiusiastically re-demanded. The finale to the first act 
(•* No more delay") is short — a little too short, I venture to think— but, 
like all the rest of the music, always pleasing and tuneable, never dull. 

In the second act the music is still better. Not to specify all that 
struck me as being excellent, I may especially allude to the following : 
The song,." O list and 1*11 tell you my dream of last night," very pe- 
ci^iar in its rhythm and time, but remarkably effective, and nightly 
encored, thanks, in a sreat measure, to Miss Julia Elton's excellent 
singing : the tenor balkd, ** 1 love thee well, my gentle girl," which is 
not the less acceptable for having a smack of ** II mio tesoro ;" the bass 
song, in Q flat, ** There's no love so calm and holy," one of the gems, 
if not! the gem of the Operetta, and sung by Mr. Patey with such 
genuine and legitimate effect as to receive the unusual honor of a double 
encore ; the quartette in B flat, " I scarcely dare to trust his ear," in 
which three melodious subjects are ingeniously interwoven and deve- 
loped ; the gipsy soprano song, in A minor, <* Hasten hither, pretty 
maiden," most vigorous and characteristic ; the clever, bustling, and 
vivacious duet for the two ladies, " Qood gracious ! what's the matter ?** 
and the brief, but telling finale, " Hence with sadness," which brings 
the whole work to a triumphant conclusion. The Operetta is admirably 
scored for a small orchestra, no doubt with a view to its performance in 
minor theatres. As &n <^ra di camera, however, for similar represen- 
tation to that of " Jessie Lea," I venture to predict for it a most suc- 
cessful career in town, if it t)e worthily brought out. As to those self- 
denying, art-loving gentlemen, the music publishers, who, as a rule, 
will* only bring out works likely Xopay, I am firmly persuaded that thi$ 
work is their chance, as 9ure a card as was ever playecl by the canniest 
" party** in the trade. The mudc has all the elements of popularity — 
striking melodies, good, but not difficult accompaniments ; a work, in- 
deed, as likely to gratify the musician as well as to please and satisfy 
the amateur. 

Leedt, May 12, 1864. W. S. 


Mb. Ripfinqton Pips is on a visit to Mr. Dishley Peters at his 
fishing-box, near Tadcaster. Both of our valued contributors are 
diligently occupied in hooking tench. 

Belfast. — ^From the Belfast Morning Netcs^ of the 4th instant, 
we transcribe the following account of the performance of the 
Creation given at the last concert of the Classical Harmonists* 
Society: — 

The CVeoitbfi, not new to the Belfast public, or to the members of 
the society, was the oratorio selected ; and while we cannot enter into 
a detailed critique of the performance, we are bound to say that it was 
effectively given throughout. Madame Florence Lancia, who was 
greeted with a genuine and hearty burst of applause when she appeared, 
and whose brilliant operatic successes in our theatre in 1859 are still 
worthily remembered, sang with improved voice and style. The great 
eapacity of the hall proved a little too much for her at times, but these 
instances were few, and in some passages she was heard with a clear, 
ringing power, which commanded general approbation. She was 
encored in ** On mighty pons." which she delivered with sparkling 
effect. Mr. Whitehead was the tenor, and sang better than on the 
occasion of a former visit. Mr. Lambert took tlie bass solos. The 
choruses were rather weak; and at some passages the instruments 
almost drowned the voices. The accompaniments, from first to last, 
were executed with faultless precision. Dr. Ghipp conducted as Usual. 

SuNDEBLAND. — Mr. A. Dawes, organist of St. Leonards, has for some 
weeks been delivering a series of lectures in the AssemMy Hall, Sans 
Street, on " Church and Organ Music," with illustrations upon the 
fine instniment some time ago erected in that hall by Mr. Rennison. 
We are sorry that the efforts of the latter gentleman to promote a 
knowledge and improved taste of church music in Sunderland hare not 
been better patronized. The lectures contained a mass of informatioD. 
The selections with which Mr. Dawes illustrated them were from the 
works of the great masters. The Sans Street organ is a fine one, 
and, thanks to Str.Dawes, it was heard to perfectioD.^^iMdln'tatf 7%Mi, 
4pra80. 



SCHUBEBT. 
" This eminent composer," writes a Gennan jonmal, "died (m 
the 19th November, 1828, at the age of thirty-two. He was 
a bachelor, and resided near his brother, at that time a jprofessor 
of the Normal School. Schubert left no will behind him. His 
nearest relatives were his father, Fran9ois Schubert, master of 
a school at Vienna, and dght brothers and sisters, the issue of two 
marriages. He left, for his entire beritage: — ^three coats, three 
upper coats, ten pairs of trousers, and nine waistcoats — ^the whole 
valued at tl:^ florins ; one hat, five pairs of shoes, two pain of 
boots — ^valued at two florins ; four shirts, nine neck-cloths and 
pocket-handkerchiefs, thirteen pair of stockings, one counterpane, 
two.blankets, valued at eight florins ; and some old pieces of MSS. 
music, supposed to be worth eight florins. The interment of 
Schubert cost in all f<Mrty-four florins and forty-five kreutsers, in- 
cluding the church ezpenioi, those of clergymen, of gravedigger, 
lighting, singing, and the distribution of money to poor orphaiis. 
Francis Schubort was buried in the church of St. Joseph at Yieana, 
on the 21st November, 1828. The authenticity of these dates is 
guaranteed." 



SOCIETT FOB TBI EXOOUSAOEMENT OF TBB FiXB ASTS.— ThlS 

Society is proceeding with every success in its career of agreeable use- 
fulness. On the 21st ult., a grand extra entertainment was got up in 
honor of the Shakspeare Tercentenary, including readings by liBss 
Edith Heraud and Herr Ereuger, selections from the Shakspeare musio 
of Pnrcell, Ame, Locke, Bishop, ^., and an original occasional ode, 
the words by Mrs. Edward Thomas, the music by Mr. AlfVed 
Gilbert, effectively rendered by the Polyhymnian choir. The per- 
formance went off with ereat eclat before a crowded audience. On 
Wednesday evening last the fifth conversazione of the season was held 
at the Gallery of British Artists, kindly lent for the occasaon by the 
Council, which, adorned by the pictures forming the exhibition of the 
place, and brilliantly lighted by gas, presented a striking and cheerful 
appearance. The musical programme of the evening consisted of 
selections fit>m the works of Mercadante, Rossini, Doniaetti, Spohr, 
Mendelssohn, &c., introduced bv a solo on the piano from Herr 
Lehmeyer. The vocal artists who kindly volunteered their services 
on the occasion were Madame Gordon, Mdlles. Behrens, Fish, Holmes, 
Ema Borchar^ and Louisa Van Noorden, Messrs. De Fontanier, 
D'Alguin, Van Noorden, dec. Messrs. P. E. Van Noorden, and E. 
Berger, conducted. The next and concluding conversaaione of the 
season will be held at the Mansion House, on Friday 24th June, hf 
permission of the Lord Mayor. 

Musical Unioit.— At the third maimk, Tuesday, May 8, the follow- 
iBff programme was eiven :— Quartet in F No. 1, op. 18, Beethov«n ; 
Adagio et Ueux Etudes (MS), violoncello ado, Jacquard ; «< Andanta 
and Variations" for two pianofortes, in B flat, op. 46, Schumann; 
Melancolie Pastorale, violin solo^ Prume ; Quintet, E flat, op. 16, for 
piano, oboe, clarionet, bassoon, and horn, Beethoven ; and pianoforte 
sdoa— Scherzo in E minor, op. 16, No. 2, Mendelssohn ; and VedM da 
Omeert, D flat, op. 41, Paner. The executants were Sigoor Sivoii 
(violin) ; Herr L. Bies (second violin) ; Mr. Webb (tenor) ; M. Jac- 
quard (violoncello); M. CroKier (oboe); Mr. Pollard (clarionet); M. 
Paquis (horn); Signer Baspi (bassoon); Miss Agnes Zimmerman 
and Herr Ernst Pauer (pianoforte). M. Jacquard made hia first ap- 
pearance in London since 1868, and created a great effect by his mas- 
terly execution and great powers of expression. Signer iSvori made 
his last appearance for the season, and Miss Agnes Zimmerman played 
for the first time at the Musical Union. Both last performance and 
first performance greatly enhanced the interest of the nuUin4e, 

RoTJLL SociETT OF MUSICIANS. — The annual performance of Tha 
Maeiah, in aid of the funds of this noble and most worthy institution, 
was given at St. James's Hall, on Friday evening, under the direction 
of Professor Stemdale Bennett, and, we are pleased to add, attracted a 
veiy large attendance. The band and chorus numbered nearly 600. 
The principal singers were Madame Parepa, Misses Eliza Hughes and 
LasoeUes, Madame Sainton-Dolby, Messrs. Sims Beeves, Whiffin, 
Walworth, and Weiss. It is enough to say that the audience were 
thoroughly satisfied throughout, and that all the principals, who gave 
their services gratuitously, exerted themselves to the utmost, Mr. Suna 
Reeves coming in for a lion*s share of applause in ** Thou ahalt break 
them." 

Mb. Sims Beeves has volunteered hia invaluable services lor the ' 
concert of Herr Ems^ on the 20th inst. This is a fresh proof of the 
^ymnathy that our high artistic nation is calculated to awaken in 
another. In doing honor to Ernst our great Engliab tenor does honor 



Digitized by 



Google 



May 14, 1864.] 



THE MUSICAL WORLD. 



817 



MUTTONIANA. 

V N0TiCE.^The health of Mra. Ap'Mutton having entailed the 
neeeadty of a sea voyage, liir. Ap'Mutton has eone with hid family 
to Heligoland, where he will remain until the Sksvig-Holstein qaes- 
tion is settled, the fleets of Austria and Prussia are sunk or blown 
up, Jutland is evacuated, and the burning patriotism of Herr Von 
Bismaik assuaged. During Mr. Ap^uttoirs absence (the duration 
of which depends upon Uer Yon Bismark, who has opportunely 
entrusted Mr. Ap*liiL with a delicate mission), this department of the 
Musical Wobld has been entmsted to Dr. Chidley Pidding, who 
herewith takes down all the papers he finds hung upon the wire by 
his respected predecessor. 

Tbb Bovdo or BsxTHovBir, Or. 24. 

Sib,— Is it true thai the beautifhl themes of the rondo in Beethoven's 
Sonata in F, for pianoforte and violin, was otherwise conceived by the 
fflufltrioas muddan than as it now stands? An answer in next MtU- 
Umana will ohiige, Tours respectfnUy, Giobob Obibf. 

jSMses Emm^ TearOwy, May lO. 

In the Sketch Books of Beethoven, which (he being better cared 
for than Mendelssohn, the world has been allowed to possess) we 
find the subjoined : — 



fT^ ^J JI J JJJ^ 




Thus the idea originally came to Beethoven in F sharp minor ; 
and Mr. Grief will allow that in its new shape it exhibits a remark- 
able improvement. 

Sib, — ^Ebving thoroughly satisfied myself that the oonaudram is of 
Weldi oriffin (having been inventedp in the year 492, b.o., by the cele- 
brated bard Llnwenog Ap'Bwlch) and therefore, perhaps, recommending 
itself with extra sest to your esteem. I venture to send you the follow- 
ing sample of that recondite, species of wit : — 

Q. Why is the celebcated Dr. Bachhoffoer, of the Coliseum, likely 

never to make much progress in the world? 
A. Because, however often he may get forward, he is always sure to 
be Back ofttnerlll 

Yours, Ac, T. Duff Sbobt. 

May 9. 

Mr. Short, having resolved his own enigma, might have 

red Mr. Ap'Mutton, or his deputy, the pain m deciphering it ; 
more so as it is at the best a ghastly attempt at humor. 

Chidley Lodge^ Chidley Common^ Chidlet Pidding, M.D. 



CONCERTS. 

WiLus's Books. — MdUe. Mariot de Beauvoisin, the young and 
clever pupil of Mr. Benedict, gave her first •* Pianoforte Aedtal " at 
the above rooms, cm Saturday aiterDoon. It showed no little confidence 
0D the part of the iair pianist to undertake a series of performances 
sin|de-Daiided, challenging the greatest masters of the key board in this 
IdiM of entertainment But Mdlle. de Beauvoisin did not reckon without 
her host; nor indeed did she in any way overrate her own ability. 
She exhibited the very highest ambition — ^unusual in one so short 
a time before the public — ^in selecting Beethoven's Gt-and Sonata, op. 110; 
bat the rest of the selection, a sort of couipromise with the £ishion- 
sUiS amateurs who constituted the greater part of the audience, 
consisted, with two ezceptious, in popular pieces of the bravura school. 
The exceptions were Mendelssohn's Andante and Rm/lo Capricioso and 
'Weber's Rondo Bnllant, The remainder of the programme comprised 
Tbalberg's Moti in EpiUo, fantasia ; Dohler's ** Variations on ** Vivi tu;" 
Ijeopold de Meyer's Lucretia Borma^ fimtasia ; fantasia for left hand 
eoly; Benedict's *< Prince of Wales," fantasia; and Kullak's **Perles 
d'JEBcume." To ear thinking Mdlle. de Beauvoisin's happiest efforts 



were in Mendelssohn's iin4/(tin(san<f Rondo, and Thalberg's fantaria, both 
of which were executed with ereat brilliancy and fecility. The audience, 
however, appeared most highly delighted with DOhler's " Variations/' 
the left-hand fanlatia (not Kalkbrenner's), Beethoven's Sonata, and 
Kullak's piece, as they recalled her warmly after each. Mdlle. do 
Beauvoisin achieved a very decided success, and her performance reflects 
infinite credit on the teaching of Mr. Benedict. MdUe. Carolina Zeiss 
Miss Romer and Mr. Sanders, assisted with vocal pieces. Best of these 
was Benedict's ** Scenes of my Youth," given l>y Miss Bomer with so 
pleasing a voice, so much taste and expression, and such admirable 
enunciation of the words, as to render her performance a model of 
ballad singing. Miss Bomer created a marked sensation and was very 
warmly applauded. The romanza ** Le Parlate d'Amor," fjrom FauH, 
showed how equally well the &ir artist could master another and 
very diiferent style of vocal composition, and how easily she could vary 
her sentiment. Mdlle Carolina Zeiss introduced an ur of Donisetti's, 
exhibiting an agreeable voice and manner. She also sang Signer 
Arditi's popular Valse, ^ U bacio." Mr. Benedict conducted. 

Ma. W. H. Holmes and Mb. G. W. Hamiioso gave their first 
concert at the^Hanover Square Booms, on Satiuday morning, the 28rd 
ult. A very "admirable selection of pianoforte music was provided* 
although the daasical element did not largely prevail, as might have 
been expected firom the antecedents of one at least of the concert-givers. 
But Mr. Udmes, no doubt, looked to please in this very instance his 
pupils, who formed the major part of his audience, and who, being 
young, naturally preferred what is light to what is profound. That 
there was, nevertheless, a strong infusion of the classic element in the 
programme may be judged from its including the Andante eon Varia- 
none and Preitx> from the Ereutzer sonata of Beethoven ; Weber 
Rondo BriUant for the pianoforte ; and Mendelssohn's violin concerto. 
Mr. Holmes supplied his own fantasia, "Fairy Fingers," and solo, 
** The Home song," both played by hiAself in first-rate style. His 
most admirable performance, however, was in the two movements from 
the Kreutzer sonata, in which he was ably assisted by Mr. H. 
Blagrove. Mr. Hammond, formerly pupil, we believe of Mr. Holmes, 
pkyed Weber's Rondo BriUant, two *' Musical Sketches" of his own, 
and Thalberg's fimtasia on Irish airs, being encored, in one of the 
•* Sketches." M. Lemmens, who has lately been creating a remarkable 
sensation in the concert-room by his performances on the harmonium, 
played on that instrument two pieces of his own composition called 
*' Invocation" and ** Fanfiue," and, with Madame Lemmens-Sherrington, 
Mr. Blagrove and Mr. Holmes, gave M. Gounod's ** Meditation Sur 
£^ch*' — a perfect and splendid performance in every respect. Mr. 
Balsir Chatterton played a f^tasia of his own composition on the harp, a 
great success. Madame Lemmens-Sherrington sang Cherubini's ** Ave 
Slaria " and M. Lemmens' song ** The Blind Boy,^ both delightfully, 
being accompanied in both by M. Lemmens on the harmonium. Mus 
Florence de Courcy, who is creeping gradually into the concert-room, 
and is certain to attain before long a first-rate position, gave Signer 
Arditi's new yalse, '* Leggero Inviaibile," and a ballad by lir. Wallace, 
exhibiting in the first a fine voice and much animation, and in the last 
real artistic feeling and expression. The concert in eveiy respect was 
excellent, and Mr. S. J. NoUe— another pupil of Mr. Holmes— con- 
ducted. 

Hanovbb Squabb Booms. — Madame Puzzi having issued cards for 
her Mating d'Irwitation on Friday the 6th, and the programme being 
one of rare excellence, was honored by an unusual assemblage of 
rank. The talented professor was assisted by Mdlle. Fanny Pnxzi, 
Madame Parepa, Mdlle. Enequist, Miss Lascelles, Herr Beichardt, Mr. 
Ricardo, Signers Gassier and Ciabatta— vocalists ; Signer Andreoliimd 
Herr Blumenthal (pianoforte), and Signer Pezze (violoncello). Mdlle. 
Fanny Puzzi, daugnter of Madame Puzzi, exhibited an agreeable voice 
and an admirable method, as may be supnosed. In ** Qui la voce,** 
from / Puritani; the letter duet from the ^ar6isrs, with Signor 
Gassier ; and the quartet " A te, O Cara," from the Puritani, with MM. 
Ricardo, Ciabatta and Gassier, she was alike successful. Mdlle. Enequist, 
the Swedish singer, introduced two National Songs, " Gottland visa " 
and *'Polska from Dalarne," and was encored in the latter. Herr 
Rvichardt introduced a new i^ng of his own, " Eine Thrane" Ta Tear), 
so admirably as to earn golden opinions. There were many other good 
points in the programme, but our readers must be satisfied with our 
adding that Herr Blumenthal's performance of his own ** Les Bohe- 
miens " was greatly admired. Messrs. F. Berger and Ganz were the 
conductors. 

Miss Fankt Pabtrxoob, a cotitralto, not oilen heard in public, gave 
a Soiree at her residence in York Place, Portman Square, on Tuesday 
lafet. The lady is evidently patronise<l by the •* Upper ten."* Uer con- 
cert was given " under distinguidhed pati-on.ige " and her rooms were 
crowded by a very brilliant company. Miss Partridge sang the air 
from the Meetiah, ** Oh thou that tidiest good tidings to Zion, and the 
cavatina, *' Vivi tu," from Anna BoUna. No audiences are so eccentric 



Digitized by V^riOOQlC 



318 



THE MU^CAL WORLD. 



[Ha^ 14,1864. 



as fajthionable audieDces. The air from the Meuiah, written for a 
con t alto, suited Miss Partridge's voice a^d was well fiung. ** Vivi tu/' 
was written for Kubini, a tenor. Nevertheless, the former created no 
effect and the latter was encored. In addition Miss Partridge took 
part of a duet by Mercadante with Mr. Renwick; of Rossini s duet 
* Mira la bianca luna " (written for soprano and tenor), with Madame 
Lemmens-Sherrington ; and of Bishop's trio, ** Sleep, gentle lady," 
with Miss Eleonora Wilkinson and Mr. Renwick. Miss Fanny 
Partridge is, we understand, a pupil of Signor Garcia. Madame 
Lemmens-Sherrington was encored in Adolpn Adam's Variations on 
*' Ah I voos dirai je, Maman,** when she substituted a new song by 
Herr Oberthur, with harp Mligato—^ <* palpable hit." Miss £. 
Wilkinson introduced Siebel's song "Le Parlate a'amor" (Fau9t), which 
we do not think exactly suited to a concert-room. Mr. Renwick 
deserves a word of especial praise for his singing in the sentimental 
romance, " A tanto amor." from' the Favorita. The instrumental per- 
formances were supplied by Miss Clara Gottschalk and Herr Wilhelm 
Ganz (pianoforte), Herr Oberthur (harp), and M. Lemmens (har- 
monium). Mdlle. Gottschalk played Mendel8sohn*s Andante and Rondo 
Ocmrieeioto and Gottschalk's caprice ** Printemps d'Amour " — the latter 
being decidedly the best performance. Herr Ganz performed one of 
the Lieder ohna WcrU of Mendelssohn, and his own Magurka de Concert^ 
called ** Vogliana," the latter creating a marked sensation, being 
a striking and pleasing composition, and oapltally played. Herr 
Oberthnr's duo upon airs from the HuguenoU for pianoforte and 
harp, executed by the composer and Herr Ganz, was a fine perform- 
ance, and much applauded. Herr Wilhelm Ganz was conductor. 

Miss Katb Mo&rzson, pupQ of Professor Bennett, gave a concert on 
Monday evening at the Hanover Square Rooms. The followingartists 
assisted : — Madame Lemmens-Sherrington, Miss Austin, Mr. Willbye 
Cooper, and Mr. Chaplin Henry (vocalists) ; Mr. Burnett (violin). M. 
Petit (violoncello), and M. Lemmens (harmonium), instrumentalists. 
The concert-giver, being a pupil of Professor Bennet, of course played 
diiefly classi^l pieces, opening her programme with a very clever read- 
ing of Beethoven's trio m G nuyor (op. 1. No. 2). She also played a 
gavotte by Bach, one of the " Moments Musicales " of Schubert, a 
*' Tema con variazioni " of Professor Bennett, Mendelssohn's Pretto 
Schertando and his " Tema con variazioni," fantasia *< Victoria,." by M. 
Euhe, and duet for pianoforte and violoncello (with M. Pettit). In all 
these performances Miss Kate Morrison showea herself a worthy pupil 
of a celebrated master. Madame Sherrington pleased exceedingly oy 
her skilful execution of some variations on ** Sul Margino d'un rio," 
altered by M. Lemmens from Pucitta, and Mr. Wilbye Cooper sang 
" La mia Letizia," from ILombardi^ in his best style. A new contralto, 
Miss Austin, made a very favourable impression by her singing in 
Signor Meyerbeer's" Nolul Signor" {ffuauenoU)taid Mr. Chiiplin Henry 
gave Herr Formes*, " In Shdtered Vale," and M. Lemmens played 
some solos on the harmonium in masterly style. Mr. Aguilar accom- 
panied the vocal music on the pianoforte. The room was filled with a 
very elegant company. 

Mas. Merest (late Maria B. Hawes) gave her first soiree last Friday 
week, at her residence, Adelphi Terrace. The greater portion of the 
first part was devoted to pieces in which the words of Sluikspeare were 
set to music. " She never told her love," (Haydn) and '* If music be the 
food of love." (Clifton) were chastely and expressively sung by Mrs. 
M(;re8t, who obtained a rapturous encore (the only one of the evening, 
and tliat at the end of the concert) in her own ballad, *' The charm is 
broke tiiat bound me." Mdme. Weiss sang with good effect Arne's 
" Where the bee sucks," and, later in the evening, Mr. J. L. Hatton's 
song, ** The lark now leaves his nest." The glees were, '* Blow, bloWj 
thou winter wind," sung by Mdme. Weiss, Mrs. Merest, Messrs. Viotti 
Cooper aud Winn, most charmingly ; and *' Ye spotted snakes," by 
Miss Charlier, Mr^. Merest, Messrs. Cooper and Winn. Mdme. Lem- 
mens sang two songs, '* Ah, quelle nuit,''^ from the Domino Noir^ with 
brilliancy and point, and the ** Blind boy,*' with earnestness* and expres- 
sion. In Mcrcadante*s duet, *< Di conforto," Madame Lemmens joined 
B£rs Merest. In Thalberg's fantasia for the pianoforte on ** Home, 
sweet home,*' Mr. Henry Uaumer proved himself to be as clever a solo 
player as he had shown throughout the evening an able and zealous 
accompatiyist. Mr. Richard Blagrove played a fantasia on the con- 
certina on airs from Fauet ; Herr Lidel and Mr. Baumer gave, with 
great effect, Mendelssohn's ** Duo Concertante ;" and both gentlemen 
Jniiei Mr. Blagrove in Beethoven's trio in B flat (op. II). Mr. Lazarus 
phyed, late in the evening, the new solo, " Traditions of Shakspeare," 
jtrraugc'd for the clarionet by G. A. Macfarren. The next soiree ve an 
uounced for tlie 20th inst , when Mdme. Arabella Goddard, with a host 
of ctUebritiep, will appear. 

Mas. Jo:iN Macfabbev gave one of her *< Evenings at the Piano- 
forte " on Friday, the 6th, at Chelsea, which attracted a large audience 
to the spacious Vodtry Hall in the King's Road. The fair pianist's 
brilliant performance of several quotations from the great masters, and 



of some felicitous specimens of the modem bravura schools, was 
warmly appreciated and enthusiasticaUy received. The pianoforta 
music was agreeably relieved by eevefal vocal pieces anng with maoh 
taste and feeling by Miss Matian Walsh. The whole entertainment 
was most cordiuly applauded. 

Mdllb. Gboeoi.— The maHnSe mmioaU of this acoompUshed yovmg 
vocalist, whose fine contralto voice we have often had occasion to 
admire, took place yesterday at the Hanover Square Rooms. Mdlle. 
Georgi was assisted by her 'sister, Mdlle. Constance Georgi, a young 
vocalist with a soprano of charming quality, and likely, to Judge by the 
talent she at present exhibits, to attain a high rank in her profession. 
The rooms were crowded with a brilliant audience. Fuller particulart 
in our next. 

UxBBiDGi. — A concert was given last Tuesday week under the able 
direction of Mr. J. T. Birob, the aooepted pianiit of this town, 
and formerly a pupil of Professsor Stemdale Bennett. The -band and 
members of the Uxbridge Rifle Corps, as well as several amateora, 
assisted. The sum of twenty-five pounds was realised, and is to be 
appropriated to the fund in aid of sufferers from the recent inunda- 
tion at Sheffield. Major •Hilliard, at the conclusion of the concert, 
invited the artists to an excellent supper. 



Leipsio.— In the last half of the winter semester, from January Ist, 
to March 19th, there were performed, at the Stadttheater, 28 operaa, 
7 &rcos, 7 tragedies, 10 dramas, 15 comedies and 27 dramatic trifles 
partly with and partly without musio. The compoeers renieaeutad 
were Mozart and Marschner, 5 timea each; Meyerbeer, 8 timea; 
Weber, Wagner, Donizetti and Schmidt, twice each ; Cherabinl, Auber 
and Lortzing, once each. The revivals were Der Vampyr, liens HeUing% 
Don Juan and Prinz Eugen, 

Dabmstadt.— Herr Neswadba, at present in Hamburgh, has been 
appointed conductor at the Court Theatre here, in pikbe of Herr 
Schindelmeister, ktely deceased. Her Steger, the tenor, who has been 
singing here, has just received fh>m the Grand Duke the medal for art 
and flcience. 

BaaMswioK. — ^Herr Zabel. the Ducal music direotor, has received 
from the Emperor of Austria the large gold medal with the half-length 
portrait of the donor. — The Tempest, with musio by Taubert, waa per- 
formed in celebration of the Shakespeare tercentenary. 

AicsTEBDAu. — The Society for the Advancement of Music lately gare 
a performance of Anton Rubinstein's oratorio. Das ^erlorens Parodies, 
The solos were sung by Mesdames Offermanns, Froschari, Herren 
Schneider and Behr. 

Dbssden. — Dr. Gunz has made a favorable impression as the Irero In 
De Postilion de Longjumeau, 

Cablsbubb. — Madame Viardot-Cbtrcia lias appeared in Gluck'i 
Orpheus and Meyerbeer's Buguenots, 

CoBaao. — The Duke of Saxe-Coburg has bestowed upon the eompoaer 
Joachim Ruff the cross for merit of the Saxe-£mest House Order. 

ICusio; Musical Inatromenta ; 1000 Sngraved ICuoio 
Plates, with Copyright; Slx^ capital Faintixiga, fto. 

MESSRS. PUTTICK & SIMPSON wtf pell by AucUon 
at their House, 47 Leicester Square, oo Wkdsksoat, Majr 18th, sad folloirlnf 
day, a Collectinn of MUSIC frum the Library of Uie late Pmfeesor WauasLBr, aad 



the Library of Miuleal History, Uiojrr»i*hy, Literature and Theory «f a weU-kaova 
Collector; also MUSICAL INSTRUMENTS — Pianofortes, Harps, VloUnt, 
Viuloneellus, Bovs, Conoertloat, f e. ; 1000_BNQRAyfe.p HDSIC PLATES^ with 



VloUnt, 

JS»w1th 

Copyrights of Popular Works (T. K . Walmisley*s Olecs, Ao.)| SUty oapltal 
PAINTINGS, Framed Drawinn and Buf ravings; Mahogany Bookcase adapted for 
Miislo ; Miscellanies, jko. Catalogues on receipt of two stamps. 



NEW WORK BY PROFE SSOB ttttt.t.att 

Pa>t I., in saper-royal 8ro, price 2s. ad^ lewed, 

eRAMMAR OP COUNTERPOINT. By Jomi 

HoixAH, Professor of Vocal Musio In King's CoU«ge and in Queen*! Cotl^ftb 

indon, and Organist of CiMrterhouse. 

•«• Part II., treating of DoMe Countsrpabit, Imitatiem and Fugue, and ooskpleliat 
the work, will follow shortly. 

London: Lomomax, Qbskv * Ca, Paternoster Row. 



L^indoi 



New and cheaper Editions, price 6s. each Tolnme, 

T?ELIX MENDELSSOHN'S LETTERS from ITALY 

1: AXD SWITZERLAND, with a NoUce of his Lif« and Works, eontrlbutcd by 
Ubxrt F. CHOHLsr, ISsq.; and LETTERS FaoM 1833 to 1M7. U >th volumes 
translated by Lady >Taj.lacb. 

London : Lovomak, Qbssv M Co., Paternoster Bow. 

BACH'S PRELUDE and FUGUE ALLA TARAN- 
TELL A, to be pUyed by Madame Arabella QodJard, by special detlie, tt tb» 
Puilharmonio itociety on Monday, is pubiUhed, price 6s., by 

DuMOASi Datuov a Co^ 244 BegtBt Strttt, W. 



Digitized by 



Google 



Mtff 14,-1864.3 



THE irtJSICAL WOXLD, 



319 



HOaABTH TSBTIKOiriAIi. 



GoMmTTBi »— B. Afoilar, O. F. 



Bennett, Csmpbell Clarke, W. 
Ferrari, Otto OoUNbmidt, C. L. 
Oxenford, J. flime Reeves, Brinley Bleharda. 
Subeofiptlone Uretdy reooicled 



XMsra. Broedwocd A Sons 
Meeen. Kirkouui * 8<» 
MdUft. Tlegeni . 
Ifeem. Coeka ft 8<m . 
Jalee Benedict, Baq. • 
Meeen. Ctoppell ftCo. 
Meeen. Booeey ft Sons 
M.Coet%Se<|. . . 
BiBM BeeTee, vaq. 
C. fietitley, Eeq. • • 

B. Mapkaoft, £iq. 

J. MitcheH, Eeq. . . . 
J; Walker, Eeq., DMp Jhm 
]UiK»,C«ekftCo. . 
MjXJ MBejhd iitoa Dolbj 
Mn« Anderson 
Sir Qeorfe Smart. 
Meein. ijhdown ft Parry 
Meeen. e;F.AnderM>n,' 
M'Moidle, 
W,Dorrell, 

' F. B. Cbatterton, 
Wtliams, 
J«noo, 
Miss Laeeelles 
FcBergertSsq. . 
Cipriani Potter, Eeq. 
J^ BUa, Eeq. . 
B«8. Dallas, Esq. 
Mt^Dallaa • . 
Alfred Mellon, Esq. 
H. Ooodban, Esq. . 
W. Banu, Esq. . 
Mi% John Madkrren 
Mn. J. Holman Andrews 
Bdnley Blohards, .Esq. 
Hjjarrett, Esq. 
Bateman, Baq. 
BifnorAnUtl 
W. Knho, Esq. 
W. H. Welse, 

C. L. Orilnelsen, 
MnOrttnclsen 
Caaptoll Olarke, Esq; 
Mn. Alfred MeUon 
J. M. Lancferd, Esq. 
Howard Glover, Esq. 



Anderson, M.'W. Balfe, Jales Benedict, Stemdale 



O. Cnsins, J. W. Dfivison, W. I>. Davison, A. 
Ornneisen, H. Klrkman, O. A. >faetarren, John 



of the 
Philher- 



CoDcerts 



I*. Jnllien, Esq. 
D« B. Bastings, Esq. 
O. A. Madarren, Esq. 
J. Plttouui, Esq. . 
H. ClomoWtEsq. . 
P. Sblnton, Esq. • 

B. Addteon. Esq. . 
J. Tnrle, Bbq. 

C. B. Stephens, Esq. 
J. Ascher, Esq. . 
O^Paqtte,BMi. . 

fr.&— Sotasoriptione redetved by the Honorary Treasurer, Mr. O. F. Anderson, S4 
Wottlngharo Place, Reg«at*s Park, W.; by the Honorary Secretary, Mr. Campbell 
Clarke, 23 Bedlbid Place, Roseell Square, W.G ; by the Publlshen of Th$ Mudcai 
WwU, or fald into tha Unioa Bank, 4, Pall Mall Eaet, to the aooonnt of the 
•• Hosartb TeetimonlaL** 



T. H. HUU, Esq. 

Bobert Case, Esq. 

C. Booe^, Esq. . • 

John Thomas, ESq. 

Harold Thomas, ]£mi. • 

W. Qans, Esq. 

W. Bartholomew, Esq. 

Professor W. 8. Bennei 

Sir J. H. Lowther 

Beynell, Esq. 

Dr. Buck . . 

Movello ft Co. • 

Signer Ferrari 

Bfadame Aiabella Qoddaid 

Madame Laura Baxter 

A. Howell, Esq. . 

Rev. J. Cnnren . 

C. Patey, Eeq, . 

Slgoor Schlra 

M. Meyerbeer . 

Madame Ooldschmldt . 

Otto Ooldsohmldt, Esq. 

Qeorsre Benson, Esq. • 

Herr Moliqne 

Madame Lemmene-Sberriogton 

Lindsay Sloper, Esq. . 

Madame Rudersdorff • 

F. Praeger, ISsq. . 

W. C. Slacfkrren, Esq. ' 

Madame Parepa . 

J. L. EUerton, Esq. 

O.'A. Osborne, lisq. . 

Jna Goss, Esq. . 

W. Pape, Esq. . 

F. Mori. Esq. . . 

C. Oberthar, Esq. 

W. H. Cnmmings, Esq. 

Mdlle. Adelbia PatU . 

F. Stnkoaoh, Esq. 

E. Land, Esq. . 
Herr Van Praag . • 

F. Gyo, Esq. 
E. Aguilar, Esq. . 
J. Blumenthal, Esq. . 
Miss Emma Heywood . 
J. F. Bamett, Esq. 
Mrs Fatten . . . > b 
Miss Latham . . [• § 
Messrs Sutton ana Potter) 2 
Mr. H. Q. Deaoon 
M. W. BaUlB, Esq. 
J, Jackson, Esq. (Liverpool) 
M. a Wilson, Esq. . 
Mn. Menst 
John Jay, ^tq. . 
A. RelohaTdt, Esq. . 
Miss Pjrne . 
H. Russell, Esq. . 



10 



)ir. CaimBLL Clabxi, Hononrr Secretory to the Hogarth Teatlmonial Com- 
reqnest that intending - ■ -■ 
ktiona to his new reeidenee, 23 Bedford Place, Rossell Square, W.a 



Subecrtben may in futnn address their 



GIULIO REG ONPrS NEW GUITAR PIECES. 

B^VXQEUtBinD Si. 6d. 

grCHODUOTION JBT CAFBICnS in B Sa. 6d. 

MrB VHiIiAOSOIBI: in D Ss. Od. 

Utt AIB VABErifin A 9s. Gd. 

• AIB YABj£ in D Ss 6d. 



AooiomB ft Co., 4A Tottenham Court Boad. 



CONCESTINA MUSIC. 

CONGEBTO In G (composed tag ainlio Begondi). B. MOLIQUE Price lOe. 

CONCEBTO inD (composed for aiolio RegondD^ F. B08EN Price 10s. 

SOLO on Airs firom "Le Prophete" . . . O.EEOONOI Price 6s. 

MsnLU ft Co., 35 Great Marlborough Street. 



yOQLEB'S " MARCH of the DANISH GUARDS," 
for ihe Pianoforte, price Ss. ** The Danish soldlen are being led to battlu to 
tha czdtiar strains of this fine March.'* 

I^ondoa: PabliilMd by DniOAH Datxsov ft Co., 844 Be^at Street, W. 



Gtounod's "FAUST." 



The Opera Complete, with English Words, by 

H. F. CnoBLEr. Price ISs. 

Also, the whole oi the separate 



TSTBSW FIANOFOBTE ABRANaEMENTS. 

The Overture Arranged by the Author ; Solo, 3s. 6d. 

Daet, 48. 

The Eermesse, Transcribed for the Pianoforte, 

by Pfbiffbbt, 4s. 

Fantaisie by Rehe^ Favarger, 4s. 

The Soldier's Chorus, by Willianl [Hutchins 

Calloott, Ss. 6d. 

The Beauties of ^^ Faust." Arranged as a Duet, 

by WiLUAX HvTOHiin Calloott. In Two Books, each, 6s. 

The ''Faust" Polka by F. Wallerstein, Illustrated 

in Colours, Ss. 



NEW NUMBERS OF CHAPPEU'S MUSICAL MAGAZINE. 
HYMNS FOB THE CHRISTIAN SEASONS. 

No. 45 of CHAPPELKS MUSICAL MAGAZINE" contains a 
collection of Hymns particularly adapted for use during Lent. 
Price Is. ; post-free, Is. 2d. 

DIBDIN'S AND OTHEB NAUTICAL SONGS. 

CHAPPELVS BlUSICAL MAGAZINE, No. 46. contoins 
Twenty Sea Songs, by Dibdin and other Nautical Favourites. AU 
with Pianoforte Accompaniment. Price Is., post-free, Is. 2d. 



Jiut PMiihed, 

CHAPPELL'S 

■ 

1. Dulce Domum (Old English Dittie) 8.a.t.b. Sd. 

Harmonized by G. A. MAoriARBN. 

2. Down among the Dead Men do. 8.a.t.b. 2d. 

Harmonized by G. A. Maofabben. 

3. The Girl I left behind me do. s.a.t.b. 2d. 

Harmonized by G. A. MAcrABitEN. 

4. British Grenadiers do. 8.a.t.b. 2d. 

Harmonized by G. A. Maofabrek 

5. Long live England's fiiture Queen b.a.t.b. 2di 

(Danish National Anthem) Harmonized by Dr. Uimbault. 

6. My Task is Ended - - - a.t.b.b. 4d. 

Song and Chorus from Balfb's Opera, •* The Enchantress," 
with Soprano Solo. 

7. Thus spake one Summer's Day- 8.a.t.b. 2d. 

Part Song by Abt. 

8. Soldier's Chorus - - - - t.t.b.b. 4d. 

From Gounod's *• Faust." 

9. The Celebrated Kermesse Scene 6d. 

10. Up quit thy Bower - . - 2d. 

Part Song by Bridle r BicHABDs. 

11. Maidens, never go a-wooing - 4d. 

Madrigal, by G. A. Maofarben. 



ICflAPPELLJ ABD.CO., 60,. NEW BOHD STREET. 



Digitized by 



Google 



868 



THE MUSICAL WORLD. 



[Iime4,,ia«4. 



ASeOWN AND PARRY'S 

RECENT PUBLICATIONS 

FOB 

THE PIANOFORTE. 



Euhe. " The Pilgrim of Love" 



Price 3s. 



Euhe. ** Sing, Birdie Sing." Ttanscription of 

Qanz*s Popular Song .... Price 3s. 
f 

Euhe. " La Favorita." Fantasia on the Opera 

of Ponizetti Price 4s. 

Qanz. " La Vivacity." Polka de Concert Price 48. 



THE 



U 



Qanz« " I Puritani." Fantasia on the Opera 

of Bellini ...... Price 48. 



Ghmz, ''La Sonnambnla." 
Opera of Bellini 



Fantasia on the 



Price 4b. 



Salaman. '' Twilight Thoughts." Nottumo. Price 4s. 



Salaman. " Joy." Impromptu 



Price 3b. 



Schloesser. '' La Harpe Seraphique." Morceau 

brillant Price 48. 

Schloesser. "UnerosedesAlpes." Styrienne. Price 4s. 



Schloesser* *' Danse Gatolane." 



Price 38. 



Qibsone. " Dans les Nuages." Valse brillante. Price 3s. 



Qibsone. " The Singing Apple." A fairy tale. Price 38. 



Boubier. " Marche des Troubadours." 



Price 3s. 



Bcotson Clark. 

Caprice. 



*The Crystel Fountain." 



Price 4fl, 



txq Mm si( MmUm." 

NOW BEAVT, 

THE MUSIC 



FBOH 



ScotSOn Clark. "La Hose Blanche." Valse 

brillante. Price 48. 



Brissac. "Comln* thro' the rye." 



Price 3s. 



Brissac. " Weber's last Walte," 



Price 38. 



Boyton Smith. « La Bayadere." Mazurka 

brillante. Price 4s. 



Boyton Smith. ''Philomel." Price 4a. 

Sydney Smith. " Golden Bells." Caprice de 

Concert." Price 4s. 



Sydney Smith. ''Unenuit6toil4e." Serenade. Price 4b. 

Sydney Smith. " Pas Redouble." Morceau 

brillant. Price 4s. 



Sydney Smith. " Martha." Grand Fantasia 

on Flotow's Opera. Price 4s. 

Sydney Smith. "Les Huguenots." Grand 

Fantasia on Meyerbeer's Opera. Price 48. 

LONDON; ASHDOWN k PARRY, 18, HANOVER SQUAEE. 



OTTO mCOLAI'S OPERA, 

BEINQ PERFORMED 

AT 
UNDER THE TITLE OF 

"FALSTAFF;" 

IN ITALIAN & ENGLISH. 

THE COMPLETE OPERA 

FOB 

PIANO SOLO, 

and variouB Arrangements by Madame OUBY, 

QANZ, FAVABQEB, NOBDMASN, 

&c., &c. 



LONDONt 

BOOSET & SONS, HoUes Street, W. 



-«»--— ,2{SWte?5ia 



Digitized by 



Google 




lluj?W 




" The woBtH or Amr appbabs most xutmonr m Huno, sdtcb it bbquibbb ho hatxsial^ ho bubjbot-icattsb, whosb bfvbgt 
mm BB dbduotbd: it n wholly fobx aho pown, aho rr RAiaks aho bhhoblbb whatbvbb it szPHBflSBs." — Qothe. 

- ■ 

STTBSOBIFTION, FBAD B7 POST, 20s. FEB AlTNtrM 

Payabto In adraaoe by Cash or Post-Olfioe Order to jyUJXOAN DAVlBOSf ft GO., M4| Begeiit Street* London, W. 

[ReguUNdfor Trimmmion AJbroad,'] 



Vol. 42— No. 24. 



SATUKDAT, JUNE 11, 1864. 



^-{^Fissr- 



HES MA JBSTyS T HEATRE. 

FIRST NIGHT OF "ROBERT LE DIABLE." 

raUST APPBABAN CB OF HAPAME HA MfflBBS WIPPEBM . 

HABHTKBS WIPPEBN, LIEBUABDT, OATABDTA BEBETTA ; BETTINI, 
HABCBLLO JUNOA, aASSlEB, qabdoni 



TffiS EVENING (SATURDAY), Juhb 11, 
Wm be PHftriMd (for the First Tim» thete Two Ymn) Meyerboer'i ebeM'oBavre, 

"ROBERT LE DIABLE." 

BaMlo Artiit, Mr. W. Tslbdi. The New Coetamet by Mr. 8. Mat and Mln 
DiOBdBoy. The Oper» preeented under the Baperintendenoe of M. RBOmiiS. 
Tbe Mlowlaff U the dUtribntion of the putf s— Roberto, Slgnor Oabdohi ; Bambaldo, 
Kgoat Btmn ; Bertruno, Slgnor MAaosLLO JnroA 0^ first appeenmoe In that 
•hurMfeer in England) ; Un Pretr^ Slgnor OASsnn; Albertt, Slgnor Bosn; 
Slen% Mdlle. Cavabika Bibbtta { Iiabella, MdUe. Libbbaipv (her first appear- 
anoe In that eharaeter); and Alioe, Madame Hakbubi Wimsir(her first appear- 
noa In England). 

Ck>naaotor->Sio»m ARDITI. 



Ob IklB oooaikm, owing to the length of the Opera; the Doors will open at Half-past 

Seven, and the Porfomumoes oommenoe at Eight o*clook. 

PU Ti^ets, Ts. ; Reserved Box Seats, 10s. 6d. ; Amphitheatre Stalls, 6s. and 7s. ; 

Gallery, 3s. 6d. ; Private Boxes In the Upper Circle, Sis. 
Boom, Stalls and Tleketsmay be had at the Box-oflloe of the Theatrs^ open daily 
AromTentiUSiz. 



BOTAL CTALI AN OPERA, COV EHT OABDEM. 

ABRANGEMENTS FOB NEXT WEEK. 

EXTRA NIQHT.-MARGHERrrAT MDLLE. ADELINA PATTI. 

On MONDAY NEXT, June 13, 

"PAU8T B MABGHUBITA.*' 



On TUESDAY NEXT. June 14, 
lOTaiiliC* and "Ii'IIiB SSNGHAK'^EB.'* 



EXTRA NIGHT. 

On THURSDAY NEXT, June Ifi, 

••TTN BAIiIiO IN UASOHSIBA.'* 

SPECIAL EXTRA NIGHT. 

On FRIDAY NEXT, Jane 17, 

"DON GIOVANNI." 



MARQHERITA, MDLLE. ADELINA PATTI. 

On SATURDAY NEXT, Jane 18, 
"VAU8.T B MABGHBBITA." 



Condnotor 



. COSTA. 



Coxnmenca at Half-past Bight. 

PU Tickets, 7s. ; AnphiUwatre Stalls, 10s. <d., 7s. and fie. ; Amphitheatre, 2s. Ad. 

The only aothorixtd Box-ofltoe Is nnder the Portieo of the Theatre In Bow Street. 



THE CAVENDISH ROOMS, 

I.ATE BIiAaROVXrS BOOMS, 
MORTIMER STREET, CAVENDISH SQUARE, 

Pnipileton - MiBBsn^ EDWARD UUBFHUE7 and TH01KA8 CHIU^B. 

[E MUSIC PROFESSION, and the PubUc generaUy, 

warn inlbnncd that this elegant mdi« of Rooms having been thoroaghly reetored. 

joratad, and fitted on the moet approved aoooustio principles, may be engaged 

tar Chaoabar Conoeru, Pianoforte Reeltals. Matioal Soirees, Ac., being partleniarlj 
adapted tnr *11 parposee for vhtoh parity of sound is essential. 

llicT ttt* *^ admirably appUoable for Pablio Dinners, Wedding Parties, Private 
Boirm D ant m tn , and Amateur Perlbrmances, for which fTtrr reoaisite of the first 
dsKripdon wlU be provided. 



BOBOKBL'S OAXTTATA, 



J. Ii. 

RUT H," 

Z^atelypertbrmed with so maohsnocessat the Vlotorla Rooms, Clifton, Is now published, 
^ Complete, Price 15t. 

The Bridftl Mueh 28. 6d. 

**0 oftU me Mera," Beoit. end Air (Obntrelto) . . . 2b. 0<L 

The other Nambecs are now ready, price 2s., 2s. 6d. aad 8s« each: 

Boesnr h Son, Holies Street, London 



DEDICATED, BY PERMISSION, TO 

B.B.H. THB PBIXrCE OF WALEa 



"LLEWELYN}" 

A DRAMATIC CANTATA. 

The English Words by 

THOMAS OLIPHANT (Honorary Secretary to the MedrlealSofiety). 

The Welsh Words by TALHAIARN. 

The Mosle by 

JOHN THOKAS (Peaoerdd Gwalia^. 



PUBLXSHEB B7 80B8CBIFTIOM, 

And to he rttU^far ddwtry in Jufy next, in One Volume, eUgamUy hound, 

ffiU edges, ^., 

Price to Safascribers, One Chilnea ; Non-Snbscribers, One Oninea and a Half. 

The VOICE-PARTS, published separately, at Threepence a Page, and now ready 
for delivery. 

This Cantata was composed expressly for and performed at the Swansea Eistedd- 
fod, 1863 ; and has already been chosen for performance at the Llandudno Eisteddfod 
in September next. 

Subscribers' Names to beforw»rdid to Ut, JtOOt Tbomab (Pencerdd Owalia), 
53 Welbeck Street, London, W. 



MR. JOHN THOMAS (Pencerdd Gwalia) begs to 
announce that his GRAND EVENINO CONCERT wlU take place at St. 
Jaiix8*s Hall, on Wedneeday, June 2eth, when will be performed (for the first time 
in London), his Dramatic Cantata, ** LLEWELYN,*^ Inr the following eminent 
Artists :~Miss EorrH Wrnra, Biadame Saivtoh-Dolbt, Mr. Sms Rkivbs and Mr. 
Lbwis Thomas. UMTid Cboibs, Baud of Habps and I^jll Obohbstra. Harps~ 
Mr. J. BALsm Cbattibtov (Harpist to the Queen), Mr. T. Wbiobt, Mr. Chbshuii, 
Mr- JoBwTBOiias^ftarAe. Condoctor^-Mr. ALraaD Mblloh. Principal Ylolin— 
M. Saxwo^ Sofo StallK One Oninea each; to be had of Mr. John Thomas, 63 
Welbeck Street, Cavendish Square, W. Balcony, Half-^Onlnea tArea, 6s. ; Gallery 
and Back Area, 3s. ed. : to bo obtained at the prinoipel Mnsio Warehooses, andat 
Mr. Austin's Ticket Office, 2d Piccediily. 



MR. WALTER MACPARREN'S PIANOFORTE 
PERFORMANCES, Hasovxi Sqvabi Rooms.— The next Concert on 
day Mondng, June 18, at I o^dock. iV ^grawunt:— gsnlasla and Fague— 
Mosart ; Sonata quasi FlMitasia In C sharp minor— Beethoven ; Rondeau a la Sulaie— 
Cipriani Potter: Two Melodies— Kate Loder; New Sonata, PianotorU and YloUn 
—Walter Macflurren (Violin, M. Samtov); Lieder ohne worte (Book 4)— Men. 
deltsohn; Deux Valsei— Chopin ; Roudo Placevole— Sterndale Bennett; Selection- 
Walter Macfimren. Reserved Seats, 7s. 1 Osnaburgh Street, N.W. 



W 

ouMoi 



R. J. ASCHER, Pianist to H.M. the Empress of the 

French, begs to announce that his MATINEE MUSICALB will take place 
londay, the 37th June next, at tbe Qvbin*s CosrosKT Rooms, Hanover Square. 
Vornliitn Madsme Pabbpa, Mdllo. Emxqvist, Signer Oabdohi, and Slgnor Gasbibb. 
iMtrwne ntaliiU M ons. Paqok, Slgnor Amdbbou, and Mr. J. Asohbb. Conductor, 
Mr.' Bbmbdiot, Slgnor Li Calsi, and Herr W. Gamz. Stalls, One Guinea ; Reeerved 
Seats, lOs. Sd.; may he had of Mr. Asoher, No. 163 Albany Street, Regent*s Park, 
and of the principal Mosiosellers. 



1 if ADAME GRAUMANN MAR0HE8I and SIGNOR 

lYL MARCHESrS CONCERT HISTORIQUE wUl take place at Willises 
Rooms, King Street, St. James'k, on the aist June, at Three o'clock, when they will 
be assisted by the following eminent Artistes :—Mdlle. Mabib Wibck, Mons. G. 
PrairrBB and Mons. Wibriawski. For particulars apply to Mesers. Schott A Co., 
Regent Street ; Foster A King, 223 Regent Street ; and of Slgnor Marchesi, 3 Georg«» 
Street, Poronan Square. 



Digitized by V^riOOQlC 



402 



THE MUSICAL WOKLD. 



[June 25, 1864, 



BOTAL ITAUAM OPERA, COVENT OABDEN. 

PROSPECTIVE ARRANGEMENTS. 



LlAST VTEEK but THB3BE OF THE SEASON. 

EXTRA NIQHT.-MARGHERITA, MDLLE. ADELINA PATTI. 

On MONDAY KEXT, Jane at, 

"FAUST B MABGHEBITA." 

THIRD APPEARANCE OF MDLLE. ARTOT. 

On TUESDAY NEXT, Jane 28, 

"IiA FIGIiIA DEIi BEGOIMBITTO,'' 

And the Dirertissement, ** L'lLE ENCHANTEE.** 



EXTRA NIGHT. 

On THURSDAY NEXT, Jane 80, 

MIiB FBOPHBTB." 



SPECIAL EXTRA NIGHT. 

On FRIDAY NEXT, Jnly 1, 

"PAUST BMABOHBBITA." 

On SATURDAY NEXT, Jttly «, 
••IiA TB A VI AT A." 



liAST WEEK BUT TWO. 

EXTRA NIGHT. 

On MONDAY, July 4 (Last Time), 

"DON GIOVANNI." 

On TUESDAY, Jaly 6, 
^'Ii'BIiISIB P'AMOBJ C" and "1 ,'IIiB BN0HANT11B.W 

EXTRA NIGHT. 

On THURSDAY, July », 

"FAUST E MABGHEBITA." 



On SATURDAY, July 9, 
"Ii*EIiISIB D'AMOBN." 

Oommenoe at Half-past Nisht. 
Pit Tickets, la. ; Amphitheatre Stalls, lOi. 6d., 7s., and 6s. ; Amphitheatre, 3l. 6d. 



' By Special Desire. 

PHILHARMONIC SOCIETY.— EIGHTH CONCERT, 
HAwo^anSQUAM Rooms, Monday, Jane 27:— 8Infi>ala in B flat— BeethoTen; 
Coneerto Violin, Uerr Joachim— Joaohim ; Serenade and Allegro rlojoeo. Pianoforte, 
Mr. Harttiosoh— Mendelssohn ; Mew Orehettral Pleoe, MS. (composed for the 
Fhilharmonio Concerts)— W. S. BiMinTT; Overt are. Jubilee— Weber. Yocal 
Performers— Miss Lodisa Ptmb and Dr. Ocm. Gondnotor— Proflnsor BamiBTT. 
Tickets, 16s. ; at Messrs. Addison and Lncas's, 210 Regent Street. JT.^.— The 
Entrance by ttie Door in Hanorer Street. 

USICAL UNION.— JOACHIM and HALLE, at the 

DIRECTOR'S MATINEE (the Uft ot the Season), Tuaidav, Jane 28, at 

'hree o'clock. The Grand Septets by Beethoven and Hummel, and the Kreatttr 

Sonata, will be Incladed, with Vocal Music, Pianoforte Solos, ftc., in the programme. 

Tickets, Halt-a- Guinea each; to be had of Cramer A Wood; Chappell; OIUTler; 

Austin, at the Hall ; and Ashdown ft Parry. J. ELLA, Dlr»ctor. 

I)RIZE QUINTETS.— SOCIETY OF BRITISH 
MUSICIAN S.— The Umpires baring awarded the Prises, the Committee have 
e pleasure to announce that Messrs. J. T. Cakrodus, W. Watson, H. Wii|b, W. 
£. AvLWAim and J. Rstkolds have kindly undertaken to perform the successAil 
Works, at 16 Grosvsvob Stbbbt, Bond Street (by the kind permission of Messrs. 
Collards), on Monday, June 37th, at Three o'clock punctually. 

After the performance the letters of the successful Competitors will be opened and 
fheir names declared. 
Profoseors and Amateurs will be admitted on presenting their cards. 

W. GRICE. Secretary. 



ASCHER'S CONCERT, Monday Mornmg, June 27, at 
th0 QffBBM*s CoMOBBT RooMf, HanorsT Square. Commence at Half-past Two. 



QUEEN'S OONOEBT BOOM, HANOVSB SQUABJB. 
A GRAND VOCAL AND INSTRUMENTAL 

J\ CONCERT, In AID of the FUNDS of the St. MARYLEBONE BYE 
INSTITUTION, will be given at the above rooms, on Wbdmbsdat. June 29th, 1864, 
to commence at Three o'clock. The following eminent artists have very kindly 
velunteered their services :^Mad. Parepa, Mdlle. Enkquist, Mad. Wkiss, and Mad. 
SAiirrox-DoLBr ; Mr. Wilbtb Coopbb, Mr. Wbiss, and Mr. Sahtlbt (by the kind 

SBrmlssion of J. H. Maplbson, Esq.) Mad. Arabblla Godoard, M. Sahttoh, 
ignor PiATn, Signer Giouo RsooBni, Mr. Lasarub, Mr. Bolbtmb Rbbvbs. (Con- 
ductors: Messrs. Osbormb, J. Doooan, W. Qahz and Bbnbdict. Royal Box, One 
Guinea each; Reserved Seats, '.10s. 6d.; Unreserved Seats,. 68. To be had of the 

filncipal Musicsellers ; of Mr. Mootrib, Baker Street, Portman Square : and of 
r. PATVB,^t the Hanover Square Rooms. 

APTOMMAS'S LAST HARP RECITAL, Tuesday 

JLJL Morning, June asth. at 16 Grosvbmor Strbbt (by kind permission of Messrs. 
Collatd). He will play Weber's Concert- Stack, Alvars LuHa FantasU and five 
of his own most popular compositions, in which he has been enthaslasticaily received 
during the season. 67 King Street, Soho, W, 



M' 



QUEmrS OONOEBT BOOMgi HANOVEB SQUABE. 
ISS HELEN HOGARTH begs to announce to her 

_.__ pa|41s, friends and the public that her FIRST MATINBB will take place at the 
above Rooms, on Thursday morning, 7ih July, 1664, to commence at a o'clock, when 
the following eminent artistes have most kindly consented to appear :—Focaliito— 
Madame Pabbpa, Madame Wbisb, Miss Flobbmsb Db Coobot, Miss Lasobllbs, Mlu 
Gboboi, Miss GoMirAiiOB Qnomn and Madame Saimtoh-Dolbt ; Signer GiiraLni, 
Signer GARDon, tfr. Sastlbt (by the kind permission of J. H. Mapleson, Esq.) ; 
Signer CiABATTA, Mr. Wbisb and Mr. Sims Rbbvbs. HuinimmtalitU—mtxioforU, 
Madame Arabblla GoDDABD and Miss SoHnxan; Violin, Mens. SAnrrov; Violon- 
cello, Mr. Edward Howbll. Cendnctors— Messrs. Aouilar, F. BBBaBB, Gavb and 
Bbvbdict. FamUy Tickets to admit Three (StalU), One Guinea ; Stolls, lOs. 6d. ; 
BsservMi Seats, f s. ; Unreserved SeatB, as. To be had at tha prlnoipal MosloseUtn ; 
of lUss B9lsn Hogarth, 10 Gloucester Crescent, N.W. ; and of Mr. Payne, at the 
Roomi. 

June 29th.— UNDER DISTINOUISHED PATBONAOE. 
ISS KATE GORDONS SECOND MATINEE 

_ MUSICALE will take place at Gollabd's CoHCBKr Rooms (by permission) 
on Wednesday, Jnae a9th. Artitlm^Mm Blbamora Wiuumbom; Mbs. Mbrbst; 
Mb. Gbobob Pbbbbm; Mr. Bbbwxok, Clarionet; Mr. Labards, Viola ; Mb. Wbbb, 
VloUn-attavi«ons s SiovoR Padovami, Pianoforte | Mibs JCat« Owdov and Hbbr 
Lbhmbtbr. Ccfidvetors — Mr. Gbobob Allbv, Mus. Bac. Oxon., and Hbbr 
Lbbmbtbr. To commence at three o'clock. Tickets, 10s. 6d. each, to be obtained 
at the usual places, and M ¥Us Ki^ QOH^«*i fSBldenoe, 82 St George's Bond, 
Warwick Square, Belgravia. 



M" 



W. 



Under tbe Immediate Fatronase of 
THEIB boyaL highkbssks 

VHB FBINGB AND FBIKCB88 OF WAIiBq, 

akd other distinguished pebsonaoxs. 

THE HUNGARIAN VIOLINIST, 
LLE. AMI^LY BIDO, h«s tlie honor to announee that she 



will give a matinee MUSICALE. on Tuesday, Jane 38th, by kind per- 
mission, St the residence of the Right Hon. the Marohioneu of Downshlre ; on which 
oocasion she will be assisted by Mdlle. Elvira Bbbbbbs, Mdlle. Livas Martorbllb, 
Mr. Wilbtb Coopbb, Herr Fbickb (fW>m the Royal Opera, Berlin), Herr Wiliiblx 
Gabz and Monslear Paqub. Condnotofs— Berr Wilhblm Gabs ami Mr. Emilb 
Bbrgrb. Tickets, One Guinea each; to be obtained of Mdlle. Am^y Bide, at her 
residence, 19 Bedford Place, Rossell Square ; and of the principal Musicsellers. 



JUN£ 29th.~^UEEirB CONCERT ROOMS, HANOVER SQUARE. 
UNDER THE PATRONAGE OF THE 



Marchioness of Waterford. 
Marchioness of Ely. 
Dowager Marchioness of Lothian. 
Countess Paulett. 
Countess Charlemoht. 
Viscountess Dungarvon. 



The Lady Dormer. 
The Qon. Mrs. J. C Dormer. 
Lady de RothschUd. 
Lady GuenuoUne Pctra. 
Lady Maolaine. 



MDLLE. LOUISE VAN NOORDEN. assisted by 
Mdlles. Libbhabdt, Bbbrbhs, Bobchard, MessTv. Rbiobarot, M. Smitk, 
Rbmwick, Vam Noordrm, Obbbthur, RsHYBum SIgneri Abditi, Raxdboobr, Mr. B. 
Bbbobb and Mr. Bbmbdiot, will give her ANNUAL CONCERT as above ; to eom. 
mence at Eight Programmes and Tickets may be obtained at the nsnal places, and 
of Mdlle. Louise Van Noorden, lift Gr«at IMshU Street, Bioomsbory. 

R. IQNACE GIBSONE begs to announce that bis 

SECOND MATINEE will take plaoe at his residence. No. 3 SmDBK 

Tbrraob, Westboume Park, on Monday, July 4th, at Three o'olook preelsSly, i 

~* ' ' ■ Voc * *■ .•■-.. 

by Miss Db . 

MiLTOB. Single Tickets, 7s. each; to be had of Messrs. Cock, Hntehlngs and Ca, 
Messrs. Ashdown and Parry, and of the principal MuaioseUers. 



M 



several of his latest Pianoforte and Vocal goniMsltiens will bs peiftrmetL Mr. 
OiBSOKB will be assisted by Miss Ds Coubot, MUs Palmbb Liblb and Miss Rota 



M 

Stbbi 



R. WILHELM GANZ'S 80IREB MUSICALE 

will take place on Thursday next, June 90, at his residSDoe, 16 Q^ibbv Avvb 
, commencing at Half-past Eight o'dook. Ar Urtt M esdames PAmsrA, 
LiBBHART and ERnqmsr ; Messrs. Rbicbabot, Rbbwick, Bbbbdict, T. H. Wbiqst, 
E. Bbbobb, E. and W. Gams and Monsieur Lbvabsob. Tickets, 10s. <d. each. 



M 



R. W. H. HOLMES and Mr. G. W. HAMMOND'S 

THIRD PIANOFORTE AND MISCELLANEOUS CONCERT wfU tmkM 

place OP Saturday Morning, July 16th, at the Hamovbb Squabs Booms. Tickets, 
Half-a- Guinea; to be obtained of Mr. Holmes, 30 Beaumont Street, and Mr. 
Hammond, 33 Beaumont Street, Portland Places 



s 



IGNOR CIABATTA begs to announce that hi« 

GRAND MORNING CONCERT will take place at Sr. Jambs's ^^Jr, THli^ 
DAY ( Saturday ), Jane 25, to commence at 3 o'clock precisely. VemHth Mad OBtsi 
(her only appearance in London this season), Mdlle. Cablotta PAtn, Mad. Parbpa, 
Miss Lasckllbs, and Mad. Saimtom-Dolbt: MM. Gabdomi (I^ the kind permlSBioa 
of J. H. MArLBsox, Esq.), Rbicharot. Solibbi, Dbllb Sbdib, Gasbibb (Iqr the kind 
permission of J. H. Maplbsok, Esq.), Bdrdivi, snd Ciabatta. Pianoforte, Mad. 
AoovRsi and Mdlle. Maris KRKsa, Signer Avdrboli and Mr. Ascrbb; Violin, Signer 
AccDRSi; Violoncello, Signer Pbssb; Harp, Mr. Frbdbbkk Cbattbbtom; uar- 
menium, Herr Emqbl. Conductors— MM. Bbvbdiot, Framubsoo Bbbobb, Pmsim. 
VsRA, and ViaxboI. Sofh Stalls (a limited number only). One Guinea each ; Stalls, 
lOs. 6d. ; Balcony, fis. ; Area, 3s. : Gallery and Orchestra, Is. Tickets may be 
obtained at all the principal Music Warehouses ; of Messrs. Chappbll and Co.. 
60, New Bond street ; and Mr. Annv's, St. Jameses Hail. * 



Digitized by 



Google 



June 25, 1864.] 



THE MUSICAL WORLD. 



403 



ROYAL ITALIAN OPERA. 

LA FIOLIA DEL REGGIMEKTO— ABTOT. 

[Timea^-June 22,) 
La FigUa del Regmmenio was given last night, for the first apnearance 
(at this theatre) of Mdlle. Desir^e Artot, who was received with mnch 
the same favor and achieved mnch the same success as at Her Mijesty's 
. Theatre a twelvemonth since. Why the name of Mdlle. Artot 
vanished from the biUs of the Haymarket Opera, after she had only 
song in three characters — ^Maria {La Figlia^j, Violetta {La Traviata), 
and Adalgisa (Norma) — was never satisfactonly explained ; but at the 
present moment it was, perhaps, fortunate for Mr. Qye that her services 
should be at disposal. The departure of Mdlle. Pauline Lucca — solely 
and wholly ior reasons of health, whatever the Berlin papers may have 
invented and laid to her account — ^not only necessitated the engagement 
of a singer to play the heroine in L'JBtoile du Nord^ but, as Mdllee. 
Lagroa and AdeUna F^tfci cannot undertake everything, to find a sub- 
stitute for Mdlle. Lucca in other operas. Mdlle. Artot, if not one of 
the most finished, is certainly one of the mprt showy and energetic 
singers at present on the operatic boards. Her Maria, as a dramatic 
impersonation, belongs to what is not inappiopriately styled the 
M demonstrative " school. A VivandUre pur tang to all intents and 
purposes, we are not surprised at her vehement dissatis&ction when 
her parent, the Marchioness, comes, unexpectedly, to snatch her away 
from her pet companions, and transport her 10 a sphere so utterly 
uncongenial to her haA)its. The same notion of the character is borne 
out in Uie second act, where the newly-imposed trammels of high life 
evidently «vex Maria, and her disinclination to assume the attributes, 
moral and physical, of a fine lady is forcibly and vividly conveyed. 
This is, no doubt, the prosaically correct embodiment of the vivacious 
personage whom Donizetti, in his music, has, nevertheless, striven to 
refine, and in some sort idealize. Other singers (Jenny Lind, for 
example) have looked at it from a different point of view ; but Mdlle. 
Artot .may cite the very impulsive and graphic assumption of Sophie 
CruveUi in support of her. idea, no less than rely upon her own 
intuitive genius. As a musical performance Mdlle. Artot's Maria is 
remarkable for dash and brilliancy — ^though in the expressive parts, 
such as the leave taking of the regiment, she rather inclines to be 
over-elaborately pathetic, and to prolong indefinitely the assumed 
emotion. On the whole, the lovely melody, " Convien partir," has 
raroAy been given with such slow and measured cadence, if as rarely 
with more studiously calculated ** sensational " effect. Mdlle. Artot's 
reading of the tuneful and characteristic ^* Giascun lo dice " — ^that 
glowing eulogium of <* the worthy Twenty-first " — ^the only regiment 
(as the £ngli^ translation apprises us) 

•* in all th« town 

To Yrhom no inn denies to trust'*-' 

Is wonderfully spirited ; and the same praise may be bestowed upon 
her bold and vigorous delivery of the bravura in the second act— in 
spite of the vanations and prdiminary flourish at the repetition of the 
exultant phrase, '* Ewiva la patria," which, clearly traceable to her 
instructress, Madame Viardot Qarcia, partake rather of the exaggera- 
tions than of the legitimate style of that justly famous artist. 

The lesson scene with the Marchioness (Act 11^ affords Madlle. 
Artot an opportunity of displaying her command of florid execution in 
a cadenza composed of almost every variety of ** tour de force," and 
seeminglv interminable. Her acting in this situation, however, is so 
animated and life-like that a cadema twice the length would be more 
or less endurable. But, without going further into detail, we may 
pronounce Madlle. Artot's d4lnU last night, at the Royal Italian Opera, 
a genuine and well-deserved success. Her performance, from beginn- 
ing to end, was marked by a spirit and earnestness that never flagged ; 
and — ^in the filrst act especially — she carried her audience triumphantly 
with her. The air " Giascun lo dice " was encored, the " Convien 
partir " applauded with enthusiasm, and the descent of the curtain 
followed by a hearty and unanimous summons before the lampe^a 
compliment, by the way, repeated at the termination of the opera. 
Signor Neri Baraldi sang the music of Tonio extremely well ; while 
Signor Bonconi showed {/or the firat time) that it was not impossible to 
pourtray the rugged and faithful Sergeant Sulpizio under a humorous 
aspect. The demeanour of this admirable comedian while Maria was 
bidding her plaintive " adieu " to the regiment of her affections — his 
attempt to master his feelings and to hide his tears— was as unctuously 
droll as it was natural and original Madame Tagliafico played the 
«< Marchioness of Berkenfield " (?)— as of old. 

The mile en aeine of La Figha is irreproachable. Seldom has Mr. 
Beverley imagined a more picturesque tableau than the *' rural scene in 
Switzerland;" never has Mr. A. Harris been happier than in the dis- 
positum and manosuvres of the " regiment." Nor do we remember 
00 any previous occasion soldiers so really like soldiers, whether in 
eostnmo or in deportment — from the Tambour-major downwards. 
The whole ihing» indeed, is perfect. Ab for Donizetti's musio—^horal, 



orchestral, and solo---it is as fresh and charming as ever, and, stsange 
enough to my, just as well suited to the Italian lyrio stage as to that 
of the Fluns OpiSra Ck)miqQe, for whioh it was originally composed. 



HER MAJESTY'S THEATBE. 

UABTHA— OBOSSI. 

(Timee— June 21.) 
Last night M. Flotow's Martha was performed, with MdHe. Volpini 
as Martha, Signor Giuglini as Lionel, Mr. Santley as Plumkett, and a 
new contralto, Mdlle. Qrossi, as Nancy. Of Siffnor Giuglini and Mr. 
Santley it is unnecessary to say anything. They have already this 
season appeared in the same opera. Mdlle. Volpini, however, is one of 
the most animated and intelligent representatives of Lady Enridietta 
(Martha) that could possibly be desired. Her acting and her singing 
throughout were legitimate and good ; and — ^to cite a single instance 
— her reading of the famous Irish melody, *'The Last Rose of 
Summer" (Italianized into " Qui sola, virgin rosa"), was perfect in its 
unaffected simplicity. Mdlle. Grossi, the new contralto, has a voice, in 
musical richness of quality, almost without parallel since Albonl first 
enchanted London with her luscious tones (1847). As a singer Mdlle. 
Gross! has no present claims to be ranked in tne same category wi^ 
Alboni. Nevertheless, she has warmth of expression, considerable 
flexibility, and evident earnestness, which— combined with youth, a 
very prepossessing appearance, graceful stage presence, and lively 
qusOities as an actress— justify a hope that she may eventuiJly become 
an artist of the first class. She sang all her music well ; but it was in 
the air of the third act that she was able to display her gifts and 
accomplishments to most striking advantage. Here the beauty of her 
voice — with its deep and mellow tones, always harmonious, because 
never forced — an instinct for well-rounded phrasing in the slow move- 
ment, and a certain *' laiiur alter " in the all^o (" U tuo strsl nel 
lanciar **) produced an unmistakeable impression. The audience, taken 
by surprise, were doubly enchanted; and MdUe. Grossi was unani- 
mously encored. A new Italian singer of merit is a real boon to our 
Italian Opera ; and it is long since such genuine promise was exhibited 
as by Molle. Grossi, who, coming unheralded by preliminary flourish, 
has a right to feel all the more proud of her success. 

Although Siffnor Giuglini (for whom an apology was offered in 
doubtful finglish) omitted the fiivorite romance of Lionel, ** M'appari 
tutt*amor," Mr. Santley made amends by singing the jovial apostrophe 
to beer (" Chi mi dir^ di che il bicchier ") twice ; and the general 
performance of M. Flotow's lively music, under the able direction of 
Signor Arditi — ^in his particular sphere the mainstay of the estabUsh- 
ment — was all that could be wished. 

The first performance of Fidelio (Mdlle. Tie^ns as Leonora) is 
announced for Thursday. It is to be hoped there may be no further 
postponement of this long-promised revival. 

PAULINB LUCCA. 

{From the Timee Berlin Chrretpondent,) 

What have they been doing in London to that capricious young lady 
Miss Pauline Lucca, or what has the Italian Opera come to if the 
insinuations of the Berlin papers have airy foundanon in fitct? Insin- 
uation is not exactly the word. Some of those jounuds deal, as usual, 
in terms more remarkable for energy than for elegance. On these it 
would be condescension to dwell. If we confine ourselves to matters 
of fact, as stated by the Berlin press. Miss Lucca was compelled to 
break her London engagement in order not to ruin her voice and her 
health. " The reheusaJs lasted six hours ; in the performances the 
parts had to be sung almost twice over by reason of the inconsiderate 
encores ; besides this, the manager regularly hired her out to sing at 
parties — ^to say nothing of the detestation of everything German, 
especially Austrian and Prussian, which is now wdl known to prevail 
in London." Probably Mr. Gye does not trouble himself to read the 
Berlin papers, or he surely would feel crushed to the earth by this 
pile of charges brought against his management and his audiences* 
Another journal says that he stands wringing his hands and will not 
be consoled for the loss of his Lucca. She was partly induced to 
retire from the Govent-garden stage, says a thira scribe, **bv the 
bearing of the English towards Germany." On arriving in Berlin 
we learn, however, that sh^ thought it advisable to consult three 
physicians, who have ordered her off to the baths for two months. 
Ten thousand thalers, we are further informed, is the sacrifice this 
disinterested songstress has made in order tliat the frequenters of the 
Berlin Opera-house, where she is engaged for life, may not suffer firom 
the stram put upon her voice by the exertions of your greedy and 
unfeeling London audiences. Poor little Lucca, was ever anyone so 
ill-used and greatly to be pitied ? Her Berlin admirers dechve that if 
she has made a fiasco in London, it is because nothing that proceeds 



Digitized by 



Google 



404 



THE MUSICAL WORLD. 



[June 25| 1864. 



Arom the Pnuwian capital can at the present moment give pLeasore in 
Engluid. I doubt that your opera-goers are so susceptible, or that 
they allow their political partisilities to interfere with their musical 
enjoyments. Through all the cloud of motives and imputations by 
which it is cought to cover her retreat from the London stage, the true 
reason has perhaps yet to be discerned. Certain foreigners who had 
had opportunities of judging at Berlin this German nightingale with 
an Italian name were surprised when ihey heard of her engagement as 
tk premier aujet at one of our two great lyric theatres. If her musical 
qualifications passed muster, they yet strongly doubted whether her 
acting and general style would be approved by an audience so fastid- 
ious as that of our first opera houses. If it were necessary, in order 
to maike France acquainted with Goethe's Faust, to turn that great 
poem into a sort of comic opera, it yet does not seem inevitable that the 
neroine should be transmogrified into a forward gritetU. In days 
when the Italian Opera in London was certainly not less brilliant than 
at present it used to be held that the style and manner of a singer 
must not be less considered than her vocal powers, before an engage- 
ment was offered her, and it would be a pity if, under more recent 
managements, so good a rule should have been departed from. 
Although one may occasionally find a first-class singer upon the Berlin 
stage, as a whole it is most decidedly a second-class opera. What we 
shine In here is the mise en edne, and especially the ballet — ^romantic, 
fantastic, necromontic, panoramic, choregmphio spectacles which 
occupy a whole evening, and are sedulously followed by an indulgent 
public. The scenery is usually effective and well painted, and the 
music often pretty ; the corpt de ballet^ which is not annually changed, 
but most of whose members are engaged for long terms, knows its 
business, and has an ensemble seldom surpassed — except, perhaps, at 
Milan, that great school of theatrical dancing. Such gorgeous panto- 
mimes as Elinor or EUctra^ or that chief of Si\ Berlin ballets. Flkk and 
Flock — in which the adventurous brothers reach the bottom of the 
ocean by the assistance of the electric cable, and there dance quadrilles 
with gisantic lobsters, whose shells the property-man has thought it right 
to boil before serving them up— draw, so fsii as my observation goes, 
better houses than an opera, unless this be a special favorite, or adorned 
by stars of unusual magnitude. A. M. Niemann, from the Hanover 
Theatre, a remarkable fine tenor singer, who was here the other day, 
inspired a/tirore, and tickets for his performance were sold at twice or 
thnce their usual moderate price. But in general the Berliners seem 
greater patrons of good ballets than of operas indifferently rendered, 
and of this the example is set by some who make the fa^ion. If 
Miss Lucca, who is an enfant gdtie here, has been unsuccessful in 
London, the highly favorable reception which the papers say has been 
given there to Madame Harriers- Wippern, in the part of Alice, may 
serve as a proof that in England, at least, individuals are not made to 
suffer for international discords. 



REMINISCENCES OF MEYEBBEER. 

[The following sketch ia from the pen of our ezceUent, (but of 
late yery idle) correspondent, Trovator^ who is at present, in 
addition to other lit^ary pursuits, contributing to an amusing 
miscellany called The Round Table.— Ed, M. TF.J 

The most skilsnl ot modem m:.8icians is no longer living. The 
man who perhaps more than a y other understood the art of making 
that siilendid triun.pL of music, a grand ope: a. has for ever left the- 
scene of his labora and his |triumphs. and one of th^ foA* great com- 
posers of this age i' already to us only a h storical name. Meyerbeer 
is dea 1. He ui d on the 2nd of May, a little before daylight, at bis 
hotel in Paris, from a uisease of the intestines; and having been 
informed shorUv bcfor i his death that there was no hope, he calmly 
gave orders aVout his funeral, and met his last moment with noble 
sar> nity. E^nowing that he numbered thousands of friends in Paris, 
it is said he directed that his remains should lie there in state for three 
days, and then, by a certain fixed itinerary — ^the details of ^hich he 
himself dictated— be conveyed to Berlin, the city of his birth, a: dthe 
one wliich above all others he loved. It is not a really lovable city. 
*It is flat and hot and artificial ; but Meyerbeer was never weary of 
praising the charms which he deemed it to possess. His own residence 
was perhaps as pleasant a place as the Prussian capital contained. It 
consisted of a suite of rooms in a large building on the open piazsa at 
the end of the famous av nue Unter den Linden, and near the magni- 
cent Bradenburg gate. His apartments were on the second floor — the 
third, as we count floors in this country — and the abode of the world- 
renowned occupant was only marked by a small and simple porcelain 
plate bearing in neat letters the single word, •• Meyebbbeb." In these 
apartments we not Ion .; ago enjoj'ed the privilege of conversing with 
this remarkable man. He received his friends m an ordinary, square 
reception-room, and there would manifest the quiet courtesy and 
unpretending cordiality which marked his social life. To yiaiton 



firom foreign lands Meyerbeer was peculiarly attentive, and he took a 
lively interest in American affiurs. He was an admirer of Cooper th>3 
novelist, whose works he had read with great pleasure. He knew 
Washington Irving personally, having met him hoih in Paris and 
Madrid; and he was perfectly £uniliar with Hip Van Winkle, The 
Legend of Sleepy HolUno, and other of Irving's tales. His opinion of 
President Lincoln was &vorable enough to have suited the very 
warmest adherents of the Chief Magistrate. At the time of which 
we write, Adelina Patti had just appeared In New Orleans in his 
Dinorah, and he inquired somewhat anxiously about the abilities of 
the young girl who, a year later, was to become the fiivorite operatic 
star of Ei.rope. 

In speaking of musicians Meyerbeer was most generous, and set an 
example to his own adherents, many of whom considered that to 
admire his music it was necessary to depreciate that of other composers. 
There was none of this musical bigotry in Meyerbeer. He spoke 
highly of the Italian composers, Belleni and Donizetti, both of whom 
he had known personally, coming in for a large share of hii sincere 
praise. In regard to Verdi, however, he was, to say the least, more 
reticent. 

From the reception-room previoudy aUnded to, Meyerbeer would 
take his musical friends into an inner apartment, very long, lined with 
bookshelves, uncarpeted, and lighted up by four windows which looked 
out upon the street. In the centre of this apartment, and on a plat- 
form raised about a foot from the floor, stood a grand piano, always 
open, and strewn with sheets of music and music-paper. Over the 
key-board, but at a sufficient height to allow ftee scope for a player, was 
a Uttle desk, with inkstand and pens ; and here it was that Meyerbeer 
composed his wondcrfhl musical works. He was very industrious, and 
must have left a vast amount of unpublished music, for he showed the 
writer of these lines piles of bundles tied up in brown paper, which he 
said contained compositions which had never been printed— operas, 
oratorios, and cantatas. 

♦ ♦ ♦ « t 

As stated above, Meyerbeer loved Berlin, but much in the same way 
that Englishmen love England, for he stayed out of- it as much as he 
could> His position as chapel-master to the King of Prussia obliged 
him to live six months of the year in his native city, but the other six 
months he was engaged in praising Berlin— from the vantage ground 
of Paris. Death found him at the French capital, busily engaged in 
preparing for the stage his long-deferred opera, VAfricaine, of which 
so much has been said. It was a work by which he had expected to 
add largely to his reputation, and, after years of delay, he intended to 
produce it this summer at Paris. Its production, now that he is dead, 
will be attended with special interest. 

While many of his Italian contemporaries gave to the world three or 
four operas annually, Meyerbeer spent eight yean upon the Frmhiu 
alone. He spared no trouble, no pains to add to tne effect or his 
operatic works. He made suggestions to the scene-painters and 
machinists. He tried chemical experiments to produce the most bril- 
liant kind of light for a rising sun in the skating scene of the Frcpkiie. 
He hesitated not to bring a goat on the stage to play with Diuorah, and 
bells and musketry are among the effects in the ffuguenoie. Yet these 
were only intended as decorations to the magnificent fiikbric of grand 
music first constructed. 

If it is conceded that Meyerbeer has not the flow of melody of Rossini 
and other modem composers, it must be admitted Uiat^ whether it be 
from a combination of science, or what is carelessly termed "an inspir- 
ation," he has produced some of the most exquisite melodies existing. 
What can be more delicate than ** Robert, toi que J'aime?'* What more 
delicious than the pastoral love song in the Prcphite, more sparkling 
than the dance music in the same opem, or grander than the Coronation 
March? What can be more passionate and effective in its way than 
the duet in the fourth act of the HvgumoU ? And what melody can 
haunt the ear more sweetly than Catherine's song in VEunU du Nordt 
In climacteric effects Meyerbeer was perhaps unapproachable, as the 
blessing of the swords in the HuguenoU, the trio m the last act of 
Robert, with many other specimens, bear witness. 

Meyerbeer's life was one of hard work, because he himself said it 
wad work for him to compose. Rich from boyhood, he did not compose 
to make a living, but to gain fame, though his naturally economical 
habits added vastly to his wealth. Over thirty years ago— before many 
of those readers of the Round Table who think themselves matme 
men and women were born— the composer of Robert was famous. The 
early productions of his great operas are among the traditions of grey- 
headed opera-goers, and the singers who when his opens were first 
heard, were applauded as Robert, as Bertram, as Alice, as InbeUa, as 
Raimbaud; as John of Leyden, as Fides, as Bertha, as Maroel, as 

* Your pardon, excellent. "Trovator"— that is no^ the way RnpliAit^yi |o^ 

EofUDd. DfSBUIT P«CKB8. 



Digitized by 



Google 



Jane 25, 1864.] 



THE MUSICAL WORLt). 



405 



Valentine, as Baoul, — ^haveall either retired firom the stage* or preceded 
to the . grave the great man whose eompoii t ioni gave to them a 
temporary, to him an enduring &me. Tbotatob. 



CONCERTS. 

MR. BENEDICTS CONCERT. 

The grand ** morning concert" of the season took place on Monday, in 
St. James's Hall, and presented aU its accustomed attractions. *' Morn- 
ing concert," by the way, is rather a misnomer for Mr. Benedict's 
annual entertainment, which rarely terminates earlier than six hours 
after mid-day. As, however, the materials of which it is composed are 
invariably the best that can by any possibility be obtained, it is more 
than probable that if the performances were to last till midnight there 
would still be a formidable minority in the room. During a residence 
in this country of nearly SO years, Mr. Benedict has occupied a position 
which fio musical emigrant, firom Qermany or elsewhere, ever occupied 
before, ocis likely to occupy again. He came to England under the 
shadow of Malibran, and the glory of that departed genius seems still 
to hang over him. As a composer he was nrst known here by the 
pieces he wrote for Malibran. A more creditable passport could hardly 
nave been shown ; and its bearer has proved, over and over again, that 
it was not obtained under false pretences. Of Mr. Benedict's musical 
taleot and acquirements it is wholly unnecessary to speak. Europe has 
endorsed the nigh opinion entertained by Carl Mana von Weber of 
his &voritQ pupil. But, independently of this, Mr. Benedict has 
poMessed the secret of winning the universal good-will of his brother 
professors in this country; and while there is no one among us in his 
particular sphere more admired for his abilities, there is none more 
esteemed for <;|ualities which cause a man to be respected, no matter what 
the field of his exertions. 

The programme of Monday's concert comes fidrly under the cate- 
gory of ** monster"— « term invented by the late M. JuUien, but not 
often illustrated to such legitimate purpose. Of course the most in- 
teresting points in it were those in which Mr. Benedict himself was 
directly concerned — either as composer or executant. To begin firom 
the beginning : — the first was the melodious romance firom the last act 
of The lAly of JSiUarney^ one of the most genuine operas ever composed 
to an English liltreUo. " Eileen Mavoumeen" (we believe that ie the 
ork^inal title of the song), translated into Italian, becomes '* Figlia 
d'Erina ;" and the melody, one of the fireshest and most graceful of 
modern times, sounded just as agreeably to Italian as to EngBsh words. 
The singer was Signor Giuglini, who sang in his very best style, and 
was called upon to repeat the air. Next came Richard Cctur de Lion — 
a tmtata composed for the last Norwich Festival, where it achieved a 
saocess that will long be remembered Worthy successor to Undine, 
this new cantata was described at length both in the reports of the 
Norwich Festival and on the occasbn of its reproduction in London, at 
one of the concerts of the Vocal Association. All we have to record 
on the present occasion is the very admirable manner in which the 
principal parts were sustained by Mdme. Parepa (Matilda), Mdme. 
Sainton-Dolby (Urbain, the page), Mr. Santley (Bichard Cosur de Lion), 
and Mr. Sims Beeves (Blondel de Nesle). The orchestra, too, conducted 
by Mr. Benedict himself, was perfect. The chorus— that of the Vocal 
Association — ^was not quite e<}ual to the magnificent body of singers at 
the Bast Anglian music meeting; but this was the only weak point in 
the execution — weak, it should oe added, bv comparison. The music 
of Richard OoBur de Lion loses nothing by closer familiarity. On the 
contrary, it gains ; and the only regret is that a work so eminently 
dnunatic should not have been composed expressly for the stage. Every 
personage in the story becomes a strongly marked individuality through 
the musical treatment ; and the cantata is really much more of an opera 
than many compositions that virtually lay claim to the title. There 
was also a brief (too brief) selection fifom Mr. Benedict's charming 
little operetta, The Bride of Song—^nceatly produced with such 
success at the concert of Mdme. Louisa Vinning. The pieces chosen 
were " My home in doud-land," sung by Mdlle. Enequist (harp. Mr. J. 
Thomas) ; the martial .air. '• A trooper' I was bom/^ by Mr. SanUey 

ioomet, Mr. Harper) ; and the graceful and ingenious terzetto, *' My heart 
I beating," by Mdme. Vinning, Messrs Wilbye Cooper and fienwick. 
Add to these the vocal arrangement of the Oarnaval de Veniee (with 
SchnihofiTs introduction), the peculiar difficulties of which were exactly 
sotted to the very exceptional voice and means of Mdlle. Carlotta Patti ; 
that most &ncifiil and degant of pianoforte fimtasias, on Ame's '' Where 
the bee sucks," composed ori^ally for Mdme. Arabella Goddard, who 
had the honour of performing it on the present occasion, and who 
played it in her most delicate, expressive ana brilliant manner ; and, last 
iK>t least, the dashing fimtasia on Irish melodies, called ** Erin."— written 
lor the same lady, but now undertaken by the author himself— «nd we 
have named all the pieces fit>m Mr. Benedict's pen which formed part 
of Mr. Benedict's programme. Aa an executant, however, the aooom- 



plished concert-giver fiirther took part with Mr. George Osborne in an 
extremely well-written and effective duet, by that esteemed professor, 
for two pianofortes, built upon some of the most prominent melodies in 
M. Gbunod's never-tiring Faiut. 

Of the remainder of the concert it is difficult to speak — ^impossible 
to speak at length. The overture to Fiddio ; Mozart's *' Ave . verum" 
(by the members of the Vocal Association) ; the second air of Suastro 
from Die Zauberfldte (Herr Fricker) ; the bolero from Lee Diamante de la 
Oouronne, by the Mdlles. Georgi (encored) ; a serenade by M. Gounod 
(Mdme. Vinning) ; Chopin's Bereeuee for pianoforte, by " the young 
phenomenon,'* Master Fred. H. Cowen ; with pieces of *' Coop" (who 
la Coop?) and Litolf, by another very clever pianist, Miss Eleanor 
Ward (both pupils of Mr. Benedict): a duet, moreover, from FaUUtff 
by Mdme. and Mr. Weiss ; an air by F. Pixis, allotted to Miss Beti«JU 
heim ; and the grand eoprano scene from Der Freiaekutt — sung by Mdme. 
Harriers Wippem, and received with such favor that the German lady 
is not likely to complain of us (as Mdlle. Pauline Lucca m taid to have 
done) on her return to Berlin — all preceded the cantata of Richard Conor 
de Lion, But even with this unexampled " string of gems" added to 
the pieces already named we have scarcely half done with the prodigal 
banquet of harmony and melody offered to hisjpatrons by Mr. Benedict. 
Signer Gardoni gave us the " Ghemin du raradis" (as usual " by 
desire"); Mdlle. Trebelli (accompanied by Signor Bandegger) the 
quaint and original chaneon of the old woman from M. Gounod's 
anxiously-expected MireHle ; Mdlle. Carlotta Patti, Mdlle. Volpini, Dr. 
Gunz (the comine Florestan), Mdme. Sainton-Dolby, Mdlle. Trebelli, 
Mdme. Leschetizki, Mdlle. Enequist, Signers Bettini and Delle Sedie, 
Mdlle. Liebhardt, Miss Emily Soldene (Mr. Howard Glover's promising 
pupil), Alias Linas Martorelle. and the members of the Vocal Association 
a vanety of pieces all more or less interesting, but to specify which in 
detail we have neither space nor inclination. Two performances, how- 
ever, and those instrumental, must be mentioned. The first was a 
masterly concertante duet composed by Spohr, for two violins, without 
accompaniments. When it is stated that this was undertaken by 
MM. Joachim and Wieniawski, it is unnecessary to say how admirabhr 
it was executed, how it was listened to, or how it was applauded. It 
was the first time MM. Wieniawski and Joachim had played in public 
together ; and to every amateur of the fiddle in the room it must have 
been a rare treat — the music of Spohr being as beautiful as the per- 
formance was irreproachable. The second was a violoncello fantaeia, 
composed by Signor Piatti, and played (need we say how ?^ by the 
composer. The concert was to terminate (we presume it dia, as Mr. 
Benedict invariably keeps faith) with the Wedding March of Men- 
delssohn. The conductors were Siffnor Arditi, Mr. Alfred Mellon, and 
Mr. Benedict himself. A more *' fashionable" and brilliant audience 
was never assembled in St. Jameses Hall. 

SIGNOR ARDHT'S CONCERT. 
A more intereating and admirably miacellaneoiia concert of the 
" monster*^ species has, perhaps, rarely been held at Her Majesty's 
Theatre than that of Signor Arditi, on Friday sevenday. llie 
band, chorus, and principal artists of the theatre assisted, besides 
Madame Arabella Goddard, Madame Lemmens-Sherrington. &c. 
The programme comprised a selection from Roesini^s Stahat 
ilfater— the introductory chorus and quartet, solos by Tietiens, 
Trebelli, Giuglini and Santley, '^Cujus Animam" (GiuguniX 
»«Quis est homo" (Tietjens and Grossi), ^^Propeccatis" (Santley;. 
*^ Sancta Mater" (Sinico and Trebelli, Gardoni and Santley) lud 
** Inflammatus " (Tietjens, with chorus) ; Gyerture* to Leo" 
nora ; duet from Roberto il diavolo (Bettini and ' Junca) ; 
"Salye dimora" (Giuglini), "Le Parlate d'amor" rBettel- 
heim); and quartet (Sinico, Taccani, Volpini and Gassier) 
from Fatutt; **Batti, batti" (Volpini), and finale to first act of 
Don Giovanni; and the third act of Fa to^ (Tietjens, Bettelheim, 
Junca, Gassier and Santley). These, howeyer, made little more 
than half the programme. The first pianoforte concerto of Men- 
ddsBohn, in G minor, was magnificently played (with orchestra) bv* 
Madame Arabella Goddard, who was rapturously applauded. 
Never did the young and richly endowed lady play the first moye- 
ment with more vigor and fire, neyer sing the ajidante more 
divinely, neyer ^* carry off " the rondo with more lightning-like 
rapidity or exquisite neatness, the brilliancy of her execution in 
no way deteriorating from the beauty of her tone. Signor Arditi^s 
Canto Nazionale, ** La Garibaldina," composed expressly on the 
occasion of Garibaldi's visit to the Crystal ralace, was finely given 
by the chorus with orchestra and military band. Signor -Ajditi, 
moreover, contributed other pieces of his own, among which were 
three novelties. These were a Grand Duo for violm and piano- 
forte (written conjointly with Benedict), played by Mr. Camxlus 



Digitized by 



Google 



406 



THE MUSICAL WORLD. 



[June 25, 1864. 



and Madame Groddaid, and receiyed with unbounded applause; 
Duo BriUante " II demo," song by Mad. Lemmens-Sherrington 
and Mdile. T^ebeUi (encored^ ; and a vocal Scherzo^ **L*Orologio *' 
(Tic, tic, tic), piquantly delivered by Mdlle. Vo^ini. More 
familiar were his Valse^ ** L'Ardita," sung by Mdlle. Tietjcna with 
wonderful spirit; his Bolero, ^^Leggero invisibile," by Mdlle. 
Volpini ; the Valse, " H bacio," introduced by Mdlle. Tietjens, at 
the end of Falstaff; and the Romanza, " Colli Nativi," exquisitively 
sung by Signor Giuglini. Other perfonnanoes might be mentioned, 
but we must be content to add that the Mdlles. Greorgi were en- 
cored in the duo from the Diamans de la Couronne, that Mr. 
Santley gave Signor Arditi's '* The Stirrup Cup " superbly, and 
Madame Iiemmens-Sherrinfrton the ^* Shadow Sone," from Dinorah, 
to perfection. In short, this concert was eminently successful, and 
the zealous music director of Her Majesty's theatre may be con- 
gratulated on the result of his first appeal to the public. 

ERNST'S CONCERT. 
It is a pleasure to recall such an evening as that of the " Ernst ** 
concert at St. James's Hall last week. Almost all musical London 
was there^ either listening or playing, testifying in either case its 
sympathy and respect for a great artut wluun a calamitous illness 
has kept for a time out of our sight. Out of sight, but not out 
of mind ; for music such as Herr Ernst's is not easily forgotten. 
Herr Joachim's playing of the Elegit enchained every heairer by 
its eloouent tenderness. The mystic emotional power which can 
be made to flow from the strings of the fiddle is never felt more 
than when this great master plays, and it never seemed to flow 
more freely than when he was thus interpreting the conceptions of 
his brother artist. Music has dealt much with death— no art 
more grandly — ^but there are few death-songs to be found so 
tender, so impassioned, and yet so serenely hopeful as this Elegie 
of Herr Ernst. Hearing such music, one is reminded of what 
was the secret of his supremacy as an executant. A poetic 
instinct is breathed in every note, and the same instinct must have 
animated the hand of tiie player as well as the brain of the com- 
poser. Scarcely leas impressive was the magnificent ^* transcrip- 
tion*' of the ^^Erl king" in the masterl]^ hands of M. 
Wieniawski. It seemed a complete dramatization of the wild 
legend. Herr Enist's new quartet was listened to with genuine 
pleasure. The work leaves an impression of strength, compactness, 
and symmetry which bespeaks a mind and an imagination in fuU 
exercise of its powers. Mr. Sims Reeves, Madame Mever 
Dustmann, and Madame Leschetizki were the singers at uiis 
concert. We cannot quit the subject without expressing a hope 
that we may soon he^ again some of the Pensees Pugitives written 
by Ernst and Heller. They are,** songs without words," of 
exquisite beauty. — Reader, 



CRYSTAL PALACE. 

The Annual Choral Festival of the Metropolitan schools came off 
on Wednesday, under the direction of Mr. G. W. Martin, when, al- 
thoogh Uie piiee of admisaion was raised to half-a-crown, nearly 20,000 
were present. After deducting season tickets and the firiends of 
the children who had free access, some 12,000 visitors m^ he sup- 
posed to have paid. The children numbered about 6,000, and, if all 
these had sung, the effect must have been extraordinary. In two or 
three instances, only, .^ Rule, Britannia," and " Qod save the Queen," 
for examples, the volume of sound was suigular. The programme was 
divided into two parts, one devoted to sacred, the other to secular 
music. The choirs sang better in the last, their powers being occa- 
sionally overtaxed by the sacred pieces, especially Luther's ** Qreat 
God I what do I hear and see," and the chorale from Mendelssohn's 
LobgeMtnff**We praise thy name, O LordT They were, however, 
enoonrd in the Russian hymn, <* Hark, the vesper hymn is stealing," 
and the chorus, *' Hosannal Blessed is he that cometh in the name of 
the Lord." Encores were also awarded to Mr. Martin's part-song, 
•'Softly shines the pleasant mom," and the "Echo Chorus," from 
Locke's music to Macbeth^ both of which were very effectively rendered. 
The echoes in the Macbeth chorus were from the Shakespere House, 
directly fronting the Uandel orchestra. If the audience had had their 
wish every piece in this part would have been given twice ; neverthe- 
less, only those pieces vehemently demanded were repeated. 

Tiie Uandel Festival Orchestra was completely fiUed by the young 
choristers, who, while never inattentive to business, took every 
opportunity of exhibiting the itreogih of their lungs. The band of 



the Boyal Military Asylum (the Duke of Tork*s School) performed 
between the parts two pieces with solos for euphonium and comet, the 
solos being played by boys. There were other performances before and 
after the schools' concert. The {Hroceedings terminated about seven 
o'clock, with a display of the Terrace Fountains. 

Ma. CHART.BS Fowlsb's Piakopobtb Recital. — Though Mr. Charles 
Fowler habitually resides in the salubrious and pretty town of Torquay, 
his name and reputation are not unknown to the world of Lon- 
don, as was evidenced by the crowd of fasliionahles who attended his 
pianoforte recital at the mansion of Miss Burdett Coutts, on Saturday 
last, when he was assisted by Mrs. Merest, Miss Banks, Signor Pezze, 
and Mr. Carrodus. The chief interest of the recital settled in the per- 
formances of the concert-giver, who, in the double capacity of composer 
and executant, excited the constant and hearty plandits of the aristo- 
cratic audience. Mr. Fowler's own compositions were a trio for piano, 
violin, and violoncello ; a grand fantasia on themes from Der Fret* 
sehtUz ; a sonata in C minor for pianoforte and violin ; and '^a Jinale and 
tarantella from a pianoforte sonata in E flat major. In addition to these 
pieces Mr. Fowler played a solo by Fumagalli on '* a te o cara," known 
in England by the title of " Clarice," so that he had ample opportu- 
nities for showing his versatility, of which he made good use. Though 
not astonishing as an artist, Mr. Fowler plays with irreproachable ease 
and taste, neatness and graceful execution being evidently more his 
forte than brilliancy and tourt deforce. As a composer Mr. Fowler it 
somewhat ambitious; still this is a fault on the right side, and none of 
his works contains anything offensive to good taste, though they may 
not be sufficiently original m treatment to excite enthusiasm. All are 
pervaded by a genuine sense of melody, the second movement in the 
sonata in C minor being especially noticeable for this most essential 
quality. Mr. Fowler was very ably assisted by the artists associated 
with him, tl^e vocal efforts of the two ladies pleasantly varying the 
performances of the male artists. Both Mrs. Merest and Miss Banks 
were in good voice, and the former, in her own ballad of '* The chain 
is broke that bound me," sang with an amount of genuine feeling which 
elicited warm and deserved applause. The whole concert was a very 
agreeable one, though the noise of the street traffic of busy Piocadilly 
marred the more delicate nuaneee of the instramental performances. 
Mr. C. J. Hargitt accompanied the vocal performances on the piano- 
forte with his well-known talent and effectiveness. 

Mas. JoHir MAOFAaasN's Mornikos at tbe Piakofobte. — Another 
concert-lecture was ^iven in St. James's Hall last Thursday, which 
brought the present interesting series of afternoon peribrmances to a 
successful close. Mrs. John Macfarren exhibited her artistic apprecia- 
tion of the composers she interpreted, no less tiian her complete 
mastery of the difficulties of the key-board, in the several pieces die 
played ; but more particularly by her felicitous rendering of Beethoven's 
impassioned Sonata, familiarly called " The Moonlight," and by her 
delightful phrasing (despite the showers of brilliant arpeggios in 
which they are imbedded^ of the cantabile subjects which occur in 
Pradent's " Luda Fantasia." That rising young artist, Miss Emily 
Soldene, sang most admirably a charming setting, by Mr. Howard 
Glover, of some lines that Shakespeare has put into the mouth of 
Juliet, which well displays the composer's power of giving a fhrther 
expression to poetry than words alone can convey. Miss Robertine 
Henderson sang Mozart's exquisite little song ** The Violet,'* and Mr. 
G. A. Macfarren's " Mine and Thine " from the " Lyrics " with tame 
municianly expression, and joined Miss Emily Soldene in a duet fix>m 
She SKoope to Conquer, The two last named vocal pieces were encored, 
and, in obedience to a vtry general demand, mn, John Mac&rren 
repeated Brissao's caprice "The Babbling Brook." She was also 
re-summoned to the platform after her performance of Prudent's 
Fantasia, and the whole entertainment gave unqualified satisfacticm to 
an elegant and crowded audience. 

Ma. W. G. Cusixs's Akkual CoNoxaT (St. James's Hall) was, aa 
usual, interesting. A capital orchestra, some fifty strong, played Bach's 
overture, or Suite in D major ; the march from Tannhaueer ; Mr. Cusina' 
overture to King Lear and Scherzo " Queen Mab," — the overture bdng 
loudly applauded. Mr. Cusins plaved Hurnmers Introduction and 
Rondo, "* Le B^tour H Londres," and Thalberg's MotS, After Thalberg's 
piece he was '* recalled." Herr Lauterbach (violin) played the Adagio 
and Rondo from Kreutzer's 19th concerto, and M. Paque (violoncello), 
Boccherini's sonata in G, both with effect. The singers were Mdlle. 
Trebelli, Mdlle. Louise Liebhardt, Mdlle. Carolina Zeiss, Miss Fanny 
Armytage, Signor Gardoni, Signor Delle Sedie and Herr Gnnz. 
Mdlle. Trebelli produced a great sensation in *' Voici la saison mig- 
nonne," from Gounod's Mireille, and was forced to repeat it Signor 
Gardoni sang '* Adelaida" and "Le chemin du Paradis'' in compliance 
with a unanimous request. Dr. Gunz, gave the air from La Dome 
Rlanehef which he bad already introduced at the Philharmonic 
I Concerts, Mdlle. Liebhardt sang Mendelasohn'iS ** jugend, O Schocnc 



Digitized by 



Google 



Jtme 25» 1864.] 



THfi MUSICAli WORLD. 



407 



B^Mlteeit ** ftDd Abt'i '« YOgolflln in Txtmcfliwild '* (composed tfxprMdr 
for her). Mdlle. Cuolina Zeiss esnyed the ea»aiina ftom 7 XHm ^Pot- 
eari—" Tu al cni iigitardo.'' Furthermore, the Orpheos Glee Union 
inifodneed two part-8ong«, " Three flsheis wetit sadhng ♦» and " As the 
saoshine to the flower,"— hoih eomposed hf Mr. Cndns, and both well 
received. The " Three fishers " oreated a sensation. The concert was 
under the patronage of their Boyal Highnesses, the Prince and Princess 
of Wales. 

MniCE. Pnzzi*8 Cokocbt. — A well-varied programme interpreted by 
some of the most aoeompUshed singers and i>lfiyer8 of the day and a bril- 
Uaot atid crowded anifieiioe aa usval distingiiished the coiioari of Mdme. 
Pozzi, which took place at the Hanover Square Booms, and was as 
brilliantly attended as any of its predecessors. The singers were 
Mdme. Fsrepa, Mdlle. Enecjaist, Mdlle. Louise tii^hart, Miss Banks, 
Miss Lascdles, Miss Siuaa Pyne, Signors Giuglin), Qat^oali Solieri, 
Delle-Sedie, Gassier, Fqrtuna, Frizz! and Ciabatta^ and He» Beichaidt ; 
the instrumentalists, Mr. Ascher and Signor Andreoli (pianoforte), 
Signor Pezze (violoncello). A genuine *< sensation*' was created mr 
Signor Ginglini in the ballad from Mr. Benedict's LUf of KUUtrn^, 
** Figlia d*Erinai" ('* Eily Mavoameen")« which he sang with refined 
taste. Beix^ encored, he repeated it, as a matter of course. *< Figlia 
d'Erina'* promises to be as popular with SigAorlGiuglini as ** Tu m'ami" 
(** When other lips'*) from the Bohemian Otrt Mdlle. Liebhart also 
obtaim^ an encore mr a German Ued, Other performances deserved 
particidar mention, as for example Herr Beicbardt ,io his new song 
** Eine Thrllne," Signor Gardoni in ** Le Chemin du Paradis," Mdlle. 
Ehiequist in two national Swedish songs, Mdme. Parepa, Miss Lascelles, 
Signors Giuglini, Delle-Sedie, and Gassier in the quintet from the 
Balio tJi Mt^ckgra, " E scherzo ed h foUJa." Among the instrumental 
performances entitled to especial praise were Mr. Ascher's iranteri^tion 
of " Alice," and his Rondo des JElja, both admirably played. 

Miss Elieakob Abustbong gave a concert on Saturday evening at 
the BQmover Square Booms. TMs young lady— one of our most 
promistDg sopranos—selected for soAos ** Ah, non eredea," a scene from 
StradeUoy ** Jong frau Maria," and Osborne's song, **The Merry Flower 
Girl." The air from the Sonnambtda made a deep impression, and was 
Indeed excellently sung — ^voice and style both exciting admiration. 
An attempt was made by the audience to encore the atr, but Miss 
Armstrong modestly dedioed. M. Flotow's ratisic— at least the music 
to Stradella—is not particularly well suited to the concert-room. The 
song of Mr. Osborne, on the other hand, was so pleasing in itself and 
given with such fine taste as to nlease universally. Miss Armstrong, 
moreover, joined Miss Lascelles, Messrs. Brewster Wylie and Patey m 
the quartet " Un si ben di " from RigoleUOt and Mr. Brewster Wylie 
and Mr. Patey in Bandegger's trio, " I Navioanti," both effective per- 
fbrmances. The instrumental pieces were Wolff and Vieuxtemps' Duo 
BriUmte for pianaforte and violin, played by Messrs. Adolph Bies and 
Lotfk Biea ; fanUuia on the vioSn by Herr Louis Ries; Duet for two 
pumofortes, by Messrs. G. A. Osborne and Lindsay Sloper ; faiUatia on 
the harp by Mr. Frederick Chatterton ; and solos on the pianoforte by 
Herr Adolph Bies. The conductors were Mr. George Lake and Herr 
Adblph b6b. 

Misi Mastah Moss oave a MaHiUe muneaU on Wednesday in the 
Egyptian Hall, Piocadmy, assisted by Madame Sainton-Dolby, Mdlle. 
Hohns, Mr. George Perren and Mr. Patey (vocalists), Mns Agnes 
Zimmermann (pianoforte), BI. Sainton (violin), and M. Faque (violon- 
cello). Miss Moss, one of Madame Sainton's cleverest pupils, showed 
how well she had profited by her instruction in her excellent style of 
singing "Angels ever bright and iUr," Bellini's *'Ma la Sola"* 
(Beaifict di Tenda) and a ballad bv Glaribel, «' Dreamland." The 
Mdlenoe applaudea each and all of these with genuine warmth. Miss 
Mom also joined in severfi concerted pieces; among others a duet fc(m 
Boktrt^ Devenuz with Mr. George Fenren, and a quartet by Signot 
Biletta, in which she was associated with Madame Sifinton, Mr. (ieorge 
Perren and Mr. Fatey. Madame Sainton was much admired in a song 
by Mr. Dnggan, ** To find thee sorrowing " (accompanied by the com- 
poses), and Mr. Patey was very suoeessAil with *' In sheltered vale^" 
JddUe. Christine Mohns sang Handel's ** Lascia di'io pianga," and some 
Danish m^odies. MM» Ssunton and Paque both won laurels^the 
Ibmxer in his Fantana on Scotch airs, the latter in a romance and 
TaranMa of his own composition. Miss Agnes Zimmermann plaved 
BeeAoven's «* Thirty-two variations" with spirit and artistic finish. 
The accompanists at the pianoforto were Mr. Deacon and M. Tours. 

Mtddbi/toii Hall. — ^Mlss Lizzie Wilson gave a concert at the above 
hall on the I9ih ult., assisted by Madame Taccani, Madame Helen 
Percy, Signor Martini, and Signor Salviati. Madame Charlotte Tascher 
played two solos on the pianoforte iu place of Mr. Van Noorden, who 
did not appear. Madame Taccani was encored in " II Bacio," Madame 
Percy in ** Comin thro' the rye," and Miss Wilson in " Far off in 
yonder vale." The concert was very luocessftil. Mr. A. Mullen 
oondacted. 



A CoNOEBT HisTORiQUE was givcn by Signor and Madame Marchesi 
at Willis's Booms on Tuesday last embracing Hpecimens of the old 
Italian masters from the period of 1600 to 1735. The concert was 
intended to illustrate " the origin and development of the air and the 
duet," and to this end selections were made from operas by Peri, 
Caccini, Bossi, the two Scarlattis, Carissimi, Cavalli, Stradella, Handel, 
and Pergolesi. Signor and Madame Marched were the vocal illustra- 
tors of this historic sequence and acquitted themsdves in a highly 
artistic manner. Some instrumental music was introduced as a rdief, 
amongst whidh was the ehaeeone of Bach played by M. Wieniawski, and 
Mozart's duet for two pianofortes, played by Herr Blumner and Mdlle. 
Marie Wiek. 

The Late Charles Gloveb.— The widow of the late Charles 
Glover, a well-known composer of popular ballads, will have an evening 
concert, on the 28th inst., next Tuesday, at the Hanover Square Booms. 
Mrs. Glover is a daughter of the celebrated engraver, the Ute William 
Hall, and a raster of Henry Hall, formerly of the Haymarket Theatre, 
and of Mark and William Hall, the well-known engravers. Mrs. Glover 
is a professor of singing, and one of her daughters (Miss Bavenscroft) 
will make her debut on this occasion. The programme includes the 
names of the Swedish vocalist, Mdlle. Enequist, Mdme. Sainton-Dolby, 
Mdme. Weiss, and Miss Poole, Messrs. Cummings, G. Perren, Patey, 
Lewis Thomas, Carrodus, Ap'thomas, H. Baumer, and J. F. Barnett. 

Miss Elizabeth Stevenson, pianist (a pupil of Moscheles), com- 
menced a second series of classical pianoforte recitals on Monday last. 
The classical features were a fiintasia and sonata by Mozart, Andante and 
Rondo Camccioao by Mendelssohn, and Beethoven's sonata in C sharp 
minor (The " Moonlight "), in all of which Miss Stevenson acquitted 
herself to the satisfaction of her audience, and showed herself a worthy 
pupil of the Leipdc Professor. Miss Stevenson was assisted by Madame 
Henrie, who sang Pergolesi's canzonetta ** Tre giorni son che Nina," 
and *' Le Parlate d'amor " (Famt) with taste and expression. 

Which is Bight?— The Chorus at the Lower Bhine Festival in 
Whitsun week consisted of 122 sopranos, 96 contraltos (including 13 
boys' voices), 98 tenors, and 135 basses; total, 461. The orchestra 
included 52 violins, 18 tenors, 17 violoncellos, 12 double basses, 29 
wind-instruments, besides kettledrums and organ. This is a veiy 
different arrangement, as regards proportions of voices and instruments, 
from that commonly adopted by our large choral societies. Which is 
right?— iZMkfcr. 

MnuB. Gbisi. — The only chance of hearing this renowned artist in 
London this season is at Signer Ciabatti's concert to-day. Our provin- 
cial friends will be glad to know that Mr. George Dolby has succeeded 
in engaging Mdme. Grisi for a provincial tour. Mdme. Sainton, M. 
Sainton, Mr. Patey, and Signor Mario will form the party, with Herr 
Meyer Lutz as the accompanist. The tour is to commence about the 
end of September. 



. Benbfit Concebts.— Of the crowd of bene6t-concerts which fills 
our musical calendar at this season a larger and larger proportion 
every year becomes interesting as showing something like an intelli- 
gent purpose. The dreary entertainments by which a few years back 
our resident musicians used to urge their personal claims upon the 
public have given place in a great measure to performances in which 
the music is at least worth listening to if the pnces charged for it are 
rather capricious. The utter unreasonableness of the benefit-concert 
tariff; as compared with the average cost of the very same kind of 
music when obtained by meanfl of regular subscriptions, is only one of 
the many confusions and absurdities incident to the present disorgan- 
ised state of the musical profession. The practice of asking half-a- 
goinea for what ever} body knows would be adequately remunerated 
by half-a-crown, if the listeners really paid the money, is a sort of 
mendicancy in disguise, a relic of days when music was a vagabond 
craft, humbly dependent upon such largess as it could get. Though 
it has now grown to be an artistic pursuit, doing its share of useful 
work for the community as honestly and steadily as the more matter- 
of-fact profosfflons, it is stiU infected with this odour of vagabondism. 
It will get ^uit of the taint, no doubt, as it progresses towards a state 
of healthy mdependence, just as literature has done. Sixty years ago 
poets were more or less vagabonds. Begging guineas of great people 
as payment for lean subscription quartos was a fashion which passed 
away as literary people came to have healthy rela^ons with the great 
body of the public So we may hope that, as refined music becomes 
more and more a habitual enjoyment of the working world, and not a 
mere dawdling pastime for idlers, its professors may adopt a more 
manly tone, and find out how to get the fair remuneration for their 
labor without resorting to a system of shifts and fictions.— -jReadcr. 



MUSIC BECEIVED FOB REVIEW. 
CHimLL A Co.'^FoTU' HaiAnonlam Pieces, by J. Lemmaai. 



Digitized by 



Google 



408 



THE MUSICAL WOKLD. 



[June 25, 1864. 



MONDAY POPULAR CONCERTS. 

ST. JAMES'S HALL. 

THE ONB HUlTDBlfiD AND FIFTT-FOX7BTH CONOEBT, 
MONDAY EVENING, JVNE 27<A. 1864. 

FOR THE BENEFIT OF 

MR. SIMS RE EVES, 

PART I. 
QUARTET, in C, Op. 33, No. 3, for two Violins, Viola and Viulon- 

cello— HM. Joachim, L. Ribs, H. Wbbb and Putti . . Haydn, 

80N0, **ToUlEolipse"(Saf}Uoa)— Mr. SiMsRsBvsa . Honda, 

BONG, "Ave Maria*"— Madame LiMMBMS-SHKRaiNOTOir . . . CherubinL 

SONATA, in A, for Pianoforte alone—Madame Ajubblla Goddabd MwMri. 

PART II. 
DUET, ** Mira la bianoa lana**~Madame LiJUiBin-BHBBSiMOTOir and 

Mr. Sims Rbbtbs BoubuL 

ELEGIB, for Violin, wlUi Pianoforte Aooompaniment Qof detire)— 

HerrJoACBiM ErmL 

BONG, ** Adelaida **— Mr. Biks Rbbtbb (Aocompanied by Madame 

Ababblla Goddabd 

NEW BONG, ** A Grenade" (first time of performanoe)~Madame 

Lbhmbhs-Shsbbmotob RMttnL 

ROMANCE, *'SaiTe dlmora** (faMK>-Mr. Bixs Rbbtbs (Violin 

Obbligato, Herr Joachim) Qounod. 

SONATA, in G, Opi 90, for Pianoforte and Violin .... BttUwvm, 

OoDdo otor . MR. BENE DICT. 

Soft Stalls, 6s. ; Baloony, Ss. ; Admission, is. Tickets to be had of Mr. Axram. 
at ihe Hall, 28 PiooadlUy ; Messrs. Chafpbll ft Co., 60 New Bond Street. 

R. CHARLES HALLfi'S PIANOFORTE RECITALS 

(St. James's Hall).— The EIGHTH and LAST RECITAL will take place on 
Friday Afternoon, Jnly 1st. To commence at Three o*cIook precisely. Programme:— 
Pabt I.— Sonata In E flat. Op. 29, No. S— BeethoTen ; Prelude. Sarabande, Bonrr^es 
L and IL and Oigrne, from '* Suite Anglaise,'* in A minor (first time V—Bach • 17 
** VariatlODs Serieuses," in D minor, Op. 64 (first time)— Mendelssohn. Part IL— 
Sonata in E minor. Op. 90— BeethoTCn ; Stndy in D flat, Opi 90, No.' 16— Heller • 
" Moment Musical," in F minor, Op. 94, No. 3— Schubert; Impromptu in A flat. Op! 
39— Chopin; Scenes CamaTalesques (by general desire)— Schumann. 

Sofo SUlls, lOs. 6d. ; Balcony, 7s.; Unreserved Boats, 3s. Tickets may be 
obtained at Chappell and Ca*s,60 New Bond Street; OUivler A Co., Old Bond 
Street; Cramer and Co.'s, Regent Street; and at the Hall, 38 Piccadilly. 

LOST.— TWO GTJINBAS BEWABD. 

A PARCEL of COPYRIGHT MUSIC MANUSCRIPTS 
(G.ees and Part-Songs), addressed «* J. Boosey, Esq., 28 Holies Street "—of no 
value except to owner of copyright. The above reward wUl be paid upon delivery to 
the Printers of this Paper. •- r / 

NOTICES. 

To Advertisers.— 2%e Office of The Musical World is at 
Messrs. Duncan Davison & Co*s., 244 Begent Street, corner 
of Little Argyll Street (First Floor). Advertisements received 
as laU as Eleven 6*Clock A.M., on Fridays — but not later. Pay- 
ment on delivery. 

To PuBUSHERS AND COMPOSERS— J/tMtc for Review must he for- 
warded to the Editor, care o/Mbssrs. Duncait Davison & Co., 
244 Regent Street. 

To Concert Givers.— JVb Benefit-Concert, or Musical Perform- 
ance, except of general interest, unless previously Advertised, can 
he reported in Tbr Musical World. 

TO correspondents! " 

ErTata.^H waa Mus Bobertine Henderson who sang so charminglv 
««My Home in Cloud-land" (Hjurp Ohbl^, Mr. AptomnSs) 
from Mr. Benedict's Bride of Smq, at Victoria HaU, Bayswater, on 
Saturday evening last. 

Notices of the last liiw Philhabmonio Conoebt. The concert of the 
Musical Society of London, and other important matters are in 
type and will appear next week. 

Cfee Pttskal math, 

LONDON: SATURDAY, JUNE 26, 1864. 

TIETJENS IN LEONORA. 
To the Editor of the Musical Wobld. 

SIR,— To achieve even tolerable saccesB in a part like Fidelio 
demands gifts, physical and mental, of no common kind. It 
taxes to the utmost ^e reeources, vocal and dnonatiQi of ito 



interpreter — and this without a instant's intermisaon. Beet- 
hoven had little sympathy with singers, and paid as little rogard 
to the capacities of voices; hence the enormous difficulties pre- 
sented in his vocal scoring— difiiculties, moreover, which, when 
overcome, are not seldom caviare to the multitude, leaving the 
deserving artist without a fair reward in the immediate acknow- 
ledgment and applause of the audience. But Beethoven must be 
regarded as an exception, not a rule. His genius, essentially dra- 
matic and original, towered above coiiventionalities, and the 
ambitious singer who aspires to the approbation of judges would 
rather be raised up to Beethoven by entering into the spirit of 
his works, than win the ad captandum admiration of the crowd 
by pulling him down to an ordinary level It is one thing to sing 
an Italian aria, another [to execute one of the piec« of Fidelio ; 
one thing to give the music of Beethoven on its integrity, another 
to alter it in such a manner as to bring it within the province of 
mediocrity. Mdlle. Tietjens understands this, which in some 
measure accounts for her almost extraordinary success with the 
most arduous part in the lyric drama. To enter fully into tiie 
excellence of MdUe. Tietjens' Leonora, it must be closely watched 
throughout. Leonora is ahnost always on the stage, and when 
not on the stage, always in the confidence of the audience, who 
listen with her to the wicked machinations of Pizarro, and sym- 
pathised with her on the miserable condition of Florestan. Not a 
scene, dialogue, or air, scarcely a speech or recititative, which does 
not in some measure advance the progress of the action and 
take us a step nearer to the dramatic climax. The labour of 
sustaining such a part with anything like efficiency may 
easily be comprehended. How much greater to realise, as 
Mdlle. Tietjens has done, the whole meaning and intentions of 
the author and composer. Mdlle. Tietjens's firet scene before 
she has obtained the confidence of Roccoimd before she has over- 
heard the revelations of Pizarro, would alone proclaim her a con- 
summate actress. The eagerness with which she listens to the 
gaoler in the hope ef obtaining tidings of the prisoner, whom she 
suspects to be her husband, is touchingly beautiful Her exhibi- 
tion of horror and subsequent burst of resolution when the treachery 
of Pizarro has been disclosed is equally fine, and her acting 
throughout the grave scene poetical and masterly. I have remarked 
few touches of natural instinct more exquisite than when, hearing 
the unconscious Florestan speaking of Leonora, she checks an 
almost irresistible desiro to rush into the aims of her husband and 
reveal herself. It is scarcelj requisite that I should invite atten- 
tion to the great points of the declaration to Pizarro and the 
drawing forth the pistol ; these must strike everyone immediately. 
Nor is it necessary to point to the ardour, the overwhehning affec-^ 
tion with which she regards Florestan throughout the subsequent 
duet— one of the most absorbing pieces in the opera. But when 
the task is accomplished and her husband saved, a more delicate 
stroke of histrionic art— one which might possibly escape all but 
the most absorbed observer — ^is the seeming prostration, mental and 
bodily, which has seized upon Leonora, rendering her, amid the 
fulness of her happiness, ahnost an apathetic spectator of what is 
passing around. Such a point could only have suggested itself to 
rare intelligence ; and this, with others which I cannot stop to 
mention, shows Mdlle. Tietjens to be an actress of the highest sen- 
sibility. About her singing especially— her reading and execution 
of Beethoven's wonderful music— I shall, with your permiasion, say 
a few words in another letter. Enough at present to add, that 
had poor Meyerbeer been living to witness this new Fidelio, he would 
have claimed his " Africaine" on the spot and carried her away 
with him to Paris. Groker Roores. 

SioNOB SoALBSE.— We are glad to report that this excellent baffi> 
bas entirely recovered from the efiecte of his accident* 



Digitized by 



; Google 



Jane 25, 1864.] 



THE MUSICAL WORLD. 



409 



MUSIC AT BERLIN. 

(From our oum Correspondent). 
** r\oi tempo 6 oolla pazienza tutto si fa," or, as the Chinese say, 
yj' ** In time, the mulberry leaf becomes silk." I would have 
couched the last adage in the original idiom, but, in the first place, 
it struck me that your intelligent printers, Messrs. Henderson 
and Co., might not possess the necessary type to set it up, and, in the 
second, eren if they did, I do not know a word of the Chinese lan- 
guage. I trust these two reasons will be considered by you, O my 
respected Editor, sufficient to excuse, nay justify, my employing 
the yemacular of these islands in my quotation, which I introduced 
in reference to a certain Herr Niemann (Alfred), who lately com- 
menced an engagement at the Boyal Opera-house, in Herr R. Wag- 
ner's Tanhh&user^ and aohieyed a decided success, though a few years 
ago, ereryone here, critics and laymen, pronounced him a wretched 
stick. I did not hear him myself at the period of his failure, since 
which ten years have ahready elapsed, but learn from the Neue Ber- 
Uner Musik'2kitung that ^e character he selected was that of 
Serer, in Norma. His voice was uneven and hard ; his style un- 
refined and totally deficient in dramatic power ; while his long 
spare figure was ungainly in the extreme. The impression he pro- 
duced upon the management was not more favorable than that 
which he had created among the public, and he received a courteous 
but decided intimation that his services would not be required at 
the Royal Opera-house, Berlin. Upon this, Herr Niemann, 
(Alfred), instead of giving himself up to despair and blowing out 
his brains, adopted the very sensible course-^a course which I would 
rapectfully recommend to aspiring young tenors in general — of fit- 
ting himself by study and hud work for the position he yearned 
to occupy. Accordingly, he got an engagement at the Stad- 
theater, Stettin. There he made such progress that his fame 
reached the capital of Hanover. He received an invitation to go 
and sing at the Theatre Royal there ; he did so and was engaged 
on very favourable terms. From Hanover his reputation travelled 
as far as here. The result was that a short time ago he made his 
ddbut^ as I have already recorded, as the hero in Herr Richard 
Wagner's rigmarole — ^I beg pardon, I mean operar— of TannMuser. 
Everyone who had seen and heard him ten years ago were greatly 
astonished at the change those ten years had effected, both in his 
personal appearance and in his professional powers. The papers, 
generally, pronounce him one of the first dramatic singers who 
have ever trod the boards.- With this opinion I cannot agree, any 
more than I oan concur in the universal belief here that Herr 
Wachtd is a great tenor, because he can hurl tax ut de poitrine at 
jour ears whenever he likes, which is pretty often. In fact his 
frequent habit of using that exceptional note always reminds me 
of the interview between Nicholas Nicldeby and Mr. Crummies : 

** We'll hare a new show-pieoe out directly," said the manager. " Let me 
see— peculiar reeouroes of this establishment — ^new and splendid soeneiy — 
you must manage to introduce a real pump, and two waahing-tubs." 
"* Into the piece ?'* said Nicholas. 

** Tea," replied the manager. *' I bought *em cheap, at a s&Ie the other 
day, and they'll come in admirably. That's the Londmi plan.'* 

Herr Wacbtel certainly patronises *^ the London plan," as far 
as his ii< c/e poitrine is concerned, for he introduces it into nearly 
all his efforts, just as German confectioners fiavour with vanilla 
most of the dainties which issue from their establishments. As, 
however, I am not, at present, chronicling the singings and doings 
of Herr Wachtd, but those of Herr Niemann, I may as well return 
at once to the last named gentleman. 

Though I cannot agree with the general opinion of the press 
here that, as I said, Herr Niemann is one of tiie very best tenors 
that ever raised his voice behind the float, I think him fairly 



work, and by the proper cultivation of his natural gifts, made his 
way to the undoubtedly high position he now holds. ^^ O si sic 
omnes,*' there would not be such a plentiful lack of tenor singers 
in Grermany, and, as a natural consequence, such a lamentable 
series of failures as I have witnessed of late years on the part of 
the debutants at the Royal Opera-house. Herr Niemann does not 
possess a very fine voice, but what voice he does possess he turns 
to the very best account. His pronunciation of the words, too, is 
exceedingly dear. Every E^yllable he utters is intelligible to all. 
This is a great recommendation. Herr Niemann's acting is 
exceedingly good, and much enhanced by a fine person and grace- 
ful, manly bearing. His TannhSuser is, on the whole, one of the 
best I have seen and heard. Another *^ Oast " or visitor, Herr 
SchiQler, sang and acted the part of Walter von der Yogleweide 
respectably. Herr Niemann's second part was that of Ferdinahd 
Cortez, in Spontini's opera of the same name, or rather names. 
Christian and surname. I am aware what a puzist you are, O 
my E^tor, and therefore I must speak by the card. The other 
purts subsequentiy enacted and ensung by Herr Niemann were: 
Joseph, in Maul's Joseph in Egypten; Lohengrin, in Herr R. 
Wagner^ samely called opera; Max in Der Freischutz; and 
Johann in the Propkke. In some of these he sang more than once. 
His engagement has been most successful. All the time of its 
duration the houses have been crowded with admiring and 
enthusiastic audiences, who appeared indescribably delighted to 
find that the race of good tenors is not yet quite extinct in their 
native land — ^passed away like the mastodon and the dodo, like 
the genuine ripetone pippin, or the wine of Madeira. In fact, 
what with the impunity enjoyed by the Prussian government from 
any evil consequences for their conduct towards England, and 
what with the success of German vocalists in London, the worthy 
Berliners are beginning to occupy a very high position —in their 
own estimation. Being a man of a peaceable turn -of mind, I 
should not like to hint, just at the present moment, to any male 
inhabitant of this capital that I did not believe Prussia to be the 
first nation in the world, but that — ^refiecting on the efforts she is 
compelled to make in order to keep her place as one of the *^ great 
powers '* of Europe, and of the drag her enormous army is upon 
the progress of her people in intelligence and material well-being 
— ^I often thought of a certain ** grenouille '* mentioned by a 
certain La Fontaine, and which, after going through a vast 
number of spasmodic attempts to attain the size of a certain Bull 
(John ?), of whom it was envious, 

"S*enfla si bien qn'elle erera." 
Indeed, to tell you the truth, I have lately heard so much about 
the grandeur of Prussia and the wretched state of decadence into 
which England has fallen, that I begin to grow nervous, and to 
doubt exceedingly whether our Ambassador would be able to lend 
me any assistanoe in case I should get into trouble for having 
dared at times to Ispeak in a somewhat depreciating tone of the 
Royal Operahouse. It is ti-;u that I do not append my address to 
my signature. If I did, I can assure you that a very perceptible 
change would be apparent in the tone of my articles. Perhaps 
that change would not be unfavorable to Teutonic Qmour propre. 
Though I entertain very profound respect for the vocation of a 
critic, and quite as much veneration for truth, I have no desire to 
be included in some future Fox^s Book of Martyrs. If, therefore, 
my pen should be indiscriminately lavish of praise during the 
present state of feeling of the people of this country towards 
England, perhaps you will be kind enough to drop a hint to Mr. 
Gye and Mr. Mapleson that they need not instantly rush off to 
Berlin to secure the services of any eminent singer I may happen 



entitled to rank among the first-rate second-rates. I must say I to laud to the skLes, but of whom neither they nor any one else 
like him, and besides that, I admire him for having by sheer hard | ever heard before. I confess frankly that while willing to shed the 



Digitized by 



Google 



410 



THE MUSICAL WOBLP. 



[Jrm tSf 1864 



last drop of my — ink, in the service of my Musical World, I 
have a foolish respect for my own safety— a respect highly incon- 
sistent with the position of a newspaper correspondent in these 
troublous times, but extremely natural for all that. By the way : 
Since I last received a number of the Musical World I have 
changed my place of abode, and will trouble you not to send me 
any more numbers until further notice. 

But to return for a moment to Herr Niemann. On the first 
uight he appeared in Le PtopK^te^ it was, also, the first time any 
opera of its great composer had been performed since his decease, 
and the management very properly seized the opportunity to pay 
a tribute to his memory. Nothing particular had been announced 
in the bills, but, after the conclusion of the fourth act of 2> 
Prophkte^ the cantilena (with harp accompaniment) from Das 
Feldlager in ScJdmen was heard' in the orchestra, and the curtain 
rose, displaying to the audience Meyerbeer^s bust, placed upon an 
eminence in the midst of a blooming flower-bed. On each side 
were living groups from Robert U Diahle, Lea HuguenoU^ Le 
PropUie and Das Feldlager. Opposite the statue stood the 
mourning Muse of Music, veiling the composer^s features with 
a black veil. The audience were moved as well as taken by sur- 
prise at the q)ectacle presented to them. They all rose and 
remaiaed standing until the descent of the curtain. 

I have not much more to tell you about the Operahouse. The 
only item of news worth recording in connection with that estab- 
lishment, and still remaining to be told, is the appearanoe and 
disappearance of Madlle. von Murtka, from Pesth, in Donizetti's 
Lucia. Neither in a vocal nor dramatic sense was she able to 
please. Herr Adam — ^the American artist of whom I have 
already spoken in previous letters — was the Edgardo, but whether 
he did not wish to eclipse the debutante^ or whether he was ill, he 
cei-tainly did not distinguish himself on the occasion. 

At KioU's Theatre, there is an opera-company which is doing 
very good business, with the regular old operas, such as MartJia, 
Stradella^ Der FreischiUz^ etc., a tenor of the name of Bohlken 
being the great attraction. The Victma Theatre will be opened on 
the 19th inst^, for an operatic season, under the direction of 
Herr Woltersdorff, manager of the KonigBberg Stadttheater. 
Among the operas to be represented are Santa Chiara^ by the 
Duke of Saxe-Coburg, and the comic opera, performed in Leipsic 
lately, and entitled Der Aht von St, Oallen. The composer is 
Herr Herter. The company will include the regular artists 
of the Eonigsberg Theatre, but they will be reinforced by 
Mad. Marlow, of Stuttgart ; Dr. Gunz, of Hanover, and other 
singers of good repute. 

I mentioned, in a former part of my letter, that the Bedinen 
are very proud of the success achieved by their professbnal 
compatriots in London. In a very well- written and gentlemanly 
letter sent from London to the Berliner Musik'Zeitunffy the writer 
says, among other things: ^^The present season must fiU us 
Germans with just pride ; I, at least, am strangely moved *on 
seeing my compatriots occupy so completdy the place where a 
few years since only full-blood Italians were permitted. Giulia 
Grisi was the last great representative of Italian dramatic singing. 
Her successors were merely so many dolls, and it was our fair 
German vocalists who were the first once more to show the public 
the power of the mimic art. Mdlle. Tietjens is well-known, and 
noticed frequently in my letters. IV£dlle. Bettelheim, a young 
artist who has not been attached to the stage for more than 
a few years, has thrown the whole public into a state of enthu- 
eiasm ; her first appearance was a triumph, and she became one 
of the favorites offbhe London public. Mdlle. Destin, also, pleased 
very much, and produced a particularly strong impression as 
Fides. * * * * Mdlle. Pauline Luoca, the spoilt little prima 



donna of Berlin, has song the parts of Valentine and Margaret. 
« * * * She appeared first as Valentine, and that under 
the most unfavorable circumstances. Dr. Schmidt was ill, and 
Atri had to undertake the character of Marcel; the debutante 
was herself indisposed, and yet she worked up the audience by the 
fiery power of her passion; all her pieces were accompanied by 
most liberal applause. Even more admirable was her impenooa- 
tion of Margaret; the press dedicated long and exhatstive 
articles te her, and I think I cannot do better than to quote the 
criticism in the Times. The critic of that pi^ier ezdaima witli 

Goeth*s Faust:— 

" * Now have I studied Miolan, 

And Tietjens and Sherrington, 

And, hap*l]r, also Lucca, 

Thnmghont, with nnremittuiff seal, 

And am no wiser than before, 
and compares the four representatives of the part with each other.** 
The writer then goes on to give the opinion of the Tinas critic — 
that is to say, all that is favorable in his criticwm, oonveuentiiy 
and discreetiy omitting the rest 

Apropos of Mdlle. Lucca I read the following in one of the 
papers here : — 

*^The English hare been severely punished by our prima dornia^ MdQe. 
Pauline Lucca, for their shameless attacks upon the Germans. She was onee 
more in Beriin on Sunday, for she had fled most suddenly from London. She 
was most dissatisfied with her sojourn there. * I am an Austrian,' she said, 
' and engaged for life bj the King of Prussia; I can no longer stop and hear 
the Emperor and the King, as well as all other Germans, tnmed into ridioole 
by this dreaiy nation ; I will not sing jou a note more.' Thus did she speak| 
and then suddenlj disappear, after haring, in three performances, raised the 
Londoners to the highest pitch of enthusiasm. The perfennaaosa, thamsehres, 
were, it is said, extraordinarily fatiguing, on account of the nmnervus re- 
hearsals with the Italian artists, and the shameless system of encoring all the 
principal places — ^some of the latter being encored even two or three tames. The 
consequence was that Mdlle. Lucca seldom reached her residence before 4 
o'clock in the morning. * I shall ruin my voice in your fog and ooal doit, 
where you get a black nose from every flower you smell, and am I to stof 
and listen to your ins^lts in addition to all this ? ' she replied. She had the 
medical certificates written out, after her arrival here, and sent them to her 
manager in London. She has gone to drink the waters for six weeks s* 
Reichenhall, and abandoned all other intetmediate engagements, in order to 
delight the Berliners with her singing a month sooner than die otherwise 
would have done. By her patriotic resolution, Mdlle. Lucca loses a consider- 
able sum, as she was engaged for several more peribrmanoes in London-. The 
performances, too, which it was already settled she was to give then nut 
year will come to nothing." 

There I If the above does not make your hair stand on end, I 
do not know what would ! I suppose all the inhabitants of ttm 
great metropolis are trembling in sackcloih and ashes and negratting 
the attacks which caused them to be ^' sererely punished by our 
prima donna^ MadUe. Lucca.*' It is bad enov^ for tfaem to !!▼• 
in such an atmosphere that even the act of anifSng a floww 
bestowsa black nose upon them ; but when in addition to this they 
are actually deserted by Madlle. Lucca^ Hbsir lot is indeed a bard 
one. I need not say, I presume, that the patriotic prima donna 
will be the idol of the Berliners whom she is going to ** delight 
with her singing a month sooner than she otherwise would haye 
done," and I sincerely trust she will think it her duty to intercede 
for such un-patriotic Germans as Madlle. Tietjens, Mad. Harriers- 
Wippem, Madlle. Bettelheim, Madlle. Destin, Herren Joachim, 
Lauterbach,' Schmidt, etc., who have failed to display in their 
movements the same sudden tendency homewards as she did, and 
have remain^ in the midst of that ^^ dreary nation" which so 
much excites Madlle. Lucca's ire. Really, I blush for my country ! 
All throughout, the poor young lady seems to have been treated in 
a very shocking manner. Fancy anyone having the impertinence 
to encore her I No wonder she could not reach her residence till 4 
o'clock in the morning. By the way, I am glad she mentioned the 
fact of these encores as well as of the great number of reheanals. 
Had she not done so, I could not have satisfactorily aeoounted lor 



Digitized by 



Google 



Jim«^5^1864.] 



THE MUSICAL WORLD. 



4tl 



the very un-yonng-ladyliko hoar of the moming at which she 
dragged her weary limhe to her own doorBtep, unless, mdeed, on 
the suppofdtion that she had fixed her quarters at Birmingham or' 
Plymouth and took the night mail train every evening after she 
had finished her performance. Thank goodness! she is « once 
more in her dear Fatherland, and I trust that the waters she has 
gone to imbibe will entirely repair any ravages which the coal- 
laden air of London and the brazen faced system of encores 
patronised by its inhabitants, may have made in her voice. I trust 
that — but no ! — ^I can write no more this week I I am too much 
agitated with a host of conflicting emotions: sorrow, shame, 
indignation, terror and despair I I must, for the present, retire 
within myself and decide whether I ought not to leave Berlin and 
Germany for ever 1 I shall never be able again to confront, far 
less to address, and still more far less to criticise the innocent 
creature England has used so badly. No 1 I do not think I can 
remain here — ^unless at a considerably increased salary. I will 
reflect seriously over this alternative, and perhaps you will do the 
same. I shall await with anxiety any reply — or advance— you 
may choose to make me, and now add merely Vale. 



HER MAJESTY'S THEATRE. 

On Saturday the Huguenots was repeated. 

On Monday J^arta was reproduced!, for the '* rentrie " of Mdlle. 
Volpini and the first appearance in England of Mdlle. Groasi. 
Mdfie. Volpini's Lady Enrichetta, a lively, clever, and 
thoroughly natural performance, which could not fail to please, 
pleased accordingly. Mdlle. Groasi, who played Nancy, possesses 
one of the richest and most beautiful contralto voices that Mr. 
B. B. can remember. She is, moreover, easy and graceful as an 
actress, though at present incomplete as a singer. With youth, 
however, in her favor, ^e may gradually acquire (if she is studious 

and peraeverant) all that is now wanting ; and then and then — 

what then ? — Mr. B. B. positively does not know. Mr. Santley is 
the best and heartiest of rlumketts, both musically and dramatic- 
ally; Sig. GiugUni the most sentimental and silver- voiced of 
Lionels— so silver-voiced and sentimental that Mr. B. B. waa angry 
with him for omitting " M'appari tutt'amor." Sig. Boeai played 
Lord Tristan; and the performance was altogether an agreeable 
one (see another colimm;. 

On Tuesday, the Huguenots again— Tietjens " in fine voice and 
play." 

On Wednesday (thanks to Harriers- Wippem, who is less 
•*^ patriotic " than Pauline Lucca^-little spoiled Pauline) Robert le 
Dtoftfe was given for the third time, and with the same success. 
Mareover, Herr Fricke (Signor Fricca) sang for the first time this 
season, and took the grimly part of Bertram. Herr Fricke has a 
tall and comifiandinff person. 

On Thursday the long-promised' JPVdeZio was performed before a 
crowded and very musical audience, achieving a briUianb and 
legitimate triumph. Madlle. Tietjens was Leonora, Dr. Gunz 
(from Hanover) florestan, Madlle. Liebhardt Marcellina, Signor 
Bettini Jacquino, M. Junca Rocoo, M. Gassier Pixarro, and Mr. 
Santley the Governor. The performance generally was too 
excellent and the Leonora of Madlle. Tietjens in every rrapect too 
remarkable to be dismissed in a brief notice. Mr. B. B. must, 
therefore, be satisfied at present with adding that the dramatic 
masterpiece of Beethoven was received with extraordinary 
enthus^sm, and that since she first appeared before a London 
audience, Madlle. Tietjens has never obtamed so great and legiti- 
mate a success. The opera is to be repeated this evening. 

Butcher Baker. 



ROYAL ITALIAN OPERA. 

On Saturday Faust e Margherita again. Oh that Margaret I 
Oh that Gretchen ! Oh that Adelina ! (Oh that Mario I) The 
town talk^and a fair theme ! 

On Monday The Barbiere — ^in which Mdlle. Nantier Didi^, 
very courteously, with sisterly artistic feeling, and extreme ability 
(as she had already done, the previous Friday, in Zerlina) reph^ced 
Mdlle. PattiasRonna.] 



On Tuesday La Figlia del Reggimenio^ with Mdlle. Desiree 
Artot (her first appearance at the Royal Italian Opera) as Maria, 
Sig. Neri Baraldi as Tonio, and (pleasant to relate) Ronconi as 
Sinpizio (see another column). 

On Thursday Don Giovanni — ^with Mdlle. Nantier Didide, again, 
as Zerlina. Last night Faust e Margherita. .To-night the second 
performance of La Figlia. (With many apologies for brevity, 
added to the welcome piece of news, that Donizetd's LElisir 
d'Amore, — ^Mabio, — Ronconi and Adelina Patti, in the three 
chief characters, is in preparation, — Baker Butcher. 

» 

LETTERS TO THE EDITOR. 
OUR NATIONAL OPERA. 

Sib, — Whether our National Opera be under the wing of the English 
Opera Association, or of the Opera Company, is of little moment, pro- 
vided that it have the true character given to it. We do not want a 
National Opera made subservient to the aggrandisement of two vocalistB 
or two music publishers. (The special delight, may I remark, of all 
these is an opera cram full of taking ballads.) The directors of the 
late English Opera Association laid pi^icular stress upon the fact that 
there were no professional names on the directorate. When I read in 
the columns of the Mutieal World that the balance in the hands of the 
directors wiu so little as £231, I wondered how it woidd have com- 
menced business in October, and it occurred to me, that should a 
'similar contingency be the &te of the Opera Company, prol»bly l^e 
firm which announced themselves proprietors of a new comic opera, by 
Mr. Balfe, might place such opera at the disposal of the directors, and 
as I learn that another eminent composer is engaged on an opera for 
another eminent firm, I conclude a similar desire to advance the cause 
of our " National Opera" might induce similar disinterestedness. But 
this is not what we want, sir ; a National Opera in the hands of the 
music publishers would be as objectionable as a recurrence to the Pyne 
and Harrison management. The object is the establishment of an 
opera-house in which a class of music much superior to that which has 
of late been obtained shall be encouraged. We want to have operas 
impartially chosen by the directors,^ according to the amount of talent 
and musicianship displayed in them, care being taken also that such 
operas have the elements of success with the public in them. Now, 
the most successful of the English operas poduced of late years were 
Eobin Bood and the Puritan's Daughter, The libretto of Roibin Hood, 
founded on an English tale, was singularly dear and easy to follow, and 
was not so overburthened with out-of-place ballads as its predecessors. 
It was not necessary that the audience should bother themselves with 
books of Robin Hood, they had merely to look on the stage and listen 
to the music to understand the whole thing. Words and music went 
hand in hand, and a great success was accomplished. Almost the same, 
word for word, might be said of the Puritans Daughter . How puzzled, 
on the other hand, must numbers have been when witneassing a per- 
formance of Lcv^s Triumph to distinguish between Miss Pyne, the 
princess, and Miss Pyne, tfie peasant, or pained to observe the uncom- 
fortable situation of Messrs. Harrison and Corri, whilst those gentle- 
men stood listening to the two long bravura scenas, utterly unnecessar}' 
to the plot, though given it must be acknowledged with most unac- 
countable skill by the untutored Indian maiden, the Desert flower. We 
want lots of operas like Robin Hood, and no more of the Desert Flower 
character. We want Wallace and Balfe without any dilution by means 
of Fitzball, Pyne, Harrison and Co., Ac. We cannot be badly off with 
even two such librettists as Mr. John Oxenford and Mr. J. V. Bridge- 
man, and we know that if let alone all of our composers can do better 
things than they have done of late. English opera has a diance, I 
firmly believe, and can support itself I firmly believe, but if it has 
dealings with outsiders another failure will have to be recorded. 

R. W. C. 

Sis, — I regret that the notic3 of our last Pianoforte Quartet Mating 
(9th inst.) should have been headed " Mr. Henry Baumer's third 
matinee," instead of *' Pianoforte Quartet Assocdation.*' I am much 
obliged for the kind notice which was given, which was gratifying to 
all parties concerned in the performance, and I merely mention this 
because it may be scarcely considered fkir to my colleagues ^at their 
names should not appear in conjunction with mine at the heading of 
the afiair. We can fairly call ourselves an Association, having given 
four matinees together for three seasons; obtaining subscribers to- 
gether, arranging the programmes together, (that each member may ' 
take an equal part,) rehearsing together, and dividing the spoil. The 
third matinee was altogether not one that would be likely to be given 
by a pianist, as, with the exception of the Schumann quartet, the most 
important) pieces in the programme were, a violoneello concerto, by 
Molique, and a new stringed quartet (MS.) by Baetens. Trusting you 
will find room for an equally gratifying notice of our four^ and last 
matinee (June 80), 

I remain, with thaaksi obediently youvi, Hbnbt Bauueb. 



Digitized by 



Google 



412 



THE MUSICAL WORLD. 



[June 25, 1864. 



MUTTONIANA. 

Dr. Shoe informs Mr. Pontifex Foaracres that communications 
declined by the Editor cannot be hung on the wire of Mr. Ap'Mut- 
ton. Professor Post has invited Dr. Shoe to insert, ** A good plea 
for Monster Concerts,^^ — a paper in the form epistolary ofhis most 
recent composition. Dr. Shoe complies with the request of that 
Professor : — 

Sib, — Signer Arditi gave a superb concert on Friday morning at Her 
Majesty's Theatre, one which included several fine works belonging to 
various schools and periods of art, with nearly every performer of 
celebrity at present in London. There are persons who condemn this 
class of entertainment, of which Mr. Benedict and Mr. Howard Qlover 
have provided us with so many specimens. These so-called (to use the 
slang of the day) '* monster concerts" have been sneered at as tasteless 
things, showing a barbaric profusion of merit, a '* wild heap," and con-* 
fused mass of musical wit, which makes no distinct impression on the* 
memory, and leaves nothing but satiety and indigestion behind. We 
can very well understand the blate critic and constant frequenter of 
concert-rooms being teazed and irritated by the multitudinous appeals 
to their very somnolent sympathies which must necessarily be made in 
so comprehensive an entertainment as Signer Arditi's ; but the feeling 
of the general public upon this subject is widely different, and however 
the sense of order and consistency supposed to regulate the artistic 
Judgment of the **judicious few" may be offended by what they please 
to term an '*olla podrida" of music, the many are still attracted and 
delighted by concerts which afford them the opportunity of hearing in 
a few hours all, or nearly all, the finest artists Known to fame. 

And surely it ought to be something, even for the eonnouteur of 
severefit taste, to hear such exccutantsas Tietjens,Lem mens- Sherrington, 
Trebelli, Harriers Wippern.Bettelheira, Volpini, Madame Arabella God- 
dard, Giuglini, Gardoni, Gassier, and Santley, bendos others of the same 
order, if not the same degree of merit, with a fine band and admirable 
chorus, employed in one concert upon such monumental works as those 
of Mozart, Beethoven, Rossini, Mendelssohn, and Meyerbeer, the poeti- 
cal conceptions of Gounod, the masterly music of Molique, the vivid 
dramatic colourings of Nicolai, or the brilliant melodies of Arditi 
Choice gleanings from Rossini's "Stabat Mater,'' Mozart's Don 
Owvanni, Meyerbeer's Robert le Viable, Gounod's Faust^ Nicolai's 
Fahtaff, with Mendelssohn's pianoforte concerto in G minor, played by 
a consummate artist like Madame Arabella Goddard, and Beethoven's 
colossal overture to Leonora, executed by one of the finest bands ever 
heard in this country, ought surely to be enough to dignify a conceit 
of the most mixed character; and it was of these, and such as these, 
artistic excellences that Signer Arditi's splendid entertainment con- 
sisted. I am, Sir, your obedient servant, 

Waimffton Street, June 28. M. Post. 

Dr. Shoe is exactly of the opinion expressed by Professor Post. 
He (Dr. Shoe) attended the concert of Signor Arditi— ^iso that of 
Mr. Benedict — also that of Mr. Howard Glover — ^and was 
extremely pleased at each. He hopes to attend many more such 
concerts. 

A Reader of MtUtoniana^ who heard the same concerto which 
Mr. Pauer played at the last Philharmonic (old), asks Dr. Shoe 
whether Dr. Shoe heard the same concerto played by Mr. Charles 
Hall^ some years ago at the same Philharmonio (old). Dr. Shoe 
remembers the hearing well, and, furthermore, the rhyme which 
he composed on the occasion and put into the album of a certain 
pretty young lady. Here is the riiyme : — 

Thers was an old pianist called Halle, 
Who said—" Let's have no shilly-shally ; 

For Beethoven in G 

There's no other than me ; 
As to Pauer, he's a 'taw ' to an 'allej.' " 

Dr. Shoe was also, the other day, at Dr. Ella's Musical Union, 
where he respectfully heard Jael — after which he composed the 
following brace of rhymes :— 

There was an old pianist called Jael 
Who thrashed the keyboard like a fiul ; 

When np got John Ella, 

And said—** Mj dear fella' I 
** Play soft, or I'll send you to jafl.*' 

There was an old key-tharoper, Jael, 
Who made all his audiences quail ; 

They said it was thunder; 

But this was a blunder — 
For there's nothing electric m Jael. 



Dr. Shoe is happy to inform the countless readers of Muttoniana 
that Mr. Ap'Mutton, during his sojourn off Heligoland (he re- 
sided in his own smack) has not been idle. On the contrary he 
has been laboriously diligent. ^ By last mail Dr. Shoe receiyed a 
rhyme composed by Mr. Ap'Mutton, which he at once and 
respectfully lays before the readers of this column : — 

There was an old dinner of whitebait, 
From which, if you sat down a light weight, 

You got up a heavy. 

Unable to chevy 
The girls on the *'Pav($ de Whitebait"* 

Dr. Shoe respectfully calls attention to the foot-note. Mr. 
Ap^Mutton also witnessed the naval engagement between the Eear- 

Xand Alabama (read Alabama fiiit), having gone seawards. 
r the engagement Mr. Ap'Mutton invited Captain Senunes to 
dine in Ins smi^, but the letter did not reach tiiat captain. 
PiFS FBOM Punch. 
Mr. Punch presents his hearty compliments to Dr. Shoe, and takes 
the liberty of soliciting the favor of obtaining the insertion of four prose 
epigrams, which have already appeared in his (Mr. Punch's) sheet, but 
for which he (Mr. Punch) is sohcitous of the iar wider circulation of 
Muttoniana, 

P.8. — Mr. Punch has the honor of being an intimate friend of Mr. 
Ap'Mutton. 
85 Flbet St., June 24. 

With regard to three of the epigrams. Dr. Shoe willingly con- 
sents — the more willingly inasmuch as he has no . option in the 
matter, which the subioined letter of recommendation (marked 
" private," but now by Dr. Shoe made public) will show : — 
(Private,) June let—Smaek — off ffeUgoland. 

Da. Shoe, — Whatever Punch sends, in my absence, insert— good or 
bad. Yours ever. .Ap'Mutton. 

P.&— How's Pidding's toe? 

Here are three of the four epigrams : — 



At the Opera. — **0h, that dear duck, Mario, how like a 
nightingale he sings ! " exclaimed a gushing girl the other night to 
Lord Dundreary, " W-well. no, I c-can*t see that p-p-predaely/* said 
his Lordship, ^ if aoy fella s like a n-n-nightingale, it must be Jug- 
jug-lini ! " 

ii. 

Bishop Tambkblik. — It is rumoured that Signor Tamberlik is to 
be created an Italian Bishop, with a see in alt. 

m. 

Leah. — The Qreat Leah Batemaa has left us: let us console 
ourselves with a Greenwich dinner, and the little White Bait, man. 



The fourth epigram— ** Hercules on the Fiddle^* — ^Dr. Shoe 
declines for reasons which he will be ready to explain to Mr. 
Ap'Mutton on that gentleman's (speedy, Dr. Shoe hopeis) return. 

Tatlob Shoe. 

Boot and Hooky Shoesbury^ June 24. 



ADEUNA PATH'S MARGARET. 
{From « The Beader.") 
'Adelina Patti as Margaret, the fifth Margaret seen by London 
opera-goers, would be a tempting text for a long sosthetic 
discourse; but we feel that it would be almost profanation to 
dissect an impersonation o| such transcendent beauty. Thinking 
over it after an interval sufficient to allow the critical impulse to 
revive, one can recall points where one or another piece ca detail 
might have been varied, perhaps, with advantage, and places where 
the poetical coloring she gives to the character is a little paler than 
at other moments; but, while looking at and listening to the 
Margaret as she walks about the scene and pours out her soul in 
song, it is really impossible to do otherwise than wonder and enjoy 
— ^lesB, indeed, to wonder than to enjoy, for her assumption is bo 
perfectly natural in its simplicity and loveliness that no question of 
how or why aaises to disturb the delight of looking at it. The 
fair young creature, whose innocence and sorrows kindle our 

■ < ■ ■ ■ 

* The favorite promenade of Dr. Taylor Shoe at Eaox Bonnes, 



Digitized by 



Google 



Jime 25, 1864.] 



THE MUSICAL WORLD. 



413 



BympathieB, rnQves before us aa bo entirely real a person that it is 
only at rare moments that one recollects that she has any other 
individuality. She is, for the time, only the Margaret of the 
legend, and it requires quite an effort of tne memory to recall in 
her the dark-haired Sefiorita that we have seen on another 
evening. Speaking soberly, we cannot remember any piece of 
acting on the opera stage in which the character and the pe^n are 
BO merged. And yet Sie naturalness of this new Margaret is far 
from being her greatest charm. The fascination of it resides in 
its peorfect beauty. A more entirely lovely presentment of bjoj 
character it would be hard to imagine. The total of this 
impreBsion is made up by beauty of face, figure, and voice, and by 
the end^ining power of exquisite music exquisitely sung. How 
much of each of theae elements enters into the result we scarcely 
care to inquire. If Mdlle. Patti's first appearance among us had 
been in this character it would have gone nigh to produce another 
'lind mania. As it is, her Margaret will captivate all hearts ; but 
the proof she had already given of her powers made us expect 
notiimg leas than this. Yet she has in oi^ way exceeded expecta- 
tion — namely, that one or two characteristics previously noticed in 
her acting, and which seemed likely to be blemishes upon the 
conception of the ideal Margaret, are happUy absent here. Her 
Zerliua, Adina, and Rosina seemed to show tiiat she would be a 
coquette in any character which could bear such a reading ; but, 
as ihe Margaret of Faust^ as Goethe's *^ Gretchen," riie has 
dropned all coquetry : she is simplicity itself. Even in her gait 
the (mange is marked. Instead of hopping, bird-like, about the 
stase, as is her wont in lighter characters, she moves gently along 
wiui a step which is in itoelf music. 



Flobenos.—^ From a Corre^pondetU). — The third season of the 
Soeieid du QucUuor of Florence was brought to a termination on the 
26th of last month with a brilliant ** Festival ** dedicated to Mendel- 
ssohn. It was not indeed a *^ festival " like that of M. Pasdeloup at 
the Cirque-Napoleon in Paris, in which the oratorio, pymphony, and 
pieces with grand chorus and orchestra prevailed, but a concert in 
every respect appropriate to the end and the resources of the society 
which has already produced such good results in Italy through the 
dissemination of the best chamber music. The programme was made 
up of pieces composed by Mendelssohn which had produced the 
greatest effect in the preceding maiiniesj namely, the Quintet in B flat 
major, the Pianoforte Quartet in F minor (No. 2), and the famous 
Ottet According to Boeeherinif local journal of date May 81, the 
execution of these pieces has been " veritably magical." A violinist. 
Signer Papini, aged only eighteen, is said to have electrified the 
audience. This.young virtuoio, it seems, has already eclipsed all the 
masters of the bow in Florence. The same journal speaks in 
unmeasured terms of praise of the Oitetto ; and indeed the performance 
of that extraordinary work appears to have created a ftarore, ** This 
colossal composition/* writes Boccherinit " was marvellously executed 
by Papini, Del Bnono, Sasso, Bicchierai, Chiostri, Mattolini, Panzani, 
and Jandelli. Each • movement was rendered with the conscientious 
scruples of true artists. The performance indeed will leave unfailing 
souvenirs in the memory of those who were present. It is to be hoped 
that teaohers and disciples will endeavor, from next year, to persuade 
themselves that listening to such music is not a loss of time; and that 
it would be infinitely better to learn to understand and appreciate the 
beauties of such a work than occupy leisure time in writing romances, 
polkas, and other CQmpositions of an ephemeral kind;'' — all which 
may sound very new and sdsthetio in Florentine ears, but is simply a 
tAnng of truisms to Englishmen, to whom Mendelssohn's OUeUo is as 
familiar as a household word. 



Pleasamt Amebioak News ( For Once), — In the interest of all the 
playgoers, Mr. Punch contradicts (on authority) the statement that 
Miss Bateman **is about to leave the stage, and marry a gallant 
officer in Her Majesty's Service." Misii Bateman is not going to leave 
the stage, nor to marry any officer, gallant or otherwise. It is true, 
however, that she is engaged, and it is to Mr. Webster, and will fulfil 
her vow by appearing at his theatre early in the new year. Public 
writers have no business to rend our bosomi with false tidings, and 
those who spread perturbing reports ought to be made to pay for the 
cab we took to ascertain the iact, and the champagne we had to drink 
before we could allay our agitation. 

TAXBUBim has been singing in Florence at a concert of the 
^ Sodeta Filarmonioa Fiorentina." He was received with immense 
applause. 



NONSENSICAL RHYMES FOR NONSENICAL TIMES. 

(new series.) 

XII. 

There were two great fierce German powers, 
At whose terrible tone England cowers, 

For i^e stands tamely by, 

Her protege and ally 
To see crushed 'twixt these two German powers. 

xin. 
There was an old Conference, or something, 
Congress, Diet, or some other rum thing, 

That's been sitting in London ; 

But what's done or undone 
By this Conference don't matter something. 

XVI. 

There was a voung singer called Lucca, 
More spicy than spicy molucca, 

But for reasons erotic — 

Some say patriotic — 
We're deprived of this spicy young Lucca. 

XV. 

There was an old minister, Gladstone, 
Who now and then seemed quite a sad stone 
Round the necks of his brethren. 
When he broke out a bletherin' 
Of the working-men's rights in a Tad's tone. 

XVI. 

There was an old General Grant, 

Who reiects such a phrase as " I can't ; '! 

But that Lee, the old 'possum, 

May cram a ^^ non possum " 
Down the throat of this Grant, Heaven grant. 



%)ibtximmtrdB. 



SIGNOR GII/LIO REGONDI has the honor to announce 
that he will giye a Morning Concert on Thursday, June 30, at the Queen's 
Concert Room, Hanover Square. To Commence at Three o'clock precisely. On 
which occasion Signor Qiulio Rboondi will play, f#r the first time in public, several 
original Compositions, on both the Guitar and Concertina, ^mstes— -Madame 
Lemmens-Sherrington, Mdlle. Unas Martorelle. Miss Lasoelles, Slgnori Gardoniand 
Delle-Sedie; Pianoforte, Mr. Charles Halld; Harp, Mr. Boleyne Beeves; Violon- 
cello, Herr Lidel ; Guitar and Concertina, Signor Ginli9 Begondl. Conductor, Mr. 
Francesco Berger. Reserved Seats. Half-a- Guinea each ; Tickets, Ts. each ; to be had 
of the principal Muslcsellers ; at Austin's Olfice, St. James's Hall, PlcoadiUy ( at 
the Hanover Square Rooms, and of Signor GiulIo;Regondi. 



HERR CARL DEIOHMANN'S MORNING 
CONCERT, on June 39th, at Three o'clock, at Willis's Booms, King 
Street, St James's, under the immediate patronage of H.R.H. the Duchess of 
Cambridge and H.B.H. the Princess Mary Adelaide ; on which occasion some Part- 
Songs for Male Voices, and a Sonata for Pianoforte and Violin, composed by Mr. 
Deichmann, will be produced. Foco/ifte— Miss Bahu ; Messrs. Fibloimo, Caktbb, 
Mo!iTRii Smith and Lawlir. MtlnmentaU$U—UBnn, Edward Damhrbuthbb, 
Dbicbmamx, Wibhbr, H. Wbbb, Daubebt and C. P. Makn. Reserved Seats, 10s. 
6d. each; Tickets. 7s. each ; to be obtalued at Messrs. Schott ft Ca's, 159 Regent 
Street; Mr. Austin's Ticket Office, St. James's Hall; through the principal Music- 
sellers : and from Herr Deichmann, 2 Morpeth Terrace, Victoria Street, S.W. 



HERR JOAOHIM will appear at Mr. LINDSAY 
SLOPER'S SECOND PERFORMANCE of PIANOFORTE MUSIC 
(varied by VOCAL MUSIC), together with Mesdames Arabblla Goddard and 
Lbsobbtibka, Herr Rbiohabdt, Messrs. BBUBDicrand Osbobmb, at St. Jambs'sHall, 
on Wednesday Afternoon, June 29, commencing at Half-past Two o'clock. SoCa 
Stalls, Half-a- Guinea; Balcony, 6s. Tickets may be had of all Muslcsellers, and at 
Mr. Austin's Ticket Office, St. James's Hall. 

MADAME WEISS will sing " LOVE IS A GENTLE 
THING,** composed by Howard Qlovbb, at Mr. Buokstone's Benefit, at the 
tre Royal, Haymarket, Wednesda y Evening, July 6th. 

MADAME HELEN PE ROY will sing "THE 
KNIGHT AND THE MAIDEN,'* composed by Emilb Bbbobr (Poetry by 
H. Ubbsbb, Esq.), at Madame Gordon's Concert, Thursday Evening, June 90. 

MADAME PAREPA will sing Aschbr's Alpine Song, 
*« THOUGHTS OF HOME," and ** LA MARGUERITE/' at the Composerl 
»rt, Moiiday, Jane 37. 



Digitized by 



Google 



414 



THE MUSICAL WORLD. 



[June 25, 1864. 



lif ADAME PAREPA, Sigsor GARDONI and Sionor 

iVL GASSIER irtll sing Ra»boobr'8 pojmlwr Trio, « I NAVIGANTI " (•• The 
Mariners "), at M. Ascher*f Concert, at the Hano7or Sqoare Roomi, on Monday 
Mominf , June 27. 



ISS FLORENCE DE COUROY wiU sing "THE 

SONG OF MAY," composed by Wallacb, at Myddelton Hall, July 8th. 



riSS FLORENCE DE COURCY will sing at Mr. 

IVl Desmond Ryan's Concert, July 1st ; Mr. Ignaoe Gibsone's Mating, July 4th 
Miss Helen Hogarth's CoDCer^ July 7th ; and at Myddelton Hall, July 8th. 

J ISS ROSE HERSEE wiU sing the New bong " THE 
KNIGHT AND THB MAIDEN," oompoMd expressly for her by Emili 
Bbbobb, at her Mating at Collard's Rooms. Monday, June 27. 

R. SIMS REEVES will sing "THE MESSAGE," 

oompoMd for Urn bjr Blukiirbil, kt the WoraMtor PwtlT*l. 



Mlss£ 

M" 

BSBOl 

I 



R. WILBYE COOPER will smg Van Praag's New 

Bong. " THE DREAM HATH FLED,** at the Ccocert for the Marylebone 

;ye Institution, Hanover Square Rooms, Sfith June. 



Eye] 



M 



R. OUMMINGS will sing Van Praag's New Song 

*• THE DREAM HATH FLED ** at the Hanover Square Rooms, June 28. 



IGNOR GARDONI will sing Abchbr's •" ALICE 

QUAL INCLITA STELLA ?** (" AUoe, where art thoa r ) at the Compose r 
Concert, Monday, June 27. 

ERR REICHARDT wiU sing his new Song, "MY 

HEARTS IN THB HIGHLAND'S (Meln Hers ist Im Hochland"), at Mlsi 
Louise Van Noorden*^ Concert, Hanover Square Rooms, June 29. 

ASCHER will play his " Pens^e Dramatique " on 

I Famt (first time of performance), at his Concert, Monday, June 27. 

HERR WILHELM GANZ wiU play his New and 
Popular Mazurka, " YOGLIANA,** at his SoMe, Jane 30th. 1« Queen 
Anne Street, Cavendish Square. 



s 



M 



FRS. CAMPBELL BLACK, Mezzo Soprano (Pupil of 

J. Dr. Fbavois Robixboh, Vicar Choral of the Cathedrals of Christ's Church and 
__.nt Patrick, in the City of Dublin) sings in Italian, German, and French; she sings 
also all the popular, English, Scotch, and Irish Melodies, and has careftiUy studied 
Sacred Music. Ail Communications respecting Engagements to sing at Concerts, 
Ac., to be addressed to her at No. 7, Well Walk, Hampstead, N.W. 



Saint] 



Dnno 



ISS EMILY SOLDENE (Contralto). All engage- 

ments to be addressed to Mr. Jarrett, Musical and Concert Agent at Messrs 

mean Davison * Co.'s Foreign Music Warehouse, 244 Regent Street, W. 

ADLLES. GEORGI (Contralto) and CONSTANCE 

OEORGI Soprano). All Engagements to be add r es s e d to Mr. Jaebitt, 
»1 and Concert Agent, at Mesin. Duncan Davison A Co.ls Foreign Mnslo 
Warehonse, 244 Regent Stseet 



JR. DAVID LAMBERT, Vocalist (Bass), late of Her 
Mi^esty's Chi4wl Royal, St. George's. Commonloatlons respeotiag engage- 
ments to be addressed to 34 Old Elvet» Durham. 



M" 



lUr ASTER WILLIE PAPB has returned from his 

iVJU Provincial Toor. For engagements, public v)d prtrate, address No. 9 Soho 
Square. 



M 



ONS. LOTTO. — The Provincial Tonrof M. LOTTO 

(with the Pyne and Harrison party), which has been attended with such great 
success, leaving terminated, M. Lotto has returned to London for the season. 
ArrangemenU for jmbUe or prlvaU ConctrU for May and June can be made on 
application to Messrs. Cbafpill and Co., 60 New Bond Street. 



THE CAVENDISH ROOMS, 

LATE BLAGBOVE'S SOOMB, 
MORTIMER STREET, CAVENDISH SQUARE. 

Proprietors - Messrs. EDWARD HUMFHBET and THOMAS CHILBB. 

THE MUSIC PROFESSION, and the PubUc generaUy, 
are informed tiiat this elegant ndti of Rooms having been thoroughly restored, 
redecorated, and fitted on the most approved accoustic principles, may be engaged 
for Chamber Concerts, Pianoforte Recitals, Musical Soirees, Ac, being particularly 
adapted for all vnrposee for which purity of sound Is essential. 

They are also admirably applicable for Public Dinners, Wedding Parties, Private 
Boir«€ DwumtM, and Amateur Performances, for which every requisite of the ilrst 
description will be provided. 



rro PROFESSORS AND AMATEURS OP MUSIC. 

1 Authors* Works Engraved and Printed on moderate ttrau by F. Bownhir. 
Ctittle Mwiboroiigh Stnet, Regwt StrMt, W. 



gLASGOW CITY HALL SATURDAY EVENING 
CONCERTS.— Conducted by the '* Directors of the Glasgow Abstainers 
»n."— The Eleventh Season of these OoncertB commoDoes on 8rd Septambtr. 
Individual Artista and Touring Parties are requested to commoaloate a« early aa 
possible with the Secretary, Mr. Jakss Airlii. Artistes will jdeaM observe the 
Olfioe is removed from Union Street to 18, Renllekl Street 

BELFAST ANACBEONTXC 80CIETT. 

WANTED, by the above Society, a Gentleman competent 
to act as LEADER and CONDUCTOR. For particnlaTs as to Salaiy, 
Ac., apply to William Carson, Hon. See., Victoria Bntldinga, BelCut. 

TO THE MUSIC TRADE.— A CLERK WANTED. 
Address— OUlvler ft Co., 19 Old Bond Street 

MUSICAIi WORKS (SBGOXro-HAKD). 

CATALOGUE of a Fine Collection of VALUABLE 
THCOKETICAL WORKS, also of USEFUL PRACTICAL MUSIC, at 
very Low Prices, sent for One Stamp. 

O. A. Davics, 120 Wardonr Street, London. 

J. Ii. BOECKEIi'S CANTATA, 

"RUT H," 

Lately performed with so mnoh iocoeas at the Yletoria RooiiiB,;OUaoii, la BOW pidAlibsd, 
Oompleto, Priee 158. 

The Bridal Havoh St. 6d. 

«*0 oaU me Xaara,*' Beoii. and Air (Oontralto) . . . Si. Od. 

The other Numbers are now ready, price as., as. 6d. aad Ss. each: 

Boomr A Som, Holies Street, London 

THE MODERN HABPI8T: 

A NBVr WORK FOR THE HARP BT MR. APTOMMAS. 
(To b$ JHUfHthed by Suhter^pHtm). 
CoaniTC:'— Introdaction— Andentand Modern Harp-Music— ResouTCse-^Analysis 
of Passages— Modulation— Fingering— Tuning— Peculiar Elfoeta— Stringing— The 
Harp Contrasted — Clauical Music — Style — Touch — Expression — Pedals .- The 
Damper — Chromatic Combinations— Memorising— Playing In Public— Teaching- 
Technical Terms~«nd SeleetioBs from the Great Masters, Ac., te. 

Price of Subscription, ONE OUINSA. 
Issued by the Author, 67 King Street, Soho, W. 

MU8I0 FOB THE SEASON. 

f.dL 

Moslo by W. R. Montgomery f 
„ E. Ransford . . 2 



„ E. Ransfbrd . 

„ Henry RuateU 

Amnffod by A. F. Godfrey 



Sllsn Oookis Song of the ** Haymaken 
The ** Harvest Home ** Song 
*« Hope for the best** .... 
** Smuiy days will oome again ** • 
The ** Harvest Home '* March 

Ditto aa n Doet .... 

Played, with great iooosai, by the Band of the Coldstream Onwda. 
The ** Merry Sunshine ** Qoadrille . Arranged by Stephen Glover 

Introdndng the popular Song, ** I love the merry sunshine,** and beantiflilly ilHis- 
tratsd in colours by J. Braadard. 

RAXsronn M Son, a Prlnoes Street, Oxford Circus. 



% 

a 
s 
s 

4 



A CATECHISM OP THE ELEMENTS OP 

A HARMONT, by James ClarKe,ai. Also the 84th edition of hia CATECHISM 
of the RUDIMENTS of MUSIC, Is. 

JENNY OP THE MILL. Edition in A, as sung with 

J complete success by Madaxb LEMMENS SHERRINGTON, Ss. BdittcB in 
G, for voices of ordinary compass. Ithulraltd, as. 

London : Robsbt Cocu ft Ca, New Burlington Street, W. All MusteaeUcn. 

In the Press, 

"MT HEART'S m THE HXGHLANDS." 

(*( Mein Hers Ut nn Hochland.**) 

COICFOSBDBT 

ALEXANDRE REIGHABDT. 

Composer of ** Thou art so near and yet so iar.** 
London : DoxoAv Daviboh ft Co., 244 Regent Street, W. 

PublUhed this day, 

'* HARE, THE BEIiLS ABE BINaiNQ/' 

NEW SONG 

BT 

HENRY SMART. 

The Words by W. H. BELLAMT, Esq. 
Companion to hU celebrated " L AD7 OF THB LEA.** 

Price 31. 
London : DuiOAX Dkjwmjk Co., 844 B«gwft Stetel Wt 



Digitized by 



Google. 



Jvne 25, 1864.] 



TBE MUSICAL WORLD. 



415 



V«rl7 in Jaly, 

J)BIZE POEMS receiving the 100 Guineas offered in 
tlie AdTertlMmenti, ''Ho! fob a SHAXflrBABi,** and awarded by Messrs. 
etater, J. Stirling Coyne, Andrew Halliday, George Bose, and Thomas S. Stnart. 
lUostrated with LiUiograph Portraits of Qaeen Elizabeth and the Queen of Beaaty. 
Can be had obatis at all the best Drapers in the Kingdom, ot forwarded, on receipt 
of ftapipfd address to Day A Bobkb, LiUiographers to the Qaeen, PabUshers, Lincoln's 
Inn Fields, London. 

Now Beady, In One Vol., 8yo., with Portrait, 

REMINIS0BN0E8 of the OPERA. By 
BENJAMIN LUMLEY, 
Twenty Ymt9 Director of Her Mi^esty*i Theatre. 
''Behind the soeDes! What a magical attraetion there is in the words. As a 
foyiriallon Uron th^ onknoim world th« Remlnisoenees ot • twenty years* saanage* 
ment of the Opera ooold not ikll to command attention, even if they comprised a 
period less Interesting in Itself, and tn its inflaenoe on the position of mnsical art in 
this country, than that which Is oorered l^ Mr. Lnmley*s narratlTe. Oar space does 
not allow ns to follow Mr, Lnmley in his many anecdotes of artist lift, or in his 
erlticlsms on the celebrated artists who h%7e from tinve to time peopled Us stage. 
Bli Jodgmeaftilrikw ot as not only discriminating, bot eminently fitlr and candid.'^— 

Bvuft A Blackbtt, PabU«liers, 13, Great Marlborough Street. 



NEW GUITAR PIECES. 



QIULIO REGONDI'S 

:m^VELEtIB in D Sb. 6d. 

ISTBODUOnOK 1ST OAPBIOB inB Ss. 6d. 

vArm vniiiAGBOisn in d ss. od. 

ler AIB VABDo'in A 28. 6d. 

2me AIB YXBj£ in D 9if. 6d. 

AuoKvn A Co., U Tottenham Court BoAd. 



OONO EBTINA M USia 

OOKOnTO in (composed for Olullo Begondl), B, tfOUQlTE Fxlce 10b. 

GONCEBTO in D (oomposed for OioUo Begondi), F. BOSEN Price 10s. 

SOLO on Airs trom "Le Fropheio" . . . Q. BEOONDI Frioa Bs. 

Mbtslsk a Co., 35 Great Marlborough Street 



VOGLER'S " MARCH of thh DANISH GUARDS," 
Ibr the Pianoforte, price 3s. " The Danish soldiers are being led to battle to 
Dbe fxoitint stnins of this One March." 

London: Published by Duvoax Dayisos A Co., au Begent Street, W. 

In the Press, 
To be Fubli8lie4 by Bubsoription, 

4 MASS in B flat, for Soprano, Alto, Tenor and Bass. 
Solo, with Chorus. Composed and dedicated by permission to His Imperial 
•ty DoM Pbdbo IL, Smperoi of Biaxll, 

By WELLINGTON GUEBNSET. 

Tq jaubteriterif 6s.; Jfon^Subteribert^ U, M, 

liODdon : DuvoiJl DAnsov A Co., Ui Begtnt Street, W. 



''MABY DBAB," 

SIMS REEVES'S NEW SONG. 
by HOWABD OLOVEB, and enthuiiasticaUy enoorcd at St. ^ai9et*8 
Hall, is pubUshad, price Ss., by 

DuvoAv DAVX80K A Co., 244 Begent Street, W. 



THE VOIGB AND SZNGINa, by ADOIiFO FSBBASI. 

THE new Edition of this celebrated Work on "The 
FoBiunov AXD CuLTiTATioK OF THX Yotos FOB Swaxico ** Is published, prioe 
13s., by 

DuHOAK DATuoir A Co., S44 Begent Street, W. 



TABAinrBIiLA, by WAIiTXB MAOPABBISK. 

2^HIS popular Morceau .for the Pianoforte, played with 
. such distingalshed success by the Composer at his Concerts at the Hanover 
oare Booms, is published, prioe 4s., by 

DUTOAV Datuov a Co., 344 Begent Street, W. 



A BELINA PA T T I. 
"DI aiOJA INSOLITA," 

Walti, ■one by Mdlle. Adelina Patti with DUtinguished Snooess. 

Composed by MAUBICB STRAKOSCH. 

Price 3s. 

t DmiOAv DATiBoir A Co., 344 Begent Street. 

"DI GIOJA INSOLITA 

b Also Transcribed for the Pianoforte by 

B. ANBBEWS 

?rtOt«i 



THALBERG'S 



NEWEST 



PIANOFORTE 
PIECES. 



RIGOLETTO 



BY 



THALBEBG, 

Moe 6s. 



BALLO m MASCHERA, 



BY 



THALBERG, 



Price 5s. 



LONBON: 

CHAPPELL AND CO., 
»0, NEW BOND STREET,!kW. 

Digitized by VjOOQIC 



416 



THE MUSICAL WORLD. 



[June 25, 1864. 



ASHDOWN AMD PARRY'S 

RECENT PUBLICATIONS 

THE PIANOFORTE. 



Kulie. " The Pilgrim of Love" 



Price 3b. 



Kulie. " Sing, Birdie Sing." Tranflcription of 

Ganz*B Popular Song Price 3b, 

Kuhe. " La Favorita." Fantasia on the Opera 

of Doniz etti Price 4b. 

Qbsxz. " La Vivacit6." Polka de Concert. Price 4b. 

(Janz. " I Puritani." Fantasia on the Opera 

of Bellini Price 4b. 

Gktnz. ''La Sonnambnla." Fantasia on the 

O pera of Bellini .... Price 4b. 

Sala man, " Twilight Thoughts." Nottumo. Price 4s. 

Salaman. *' Joy." Impromptu Price 3b. 

Schloesser. '' La Harpe Seraphique." Morceau 

brillant . . \ . . . » ' Price 4b. 

Schloesser. " Une rose des Alpes." Styrienne. Price 4s. 



Schloesser. " Danse Oatalane." 



Price 3b. 



Qibsone. " Dans les Nuages." Valse brillante. Price 3s. 
Qibsone. " The Singing Apple." A fairy tale. Price 3b. 
Boubier. " Marche des Troubadours." Price 3s. 

ficotson Clark. "The Crystal Fountain." 

Caprice. * Price 4s. 

Scotson Clark. ''La Bose Blanche." Valse 

brillante. Price 4s. 

BriSSac. " Comin' thro' the rye." Price 3b. 



Brissac. " Weber's last Waltz." 



Price 3b. 



Boyton Smith. 

brillante. 



'La Bayadere." Mazurka 



Price 4s. 



Boyton Smith. "Philomel." 



Price 4s. 



Sydney Smith. " Golden Bells." Caprice de 

Concert." Price 4s. 

Sydney Smith. " Une nuit 6toil6e." Serenade. Price 4s. 

Sydney Smith. " Pas Redouble." Morceau 

brillant. Price 4b. 

Sydney Smith. " Martha." Grand Fantasia 

on Flotow's Opera. Price 4s. 

Sydney Smith. "Les HuguenoU." Grand 

Fantasia on Meyerbeer's Opera. Price 4s. 



LONDON : ASHDOWN k PARRY, 18, HANOVER SQUARE. 



Published by BOOSEY & SONS. 

KUHE'8 SECOND FANTASIA STBADBLLA 
inoludMtb«««lebr»tedFn7«Midtb«T)eMtlfQl8«raitde. PriMM. 
BtxaiT * Son, HoUet StrMt 



FantasU on 



MADAME OUEY'S STRADELLA. 
Flotow** Open. Jiut oat. Prloe 58. 

BoMiT M Son, HoUm Street 

T70RBES* OAPRERA.— CHANSON NAPOLITAINB, 

J} for the Pianoibrte. A mott flMoinating little piece. By the Author of 
** Bappelle To!.** Price 3f. To be hftd ereiywhere. 

Boosir M SoBB, Holies Street. 

IS8 HAWLETS IVANHOE. New and Fanciful 

Arr»Dgementof"Aald Robin Qray.** BrtheAnthorof *«8ftlopiA.** Price Se. 
BooBiT A Son, Holies Street. 



M 



TZUHE'S MAGGIE'S SECRET. Olaribers beautiful 

JV Ballad, which Madame Sainton has rendered so ihxnoas, has been traosertbed 
by Mr. Kobe in bla happiest manner. Price 3s. 

Bocsir * Sons, Holies Street. 



LITTLE BIRD, LITTLE BIRD ON THE GREEN. 
New Song. By Claubil, in her most popular style. Pohlisbed this day. 
BoosiT a Sons, Holies Street 



BEHOLD MY LOVE! SHE SLUMBERS, New 
Serenade by Waltbk CBimLss Lktbt, Composer of *' Fuushette.** A most 
charming melody and efltectlTe song fbr tenors. Price 3s. 6d, 
BoosBT 4 Son, Holies Street) 



SUSAN'S STORY. A New Ballad, by the Auflior of 
"Janet** Choice.** Price 8s. 

BoosBT a Sons, Holies Street. 



QIGNOR OAMPANA'S NEW DUET, " Gli amahti 

O TnutLisx**— a companion to, and in the same style as, **Uiia ier» dVunora.** 
Price 3s. 

BcfbcsT A SoHS, Holies Street 



B-OOSEYS' PIANOFORTE OPERAS. 
Each Opera is In a complete form, printed from beantiiblly eograred plates, 
lettered cloth covers, royal 4to, and contains a Aill description of the plot and mnslo, 
and an Illnstration by Bbaxdahd. 



1. Sonnambnla 

3. Norma 

3. Puritan! ... 

4. Lncresia Borgia , 

5. Luola dl Lammermoor 
6^ Fiile do Regiment 

7. FraDiaTolo 

8. Don Joan 

9. Les Hnguenots 

10. IlTroratore 

11. La TrariaU 



a dL 
4 



12. Les y^pres SidUennes 

15. Rigoletto 

U. LnisaMiUer 

16. Martha 

16. l>on Pasqoale 

lY. Emani 

18. Dinorah 

19. Satanella 

10. Crown Diamonds 

31. Tannhaoser ... 

S9. Merry Wives of Windsor 



BoosKT a Sobs, HoUes Street 



B 



OOSEYS' VOCAL 



Bellini's " Sonnambnla,** with English and lulian words 

Roulni*s ** Norma,** with English and Italian words 

Roulni's *• II Barblere,*' with BngUsh and Itellan words 

yenU*s •« Emani,** with English and Italian wonis 

Verdi's " II Trovatore,** with English and ItalUn words 

Venll's *< La Trariata,** with English and lUllan words 

Donizetti's " Lnoresla Borgia,** with English and Italian words ... 

Mozart's " Figaro,** with English and Italian words 

Moiart*S •* Don Joan," with English and Italian words 

Mozart*s " ZaoberflSte,** with English and German words 
OInck's " Iphlgenla in Taarls,** with English and French words 

Beethoven's ** Fldelio,** with English and German words 

Spohr's ** Fanst*' with English and German words 

Weber's " Der Frelsoblitx,** with English and German words ... 

Meyerbeer's ** Dinorah,** with English and Italian words 

Balfe's*' Satanella,** with English words 

Flotow's ** Martha,'* with English, Italian and German words ... 



OPERAS. 

4. 



pANST THOU NOT READ THE MUTE APPEAL ? 

\J SoBg, as Solo or Dnet Composed by Cssabi CirroLO. Price 3s. By the 
same Composer, OH! GENTLY BREATHE, Sonvenir of the Christy Mhistrels* 
Visit to Aostralia. Arranged for the Pianoforte. Price 2s. 6d. 
London ; Boobkt A Soiia. Sydney ; WiUHS A Co. 



BOOSEYS' LIBRARY.— Two-Guinea Subscribers have 
the nse of Twelve Pieces of Maslo in Town, or Twenty in the Cmmtry, besides 
receiving gratnltoosly a Guinea Albom or the same amount of Masie.~28 Holies St. 



Printed by Himdibsoii, Rait, and Fnrox, at No. 13, Wins ley Street, Oxford Street, in the Parish of Marylebone, in the Ooonty of MIddlei 
p^bUahea by Wiluaic DuamM Datqov. it tht OflOi» S44 Begtnt StrsM^— ArfMrvcy, i^^M 86, 1864. 



Digitized by 



Google . 




miml 




*1tBE WOBtR OF Art APPX1B8 MOR 

MUST BB dsduotbd; it d wbollt 



nr MOBIG, SOrOB it BIQUIBBS bo KATBBIAL^ bo SUBJBCr-lCATnER, WH08B BFlBOr 
AMD FOWnty ABD IT BAItBS AMD BBBOBLBB WHATBVBB IT BBrBBSBBg.** — Offthe. 



BUBBCBXPTIOV, 7BBB BT POST, 20b. FIOL AITNUM 

Pagralito in adTanoe by OMh os SoaMMio^ Order to DXTNOAIT DAVISON ft CO., S44» Bef^ent Street, London, W. 

[RegkUrtdfinr Trmimmuiim AbrwkL] 



Vol. 42— No. 27. 



SATURDAY, JULY 2, 1864. 



PnoB 



f4d. Unstamped. 
(6d. Stamped. 



HEB MAJ ESTyS T HEATRE. 

By Special Deeire. 
THIS EVENING (SATURDAY), Jult 2bi), 

^"'FIDELIO." 

FOSinVEIiT FOB THE TiART TUCB. 

LBoaoftA by Udllm, TITIENS. 

Oommenoe at Half-p«Bt Bight. 

LAST NIGHT OF THE SUBSCRIPTION. 

Frodootion of ^IKXBXLLAJ* 

TUESDAY, July 5th, 

Wm bt ptrfbnMd, for the First Time In This Oonntry, the Last New Work of the 

Celebrated Composer of ** Faost,** 

"MIRELLA." 

The Mlowiaf will be the Cast :— Vineenso, Signor Oi voun; Orrlas, Mr. Sahtlst I 
Bamoa, Bignor Mabouxo Joxoa ; Ambn^o, Slgnur Gassibh ; TaTon, MdUe. 
Tbbbblu ; yioetnsina, Mdlle. Rbbaux (l^r first appearance) ; Andrelo, Mdlle^ 
Voina ; Ctomenn, Mdlle. M9rA ; and liirella, Mdlle. Tmsas. 
Co&dQOtor— SioxoB ARDITI. 

The new and eztensive Boenery, and Original Eflbets, by Mr. TelUn, assisted by 
Mr. Hearr Telbia. The New Costames, tnm the Best AnthoriUes, by Mr. •. May 
aad Miss Diekeuoii. The Deeorations and Appointments by Mr. Bradwell. The 
MaohiBflry oonstnwted by Mr. 8. Slomaa. The Mise en Betee by M. Reinhard. 

GRAND SUPPLEMENTAL NIGHT, 
WEDNESDAY, Jult Gth, 

"MI REL L A." 

SPECIAL SUPPLEMENTAL NIGHTS. 

THURSDAY, Jult 7th, and SATURDAY, Jult 9th. 

Oommenoe at Half-past Bight. 
Pnow >-Pit Ttekets, 7s. ; Resenred Box Beats, Ids. 6d. ; Amphitheatre Btalls, 5s. 
•■d 7a.; Gallery, Si. aLs Private Boxes, in the Upper Circle, ais. 
Box-oOee of the Thsatre open daily, from Ten till Biz, where pUoes may be 
Also at Miteheirs{ Biibb*S; liMon and OUIerls, Bond Street; Uader**, 



Opeca Gotonnade ; Bnmis, Bt. Jamesis Btreel ; Cramer, Wood, and Co.*s, and 
BMumm^ Regent Btreet; Keith, Prowse and Co.*s, Chsapside; and at ChappeU 
and Oo.*s,M Hew Bond Btreet. ., r- . ^^ 



DMDIOATBD, BT PBRMIBBIOIT, TO 
H.B.H. THB FBINOB OF WAIiBa 



"LLEWELYN!" 

A DRAMATIC CAITTATA. 

The English Words by 
THOMAS OLIPHANT (Honorary Beovtary to the Madrigal Bociety). 

The Welsh Words by TALHAIARIT. 

The Masie by 

JOHBT THOMAS GPenoerdd Owalia). 



PUBUBHID BY SUBBCBIPTIOH, 
Andt9i$ rmiiffofr delivery m JtJy nsxT, m Om Vohmi, dtganOy bmmd. 



Pilna to Bnbseribsrs, One Guinea ; Mon-Babsoribers, One Goinca aad a Half. 

The YOICB-PARTB, pnhlished separately, at Threepenee a Page, and now ready 
or delivery. 

This Cantata was eomposed expressly for and performed at the Swansea Elstcdd 
fod, IMS; and has already been chosen for performance at the Llandodho Eisteddfod 



In Septombwnwrt. 
Bvonnribsn 



« Wlbech BtrS^rE^i^w":"^" *^ "^^ '~ ^"^ ^'-~^ ""^^ 



THE CAVENDISH ROOMS, 
JjAtb biiAobove's booms, 

MORTIMER STREET, CAVENDISH SQUARE. 
Propilflton - Messn. IDWABD HUMPHBSY and THOMAS GHHiDB. 
T'HE MUSIC PROFESSION, and the PubUc generaUy, 

JL are Informed that this elegant nriU of Rooms haying been thorooghly restored, 
redecorated, and fitted on the most approved aoooustic principles, may be engaged 
for Chamber Concerts, Pianoforte Recitals. Mosioal Soirees, Ac., being particularly 
a<tepted for all parposee fnr which parity of sound is eesential. 

They are also athnirably applicable for PaUic Dinners, Wedding Parties, Private 
Mnt Dmutmttt^ and Amateur Performances, for which erery reqoisite of the first 
description will be provided. 

XETER HALL.— Handera Oratorio " JUDAS MAC- 

I CABJBUS,** will be performed for the last time this Season on Wednesday 

next, the 6th Joly, by the National Choral Society, onder the direction of Mr. O. 
W. Martin. Principal Singers, Madame Pabspa, Miss Palkss, Mr. Sua Rksvbs, 
Mr. Bavtlit. Band and Choms TOO. 



E 



M" 



QUBBira COirCEBT BOOMS, HANOVBB SQUABB. 
ISS HELEN HOGARTH begs to announce to her 

pntiils, friends and the pablic that her FIRST MATINEE will take placeat the 

above Rooms, on Thursday morning, Tth July, 1864, to commence at 2 o'clock, when 
the following eminent artistes have most kindly consented to appear :—ro6aibte~ 
Madame Pabbpa, Madame Wans, Miss Ftoasirei Ds Couaor, Miss Lasobllbs, Miss 
GBonoi, Miss CoMRAMCB Gboboi and Madame BAmow-DoLBT; Bignor GxirouH. 
Bignor Gaboobi, Mr. BABiunr (by the kind permission of J. H. MaplMon, Esq.) ; 
Bignor CiABATTA, Mr. Wans and Mr. Sms Rbbvbb. /mS-iwiwryMifa Pianoforte, 
Madame Ababblla GooDABD and Miss Bobixxbb; VioUn, Mons. Saibtob; Vlolon. 
cdio, Mr. Sow ABD HowBLL. Cenductors^Messrs. AomLAB, F. Bbbgxb, Gabs and 
Bbbboiot. Family Tickets to admit Three (Stalls), One Guinea ; Stalls, lOs. 6d. ; 
Reserved Seats, Ts. ; Un re s e r v ed Seat^ 6s. To be had at the principal Muslcsellers ; 
of Miss Helen Hogarth, 10 Gloooester Crssoent, N. W. ; and of Mr. Payne, at the 
Rooms. 

lU'B. GEORGE DOLBT begs to annonnoe that he is 

JxL making arrangements for a Tour in the Provinces with the following dis- 
Ungnishcd Artists:- 

VOCALISTS: 

OBISI 



Madame SAINTON-DOLBY. 



Mr. FATBY 

AKD 

SigDOr MABIO. 

VIOLIN : 
M SAINTON. 



ACCOMPAN YIST : 
Berr MBYBB IiTJTZ. 

The Tour will oommenoe about the middle of September and terminate in 
December. 

Applications respecting Engagements to be made to Mr. Gbobqb Dolbt, Egyptian 
Hall, Piooadllly, London! 



MR. W. H. HOLMES and Mr. G. W. HAMMOND'S 
THIRD PIANOFORTE AND MISCELLANEOUS CONCERT will take 
place on Saturday Morning, July 16th, at the Hamovbb Squabb Rooms. Tickets, 
Half-a- Guinea; to be obtained of Mr. Holmes, 36 Beaumont Street, and Mr. 
Hammond, SS Beaumont Street, Portland Place. 



MADAME WEISS will sing " LOVE IS A GENTLE 
THING," composed by Howabo Glovbb, at Mr. Bnckstone's Benefit, at the 
Theatre Royal, Hajrmarket, Wednesday Evening, July 6th. 



HanovwBqa 



ISS LASCELLES will sing Herr Reiohardt*s New 

'ong, •« MEMORY,** at Miis Hden Hogarth** Morning Concert, at the 
Square Rooms, Thofiday, Joly 7* 



Digitized by 



Google 



418 



THE MUSICAL WOBLD. 



[July 2, IBM. 



1 

M^ 



ISS FLORENCE DE COUROY will sing "THE 

BONO OF HAT," oompoied \iy Willaoi, it Hyddelton HaU, Joly Mh. 

J ISS FLORENCE DE OOURCY will eing at Mr. 
Ignaee Qlbioae't lUUatt, July 4th j MUs HetoD Honrth'i CoDoert, Jaly Tth ; 
ud at II>-<ldelton HaU, July 8th. 

R. SIMS REEVES will eing "THE MESSAGE," 

oompowd for htm by Bldxbiithal, at the Worcester FestiTal. 

LASGOW CITY HALL SATURDAY EVENING 

OONCEBTS-^^ondQcted by the *«Diraotor8 of the GlugoW Abstalnen 
V)nion.**->Tha Eleventh Seawn of these ConcerU oommenoeB on Srd September. 
IndiTido&l ArtlfltB and Tonrimr Partlei are requested to commnnicate as early as 
possible with the Secretary, Mr. Jaios AUtLtB. Artistes will please observe the 
Office is removed from Union Street to 18, Benfleld Streets 



M 



A 



BASS SINQER is open to a SUNDAY ENQAGE- 

MENT. AddnaO, sanofMenn. I>vioi>DiTnoii*Co.,9MRag«iit8t. 



PROFESSORS AND AMATEURS OP MUSIC. 

_ Attthon' Works Engraved and Printed on moderate terms by F. Bowoher, 
8, LitUe Marlborongh Street, Regent Street, W. 



TO 



KUSICAIi WOBK8 {BEOONJy-HAlSrD). 

CATALOGUE of a Fine OoDectioh of VALUABLE 
THEORETICAL WORKS, also of USEFUL PRACTICAL MUSIC, at 
very Low Prloes, sent for One Stamp. 

a. A. Dims, 120 Wardonr Street, London. 



THE MODERN HABPI8T: 

A HE \ir WORK FOR THE HARP BY MR. APTOMMAS. 
( gy b€ Pubikhtd by auUctiptiM), 
ComsTsr-'-Introdnotlon— Andentand Modem Harp-Mdsic-^Resonrces-^Analytis 
nt Passages— Modalation—FIngerinf—TuDlug—Pecallar EfiiDcts— Stringing— The 
Harp Contrasted — Classical Moslc —Style — Touch — Expression — Pedals — The 
Damper— Chromatic Combinations-Memorising— Playing in Pabllo— Teaching- 
Technical Terms— and Selections from the Great Masters, Ac., Ac. 

Prifie of Subscription, ONE GUINEA. 
Issued by the Author, CT King Street, Soho, W. 



MUSIC FOR THE SEASON. 

s. d 

Music by W. R. Montgomery 2 6 

„ E. Ransford . .96 

n B. Ranslbrd . .26 

n Henry Russell . a 6 

Arranged by A. F. Godflrey . 3 

3 6 



Ellxa CooVs Song ol the «* Haymakers 
The " Harvest Home ** Song 
«* Hope for the best" . 
** Sunny days will come again '* . 
The ** Harvest Home ** March . 
Ditto as a Duet 

Played, with great success, by the Band of the Coldstream Guards. 
The ** Merry Sunshine '* Quadrille 
Introdudog the popular Song, " I love the 
trated In colours 

RissroBO ft Soir, 2 Prinoss Street, Oxford Circus. 



. Arranged 1^ Stephen Glorer . 4 o 
e merry sunshine,** and beautlAilly illns- 
I by J. Brandard. 



"DEETHOVEFS "FIDELIO" (W. H. Callcott's 

IJ Pianoforte Arrangements); Solos, in two books, each Cs.{ Duets, In two 

books, each 6s. ; ad lib. Accompaniments for Flute, VIollu and Violoncello, is. each. 

Lambobv Cock, HorcnHOS * Co., 63 New Bond Street 



Early In July, * 

PRIZE POEMS receiving the 100 Guineas offered in 
the Advertisements, " Ho ! roa a SHAXSPBAat,** and awarded by Messrs. 
Webster, J. Stirling Coyne, Andrew Halliday, George Rose, and Thomas S. Stuart. 
lllnstraU-d with Lithograph Portraits of Queen Elisabeth and the Queen of Beauty. 
Can be had oratis at all the best Drapers in the Kingdom, or ibrwarded, on receipt 
of stamped address to Dat ft Sorn, Lithographers to the Queen, Publishers, Llncoln*S 
Inn l-lelds, London. 



GIULIO REGO NPrS NEW G UITAR PIECES. 

BXlVEBIEinD Sik ed. 

IKTBODTJOTION 2BT CAPBIOB in E Bs. 6d* 

F^T£ VHiIiAOBOISE in D 8s. Od. 

ler AIB VABSf^in A 2*. Od. 

ame AIB VABI^ in D 2*. Od. 

Auoivsm ft Co., 4A Tottenham Court Road. 



OONO ERTINA M USIC, 

CONCSBTO in (composed for GioUo Begondi), B. If OUQUE Price IDs. 

CONCERTO In D (composed for GinUo BegondD, F. BOSEN Price lOs. 

80L0 on Airs ttom "Le Fropheta" ... 0. BE(H)N])I Price 6b. 

McTSLiB ft Co., 36 Qfeat Marlborough Street. 



Now Beady, In One Vol., 8vo., with Portralti 

REMINISCENCES of the OPERA. By 
BENJAMIN LUMLET, 
Twenty Years Director of Her Mi^esty*s Theatre. 
** Our space does not allow us to follow Mr. Lumley In his manv anecdotes oCartist 
111^, or in his criticisms on the celebrated artists who ha^e from unie to time peopled 
his stage. His Judgment strikes us as not only discriminating, but eminently mlr and 
eaodid.**^&ift(rda|r EfoUm, 

Huier ft Blaokktt, Publishers, 13, Great Marlborough Street. 



VOGLER'S " MARCH of the DANISH GUARDS," 
for the Pianoforte, price 98. ** The Danish soldiers are being led to battle to 
the exdtlng strains of this fine March.** 

London: Published by Duhoah DAyisov ft Co., 9U Regent Streeti W. 



In the Press, 
To be Published by 8abeoription« 
A MASS in B flat, for Soprano, Alto, Tenor and Bass. 

jQ. Solo, with Chorus. Composed and dedicated by permission to His Inperial 
Msjesty Don Pbdbo U., Emperor of Brazil, 

By WELLINGTON GUERNSEY. 

To JMteHbert, 6s. / ^bn-Aslefirikn, 1$. 6<r. 

London i DraoAw Davisos ft Co., 244 Regent Street, W. 

''MARY DEAR," 

SIMS REEVES'S NEW SONQ. 

Composed by HOWARD GLOVER, and enthusiastically encored at St. James*s 

HaU, is pnblUhed, price as., by 

DuvoAv Davxsox ft Co., 344 Regent Street, W. 

THna voicna Airo sebtqikq, by adouo fibkba-btT" 

THE new Edition of this celebrated Work on ''Thb 
FoBiunov Asn CuLTivATioir or tbi Votos ron Snone ** Is published, prioe 
las., by 

DuxoAH Davisox ft Co., 244 Regent Street, W. 



TASANTELIiA, by T^AIiTSB MA.OFABB1IN. 

3^HIS popular Morceau for the Pianoforte, played with 
such distinguished snccess by the Composer at his Concerts at the Haaofw 
oare Rooms, is published, price 4s., by 

DuiKJAV Davisox ft Co., 344 Regent Strsot, W. 

A DELINA PA TTI. 
"DI aiOJA INSOLITA," 

Walts, sung by Mdlle. Adelina PatU with DIsttnguished Snccess. 

Composed by MAURICB STRAK08CH. 

Price 3s. 

With a Portrait of Mdlle. Adelina Patti 

London i Doxoax Davisox ft Co., au Regent Street. 

"DI GIOJA mSOLITA** 

Is also Transcribed for the Pianoforte by 

B. AHDBBW8. 

Price as. 

OARL OTTA PA T"Tir 

"I WOULD HEAR YOU, WARBLER" 
(L'Usignnolo— The Nightingale). 

Sung by Mdlle. Carlotta PattI with distingnished snccess. • 

Composed by E. MUZIO. 

Price 4s. 

With a Portrait of MdUe. Carlotte PatU. 

London : DnxoAx Davisox ft Co., 244 Regent Street, W. 

Just Poblished, price as., 

''MY HEART'S IN THE HIGHLANDS." 

C* Mein Hen ist in Hochland.**) 

COKPOSBD BT 

ALEXANDRE REICHABDT, 

Composer of ** Thou art so near and yet so far.** 
London : Doxoax Davisox ft Co., 244 Regent Strset, W. 

Just Published, 

'' HARK, THE BEI4L8 ARE RINQINa,*' 

NEW SONG 
HEKBY SMART. 

The Wonis by W. H. BELLAMY, Esq. 
Companion to hU celebrated **LADT OF THE LEA." 

Price Ss. 
London : DuxoAx Davisox ft Co., 944 Regent Street W. 



Digitized by 



v^oogle 



July 2, 18640 



THE MUSICAL WORLD. 



419 



HER MAJESTY'S THEATRE. 

fidelio — ^tietjens. 
( TUms^Jum 27.) 

On the 13th of April, 185S, when Mr. Lumley .was at the head of 
affidrs, the Huguenoti was produced at this theatre, with a singer till 
then tti:^nown to England, in the part of Valentine. At the end of 
the performance, which was an extraordinary success, the unanimous 
praises accorded to her impersonation of Meyerbeer's heroine were 
pcoompanied by a general conviction that in the new Valentine the 
musical world had also found a new Fidelio; that she who had 
represented so well the erring and unhappy partner of Nevers would 
still more forcibly pourtray the character of Lieonora Florestan — ^that 
loving, faithful, and heroic wife, whose noble example, set forth in a 
simple and touching story, which all can understand, and with which 
none can &il to sympathize, raises the book to which Beethoven's one 
dramatic composition is wedded above all other operatic pieces, Just as 
the music itself, in pure and lofty aspiration, no less than in artistic 
power and beauty, soars above all other operatic music. <* When will 
Mdlle. Tietjens play Fidelio?" — has been a question more frequently 
put than perhaps any other concerned with the doings at our Italian 
Operas during the last seven years* Strange that in all this period — 
with the weU-known and universal opinion prevailing of her tnorough 
aptitude for the part, and an always increasing popularity that made 
everything ^he essayed acceptable, even when going out of her 
legitimate path to display her versatility — Mdlle. Tietjens should have 
persistenUy refrained from what all her most zealous partisans were 
inciting her to attempt, convinced tliat the attempt would end in 
triumph. True, on one occasion, when Mr. Mapleson held a brief 
season at the Lyceum Theatre (1861), she did sing, in the costume of 
Fidelio, tiie splendid recitative and air of the first act (**Komm 
HoffJDung ") ; Init that, not bringing with it the long-anticipated sequel 
— a complete performance of Fidelio, with M-iUe. Tietjens as the 
heroine— was rather vexatious than satisfying. It was equivalent to 
nying to the public, ** What do you think of this ? — ^wiU you have 
the rest at once, or wait till you get it ? " The least welcome alternative 
was perforce submitted to ; the public were compelled to wait for the 
whole Leonora, till it might please the pettea and wilful German 
songstress to accommodate them. At last, however, their patience is 
revrarded. They would doubtless rather have been gratified sooner ; 
but better late than ever. They have now got the whole Leonora, and 
are evidently inclined to retain her as long as possible. The first per- 
formance of Fiddio waa recorded in a short paragraph ; the second, 
which attracted a much more crowded house, ana elicited even 
greater enthusiasm than the first, took place on Saturday night. 
The new Fidelio seemed inspired, and fairly electrified her audience. 
On the whole we cannot remember a more striking exhibition. The 
iuccess of Mdllo. Tietjens was by far the most brilliant she has 
achieved in England, and one of the most genuine ever achieved on 
the operatic boards. At the end of the magnificent quartet, when the 
devoted Leonora, physicadly exhausted bv her almost superhuman 
efforts, clings, as though for protection, to him whose guardian angel 
she has been, and gives utterance to the fulness of her love in 
rapturous accents — the finest piece of dramatic mudc in existence — the 
house rang with cheers as loud and prolonged as they were thoroughly 
spontaneous ; and at the termiuation of the scene, as the curtain fell, 
Mdlle. Tietjens was thrice summoned before the lamps, the applause 
each time being more, vociferous, till, when she stepped forwara the 
last time, unaccompanied^ it was positively deafening. Never was a 
crowd in a theatre more excited. 

The story of Fiddio has become so fiimiliar to our audiences tlirough 
repeated performances— in German, Italian, and even English* — and 
the conspicuous incidents in its progress are so well remembered by 
every frequenter of the Opera, that a lon^ description is wholly 
unnecessary. The Leonora of Mdlle. Tie^ens is the Leonora of 
Schroeder Devrient, revived. Her conception of the character 
generally, and of every situation in particular, is very nearly the same, 
and her execution — as well as we are able, after so many years, to draw 
a comparison — ^in all respects equal. In one sense the portraiture of 
Mdlle. Tietjens, like that of Malibran and that of Sophie Cruvelli — ^the 
t«ro other great representatives of the character on our own operatic 
stage— is superior to the one which we in England must perforce 
regard as the original. The only f^ult in Schroeder Devrient's 
Leonora was that it appeared too masculine. She was too entirely at 
ease in her male attire, and strode the boards with a vigour and yfflomb 
that could hardly be deemed feminine. ' In the impersonation of Mdlle. 
Tietjens, the gentle nature of the woman is continually made apparent ; 
and this invests it, so to say, with a halo of purity that enlists 



* Malibran was the first English Leonora — ^at Covent Qarden, in 1885, 
the year before her death. Fiddw was also given in English at Dnury Lane, 
with Miss Rainforth as Fidelio, and Standigl as Pizarro. 



with twofold strength the sympathy of the spectator. Every now and 
then, when Leonora would seem to be sinkine under the arduous task 
she has imposed upon herself, and which she is, nevertheless, intent 
upon accomplishing, the true woman involuntarily peeps out, and in 
admiration for what she has already suffered and undergone, we could 
almost pardon her for abandoning her f^reat design, as bejrona her force 
and, therefore, impracticable. Certamly this is the ideal view oi 
Leonora — the most poetical, as well as the most winning and most 
attractive. How grandly Mdlle. Tie^ens dedaims and sings the first 
recitative and air, after Leonora has overheard the mjrst^ous con- 
versation between Pizarro and Bocoo, we need not say. But all the 
rest is to match ; and firom the intensely interesting dialogue with the 
gaoler, who explains to her that she is to assist him in preparing the 
grave of the condemned prisoner in the lowest vault— her own 
husband, Pizarro's intended victim — to the scene itself, unparallele i in 
opera, where she is conducted to the dungeon-eell, and, in the act of 
performing the sad office assigned to her, recognizee the voice of the 
man she adores, thus knowing that so far, at least, her daring enter- 
prise is successful, the performance of Mdlle. Tietjens reaches all that 
Beethoven could have imagined. Her acting and singing in the 
lugubrious duet with Rooco, when digging the grave (we quote the 
(ierman original) : — 

** Nor hartlg fort. &ar friioh gegraben, 
Es wXhrt nloht lang, er kOmmt herein**— 

areTalike truthful and impressive; while in the nicceeding trio 
('* Eoch werde Lohn in bessem Welten "), the eagerness ^-ith which, 
the relentinfl^ gaoler consenting, she gives the piece of bread to the 
famished prisoner, averting her fkce as though apprehensive that all 
will be lost if he chances to recognize her, is as wonderfully touching 
as it is natural. In the quartet— where, at the instant the remorseless 
Pizarro is about to wreak his vengeance, Leonora suddenly interposes, 
and, procUiming herself Florestan's wife^ paralyzes the efforts of the 
astounded governor, which, when, with a moment's hesitation, 
renewed, she further and more substantially baffles by presenting a 
pistol at his head — Mdlle. Tietjens approaches the climax of her superb 
endeavour, only reached when, Florestan saved, Leonora rushes to 
his embrace, and the two give vent to their hitherto pent-up feelings in 
tliat most rapturous of duets, ** O namenlose Freude !" This is the cul • 
minating point; and— conriderinff the matchless eloquence with 
which the music paints the dramatic situation, and the singular beauty 
and vigour of the performance— that it should, both on Thursday and 
on Saturday, have raised the enthusiasm of the audience to the 
highest pitch, is not at all surprising. In the concluding scene— the 
most brilliant and exhilarating finaU ever composed— Mdlle. Tietjens 
has little to do beyond making her voice heard, in penetrating tones, 
above the waves of choral and orchestral harmony ; and this sue does 
to perfection. 

As we hope to return to this readly first-rate performance of 
Beethoven's masterpiece, we must be satisfied at present with a brief 
summary of what remahis to be spoken of. Mdlle. Liebhardt— as 
might be expected from a German and a practised musician to boot — 
is a really excellent Maroellina, alike valuable in the charming Uttle 
air allotted to the Jailor's daughter (Act 1), and in the concerted 
music, to which — no less than Signer Bettini, a careful Jacquino— she is 
an important auxiliary. Signer Junca acts the character of the rough 
though kindly Jailor extremely well ; Signor Gassier is, without any 
exception that we can call to mind, the very best representative of the 
arduous and not over-grateful part of Pizarro since the famous 
Staudigl ; Dr. Gunz (from Hanover) has the genuifie traditions of the 
state-prisoner, Florestan, Leonora's husband, and Pizarro's victim; 
and— last, not least — Mr. Santley merits unqualified praise, both for his 
artistic feeling in accepting the small patt of the Minister and for the 
admirable manner in which he sings the music It is impossible to 
over-estimate the importance of such aid as Mr. Santley affords to the 
general effect of the last finale, which so nobly crowns the noblest of 
musical dramas. Signor Arditi, the zealous and able conductor, has 
won and merited new laurels. His orchestra is pretty nearly 
irreproachable, from the overture to the end; and his chorus gives 
every promise of the same excellence. This part of the subject, how- 
ever| we must postpone discussing until another occasion. Meanwhile, 
Signor Arditi has acted wisely in rejecting an innovation which bade 
£ur to became rooted as a tradition. Beethoven wrote four overtures 
to Fidelio ; and it has been the custom to perform the fourth (in -E) 
at the beginning of the opera, and the third (the grand Zeonora, in C) 
before the second Act — thus strangely disturbing the impression 
intended to be produced by the subsec^uent gloomy introduction to the 
prison scene. On the first night Signor Arditi gave Iwlh overtures ; 
but on Saturdav he dispensed with the light and brilliant prelude in 
E (composed for the revival of Fidelio, in 1S14), contenting himself 
witn the magnificent Leonora of Beethoven's own preference, which 
was played before the curtain rose, and encored with enthusiasm. 
Better executed it could hardly have been. 



Digitized by 



Google 



420 



THE MUSICAL WORLD, 



[July 2, 1864. 



ANTONIO SALIERL 

( OontMMudfrfmpage 279). 

• There is no a^eonnt of anv compotition by Salieri in the jrear 1777 : 
and after the sooeen of Umlanf 's operetta the Emperor, being full of 
the matter, gave his K^pelhneiBter leave to visit Italy, where his growing 
iame had now brooght him three invitations to come and compose so 
many operas. In Milan a new opera honse was to be opened — no less 
a one than the now famous Scala — and^all the old and well known 
composers of the Italian cities were passed over, to call their young 
countryman — ^now abont 27-yeatv of age — from Vienna to write the 
opening piece. This was Evrcpa Hconosctiito, text by Verasi, in two 
acts, with chomses and an analogous ballet in the middle of each act. 
The piece had great success spite of a miserable text, and lon|; kept its 
place on the stage, though Mosel thinks it one of Salien's poorer 
compositions. 

From Milan the compoeer went to Venice to compose La ieuda de* 
Otloti, an mtera bufat text hy Mazaola, which was brought out early in 
1779 and nad extraordinary success. SsUeri had with him on this 
tour a young German, now for the first time in Italy, who lodged with 
him in Vemce, and accompanied him everywhere. The day succeeding 
the opening of the theatres after Christmas is, or rather was ^while 
Venice was), a day for the assembling of all who cared for music and 
the drama, in the coffeehouses, about St. Mark's nbwse, to discuss or 
inquire about the new pieces, with which the various nouses had opened. 
It is the custom in that dty to name the theatres from the nearest 
church, but in talking about them to call them by the name of the 
saiot only.— instead, for instance, of sayiuff "the theatre near the 
church of St. Samuel," or ** Teatro Sant' Angiolo," to sav merely ** San 
Samuele,*' or " Sant' Angiolo." On this moning Salien with his com- 
panion took his coffee in one of the largest houses on the square, where 
the theatrical news was of course the main topic of conyersation. 
*• Saint Benedict was hissed off," said one. *' The Angel was pretty 
successful, but Saiut Samuel went to the devfl,** said another, and so on. 
On leaving the house, the young German, astounded and indignant, 
remarked to Salieri: "How dine^pectfully they do talk here of the 
saints !" 

From Voiice the composer journeyed to Bome to compose the opera 
buffa, ** La partauta niaipeUata," text by Fetroeelini, which, with its 
beautiful, flowing melodies, corresponding exquisitely to the text, and 
its fine but simple accomjpaniment, in some of the vocal pieces consisting 
only of the quartet or bowed instruments, was another complete 
triumph. These successes led to offers of new engagements, which 
with Joseph's permission he accepted, and therefore in the spring of 
1779 he returned to Milan to compose II Talumano, text by Goldoni, 
for the opening of another new theatre— Alia Cannobiana. This was 
also an opera buffii with choruses, in two acts. Passing through 
Florence on his way north, he found the manager of the principal house 
Just ready to bring out his Fiera di Vaufia^ and that functionary 
besought him to. at least, be present at the general rehearsal, to which 
he consented. The rehearsal was set for the evening, and at the hour 
soloists and orchestra were ready, but not a chorus singer. " Why are 
they so kte?" asked Salieri ''Because the shops are not shut,^ was 
the answer. The explanation of which was, that most of the Italian 
choruses then were made up of shopkeepers or their assistants, who, 
knowing not one note firom another, learned their parts by rote, and 
never made a mistake, — ^but they had only Italian choruses to sing. 
The directors of the new Cannobiana theatre, three noblemen of Milan, 
had arranged to open the house with three works: Salieri's Fiera di 
Vme»a, II Tulitmano^ and finally, an opera to be set by a composer 
named Buss. While the vocalists were studying the first, Salieri set 
himself to work upon the second, of which Gold^i had sent the first 
act and the plan of the whole. The second act was delayed by the 
sickness of Goldoni. Then the theatre was not ready in time, and, as 
the singers were only engaged up to a certain date, it became impossible 
to produce the third of the projposed opens, and poor Buss saw himself 
deprived of the opportunity of^ proving his talents, and must perforce 
content himself with the present made by the directors and the written 
invitation or engagement for the next season. SaUeri pitied the man 
in his bitter disappointment, and, satisfied ivith having one of his operas 
performed, he proposed to the directors, that they give the second act 
of II TaUmanOy which had now arrived, to Buss. Aey did this ; Buss 
composed it, and the work was a complete success. A chanse in the 
management of the tht^tre in Venice, the old manager hanng died, 
and the want of nuMcient security that his time and labor would be 
adequately rewarded, led Salieri to give up the composition of V im>la 
cajmedoto^ wliich the poet Biazzola had already sent him, and of which 
he had already tMsveral numbers finished. He therefore remained some 
time longer in Milan, and then relumed to Bome to compose another 
Ofen, text by Petroselini, La damamtoreUa, for the Carnival of 1780, 
a work which he himself says "neither pleased nor displeased." 

Im name hereetived an invitation to Naples, where /oseph's disrepu- 



table sister Caroline was queen, to compose a serioua opera for San Carlo 
to be brought out in May, 1780, and to F^g^^ ^ Scucla di adori for 
production upon the so-called Florentine Theatre. A third leaye of 
absence was therefore necessary. The composer was long in doubt 
whether he could with propriety apply again for an extension of his 
leave ; but as it was for only three months, and as he had received ^e 
invitation through the Austrian Ambassador, Count Von Lamberg» and 
with the approbation of the King of Naples — Joseph's brother-in^w— 
he took courage and sent on his application to Count Bosenberff, chief 
chamberlain, and head of the court theatre at Vienna — ^who had 
the previous year obtained the prolongation of his leaire of absence-nrnd 
went on to Naples to begin his work and await the reply. His petition 
was written in the most respectM terms, and his reasons displayed in 
the clearest light, and there is no doubt that, had Joseph read it, the 
three months would have been granted him at once. But Bosenberg, 
as he afterwards confessed, placea the petition in his cabinet and forgot 
it, and made Salieri's desire known to Joseph in few words and with ^ 
no explanation of the drcumstances under which the petition was writ- 
ten and which certainly justified it. The result was that the composer 
received the following answer:— 



** In nplj to the petltioii addreissd to his Hajetty for leave to remain stni longtr 
In Italy, AU-highest-the-eame makes it my daty to write sron, that yon are yonr 
isterto .... ... . - 



■o long there ■• yon please or think for your good ; yet, -Oat 
yon, if yon find yourself better off there than here, may remain there for ever. lam 
pained to be nnable to make yon any pleasanter reply and remidn, Ae., Ac.** 

It was a very unlucky mistake of SaUeri's not to have sent word to 
Bosenberg wiUi his petition, that, in the hope of receiving the desired 
leave, he was going on to Naples in order to save all the time possible. 
The ungracious reply was sent to Bome and thence forwarded by a 
friend to him in Naples. Meantime Salieri had waited upon Count 
Liamberg and had been presented at court, where the king and queen 
had received him with great favor. He had also begun the composition 
of his opera. La SemiranUde. The surprise and fright with which 
Bosenberg's letter filled him were overwhelminff. He hastened to 
Lambe^ to ask his advice, who sought to calm mm, by persuading 
him that if the queen should apply to her brother in his behalf the 
matter would have no serious consequences. Salieri therefore deter- 
mined to apply at once to the queen, but as he returned to his lodgings, 
and thought it over, it nresentod itself in a vevy different light. He 
remembered that Joseph, friendly as he was, invariably, towards every 
man and especially to those constantly about him, did not like to be 
forced to say yes, where he had once said no. Filled with anxiety 
lest the mere refusal of his petition might not be all, but that a loss ot 
his master's favor might follow, he returned to Count Lamberg and, 
most urgently entreating him to find a way of cancelling his engage- 
ment with the Neapolitan court, departed on the instant for Vienna. 
Before entering his carriage he wrote to Count Bosenberg, entreating 
forgiveness for his too great fireedom, and annaundng his inunediata 
departure from Naples. 

At noon, April 8, 1780, he joined his delighted family— that Is on 
the second anniversaiy of the day on which he began his Italian 
Journey. His first caU was upon Bosenberg ; but* not finding him at 
home, he went to the palace and, as a mark of his submission to the 
wUl of the Emperor, instead of proceeding into Joseph's apartment, as 
hia right was and as he had alwavs done, remained without in the cor- 
ridor, where petitioners awaited their monarch, who came thither every 
afternoon at three o'clock to hear them and receive their papers. There, 
a little apart from some twenty persons, mostly country people, who 
awaited the Emperor, Salieri took his plsice, not a litUe afindd of a cool 
reception. At the hour Joseph returned from a ride, came as usual 
through the corridor, listened to the petitioners, talked with them more 
like a fikther than a monarch, and suddenly caught sight of the 
Kapellmeister. Hastening to him he exdsimed: — '<See, here is 
Saheril I did not expect you so soon; have you had a pleasant 
Journey?" '*An excellent one, your M4esty,''he answered timidly, 
*' notwithstanding, in order to repair my unit, for which I humbly prav 
forgiveness, I felt bound to travel day and night, that I might so much 
ihh sooner resume my duties here at court." ** It was not necessary to 
hurry so," said Joseph, kindly, ** still it is a pleasure to me to see you 
again. Now go up stairs, we will try some pieces out of your new 
operas, which have been sent to me from Italy. 

These good words so calmed and encouraged the musician that he 
forgot all the troubles which his hurried Journey had caused him. On 
entering the ante-chamber he found some of the older members of the 
Court Chapel, who rejoienl all the more to see him, as a report had 
obtained currency that he had fallen under the Emperor's displeasure. 
Half an hour later came Joseph, put the petitions and documents, 
which he had received, into his cabinet, seated himself in the music- 
room to his dinner, and had Salieri called in to talk with him during 
his solitary meal of fifteen minutes duration. ** Had he found hi^ 
family all well?'* he asked and put various Questions in relation to his 
tour, to his oompositions while away, and the like. Salieri told his 



Digitized by V^riOOQlC 



Jtily 2, 1864.] 



THE MUSICAL WORLD. 



42r 



gtoiy, and of courro came at last to the Neapolitan basineas. As in 
lome o(Miftiilon he confeaed that ho had left home for Naples without 
waiting for permission to do so, in ftill fidth tiiat this permission would 
follow him, Joseph, with a sodden tnm of his head— one of his pecuU- 
aiities — ^fixed his eyes upon him with an expression of surprise. Salieri 
oeased and there was a moment's pause; during wMcn he (Salieii) 
thought his master, who had not known that the matter had gone so 
fiur, was sorry not to have granted his petition ; still he said nothing, 
and gaye the conversation a new turn by the question : '* Wheiy did 
you find the best orchestra ? Salieri saw that nothing more was to be 
said on the Naples affidr and bore himself accordingly. After his meal 
the other musicians were called in, and Joseph devoted his usual concert 
hour to pieces from Ewcpa rieonoteuUa, and La Scuokfde* CMoii,** The 
concert over, Salieri was told to visit in the evening the new <* National 
(Singspiel) Sing-diama," fbr so Joseph called his German opera. ** Tou 
must then tell me,'* added the Empcoror, " if the company and the 
establishment have made progress during your absence." At the next 
private concert, Joseph asked as soon as ne saw Salieri. '* How do you 
find our national 8ing-4nima?" The composer, really pleased with 
what he bad seen and heard, replied, that he liad found it in all respects 
wonderfhlly perfeot. ** Now you shall compose a German opera," said 
Joseoh, SaUeri proposed the translation of one of hii fine opens, com- 
posed in Italy. '* No translation," returned- the other, smiling, *' an 
original sing-drama.*' ** Your majesty, I do not know how to set about 
the work of an opera in the German language, I speak it so badly." 
" Very well," said Joseph, still smiling, "the labor wiU answer for an 
exerdse in the language. I will to-morrow morning give Bosenberg 
the order to have a G^wnan operatic poem prepared for you." This, 
which was proposed in joke, Salieri haa to carry out in full earnest — for 
which, however, he had plenty of leisure, as Maria Theresa happened 
to die soon after (Nov. 29, 1780), and the court theatres were of course 
for some weeks shut up. 



MUNICH. 

Hie following are the programmeB of the ConcertB of the Musical 
Academy this season, under the direction of Herr Lachner, and 
which, having been interrupted by the death of the king, were not 
borooght to a tenmnation until the 18th May : — 

First Concert: A major Symphony, Beethoven; Soprano Air, 
with obhUgaio darinet accompaniment from Spohr's Faiist ; Violin 
Concerto, by Lafont; two Vocal Quartets, by Mendelssohn; 
Taubert*8 overture to Tattsend tmd eine Nticht, — Second Concert: 
Suite in £ minor. No 2, by Fraxus Lachner ; Alia, by Rossiiii ; 
B minor Concerto by Hummel ;• two Songs by Franz Schubert and 
Easer; Mendelasohn^s overture to AthaUe, — Third Concert: A 
Symphony in C major, by J. Haydn ; Duet from Spohr's Jessonda; 
Symphonie Concertante, for violin and tenor, by Mozart ; three 
Songs (one by Franz Lachner and two by Schumann); ViolonceUo- 
Concerto, by Lintner ; Overture to Les Abencerrages^ by Cheru- 
bim. — Fourth Concert : Mozart's A major Symj^ny ; Two Trios, 
for female voices, by Franz Lachner ; Komance for the Violin (op. 
40) by Beethoven ; ** Columbus" a Symphony, by J. J. Abert. — 
Fifth Concert : Beethoven's Pastoral Symphony ; the 6Srd Psahn, 
by Franz Lachner ; Suite for Stringed Band, by J. S. Bach ; two 
IhietB for female voices, by Weber ; '^MeeresBtule und ^ckhche 
Fafart,** by Mendelssohn. 

Thus, thirty-one compositions by eighteen composers were per- 
formed. Of these, five were by lierr Franz lAohner ; four by 
Mendelssohn ; three by Beethoven; two each by Mozart, Schumann, 
and Spohr, and one each by the rest, induding Bach, Chembini, 
J. Haydn, and Franz Schubert. The novelties were Abert*s Sym- 
phony ; Taubert's overture and Franz Lachner's Psahn and second 
** Suite,'* which latter may be called a novelty because, though 
])erfonned a year ago, the original first movement (a prelude 
ibatoiaMj worked out) was cancelled by the composer, who sub- 
stituted a lively and brilliant instrumental fugue. The ^* Suite " 
and Abert's Symphony were exceedingly successful. 



Thb Phxlsabmonio SooiBTY.-rThrough the instrumentality of this 
excellent society we shall enjoy the supreme pleasure of hearing the 
justly celebrated Cantatrice, Mile. Adelina Patti, during the season. 
One of the special concerts at the Etabiissement dee Bains is fixed for 
the 24th of August next, when Mile. A. Patti, in concert with Miss 
Arabella Cknldard, and Joachim, the celebrated violinist will appear. 
The appearance of Mile. Adelina Patti at Boulogne is a compliment 
highly flattering to us, as she has not previously appeared in any pro- 
Tincial town in France.— ^ouZc^ Paper, 



MUSIC IN PEAGUE. 
This year again the Bohemian Vocal Association **Hlahol" 
invited, as it invited two years ago, all Bohemian-Moravian Vocal 
Associations, as well as the Sclavonic Vocal Associations of Vienna 
and Bautzen, to a musical festival in the Mddavian city. The 
Festival was grander than any ever previously given in Prague. 
One hundrea and two Associations from Bohemia, six horn 
Moravia, one from Vienna, and one from Bautzen (Lusatia), num- 
bering fiJFteen hundred singers, took jpart in it. On Sunday, May 
15th, the different Associations met in the Jacobskirche, at eleven 
o'clock in the forenoon, when the Hlahol Association executed 
Durante's Three-part Maiss, substituting for the " Graduale ". the 
choral '* Hospodine pomUuj dy '* of the tenth century, and instead 
of the " Offertorium " a Motet by Palestrina. The performance, 
under th^ direction of the chorus-master, Herr Fried. Smetana-— 
who enjoys, by the way, a high reputation in Grermanj^ aaa pianist — 
was unusually good—for deticacy and precision leaving luSbhing to 
be desired. At three o'clock in the afternoon, a general reheanal, 
for all the AsBodations, of the music to be performed at the concert 
in the^ Neustadter Theater, took place in the large hall of tiie 
Sophieninsel, and lasted more than four hours. In the evening, 
there was, as usual, a display of fireworks, to usher in St. John*9 
day. The Bohemian Associations, namelv: those from Pkagne 
itself, Briinn and Vienna, went on board three large boats, lying 
off the Sdiiltzeninsel, and the Sophieninsel, and illuminated with 
large lamps and torches. They pro(^9eded down the riyer, accom- 
panied by four other boats, likewise illuminated, to below the 
suspension bridge, where they stopped. They then sang several 
choruses and son|^, among which may be mentioned more parti- 
cularly the dashing chorus, '*Na Prahu,** by the late Herr W. H. 
Veit; ^^Divca," chorus by Krizkovsk^; the songs, **Auf, ihr 
Slaven," ^^ Ich bin Slave," and others, which were received with 
enthusiastic cheers by the crowds aasembled on the banks of the 
river. — On Monday, May 16th, St. John's Day, was the day fixed 
iat the Festival proper. Even before nine o'clock am. the Vocal 
Associations had aasonbled once more on the Sophieninsd, to 
attend the List rehearsals, and then proceed in solemn prooessioii to 
the Neustadter Theater. The rt>heaimls were under the direction 
of Herr F. Smetana, chorus-master of the Hlahol Association, and 
Herr Fdrchtgott, diorus-master of the Sdavonian Vocal Aasocia- 
tion of Vienna, in which capital he oocupieB a very high position as 
a ballad sin^r. The procession was so arranged that the splttidid 
flags bebhging to the Associations from Prague, Brfinn and Vienna, 
heaided it together, the fiacs of the other Associations following 
according to the alphabeticalorder of the towns whence they came. 
A numbor of ladies received the singers, and decorated t^e flags 
with wreaths of fresh huneL The procession then set out, and 
moved slowly and imposindy throng the eocpectaut multitude, 
down the Neue Allee, tl^ Obstaaase, and the Wendelplati, to the 
Neustadter Theater. When the curtain went up, duclodng the 
many hundred singers, numbers of whom were unable to find room 
on the stage, there was a tomultuons outburst of applause on the 
part of the audi^ice. The oonductor-in-ohief was Herr Smetana, 
assisted at the two sides by Herren FOrchtgott and Kavan. The 
concert commenced with the old Bohemian choral, dating from the 
sixteenth century, '' Boae, otze '* C O God, O Father"), which, 
with its broad harmonies, executed by such large masses, was 
highly effectiye, and produced a deep impressbn. TUs was fol- 
lowed by an allegorical and clever poem, rather too long, by tiie 
way, entitled, '' O laske k vlasti " O' Frtnn tiie Love of one'sNatiye 
Land "), written by Zttngl and spoken by Mdlle. Maly. Thenext 
chorus, ^* Mohyla," by Vogl, is but a mediocre composition without 
spirit. It was coolly received. A favorable impression was pro- 
duced, on the other hand, by the exceedingly piquant choras, 
"PoceBtny"C*The Wanderer"), by J. L. Zvonar, which was 
given with great precisi<Hi, despite the drawback of its having had 
only one rehearsal. A siinilar soocess awaited the chorus, *< Odro- 
dikc" C'The Reneffade"), by Heir Smetana. After aU these 
more or len succesnul vociEd displays, the choras, ^^ Cyril und 
Method," by Paul Eiixkovsky, oonduded the programme in a most 
refreshing and agreeable manner. The imposing masses of voices 
had room to exert themselves, and produced a marvellous effect 
upon the audience. Mdlle. von £hrenberg also sang an air— totally 
unsuited for the occasion — from Bossini's Semiramide^ and some 
national songs which were zapturoosly applauded. Herr J. Lukes 



Digitized by 



Google 



422 



THE MUSICAL WORLD. 



[July 2, 1864. 



sang the song, ** Der wahre Bohme,*' by Lad. Prohaska, and *' Das 
lied dea MsErers," with deep feeling and exraeaBion, achieving, 
despite indisposition, a brilliant triumph. Liastly, Herr Jon. 
Hrunalj, from Amsterdam, performed a *^ Ldgende ^' by Wieni- 
awski, and the " OteUo Fantasia " by Ernst, with marvellous 
precision, creating a great sensation by his mechanical dexterity, 
which he has ah^ady brought to a high pitch, and his fine 
style. After the concert, the procession returned, in the 
same way it had come, to the SOphieninsel, to deposit the 
flags. In the afternoon, the visitors devoted their attention to 
the creature comforts they had so well duned, and whidi were so 
much needed to ^ve them strength to go through the exertions of the 
evening on Sophieninsel. The Concert began there at 7 o'clock, and 
ended at about 11 o^clock p.m. That excellent and careful chorus- 
master, Herr Forchtgott, from Vienna, conducted three choruses, 
namely: "Staroceska'^ (the old Bohemian Song) by Joh. N. 
Skroup, which was admirably sung and most favourably received ; 
hia own effective chorus : "Orle, pestry Orle," ("Eagle, Eagle of 
the many Hues''), also highly successful ; and the comic chorus : 
"Kalendar a ne Farar," (** A Monk but no Parson,"^ by Theodor 
Brodsky of Berlin, which quite answered all expectations, and ;had 
full justice done it. Herr Smetana conducted the chorus : "Sbor 
Strelcn," ('^Hunting chorus"), by the talented PoHsh composer, 
L. Zielinski; the piquant chorus: ^'Mlatectecka'V ("the Threeh- 
ing chorus "X by Martin Novaeck ; "Jus Suita," ("It is beginning 
to dawn,") by Jos. Kreici ; "Svoji k Sv4mu," etc. etc. jQ\ these 
choruses were sung witn great spirit and correctness, eliciting loud 
and frequent applause. 

DR. SCHMID. 

Dr. Carl Rudolf Schmid, Bon of Deoan Schmid in Aaran, was 
born on the 9th of April, 1827. He received his first instructions 
in the house of his father, and, having a fine voice, he soon became 
a ate^t favorite of his master, Sschokke. 

When young, he had a strong inclination to [study 'physic, 
went, in the year 1847, to Tiibingen to become 'a member of 
the university, and in less than six months he, on account of his 

Suick comprehension, was one of those pupls who were most liked 
y the Professors. Now he has the finest Bass voice existing. 
At first he used to sing a great deal inprivate circles, churches, and 
various grand Festivals. Herr Silisher, the celebrated German 
composer, wrote Lieder for him espedaliy, in which he appeared 
for the first time in concerts with great saoosBS. The intendant 
of Stttttgard heard him and offerd him an engagement for his 
Hof-theatre, but he would not accept. 

From Tubingen he went, in 1850, to Nttrzburg, Switzerland, 
and nearly every! town in Germany, chiefly to visit the various 
hospitals, and to improve and cultivate his knowledge as a medi- 
cal man. In Dresden he witneswd the great works of Mozart, 
Meyerbeer and Wagner. The last mentioned, who was on intimate 
terms with him, advised him to go on the stage, but Herr Schmid, 
being too fond of his medical studies, could not at first make up 
his mind to attend to the musical TOofeasion. However, i^ter some 
persuasion, he took his lessons of Herr Ozabone, the well known 
teacher of singing, and in scarcely less than five months he made 
his first appearance on the sti^^e, in the part of Sarastro in Die 
Zatiberflote^ and had an immg iiB e success. 

Engagements foUowed him from all the principal theatres in 
Germany, Munich, Dresden, Hamburg, Stuttgard, Berlin and 
Vienna. Noneof these he accepted at that time; he went to Prague 
for a year and a half, where he was much liked and highly estesmad; 
the greater part of his leisure time there he spent inHospitals. 

Another offer from Vienna arrived, and he at last signed the 
engagement, went there, sang, and created a furore in the part 
of Sarastro. He succeeded Herr Staudigl, who had just left 
the stage. His position was rather a difficult one at first, the more 
so, as Ilerr Staudigl was an immense favorite of the public. 

When Meyerbeer first heard him, he tried all he could to per* 
suade him to sign an engagement for the grand Opera in Paris, 
but he, like so many others, did not succeed in persuading him. 
His princinal parts are Osmin, Figaro, Rocco, Caspar, Fabtaff, 
&c. Mr. Oye; who heasd him in Vienna last Spring, msde him an 
offer at onco, as he knew very well that there was not a second 
bass voice like that of Dr. Schmid. His succen in London has 
been very ffreat. He made his first appearance as Oroveeo, in 
Norma^ and at once took up a h^h position. He afterwards 



played Walter in GuaUdmo TeU^ and the Commendatore in Don 
Qiovanni^ and on each occasbn advanced a step in public estima- 
tion. He was also to have appeared as Marcel, in the Huguenots. 
and Bertram, in Robert^ but, unfortunately, was taken ill and 
unable to accomplish what would no doubt have greatly added to 
his reputation. As it was, however. Dr. Schmid has stamped 
himself as an artiste of the first rank, through the medium of those 
parti in which he had actually appeared. He also created a marked 
mipression at the Concerts of the New Philharmonic Society and 
Crysta" Palace, by his noble voice and dignified singing. 

STREET MUSIC (METROPOLIS) BILL. ' 

On order of day for going into committee on bill, Baas presented 
petition signed by 100 barristers, solicitors, and clergymen, in favour of 
measure (laughter). On first clause, Hankey asked whether it was 
contemplated to abolish ** Punch" (laughter)? Bass, — Certainly not. 
I regard " Punch" as one of inRtitutions of country on no account to be 
disturbed (laaghter). Hon. Member. — "Punch" is generally accom- 
panied by drum ana fife, which, under bill may be removed on account 
of music. Bass. — If hoif. gentleman will introduce clause to proride 
remedy it shall have my hearty concurrence. On proposition to insert 
"on account of illness or interruption of ordinary occupation," 

Ayrton wished to have definition of phrase "ordinary occupation.** 
If left to complainant might mean anything. "Ordinary occupation" 
might mean knife-cleanmg. House ought not to be led away on 
question. There was not only right of person making complaint to be 
considered, but right of person complained against (hear, hear). 
Amendment did not appear to be amsnament in reality. Bill seemed 
to aim — that owner of house had right to regulate what was done 
within sound of house. Was that assertion of rights of property? 
(hear, hear). Some persons interpreted "rights of property" to mean 
exclusive enjovment ; but if owner of park so regarded his fAyrton's) 
rights doubted whether such rights would be respected. If claim to 
remove musicians was based on property bill ought to be made conform- 
able to principles on which it was founded, and owner limited to what 
was annoying to him from front of house to middle of road. What 
richt could man have to regulate every kind of noise within ear-shot ? 
That was real principle of bill. Public street was no more property of 
man than house of neighbour. Hon. member was hacked up by book 
which he had published himself, containing all kinds of pleasant letters 
from ladies inviting him to musical parties (a laugh). Then literary 
Punch, it appeared, had declared war against dramatic rival, which 
would be worth nothing without overture. House had made concession 
in favour of "Punch.*" Peace of literary Punch would be destroyed, 
because writers would be uuable to compose jokes, if there were jokes 
(laughter). Could understand why Germans said sarcastic and bitter 
things about street music. Could understand why editor of newspaper 
was m favour of bill and abolition of harmony in streets. These were 
characters of letters to which he had referred ; but they were tainted 
with misanthroDic feeling and total contempt for everything that 
amused people (oh, oh, and hear). Were about 100 people in metro- 
polis of such sensitive character that two or three millions were to be 
mterfered with for benefit (hear, hear, oh). If people did not like to 
ait at front window for purpose of being annoyed could easily go where 
could get out of annoyance (oh, oh). Music in Ix>ndon streets must be 
faintly heard at backs of houses. 

Bass. — Ton may hkve it both back and front (laughter). 

Ayrton. — People who were sensitive ought not select houses incon- 
venient. Migonty of houses were not exposed behind and before ; and 
if in great metropdis man reauired seclusion ought to endeavour to 
procure it, and not apply for law to enable him to enjoy quietude 
(laughter). Was one much greater annoyance in London than street 
muiiic, that was rolling of carriages (cheers and laughter). If people 
were ill were obliged to take means for preventing annoyance arising 
from noise of carriages ; but no one would sav that because he wa» 
nervous carriages should not be allowed to roll by door (hear, hear). 
If we got rid of street music we should come to condition of places 
where people could not hear it wiUiout being seduced into public-houses ; 
and such result would not be for public benefit. Street music would 
not be annoying unless occupants of houses encouraged people to play. 
How was it that gentlemen who did not encourage street music found 
it playing before nouses? Because thev keut domestic servants buried 
below surface of ground Q^ear, hear, oh). It was eai^y to undersUnd 
how delighted poor buried people when having nothing but vacant area 
before them, they caught sight of musician (hear). Never saw wander- 
ing Italian looking up at drawing-room window for money. Always 
looked down to kitchen window (hear, hear, laughter). That being 
ca .e with retf^iect to music in private streetp, asked hon. gentlemen 
would it be wise or decent to pass law against wandering Italians when 
' it would be law against domestic servants, who paid street musicians to 



Digitized by V^riOOQlC 



July 2, 1864.] 



THE MUSICAL WORLD. 



42B 



play for amusemMii. If geDtlemen could not control household better 
leave them to quiet enjoyment which they now poMessed, no real an- 
noyance to peo^e up stairs unless of sensitive chuacter which rendered 
every noise annoyance (hear). In order to place matter on right footing 
• proposed to leave out words '*near house/' and substitute words "in 
front of house" (hear). 

Pakington concurred in opinion that " Punch " — whether Punch of 
literature or ** Punch " of streets— ought' to be privileged, for both 
*' Punches" were national institutions. Hon. Member.— With music? 
Pakington. — Certainly, with mu«ic (cheers and laughter). Beyond 
that, he doubted whether inhabitants of Tower Hamlets would agree 
with representative. Thought amendment of hon. friend (Bentinck) 
scarcely worth pressing, seeing there was no difference between propo- 
sition and that of hon. member for Derby. Question before house was 
—either to leave law as it stood, or else enact that householder should 
liave right to send away street music annoying or unpleasant. Should 
be sorry to get rid of German bands (cheers and laughter), for some of 
them were worth libtening to. Thought, however, should be in discre- 
tion of householder to have everything annoying removed from front 
of dwelling. Shelley said he would be last to say that annoyance to 
person in front of house should be allowed to continue against will, but 
bill was ridiculous, since special exemption was to be inserted in favour 
of *• Punch " (hear, hear). Bight hon. gentlenum who had just sat 
down was in &vonr of German bands ; then it was to be assumed that 
he would desire exemption in favour. Hon. gentleman had fine ear for 
music, and he believed had fine voice as vocalist (laughter) ; and he 
cultivated his taste at open. Those who delighted in street musio had 
no opportunity of going to opera, but took as much delight in music m 
those who could pay to listen to Patti (cheers). If this bill was good 
for metropolis would be equally good for Brighton and towns.> Uad 
simply been brought forward at instance of such persons as Babbage, 
now commencing a crusade against harps and tip-cat (laughter). Where 
were they to stop if bill were to pass? They must legislate against 
noise of carriages in streets. Believed if bill passed it would be 
inoperative. Grey said bill as it originally stood would have enabled 
any person to remove street music simply because he did not like it, 
but bill now was merely alteration of existing Law which would enable 
householder to object to street music if it interfered with calling. Such 
case would be Babbage*s or that of music-master giving lessons. It 
would be left to magistrate to decide what was reasonable Interference 
with person's calling. No magistrate would say that music could 
interfere with knife-cleaning, as suggested by hon. member for Tower 
Hamlets, but if gentleman were writine speech or writing article 
magistrate would hold, on complaint, that street music would be 
annoyance. Bill had nothing to do with rights of property. 

Bass said existing law would have been strong enough for all pur- 
poses if provisions of Metropolitan Police Act had not confused it. 
Had received thousand communications in fkvour of bill, and letters 
from Dickens, Laureate, and Carlyle, with others from between 800 
and 400 musicians. Could be no doubt that street music was nuisance. 
Only last week hon. friend was on way to house to take part in 
division, in which vote would have turned scale, but met with street 
band which horse could not bo induced to pass, and hon. friend was 
prevented voting. He knew musician was prevented by street music 
from working during day, and began composing at eleven o'clock at 
night (a laugh). Had authority to state that Tennyson was induced 
bv inconvenience he suffered from music to live out of London, and late 
Thackeray was driven by same cause from street to street, and did not 
know where to put head. Ought not to have prosecution of important 
avocations prevented by practical nuisance. 

Trelawny could not help thinking that^they were engaged inpcd- 
dling legislation (hear, hear). Admitted that some persons suffered 
ih>m street music ; but there were evils of greater magnitude which 
no one sought to remove. People suffered from rolling of carriages at 
two or three o'clock in morning, yet it was not proposed that practice 
should be discontinued. Would remind house that working classes 
might have oiHuion upon subject, but they had no opportunity of 
expressing opinion. Bentinck said object of bill was to give effect to 
exuting Uw. Highways were meant for passage of Queen's subjects, 
and street music was prima facie illegal. Rolling of carriages, on other 
hand, was of special object for whicb highways were constructed, and 
was BO analogy between that case and case contemplated in present 
bill. Existing* law was inoperative, and ought not to be allowed to 
remain as it stood. Object of hon. friend was simply to make present 
law operative, and he hoped committee would allow bill to pass in 
present shape. 

Hankey thought th*s not fit subject for legislation. Considered 
bill of tyrannical character, and designed to legislate for higher classes 
at expeuM of lower. 

Clay thought some means should be taken to abate nuisance, against 
which oomj^aints were numerous. Frequently had German band 
l^ing in front of residence, while at same thne within hearing wer^ 



couple of street organs ; and when all were playing different tunes at 
same time some idea might be formed of discord (laughter). House 
divided :^- 

For ameDdment ; 201 

Afftlnstlt S7 

M^orlty araiDBt amendment — 114 

Bentinck propoJEed, in line five, after " shillings," to insert, or at the 
discretion of magistrate before whom he shall be convicted, may be 
imprisoned for any term not exceeding three days. But opposed 
amendUient. Enfield thought.imprisonment would be too severe penalty 
in some cases. Bentinck thought amendment was reasonable. Ayrton 
opposed. Crawford said amenament made no provision for monkey in 
event of owner being sent to gaol. Was monkey to be sent to work, 
house ? Bentinck thought monkey ought to be maintained at expense 
of metropolitan members (laughter). Grey supported amendment. 
Committee divided — 

For laeertloa of words " three days* impritonment ISI 

Against Ill 

Majority for imprisonment — i-lo 

Ayrton said they now came to last clause, authorising policeman to 
take offenders into custody. Clause was consistent when first inserted; 
but commencement of clause having been altered doubt arose as to 
wliat offence might be. Bubmitted that clause should be omitted and 
subject left to general operation of Metropolitan Police Act. Peacocke 
hoped clause would be persevered in. At present, if one ordered 
musician to go and he did not go, only remedy was by summons, and 
so it would be if clause were struck out. What chance remained of 
conviction if street musician would not go when told, and one had to find 
residence and summon him ? Chancellor of Exchequer, if he understood 
argument of hon. member for Tower Hamlets, thought it very strong. 
Original bill gave power to householders to order departure of street 
musician, and if he refused offence was completo, and poUoe could take 
musician into custody. But amendments had essentially idtered charactei 
of enactments. Demand for departure of musician was to be effectual 
when connected with suffictentcause, sufficiency not Iving on judgment 
either of householder or constable, but of police magistrate. Thought 
clause should be omitted. 

Malins said if this were done bill would be deprived of efficacy. 
Object of bill was to give householder summary remedy. Nuisance 
being immediate and pressing, remedy ought to be immediate, and 
removal of power of arrest would destroy value of bill. Had been 
said this was tyrannical bill (cheers from ministerial side). But what 
was tyranny of bill oomoared to tyranny of wandering minstrds, 
whose annoyance was intolerable? (opposition cheers). Cocke said as 
ill originally stood householder had power of taking man into custody 
who did not move off. Bill as amended stated there must be reasonable 
cause for requiring him to remove. It would be unreasonable to take 
man ,into custody unless previously told inmate of house was ill or 
engaged in ordinary pursuits. Bass aid clause contemplated such 
wammg. Words were ^ after being required to depart." Butt rose, 
but was interrupted by loud and continuous cries of " divide ; " moved 
*^ chairman report progress," on which question committee divided 
numbers — 

For reportlsg>rogreM ... 64 

Against ... ^ 176 

Majority — 121 

Butt said there was another provision in clause besides that of person 
bill or disturbed in occupation, and was that musician might be taken 
into custody for other sufficient and reasonable cause. That was too 
indefinite, for under such provision person might be kept in custody 
from Monday to Saturday, and it might be discovered that no sufficient 
or reasonable cause had been assigned. Shelley said it was something 
new to propose that snch extraordinary confidence should be placed in 
policeman by giving him arbitrary power. Ayrton said give constable 
power of taking a person into custody was practically to withhold from 
him any remedy. Grey said provisions of Police Act no person could 
be taken into custody for certain offences unless committed within 
view of constable. Bentinck said if such provision were introduced 
into bill it would make it inoperative. Policeman was seldom to be 
found when required. Salomons said, in assault case it was not neces- 
f)!.ry for officer to see assault ; sufficient if he perceived niarks upon 
person complaining. Committee divided, and numbers were : — 

For amendment ... 68 

Agaimt 151 

Mi^oritar — 83 

Grey proposed addition of words, "within view of constable." 
Attorney General said, unless house designed to introduce exceptional 
legislation, it would be advisable to introduce these words. Bentinck 
protested against insertion of words. Committee divided ;— 

For proposal 83 

Agafnit 118 

Minority — M 

It being ten minutes to six when numbers were announced, house 
proceeded at onoe to ordera of day.; {Seen and apprcncd). 



Digitized by 



Google 



424 



THE MUSICAL WORLD. 



[Jidy 2, 1864. 



MONDAY POPULAR CONCERTS. 

ST. JAMES'S HALL. 



THB ONB HUNDBKD AJSFD FIFTY-SIXTH CONGBBT, 

(TBI Liar or tbi Sbasox), 
MONDAY EVENING, JULY Uh, 1864. 



THE DIR ECTOR'S BENEFIT. 

PBOQRAHUB. 
PABT I. 
QUARTET, In C, for two YioUiis, Vioi* and YlolciiodlO— MM. 
JOACHW, L. Bibs, H. Wbbb and Pum 

CANZONET, " Nam* the glad day **— MIm Babu .... 

CHABACTEB18TI0 PIECES, for Planoforta aloiw— Madanw 

Ababblla OoooAsn 

DUO CONCERTANTE, for two VloUnB— Horr JoAOHOC and M. 
WlBMUWSKI 



80MATA. in A, Op. 4Y (dedicated to Kreatser), for Pianoforte and 
Tlolin (by deelre)— Madame Abawbi.t.a Godbabd and Herr 

JOAOBIM • . • . 

PABT II. 

TBIO in O, for Violin, Viola and VloloDoello— Violin, M. Wibbiawki ; 
Viola, Herr Joaobiv ; and VIolonoello, Blgnor Pum . 

BONO— Mr. Bnct Bbbtbb . i 

BOLOS, rPr«lade,inDiUt . ) 

Planoforto-{**Nnlto Blanches,** In Ef 

alone, 1 Impromptu, in A flat. ..... 

Mr. Cbablbb Hallb. 

BONO, "O'er the bright flood**— Mill Baxkb . 



Metttr, 



BONDEAU BBILLANT. Op. 70, for Pianoforte and Violin— MM. 
Cbablbs Hallb and WXBBIAW8U 



Condnetor . MB. BENEDICT. 



To commtnc4 at Biyht o'elodk prteUtiy. 
Bofo Stelli, 6e. ; Balcony, Se. ; Admlulon, li. Tloketo of ChanpeU A Ca, SO New 
Bond Street ; Cramer k Co., 901 Begent Street; Keith, Prowse A Co., 48 Chcapeide ; 
an d of Aoetln, 38 PiocadJlly. 

BOYAL ITA LIAN OPERA, COVEN T GARDEN, 

ARRAN GEMENTS FOR NEXT WEEK. 

The Beaoon will dloae on Saturda y, July 80. 

EXTRA NIQHT.-COMBINED ENTERTAINMENT. 

FOURTH APPEARANCE OF MDLLE. ARTOT. 

On MONDAY NEXT, July 4, 

••IiA FIOLIA DEL BXIOOIMXVTO»'* 

And the Seoond and Third Acta of ** MAAAJTISLIiO.* 

On TUESDAY NEXT, July 8, 
•' Ii'SIiISIB D'AMOBS" and "Ii'IIiS BNCEANTEIU'* 

EXTRA NIQHT.-MARQHERITA, MDLLE. ADELINA PATTI. 

On THUESDAY NEXT, July 7, 

"PAUST B MABO HUBITA." 

On BATUBDAY NEXT, Jaly », 
•Ii'BIiISIB J>'AMOBlS» and ' Ii'ILX ]lirOHANT]nD.>* 



Conductor 



- Mb. COSTA. 



Oommenoe at Half-past Sitfht. 

Pit Tickete, Vi. ; Amphitheatre Stmlto, IDs. 8d., ft., and 6e. ; Amphitheati*, 88. 8d. 

The only aathorixed Boz-offloe Is onder the Portleo of the Theatre in Bow St. 



NOTICES. 

To Advebtisebb.— -rA« Office of The Musical Wobld if of 
Messbs. Duncan Davison & Co*s., 244 Begeni Street^ corner 
of Little ArgyU Street (First Floor), AdvertiMemenU received 
as late as Eleven o^Chck A.M., on Fridays^-but not Utter, Pay- 
ment on delivery. 

To PuBLiSREBS AND CoMPOSEBS— Jfttftc for lUview must he for- 
warded to the Editor^ care o/Mbssbb. Duncan Davison & Co., 
244 Regent Street, 

To CONCEBT GiVEBB.— A^o Bene/t- Concert, or Musical Perform- 
ance, except of aeneral interest^ unless previously Advertised, can 
be reported in The Musical Wobld. 

TO CORRESPONDENTS. 

Ha. WEBBTxa (Melbourne).— Mr. PLiuted is now In London. He 

LirWed by the •' Pride of the Ocean," 76 day8 from Molboorne. 



LONDON: SATURDAY, JULY 2, 1864. 



PASSAGES FROM THE LIFE OF ROSSINI.* 

AFTER RoBBini*8 name had found its way all over Italy, sab- 
seqnently to the perfonnance of his Tancredi, fixvt produoed, 
in Venice, at the Teatro Fenioe, in 1818, and while the composer 
himself was still compelled to work under the hardest conditions, 
living in very straitened drcumstances, good fortune, in the form 
of the Neapolitan manager, fiarbaja, entered, one fine day, his 
modest chamber at Bologna, where Rossini was on a visit to his 
father and mother, who had moved to that city. 

Barbaja, originaUy a waiter in a caf^ of Milan, had, from lock 
at hasaAd, and successful theatrical speculations, become a < 
millionaire. Rossini accepted all the clauses in the agreement 
offered him by Barbaja, and left Bobgna after the abortive 
attempt of Murat to recover his kingdom. In Naples, Barbaja 
paid Rossini 200 ducats a month. For this sum, Rossini had to 
write two operas a year, and undertake a great deal in the way of 
getting up operas and other work.' Rossini used to say subse- 
quently, however : " Had Barbaja made it a condition, also, that I 
was to superintend his kitchen, I should have consented to do 
so r* — ^In addition to his other occupations, Barbaja was, by the 
way, leasee of the gaming table at Naples, and granted Madlle. 
Colbrand, the singer whom Rossini married, as well as the 
composer himself, an annual share in the profits of the table, idiich 
brought the two in a thousand ducats a year.f If Rossini desired 
to accept the offers of other managers to write operas for them, 
he was obliged to obtain permission from Barbaja and give up his 
salary whUe he was so employed. This was in the autumn season 
of 1815, when Elisabetta, the master's fini opera in Naples, 
achieved an extraordinary success. 

Shortly after the performance of that work, Rossini proceeded 
to Rome, where he produced, at the Teatro Valle, hia opera 
Torwaldo e i>or2uca, which, despite the excellence of the singen, 
was not particularly successful, owing principally to the badness of 
the libretto. Previously to the first night, Rossini was an actor in 
a scene which he never forgot, and which he frequently describes. 

On coming to Rome, Rossini sent for a barber, whose sterices he 
retained because the man shaved wdlj and was taciturn smd well- 
behaved. After the lapse of a few weeks, when the grand 
rehearsals of the opera were about to commence, the young barber 
shaved the maestro in sUence as usual. When, however, he 
had finished his task, he offered his hand confidentially to Roaini, 
and said: '^I shall see you again 1" — *^What do you mean?'* 
enquired Rossini, in astonishment. — ^' All ri^t. — I shall see yon 
shortly in the theatre."^*' In the llieatie ?''— ^' Yea, of oouzse, I 
play the first clarinet in the orchestra.'* 

In fact, nearly all the musicians at the Teatro Valle in addition 
to playing, which they did con amore, or for only a trifling 
remuneration, exercised some handicraft or other ; for instance, 
the individual who played the first double-bass was a celebrated 
saddler, who was not particular about playing in the middle of an 
air a page from the overture, that had got miflplaoed, and who, in 
reply to the remonstrances of the conductor, said : " I am playing 
what I have before me," holding up at the same time his part. 
Rossini, who was exceedingly hasty when at the head of the orches- 
tra, not always expressing himself in very flattering terms, and on no 

* From the Nuderrheimtche Musik^ZeUung, 
t Aooordiog to the authoritiea consnlted by Alexia Axevado for hia sketch 
of Boa8ini*8 Life in the MinStirtl, and among which la the infonnatioa 
anppUed by Bo88mi bkuNlf, the above ia the connect sam, though Stendhal la 
hi8 Buigri^ ^ Jiossim fpeaks ef only SO to 40 louis d'or. 



Digitized by V^riOO 



Sfe 



Ji]fy2, 1864.] 



THE MUSICAL WOBLD. 



425 



oocanon sparing an instrnmentaHst, never addreflsed a hanh word 
to the first clarinettist at r^earsal ; however much the latter 
played out of tune, Bossini did not notice it; for — he thought 
that he ought not to make an enemy of the man to whom, every 
day, he confided his throat On the following morning, when he 
was clean-shayed, he would point out, in the most amiable fashion, 
the faults made at rehearsal the previous day. In this way, 
he succeeded in obtaining a good clarinettist and a trustworthy 
barber. 

Meanwhile, an engagement was offered him by the manager oi 
the Teaibro di Torre Argentina, ako in Rome, and he accepted 
it. This engagement is too important in enabling us to form an 
opinion of theatrical affairs in Italy, and of the position of operatic 
composers, for us not to give it, in its entirety, to our readers ; it 
is only by our pursuing this plan, that the anything but com- 
mendable, iMid, to our mind, insupportable state of things there, 
a state of things which, on the whole, still exists, will be believed 
possible. The engagement as is follows* : — 

'* Nobil Teatro di Torre Axgentino, 
** Borne, the 26th December, 1815. 

** In yirfciio of the preeent privite deed, and according to the conations 
on wfaidi the eontracting parties are agreed, it has been settled that : 

" SigDor Pnee Sforza Cesartni, JmpretaHo of (he above mentioned theatre, 
OBgagM Maetiro Gioadiino Rossini for the next Canuval season, of the year 
1816 ; the said Rossini promises and nndertakes to set to music and put upon 
the stage the second comic plaj produced in the above mentioned season and 
at ths above mentioned theatre, and that, too, m conformUy iffith the UbreUo 
the In^tioHo thall give hintt whether that libnUo be new or old. Maestro 
Rossini binds himself to deliver his score by the middle qf January, and to 
fit it to the voiiet of the tingert. He binds himself, further, in case of neoes- 
aitj, to make all the alteratione which ma^ be deemed requisite both for the 
eiscution of the music and for •aiiafytng the opinione and retirements 
of the singers, ^ 

** The maestro Bosshii furthermore promises and binds himself to be hi Rome, 
to fulfil his engagement, not kter than the end of December of the current 
year, and to deSver the first act of his opera, completely finished to the 
oopjist 00 the SOth January, 1816 ; the 20th of January is fixed upon in 
order that the rebearsab and ensembles shall take place rapidly, so that the 
opera may be put upon the stage without fiiil the day the manager shall 
mention, the fint representation being now fixed for the 5th February, or 
thereabouts. Moreover, the maestro Rossbi must giro his second act also, 
to the copyist, at the date to be named by the manager j so that there may 
be time for arranging and holding the rehearsals, and for producing the opera 
on the day above mentioned ; otherwise the maestro Rossini is liable to make 
good all the loss sustained, for so and not otherwise must he do. 

^* Mofeorer the maestro Rossini will be bound to eonduet, according to 
enstoffl, his opera, koA personally to sig^rintend, on the wish of the manager, 
as often as necessary, all the vocal and instrumental rehearsals both in the 
theatre and elsewhere ; he further binds himself to be present at the first 
three repnsentations, which will take place one after another, and to conduct 
•t the piano, for so and not otherwise must he do. 

'* As remuneration for his labours {/atiche) the maestro Rossini receives 
finom the manager the sum and value of 400 Romish scudi** (about ei{^ty-six 
pounds sterling) ^ immediatelv after the ftrst three evemnga when he shall 
have conducted at the piano.'T' 

A characteristic feature in this contract — which, however, 
eontainfl nothing imusual for Ital j — Is the word f atiche. Mention 
is made only of '* trouble," *^ labours ^ — ^the man has racked his 
brain and must have something for it — ^talent, genius, and every- 
thing really connected with musical creation are not considered 
worth mentioning. And to this contract, which so thoroughly 
harnesses Pegasus to the yoke, we owe—// Barhiere di Siviglia ! 



* From Esendier's Vie de Sossim, Paris, 1854. 

t Rossini has stated in Paris that this sum is a typographical error ; as far 
as he am reooUeot, he did not receive more than 800 sendi. 

"Moroover, it is of course understood that, hi case of an injunctk>n or of 
tho dosing of the theatre, either by the authorities^ or from any unforeseen 
mocsduU, &e practice usual under such dreumstanoet in the theatres of Rome 
and everywhere in the country, will be followed. 

*' As a guanmtee for the due performance of this contract, the latter will 
be- signed by the manager as well as by the maestro Giochino Roesini; the 
Jnypresariot moreover, will, during the term of the contract, provide the 
mAstrQ Rossini splodging m the home i^propriatad to Signor Zamboni.'* 



If we now turn our attention to the even sttU more oppressive 
usages in connection with the composer^ right in his work, as 
that right existed during Rossini's career in Italy, we shall find 
that the lot of a composer in that country was, and, to some 
extent, still is, anything but enviable. 

In Rossini's time, the impresario retained, for two yean, the 
exclusive right of pfenning any vocal score he had purchased. 
When the two years were at an end, any theatre could produce 
the opera without more ado. The sole right the composer had 
left in his work was that of demanding possession of his original 
score at the expiration of the first year. But in the hurry and 
confusion of his labours, Rossini very frequently omitted to profit 
by this right, and the consequence is that, for instance, we have 
lost the original overture to II Barbiere, and the lesson-scene at 
the commencement of the second act, the whole of the music 
having been composed for it by Rossini himself (though singers 
now interpolate bravura pieces of their own selection). 

But the greatest abuses took place in connection with the 
copying. The copyists, as a rule, badly paid by the managers, 
and often frankly told to pay themselves by the plan we will 
immediately mention, were bound by no oath, and wrote out the 
score for themselves as well as for the manager. At the expiration 
of two years they disposed of their scores not only to managers, 
but even to publishers, for, after the lapse of the period mentioned, 
any one might sell a work either in manuscript or print. Bat 
even during the stipulated two years, the copyists drove a 
lucrative trade in the sale of separate pieces, a source of profit 
diminished, however, by the fact that the purchasers in their turn 
made copies of the pieces. 

Thus the price the first manager paid the composer constituted 
the only recompense for the latter*s talent and labour. Now, as 
there were usually four seasons— namely : 1. the Carnival Season, 
from 26th December to Shrove Tuesday; 2. the Lent Seas(m, 
commencing on Ash Wednesday, but not observed in every dty ; 
3. the Spring Season, b^inning on the 10th April ; and 4, tiie 
Autumn Season, beginning on the 15th August — Rossini wrote 
three, four, nay, even six operas a year, to defray the expenses of 
his household, economically as that was conducted, while all the 
theatres in Italy gained lai^e sums by his work, and Ricoidi, of 
Milan, who published them, amassed a large fortune. 

Rossini had but a short time allowed him to carry out the 
contract we have cited above. The first perfcmnance was fixed 
for the 5th February; the first act had to be sent in on the SOth 
and the second on the 24th January, it being the custom in the 
theatres of Italy to give the singers twelve days to study and 
rehearse an opera hiiffa. IVelve days I And Meyerbeer's operas 
in Paris! Thus the maestro^ who was not free till the 29th 
December, since he was oosnpied on the 26th, 27tih, and 28th of 
that month in conducting the first three performances of Torwaldo 
e DorUska^ had only two-and-tufenty days in which to compose the 
first and the greater portion of the second act, since he reserved 
only four more days for the hitter. Altogether, therefore, he com* 
posed the Barhiere in six-and-twenty days ! 
{To be contsnued,) 



SOME MORE BERLIN TRUTHS. 

To the, Editor of the Musical Would. 

SIR, — ^I have found in a Berlin paper some particulars about 
Pauline Lucca, which I have transUted, and now forward, 
thinking your readers would like to get all the trustworthy infor- 
mation possible about that young lady^s singular es(Sapade. I omit 
nothing : — 
** With regard to the sudden disappearance of Madlle. Lucca from the 
I dfy of fogs, I am in a position to let you know the truth. 



Digitized by V^riOOQlC 



426 



THE MUSICAL WORLD. 



[Jnly 2, 1864. 



Immediately after her arrival, Madlle. Lucca saffered a great deal 
from the ciiinate, the weather happening to be very bad. In conse- 
quence of this, her first appearance had to be postponed three times. 
Kven when she did, at length, appear as Valentine, an excuse had to 
be made for her, on account of indisposition. At first she hardly sang 
at all, but husbanded her strength, and it was not until the duet with 
Baoul, in the fourth act, that she put forth her power, and created a 
perfect furore. She then sang with magnificent success the part of 
Margaret in Fautt. Fire was instantly opened upon her from all the 
batteries of the Italian clique. First and foremost, Madlle. Patti 
insisted upon having the exclusive right of singing Margaret, and 
her brother in-law and business man, Uerr Strakosch, sprang all his 
mines to blow his adversary into the air. The point in dispute was 
of no slight importance, for what Fauit will do here in two years you 
may imagine, when I inform you that, after it had been given, last 
year at Her Majesty's, twenty- eight times with Madlle. Tietjens, and 
ten times at Covent Garden, with Mad. l^iiolan, besides being played 
in English more than thirty times during the winter, it still draws so 
much this year again that it is given twice a week at both houses. 
Patti, too, is the star for the moment, and Gye himself says that (mly 
when she sings are all the places taken — at higher prices than on the 
evening of performance — the day previously. So, one fine morning, 
after ^dlle. Lucca had got up, and was looking through the paper, 
she saw, under * Arrangements for the Week,' * Fawt : Mar^herita, 
Signorina Adelina Patti ; her first appearance in this character in Eng- 
land.'" 

You will smile at the allusion to Strakoech and Adelina Patti, 
being well aware that the latter was never advertised to play 
Margaret until Pauline Lucca had fled, except in the prospectus, 
where they had both been announced for the part. Moreover, it was 
w^ll understood that Patti objected to play the part while it was 
in the hands of Lucca, and that her objection was taken into con- 
sideration and favorably entertained by the manager. You have 
no notion of the lies that are invented and circulated on the 
subject. As to Adelina Patti — ^I read in a Berlin paper that her 
star was on the decline ( 1 ), that she had failed in Margaret (I t), 
and that the houses were empty (!!!). 

Berlin^ June 28. Yaxtoh Last. 

♦ 

CRAZIER, BEALE AND Co. 

THE establishment of Messrs. Cramer and Co., the music 
publishers, is about to be constituted as a limij^ company, with 
a capital of £100,000., in shares of £10. The firm has enjoyed 
repute for more than half a century, and according to certifidd 
statements its business is now moce extensive than ever. The 
board of directors is respectable, and Mr. George Wood, the only 
surviving partner, will continue the management and give security 
for minimum dividends of 10 per cent, for five years. The fact of 
the other partners having died off is the reason for the proposed 
transformation, and it is chiefly under circumstances such as these 
that the convenience of the facilities afforded by the law of limited 
li4bility is felt by the trading classed. — {City article of the Times), 



PARIS. 
(^Frcm our own Oorretpondent.) 

Every month and week brings forth a new debutante at the 
Grand Oi)cra, and GuHlaume Tell, Roltert le THable, or the 
Huguenots, is the piece selected for, it may be, the trial of a novice. 
Strange! that there should exist this rage among the uninitiated for 
coming out in difficult parts, or rather, that directors of great 
theatres shoidd entrust the most important roles to singers of no 
reputation— -or small provincial reputation, which amounts to the 
same thing- A new Bertram has appeared at the Op^sra, and has 
been much lauded by the press. He comes, I hear, from Marseilles. 
He has a good voice, a good appearance, and does not want for 
intelligencu. His voice, however, wants depth, and power for 
Meyerbeer^s music, and he must look for success in some other part 
than in Hie ^^ fi ^nd-father," as ^Ir. Rophino Lacy called Bertram. 
Madame Pascal, who seme time since had made a* rather successful 
debut as Matilda in GuUlanme Tell, was not so fortunate in the 
Princess in Rohett, 

Norma at the Thdiitre-Lyrique. M. Shoot. 



MILAN. 

(^From our own Correspondent). 

I intend leaving Milan (D.V.) the 27th of next monl^, please 
therefore do not, after that time, send the M, W, until you hear 
from me, for at present my plans are undecided. Now for the 
sUght epitome of news I have to send. At the Canobbiana, 
Pacini's Saffo, with Mdlie. Demi, much admired by some, while 
others insist iJiat her performance is dreadfully exaggerated. 
Rigoletto and a new ballet entitled Shakespeare II Sogno dtuna 
notte d'Estate, brought the season to a conclusion last night. At 
the Taocano, // Domino Nero (not the Domino Noir) is given 
every night, so I suppose it is drawing pretty well, for tne theatres 
are near^ deserted this hot weather. 7 due Italiani is being per- 
formed at the Stradera (open and smoking allowed), as well as 
Donizetti's Roberto Devereux^ the ballet Vioktta and V Elisir 
d'Amore, Th€a*e was an opera company for a short time at 
the Teatro Ues, who gave Lucresda Borgia, I Radegoneta, Don 
Checco, 1 due Foscari and Michele Pereni, A new opera-buffa by 
Cagncni — fiiBt performed at the Filo-dramatico, where three per- 
formances were given for the benefit of the Hungarians — was so 
much approved of that it has since been given several times at the 
above mentioned theatre. I see that Nabucodonosor (the Nabuco 
of the Royal Italian Opera) is announced for the Carcano shortly. 
On the 5th (being the national ihte of the Statuto), a military 
concert, in which eight bands took part, was given in the piazza 
fronting the palace. It lasted from 8.30. p.m. till 12.30. a.m. 
The principal piece, entitled La Baltat/lia di S, Martino, was most 
effectively executed, the bands being distributed amongst the mass 
of people, the notion of the graduafawakening into life and motion 
of a far spreading camp most truly and graduiUly increasing until, 
with the aid of powder, in cannons and guns, the idea of the 
roaring tiunult of a battle was so well rendered that it did not 
require much stretching of the imgination to fancy it was reality 
and not play. To-ni^t a grand concert at La Scfda (it being the 
week of the Trio Nazionale and Milan very gay and full) 300 
voices and orchestra in proportion, fourteen pianos forming one 
part ; the solos by the pupils of the Conservatoire. Verdi's hymn 
(composed for the opening of last year's £xhilHtion), with finghsh 
words, is to be given. As very few, if any of them, understand a 
word of that language, the meaning will, I should think, be most 
intelligibly conveyed. Blondin has performed twice in the arena ; 
and here I stop, having nothing more to write about, except that 
to-morrow there is to be a Bal Masque at La Scala, not mudi 
chance, I should think, of there being many there, the weather 
too warm. A. R. 

Milan, June 24. o 

SociKTY OP Beituh Musioians. — The performance of the com- 
peting quintets took place on Monday aft^ooo, at MeasrB Collards* 
rooms, Grosvenor Street, before a large and critical audience, oonsiiting 
chiefly of well-known professors and amateurs. The proceedings were 
0|)ened by a ^hort address, made, on the part of the committee, by Mr. 
. C. E. Stephens, who announced that eleven quintets had been submitted 
in coinpet tion.and that several meetings had taken place for their trial 
by Alessrs Garrodus, Watson, H. Webb, Aylward, and Reynolds; in 
preseiice of the umpires, Messrs Cipriani Potter, Alfred Mellon, and 
G. A. Macfarren, who had unanimously awarded the first prize to a 
quintet, l>earing an inscription ** What's his name?" And the second 
to one Ciidorsed ! •< All that is left of me now." It was also stated 
that Herr Molique had kindly undertaken to assist as umpire, bat, 
having been unable to attend the trial of all the works submitted, his 
name could not appear in the award. The two successful works were 
then performed in most admirable style by the five executants already 
named, and were received with great.and w<$ll-merited applause ; after 
which the corresponding letters were opened, and the winner ot the 
first prize proved to be Mr. James Lea Summers, of 10 Great Marl- 
borough Street, and of the second, Mr. W. Gibbon, of 14, Dyke Road, 
BrighluM. Mr. Summers was present, and received quite an ovation, 
as did alMO the unudres and executants. We hope to have other 
opportuni iesof hearing these works, and much commend the committee 
of the Society of Briii.Hli Muiacians for their spirited and disinterested 
euiie<ivours to advauce the cause of their art, in which we were glad to 
learn that tliey have been assisted by subscriptions from several profea- 
fiors and amateurs, whose names were announced. 

BiuMiNOHAM Festival. — l^Ir. Costa's new oratorio, Naaman, is 
entirely finished. A new cantata by Mr. Henry Smart is also acoepited 
by the festival directors. An orchestral trial of Mr. Costa's work will 
take place in the Hanover Square Rooms on the 6th of July. 



Digitized by 



v^oogle 



July 2, 1864-] 



THE MUSICAL WORLD. 



427 



NEW PHILHARMONIC CONCERTS. 

The ftfth and last concert, given on W^nesday evening, was a re- 
markable one. Tlie symphony was Beethoven's C minor, No. 5 ; the 
concertos, Weber's (hneert'Stiiek for the pianoforte, played by Madame 
Arabella Qoddard, and Sphor's Dramatic Concerto {In Moda di Seena 
Cantante) for the violin, played by Herr Lauterbach ; the overtares, 
MendelsJH)hn*s Athalie and Rossini's Siege of Corinth. It would be no 
easy matter to improve such a programme ; and. with such a band as 
that under Dr, Wylde's direction, we need not say how admirable and 
perfect was the performance. The symphony was a great triumph, the 
last movement more particularly indicating the immense power and 
brilliancy of the players. The &mou8 Concert-SiQek created the same 
sensation it had recently done at one of the concerts of the PhDhar- 
monio Society, when entrusted to the same artist, and the extraordinary 
saooesB of which no doubt stimulated Dr. Wylde to insert it in his 
last programme— one of the most fascinating and exciting of piano- 
forte compositions (and let us add, j7ar parenthesit, one of the most 
puzzling and tantalizing to the players) executed by one of the most 
accompfished of living artits could not but enchant the audience, who 
indeed were in ecstasies throughout, and appLiu Jed Madame Goddard 
with enthusiasm throughout the programme, and with redoubled en- 
thusiasm at the conclusion. Herr Lauterbach is an excellent fiddler, 
and played Spohr's well-known and magnificent *'Scena Cantante" 
with marked effect. If there was no great^demonstration in his favor 
when he had concluded, Herr Lauterbach must bear in mind that 
Sphor's Concerto has been played by Joachim, Sivori, Vieuxtemp8,'and 
other eminent masters of the violin, and that his ordeal was a severe 
one. Nevertheless, he passed through it unscathed and with success. 
The overtures were not equally well played, nor indeed treated with 
equal consideration. Dr. Wylde did his utmost for Mendelssohn, and 
the result was the magnificent prelude to Athalie was magnificently 
executed. Dr. Wylde did not do his utmost for Rossini— did his very 
least for him, indeed, when he cut out the slow movement from his 
overture and took the altera at such a pace as almost to convert it into 
a slow movement. It is very trying to a band and the conductor to 
have a jnece played while the audience are all on the move, and no 
one attending. No doubt Dr. Wylde thought to himself, ** who cares 
just now about the adagio of the overture— who indeed wants to have 
it at all ?" But that idea should have occurred to him before, and an 
important orchestral prelude should not have been introduced into the 
programme unless it could have been performed with care and in a 
complete state. It is difficult to know what to select for the last piece 
of the programme, and even were it customary to play a voluntary 
while the audience were departing, the penultimate piece would be 
sulyect to the same interruption as the last piece is now. 

The vocal music was sustained by Mdlle. Lagrua, Signor Naudin, 
M. Oraziani, and Herr Schmidt — all from the Royal ItaliaA Opera. 
Herr Schmidt made a powerful impression in the air from Die Zauber- 
fdU, *' In dieson hell* gen Hallen,*' and was loudly encored. Seldom 
has tliat grandest of bass songs been given with voice of richer quality, 
or in steadier and firmer accent. Herr Schmidt repeated the second 
verse, and a second time left the platform greeted by cheers from all 
pirts of the Hall. Mdlle. Lagrua sang the air ** Quando lascia la 
Mormandia," from Roberto il Diavolo ; Signor Graziani the romance, 
•* Vien, Leonora" from the Favorita, and the air of Renato, ** Eri tu 
macchiavevi," from the Ballo in Masehera ; and Signor Naudin Fer- 
nando's air, •* Spirto gentil,*' from the Favorila — all with more or less 
effact, Signor Oraziani carrying the palm in the air from Verdi's opera. 

Dr. Wylde's thirteenth season has proved eminently successful, and 
already he has announced liis fourteenth season to open in April next. 

RiFFnroTON Pxfi 



Mas. John Maofabbek's ^Iorninos at tbb Pianoforte. — These 
interesting perfonnances, which for some time past have been given 
every Thursday afternoon, in St. James's Hall, were brought to a suc- 
cessful close last week ; when Mrs. John Alacfarren gave great delight 
to an elegant and \ery crowded audience, by the expression, the aiiinin- 
tion, and the brilliancy of her playing, which was never bhown to 
greater advantage than in the admirable and varied selection from the 
works of the great pianoforte writers, provided for the occafdon. The 
instrumental music was agreeably relieved liy some vocal pieces, two of 
which were encored ; Mr. G. A. Macfarren's ** Mine and thine," from 
hii " Lyrics,*' charmingly sung by Miss Robertine Henderson, and the 
same composer's admired duet from Wu stoope to Conquer, given by 
Miss Henderson and Miss Emily Sjldene (Mr. Howard Gloyer's clever 
pupil). The enjoy m-?nt and appreciation of the whole was Airther 
promoted by some intalligent rem\rks and anecdotes with which the 
fair pianiste varied th 3 programme. At the conclusion of the first part, 
Mrs. John Macfiirren had to acknowledge the very cordial and pro- 
longed applause that greeted he**, and in the second part she was 
unammonsly encored in *< The bubbling brook," a sparkling capii.-e by 
Briaaac.— The Pre$$. 



SIGNOR CIABATTA'S CONCERT. 

The great feature at Signor Ciabatta's concert, which on Satur^lay 
afternoon drew a crowded and fashionable audience to St. JAnies's-liall, 
was precisely the same as last year. Aladame Grisi— Giulia Grisi, of 
course — took part in it, and a liberal part, too, inasmuch as she sang 
(including three encores) no less than nine times. Thfj reception 
accorded to this, for so long a period of years, wholly unrivalled public 
favourite was, as may be readily imagined, hearty and enthusiastic. 
Madame Grist's first performance was "Qui la voce,'' from I Puritani — 
an opera composed expressly for her (in association with RuMiii, 
Tamburini, and Lablache), and produced at Paris exactly 30 years ago 
(1834). This being encored with rapture, "the original* Elvira '• 
returned to the platform and ^ve "The Last Rose of Summer," in a 
style that may be justly described as the perfection of ballad singing— 
so simple was it, so unaffected, and at the same time expressive. But 
the middle movement of the famous trio-finale, in the first act of Norma 
("Oh di qual sei tu vittima") afforded Madame Grisi a still better 
opportunity of showing that the strength, and beauty of her middle 
tones were but little, if at all, impaireid, and that her dramatic fire 
could still blaze forth as vividly as of old. In this the original Adalgisa 
(Norma was first played at the Soala, Milan, in 1832, on New Year's- 
day— the fiBte of Santo Steikno— with Pasta as Norma and Giulia Grisi 
as Adalgisa) exerted herself to the utmost, and with such powerful 
result as to cause general regret that the. preceding movement, con- 
taining **Ah non tremare, o perfido" — that overwhelming burst which 
was wont to scare the faiUilees and peccant Pollio — should not have 
been also included. This was the second encore, an encore in which 
every one in the hall, man, woman, and child, Joined spontaneously. 
Need we add that the "Diva" (whose companions were Mdlle. Parepi 
and Signor Gardoni) affiiUy assented, and that the trio was repeated ? 
We have said as much in asking the question; but it was wholly 
superfluous. Madame Grisi next took part in an "Ave Maria," the 
melody by M. Gounod, who has forcibly enlisted, as recruit for the 
occasion, J. S. Bach's First Prelude (from the Clavier bien Temniri, 
known in England as the "48 Preludes and Fugues")— which, as Bach 
was not living to receive the *< shilling," must be looked upon as a 
somewhat-arbitrary proceeding. Whatever the merit of M. Gounod, 
the notion of his nuJdng John Sebastian Bach his accompanist is a 
little strange. Only a modem musician— and that modern musician a 
Frenchman — ^would ever have conceived such an idea. The " Ave 
Maria,** as performed on Saturday (in another shape fiuitastically 
denominated '* Afe^Jiialion"), was for voice (Madame Grisi), with har- 
monium and violin obbligato (Herr Engel and Signor Romeo Accursi) — 
the prelude itself (poor thing!) as usual. It produced little effect: at 
which, we must confess, we were rather pleased than surprised. A duet 
fronx // Turco in Italia (with Signor Ciabatta), and one of Moore's Irith 
Melodies—'' The Minstrel Boy" (the last — declaimed with as much 
emphasis as *<The Last Rose of Summer'* was warbled with exquisite 
sweetness — ^loudly encored)7-were the other pieces for which Madame 
<Grisi had been announced. Nevertheless, in the finale of the ocmoert — 
Rossini's admirable preghiera from Mose in ^itto— although all the 
other solo singers had taken their departure. Madame Grisi, staunch to 
the end, joined in the solos ; and for this act of courtesy to her audience, 
as well as for the deUfl^ht she had afforded by her more important 
offices, was rewarded with a "leave-taking" of the most demonstrative 
and touching character. Waving of hats and handkerchiefs were 
accompanied by cheers and plaudits ; and the prima donna of 80 years* 
supremacy retired, no doubt with the consciousness both of having 
enclianted a va«t assembly quand mSme, and of having recalled the past 
with vivid reality to a large number present, in whose minds Giulia 
Grisi nmst for ever remain the beau iddal of dramatic song. 

The concert of Sisnor Ciabatta was in other respects well worthy 
notice; but when Madame Grisi appears only once in a year it is 
natural that the chief attention should be concentrated in her efforts. 
A number of eminent singers and players, foreign and Eng^lish, enhanced 
materially the attractions of the programme— so many, indeed, that It 
is out of' the question to think of recitipg their achievements. We 
must, nevertheless, pick out from the rest Madame Sainton Dolby's 
irreproacliable delivery of " Auld Robin Gray;" the marvellous execution 
of an aria by Herr Ascher, entitled '* Danza di gioja," by Mademoiselle 
Carlotta Patti^in which the '^etaceato'' passages seemed to proceed 
rather from an instrument that could not possibly err than from a 
human voice ; and thepianoforte playing of that genuine "phenomenon,** 
Mademoiselle Marie Krebs. The hut two were enthusiastically encored 
— Mademoiselle Patti, in response to the compliment, substituting for 
Herr Ascher's air the delicious laughing-song f om Aubei's Manon 
L'Eseaut, Mademoiselle Krebs — whose first piece was an outrageously 
difficult, but by np means musically uitere^^tiug, fanlatia^ on airs from 
Lucrezia Borgia — on renrning to the pianoforte, played Thalberg'a 
•^Home Rweet Home." Since Miss Ar^ibella Goddard first appeared in 
the National Concerts, at Her Majesty's Theatre (I80O), we remember 



Digitized by 



Google 



438 



THE MUSICAL WORLD. 



[Jdy 2, 1864. 



no lach abiohiiely perfeet meehanism in a yoathflil aapinnt ; and if 
Mademoiselle Mane Krebe does not become one of the greateet pianists 
of her time it may be reasonably laid to the charge of those who at 
present guide her studies. Meanwhile, we think it would be advipable 
to direct her attention to something more sterling than the fanUuia on 
Luerma Borgia, Now (we believe Mademoiselle Krebs is only 16) is 
the time to form her mind ; her fingers are already unerringly obedient 
ministers. It is very long since we have been so entirely satisfied with 
a new instrumental performer, young or old. 



NONSENSICAL RHrMES FOR NONSENICAL TIMES. 

(SEOOSD ssaiKs.) 
XVII. 

There was a young singer, called Lnoca,* 
Who*B out of tiie way, like Dan Tucker, 

But, wherever she's wandering, 

T seems lying and slandering 
Is the chief occupation of Lucca.* 

* ProDoimce Lncker. 

xvni. 
There was a young singer, called Lucca,* 
Who*s bv no means a ^* judicious Hooker,'* 

for when lately she hook'd it. 

The people all book'd it 
A sign of the failure of Lucca.* 

* Pronoonoe Looker. 

XIX. 

There was a young singer, called Lucca,* 
Who doesn't appear to be plucky. 

For she, at the height 

Of good fortune, took flight, 
And bolte^that is, cut her lu^y. 

* Pronoiince Luckj. 

XX. 

There was an old Rippington Pipe, 
Who'd about as mucn wit as a snipe, 

Tet he still scratched his hoid, 

To write papers not read, 
And used only to light up a pipe. 

XXI. 

There was an old Welshman, Ap'Mutton, 
Whose head, if a Welsh wig you put on, 

It will cover no brains, 

Tho' he's at great pains 
To hide this weak point ox Ap'Mutton. 

XXII. 

There was an old doctor, G. Pidding, 

\^ose aspect is mostly forbidding ; 
But make him a present, 
He'll smile and look pleasant — 

So common a mortal's C. Pidding. 

xxnx. 
There was an old doctor, called Shoe, 
Who, not knowing on earth what to do, 
A fool'scap did put on, 
The cap of Ap'Mutton ; 
. Hiat is— put his foot in his shoe. 



Miss Midklbha Cborih's Matinde MuneaU^ on Friday last, at the 
Hanover Square Booms, attiaeted a very large attendance. Miss 
Cronin is a pianist of considerable talent, and proved herself entitled to 
be called so oy her performance of WOelfl's difficult sonata known as 
** y$pluM uUra," Her execution is neat and her taste unexceptionable. 
Thalberg's Fantasia on Norma and his Study in A minor both pleased 
greatly, the first being encored. Miss Cronm was assisted by Madame 
Parepa, Miss Banks and Mdlle. Elvira Behrens (the last two encored in 
the duet, " Dolce Conforto," from the OiurmftenU of Mercadante), 
Signers Delle-Sedio, Solieri, Frizzi and Fortuna, as vocalists, and Signer 
Accurzi (violin), and MM. Pilotti, Hargitt and (ianz as accompanists at 
the pianoforte. We must not omit to mention that the benefieiare is a 
composer as well as a pianist, and that Miss Banks sang two pleasing 
songs of Miss Cronin entitled ** The Slave's Dream " and « Twas long, 
long ago," which were both admired and applauded. 



STREET MUSIC* 

"You are treading very near to dangerous ground," said Mr. 
Gladstone on Wednesday to the little clique who are endeavoring to 
suppress the music of the people ; and the warning was weU timed, 
Mr. Bass's bill, which at first was treated with good-humored derision, 
bids fair to become law ; it is wriggling throuffn committee ; and even 
the attempts of the Ciovemment to make it reasonable have been 
without eneot. The member for Derby and the member for Taunton 
are quietly dictating laws to London. Henceforth no organ-grinder 
shall venture to play ; any policeman is to be empowered to take him 
into custodv ; and if his " offence " be proved, he is to be liable not 
merely to nne, but imprisonment. In a word, these good Conservative 
gentlemen are bent upon treating the metropolis to a little " paternal 
government;" and it is high time that the metropolis itself should 
pronounce whether it likes that mode of treatment. Whatever may 
oe the merits of our police, it will scarcely be affirmed that a constable 
at eighteen shillings a week is likely to be profoundlv versed in the 
law ; and yet into the hands of A 1 or Z 999 it is deliberately proposed 
to place a power equal to that of a magistrate. Let Mr. Babbage 
complain that his calculating machine has been thrown out of gear — 
let any surly and selfish curmudgeon, hating to see his neignbours 
enjoy themselves, protest against the music— and forthwith the player 
is to be arrested. What is •'reasonable cause?" The question 
requires the trained intellect of a lawyer ; it cannot be answered bv a 
policeman, and yet the policeman is empowered to be Judge in such a 
cas^— to deprive a man of the means of earning his livelihood, and to 
prononnoe sentence without hearing the defence. W<$11 might the 
Chancellor of the Exchequer, the Home Secretary, and the Attomey- 
G^eral unite in protesting against such a monstrous enactment Itis 
possible that they manage these matters better in France ; but we in 
England have a deeply-rooted objection to being over-policed. We 
would rather bear the little cfvils that we have, than see them set 
right at the mere will and discretion of a constable. We view with 
Jealousy any interference on the part of the Executive with public 
amusements ; but that which we would not tolerate at the hands of a 
Gk>vemment we are expected to endure at those of any raw-booed 
country lad who, to get out of a poaching scrape, runs away to London, 
manages to get a blue coat on his back, and a glazed hat on his head, 
and certain cabalistic letters and numerals on his collar. That the 
police, as a rule, do their duty well, we are ready to admit ; we are iiof, 
however, ready to extend their authority — not ready to entrust them 
with almost despotic powers, even against little Savoyards with hnrdy- 
gurdies and white mice, Germans with trombones, or Italians with 
flutinas. 

But Babbage, Bentinck, and Bass have a special plea; <*the 
public," we are tdd, " really want the nmsanoe to be abated ;" and in 
proof hereof we are &vored with selected facts. Sundry eminent 
individuals, with highW^ sensitive nervous organisations, are pressed 
into the witness-box. We are told that the late Mr. Thackeray used 
to be '< driven into the fields " by street music— a statement which we 
take leave to donbt. It is urged that the contributors to Punch are 
unable to make jokes within hearing of a barrel-organ ; we admit 
their incapacity, but we doubt whether it would be cured by the 
removal of the instrument. Then we are informed that BIr. Tennyson 
and Mr. Carlyle object ; and it would, certainly, be amusing to learn in 
what terms they couch their remonstrance. The Laureate might, 
perchance, assert that *< uneasy is the poet's mind, and broken discords 
are his lays, who hears throughout the summer days Italian organs , 
near him grind I" and it is easy to imasine with what fervid emphaais 
the author of " Sartor Besaatus" woula acUure an itinerant musician 
to " move on :" " Begone, thou and thy Instrument, multiform in- 
extricable ChaoQ of steel-piping, with stops more or less artMlv 
adjusted for emission of drawhng, clamorous, miserably imvooal Sound, 
heart-rendinff, ear-deafening to the Sage, pleasing mainly to 
Nursemaid, John Footman, and other the like dissonant Individuals !" 
But Mr. Bass has not vet exhausted his catalogue. He tells us a 
distressing tale of a gifted young man who has absolutely been obliged — 
poor fellow ! — ^to compose at night instead of the morfiing ; and he asserts 
that between three and four hundred musidaos are unable to carry on 
their profession. Two of a trade never agree ; and it id possible that 
here and there some *< professor " may find it unpleasant to listen to 
his unrecognised brother in the street ; but we take the liberty of 
obatrving that three or four hundred musicians are not the people of 
London. Mr. Bass, however, calls another witness. The worthy 
brewer has a bair-dresser ; and this Mflnro, to whose authority we are 
expected to bow down, tells him that the street-bands are encouraged 
chiefly by scullery and nursery maids. We have scarcely any patience 
with this feeUe twaddle. To please two or three men of letters, a 
crotchety mathematician, sundry long-haired fiddlers, and Mr. Bass's 



* IVomthe Jknfy IkUj^rajth. 



Digitized by 



Google 



July 2, 1864.] 



THE MUSICAL WORLD. 



429 



barber, the police are to have the |K>wer of arreBtiDg any mtuiciaii who 
happens, in the judgment of a soi-disant connoissenr, to play a little 
oat of tune. 

"Punch/' indeed, is an ''institution;" Judy is sacred, Toby is to be 
undisturbed, the Pandean pipes are privileged, the drum is hallowed ; 
hut woe betide the man who gives us the chorus from Fautt on a really 
good organ. Off with him ; off with him at once ; drag him away ; 
never nund whether he has a wife and family to support ; never mind 
whether your neighbour likes his tunes : the law awards it, and — not 
indeed the court, but — the constable doth give iL A serious discussion 
of Mr. Bass's bill would be out of place, for the simple reason that all 
the objections to this petty and peddling piece of legislative oppression 
and impertinence have been alraady stated by the press, and repeated 
to the House of Commons by such orators as Mr. Gladstone. But it is 
as well to warn the member for Derby and his congenial coadjutors that 
they are doing their utmost to excite a most inconvenient and danger- 
ous feeling in this ^eat city. If there is one thing the people hate 
more than another, it is class legislation, and Mr. Bass's oiU is daas 
legislation in its worst, its most odious, and its most offensive form. 
To him and to his friends an organ or a street band may not be neces- 
sary or agreeable. They can go to the opera, they can bt^ their music 
in the best market ; but what of those who never wear a drese-coat, and 
whose weekly wages do not amount to the price of a stall ? Why are 
th^ to have no music at all? The street performances are their opera, 
their concert ; rob them of that, and the^ have nothing — ^they are left 
to grow up without any of the soothing influences that music, even of 
the humblest kind, exerts. We join Issue with the j)olice-invoking 
philanthropists on every point ; we assert that the music now heard in 
our thoroughfares is a vast improvement upon that which was formerly 
to be met with ; and that every year it improves still more. But, no 
matter how rude it may be, no matter how distasteful to the connois- 
seurs of the West end, we say further that the bulk of the people like 
it ; that the objectors are in a wretched minority ; that it never inter- 
feres with the working man at his toil ; that it does not disturb the 
shopkeeper ; that it sets the little children dancing instead of groping 
in the gutter ; that it helps to keep men, and women too, out of the 
puUic-houses, and supplies them with cheap, rational, and harmless 
amusement. Convinced of these facts^and we appeal to all fairly- 
informed Londoners to confirm us — ^we call upon the metropolitan 
members to fight the bill, inch by inch, at every stage— to delay its 
progress by everv form that the customs of the' House of Commons 
wiUpermit ; and we urge upon the Qovemment the duty of persevering 
in their resistance, and of summoning a sufficient number of sensible 
representatives to ohockmate the hundred and iweaty diUUanli who 
votetHthMr. Bass. 



Hkbb Wilhblm Gahc's Matiiteb, given on Wednesday" at his 
residence, Queen Anne Street, was honored W a fhll and ftshionable 
attendance. The pieces played by Herr Gana were Beethoven's 
"Moonlight" sonata, Stephen Heller's "Feuillet 1' Album" and 
*« Wanderstunden," "Song without words" by Mendelssohn, and 
isntasia on Falttajf and new Mazurka ^ Vogliana " of his own compo- 
sition. Beethoven's sonata was remarkably well played, as was also the 
Maxurka^ which is written with much brilUancy, and was greatly 
admired. Loud applause, too, followed the fantasia on FaUtaff. The 
singers were Madame Fwepa, Mdlle. Eneouist, Mdlle. Elvira Behrens, 
Berr Beichardt and Mr. Allan Irving. Mdlle. Enequist created the 
usual sensation in one of her National Swedish Songs, and was encored* 
Madame Parepa received the same compliment in Herr Gana's very 
popular song, *' Sinsr, birdie, ting ;** and Herr Beichardt, in his new 
song " Die Thrftne,^ created a different kind of impressbn, filling the 
eyes with tears rather than the heart with gladness. The concert 
began and ended with a trio by Mozart ; the first being " Protegge il 
gmsto cielo " from Dm Oiovanm^ the last ** Soave sia il rento " from 
Con fan ttUte, Messrs. Benedict, Emile Berger and Edouard Ganz 
were the conductors. « 

Mb. John Watsow. — A concert was given at the Music Hall, Store 
Street, for the benefit of Mr. Watson, the Photographer, who has been 
totidly blind for the last two yeara. We trust the proceeds were sufficient 
to be of service to him. The artists who kindly gave their services 
were Miss Edith Wynne, and the members of the West London 
l^drigal Society, Miss Fynnes, Mr. James Lea Summers, and Mr. J. 
B. Chatterton : Mr. Joseph Homing, conductor. The principal instru- 
mental peces were Andante and Rondo for the pianoforte, composed 
and capitally played by Mr. James Lea Summers rthe blind pianist) ; 
a fimtaaia of his own composition, played by Mr. J. B. Chatterton ; and 
a SaUardlo by Stephen HeUer, played in brilliant style by Miss 
Fynnes, who improves daily, and who, on the present occasion, came in 
for no inconsiderable amount of applause from the audience, who were 
greatly pleased both with the composition and the performer. The 
&ir pianist idso played a Lied ohm Warte of Mendelssonn's with marked 
The accompanist of the vocal music was Mr. J. G. Gallcott. 



SiONOB Reookdi's Conoebt. — ^To amateurs of the concertina and 
guitar this entertainment, given on Thursday morning, at the Hanover 
Square Booms, pr^ented many attractions. Signer Guilio Begondi is 
the greatest master of the concertina, and scaroely less remarkable as 
a player on the guitar. DoubUess there are people who do not greatly 
care for the guitar as a musical instrument, nor even greatly affect 
the concertina, but none can hear Signer Regondi on either of the 
instruments of his predilection without being sensible of his mar- 
vellous executive p6wer, and his thoroughly refined taste. His per- 
formances on Thursday comprised. Duo CaneertanU, for violoncello 
and concertina, by Bohren, played with Herr Lidel ; two guitar solos 
—RSverie and Fite VtUa^fesUe-^from his own nen ; Concerto in D, for 
the concertina, by F. Boren ; Duo Ooneertante, tor harp and concertina, 
on airs from JBUdU du fiord (with Mr. Boleyne Beeves) ; and Guitar 
Solo, IrUroduetion et Caprice, composed by himself. Boron's Concerto 
for the Concertina, judging from the favor with which it was received, 
pleased most of all these performances. So loud and persistent was 
the applause at the end that Signer Regondi was compelled to return 
to the platform. The singers were Madame Lemmens-Sherrington, 
Mdlle. Linas Martorelle, Bitss LasoeUes, Signors Gardoni and Delle- 
Sedie ; and Mr. Charles HalM contributed two solos on the pianoforte. 
Mdlle. Bido, too, the young Hungarian violinist, whose name did not 
appear in the printed programmes, played in a very attractive manner 
a piece by Vieuxtemps. The room was extremely wall filled. Mr. 
Francesco* Berger presided at the pianoforte. 

Mb. Asohbb's Matikbb Musioalb. — A very excellent concert, with 
Mdlle. Enequist, Madame Parepa, Signer Gardoni, and Gassier 
assisting Mr. Asoher as vocalists, and Signer AndreoU and M. Paque as 
instrumentalists. Mr. Asoher contributed the following pieces from 
his own pen :-^'< Grande Fftntaisie de Concert " on airs from aemiramide 
^a brilliant composition brilliantly played by the composer; song, 
"Alice, qual inclita stdla," sung by Kgnor Gardoni and loudly 
encored ; three solos for piano, ** A Leonora," CanUmpUUion^ La Source 
Limpide, Capriee Etude, and La Ronde dee Elfu, Fierie, played by Mr. 
Ascher; Duo on OuUlaume Tell for two pianofortes, performed by Herr 
KUhe and Mr. Ascher; pianoforte solo, ** Pens6e Dramatique sur 
Fauet, played by Mr. Ascher; two songs— '* Ia Marguerite" and 
"Thoughts of Home" — finely sung by Madame Parepa, more 
particularly the second, a happy imitation of an Alpine song ; and 
*« If^rche des Amaaones," pianoforte solo, ph^ed by Mr. Ascher. 
Need we say that most of these are old favorites and that the audience 
renewed their acquaintance with pleasure when presented in so grace- 
ful and taking a manner by the composer. The piece from Fauet was 
the only novelty in Mr. Ascher's selection, and that seemed to aflford 
universal gratification. Mr. Ascher had to return to the platform and 
make his bow after a very hearty call. The room was full, and the 
company ikdiionaUe. 

ArroMMAs's Last Habf Rboital. — To the amateurs of the harp, 
the series of ** Recitals " given at Collard*s Pianoforte Rooms, and 
brought to a termination on Tuesday afternoon, must have proved in 
the highest degree gratifying. The last indeed was the crowning 
performince of the set,.and comprised for the harp pieces, a study by 
Bochsa, study by Aptommas, '* Home, sweet home," by Aptommas, 
Lueia, fiuntada by Parish Alvara, "Sounds fh>m the Highlands," 
(Scottish melodies) by Aptommas, second "Sounds fh>m Home," 
(Welsh melodies) by Aptommas, duet for harp and piano. *' La 
Tarentella," by Bianchi and Aptommas. All tiiese pieces pleased 
infinitely and were received with distinct marks of favor. Mr. Aptom- 
mas is not only one of the most expert of harpists, but his n^ymg is 
distinguished by many qualities, among which are great delioacy and 
refinement of style— qualities, br the way, which greatly commend 
his playing to lady amateurs. Weber's Coneert^ack, arranged for the 
harp by Aptommas, with tlie orchestral parts for the piano, Mr. C. J. 
Hargitt pianist, if not altogether legitimate, was one of the capital 
performances of the concert. 

Thb Rotal Dbamatio Collbob Fbtb will be held at the Crystal 
Palace, on the 16th and 18th of July. Among the leading features 
will be the usual stalls, presided over by the most popular of the 
Metropolitan Actresses, including Madlle. Stella Colas, who will make 
her first appearance at theoe Fdtes. Mr. and Mrs. Howard Paul aro to 
inhabit a grotesque edifice, resembling a huge firn opening and closing, 
the design of Mr. R. PhUlips, of the Adelphi Theatre. They will sell 
an elegant little Dramatic College Fan, devised by Mr. Howard Paul, 
who is at present in Paris superintending their production. Messrs. 
Toole and Paul Bedford aro to give an exhibition of Wax Work. 
Claijce of the St. James Theatre is to have a Cat and Dog show. The 
Wombwell Menagerie will be repeated, with wonderful additions of 
curious monsters. So that what with the usual Aunt Sallies, Minstrels, 
Serenaders, Gipsy Tents, Richardson's Booth« and other pastimes, the 
Fair this year promises a great deal of tan and amusement. 



Digitized by 



v^oogle 



480 



THE MUSICAL WORLD. 



[July 2, 1864. 



MUTTONIANA. 

Since his last issue Dr. Shoe has been persistently peppered with 
epigrams in verse, some with too many feet, some irregularly 
footed, and some footless. He has selected the best and forwarded 
them by mail to Heligoland, where they will undergo the investi- 
gation of Mr. Ap'Mutton, who will doubtless retouch those in 
which he detects the largest quantity of salt, and transmit them 
for publication in Muttoniana. With the weaker effusions— lopping 
off feet from some and straitening the feet of others — ^Dr. Shoe 
proposes to divert his readers until the anxiously, looked for return 
of Mr. Ap^Mutton to a post the duties of which no other lettered 
ontoeophist can perform with the same delicate irony, copious 
dictio'n, rich metaphor, magnanimous sentiment, and urbane 
consideration for the amour-propre of his contributors. The sub- 
joined (from the pen of Sir Caper O'Corby, of Creamside, near 
Kettlehurst) is (Dr. Shoe respectfully apprehends) as ill an epigram 
of its rhymes as could well he imagined : — 

There was an old pianist, called Enbe, 
Who add, ** Halle, mein freind, How d'ye do 

Dat bassage I heard 

Mit two notes fon eiu bird? ** — 
To which HaUd responded " Cuc-koo." 

One such example will (Dr. Shoe is of belief) suffice for this 
issue. The other examples may stand over without ceremony. 

Deab Shos, — I read in the yeue Mimk-ZeUtmg of Berlin (where I 
am 00 a diort visit to Count von Bismark) the following: — 

** Die EigenthUmer des Joamals Miuical and Dramatic Reoiew^ haben das 
Ableben desaelben angeseigt. Bequieteat in pace I Mdge ihm das Orchestra 
bald folgen.'' 

Wliat does it signify ? Tours faithfully. A. Longbab^. 

Scldon-Etel^ bei Oraffvon Bitmark. 

Dr. Shoe thinks it signifies nothing particular. Perhaps, 
however, Pauline Lucca (Dr. Shoe's spoilt Kind) may be able to 
explain it to Mr. Longears more at length and purport. 

Mr. Purple Powis presents compliments to Dr. Shoe, and would gladly 
know the age of Mdlle. Marie Rrebs. Some say 15, others 18, others 
12. Mr. Powis would gladly be set exact on the subjeot. 

Pin and Lion, AtOwMtide, near Waleall, June 29. 

Dr. Shoe has found a copv of the certificate (Taufochein) of 
the young maiden's birth and baptism, on Mr. Ap'Mutton*8 wire. 
He appends it, with a translation : — 

Stempbl. — Im lahre Tausend acht Hundert zwei und flLn&ig (1852) 
den eilflen Man hat zu Dresden von Sr. Hochwttrden, dem Sonntags- 
frllhprediger Herm Johann Bellennann ein ehelich erzeustes, am 
ftlnften December des lahres Tausend acht Hundert ein und fUnfirig 

SL851) gebomes Kind nach dem Oebnache der Katholischen Kirche 
ie heilige Taufe empfitngen und ist genannt worden : Augueta Calixta 
Maria. Die Eltem sind: Herr Carl Au^ Miedhe genannt^ Krebe, 
Kuniglich sachsischcr Kapellmeister allhier, und Frau Aloj/eia Anna, 

feborne Miehalesi, Die Taufpathen waren: Frau Auguete FiLrelenau, 
[of- Lithographs Ehegattin allhier; Herr Graf Calixtne Mienefeweki 
und Frau Auguete Leonhardi, Directors der Dampfschiffiihrts-Qesell- 
schaft Ehegattin allhier. 

Solches wird auf Qrund des bei der KOnigUKatholiachen Hofkirphe 
gefUhrten Taufbuches attestirt. Fbanz Bbrnebt, 

Dresden, den 6 AprU^ 1864. Si^rior u. F/arrer, 

Pfarrsiegel. 
Parroch. Temp, x Aul. Reg. Saxon. 

(^Translation,) 

Staxp.— In the year One Thou5and Cisht Hundred and Fifby-Two 
(I8d2), on the eleventh of March, a child bom in the bonds of wedlock, 
on the fifth of December, in the year One Thousand Eight Hundred 
and Fifly-One (1851), was baptised at Dresden according to the rites of 
the Roman Catholic Church, by the Reverend Johann Bellermann, 
Sunday Morning Preacher, and named : Augusta Calixta Maria. The 
parents are : Herr Carl August Miedke, called Krebs, CapeUmeitUr of 
the Kins of Saxony, and of this place ; and Mad. Aloysia Anna, for- 
merly Mdlle. Miehalesi ; the Godfather and Godmothers were, Mad. 
Auguste FUrstenau, wife of the Royal Lithographer of this place ; 
Count Calixtns Mierzejewski, and Mad. Auguste Leonhardi, wife of the 
Director of the Steamboat Society of this place. 

The above is attested, on the authority of the Baptismal register 
kept in the Royal Catholic Court Church. 

Fbamz Bernebt, 
Parochial Seal. Superior and Rector. 

Parroch. Temp. z. Aul, Reg. SaxoD. 



Dr. Shoe trusts that the foregoing will set all doubts at rest in 
the mind of Mr, Purple Powis. If the contrary, he (Shoe^ ad- 
vises him (Powis) to wait the return of Mr. Ap^Mutton, who is 
sure to know the truth and have notod it in a document. 

Dr. Shoe has been favoured with the following substitute for a 
well known nursery rhyme, the rhythm and rhyme of whidi it 
echoes, exchanging its simple significance for a subtler sense. 
Thus a child is presented with an apparent nut, and finds within, 
not the kemal of nature but the savoury confection of art. Dr. 
Shoe omitted, but now submits that the favour alluded to above. 
but inserted below, came from a quarter dear to his affections — 
namely, the two Misses Shoe, rolled into one — videlicet Miss Two 
Shoes, the Dr. having one only daughter on whom he continually 
harps, using the seven strings of his cordial lyre. 
Jack and Jael, 
Came, one by rail. 
The other up by water ; 
Jack, in town, 
Chax^ folks a crown, 
While Jael thumped a sonata. 
Dr. Shoe is compelled to decline, however willingly, the heza« 
metric poem of Mr. Pitt P. Pill, entitled The Far^spreading King. 
Mr. Pill should try his hand at something less ambitious. Dr. 
Shoe has been honored by the subjoined : — 

Mr. Ap'Larob presents his compliments to Dr. Shoe and would bo 
obliged if Dr. Shoe could inform him whether Mr. Ap'Mntton can tell 
him (Ap'Lamb) if he (Ap'Mutton) be of the female, or Ap'Ewe 
line of the Ap'Muttons, or, of the male, or Ap'Ram line; or again, if 
he be neither (neuter) — ^in which case he must be of the Ap*Wether 
line, as he cannot fail to admit, after due rumination, the logic whidi 
Ap'Lamb chops being as good as any which Ap'Mutton chops. 

His (Dr. Shoe's) Ap'Lams. 
(Of the firm of Ap*Lamb, Pease & Co). 
P.S. Answer, weather or no. 
Shepherd's Bush, 

The genealogy (family-tree), pedigree (or pied-de^Tnouton) of 
the Ap*Muttons is kept at Wool-StapWs Hall, Lambs Con- 
duit Street, emblazoned on sheepskin, by Wolf, King-at-Haunches. 
Dr. Shoe has examined it. 

To Dr. Shoe, A.S.S. 
Sib, — The enclosed nonsensical rhymes I accidentally picked up while 
at play, and as in the original there only appeared the initials P. and 
I. 1 have taken the lilierty of filling up the spaces, feeling assured that 
1 am perfectly right, with this assurance, I remain, 

yonrs respectfully, 
Breaknechornothing Hall, Brecknock 8. T. Table. 

Dr. Shoe has onlv received the nonsensical note of Mr. Table. 
The ** nonsensical rhymes " have not come to foot 
Boot and Hook^ Shocsbury. TAYLon Shoe. 



Miss Kate Gordon has been giving a series of two JTo^iJi^at Messrs. 
Collard and CoUards' rooms. The second came off on Wednesday 
morning. Miss Kate Gordon is a modest, and unassuming young 
artiste, who, by her gentle and ladylike manners, as well as by her 
talents, is sure to make her way with the public. The young lady 
deserves every encouragement on account of her perseverance in 
study ins afler her sad calamity. A correspondent informs us lliat 
" when Miss Kate Gordon was a little child she exhibited proat aptitude 
for the pianoforte, and was placed under Mr. Benedict. Unfortunately, 
while studying with him, she met with a severe accident (by fin) 
which deprived her of the use of her left arm for nearly four years." 
The young pianist has made good use of her time since, and she plays 
with great sensibility and correctness. The pieces which Miss Kate 
Gordon played at her second matinee were Weber's " L'lnvitation k la 
valse,'* Mozart's trio in E flat (Op. 14) for piano, clarionet and violin, 
with Mr. Lazarus and Mr. H. Webb ; a duet for two pianos on airs 
from Don Juan (Herr Lehmeyer being her coadjutor) and a piece by 
Mr. Boscovitch, entitled ** Les Tambours," which terminated the con- 
cert. The other artists were Miss Eleanora Wilkinson, who sang 
** Non so piii co^a son," and Signor Bandegger's song, ** Peacefully 
slumber ;" Mrs. Merest, who, among other songs, gave her own ballad 
** The chain is broke ; '* Mr. George Perren, applauded after his 
ballad, ** When first the beUs," and Mr. Benwick. A Signer Padovaui 
also played a solo on an instrument entitled violinottavisono (i.e. a 
violin with eight Btrings). The accompanists of the vocal music were 
Herr Lehmeyer and Su*. George B. Allen. 

Mb. Aouilab's Second Beoeftxon took place last Tuesday week at 
his residence, Westboume Square. The last is announced for Ihiesday 
next. 



Digitized by 



Google 



Jidy 9, 1864.] 



THE MUSICAL WORLD. 



447 



ASHDOWN AND PARRY'S 

RECENT PUBLICATIONS 

VOB 

THE PIANOFORTE. 



Kuhe. " The PUgrim of Love" 



Price 3b. 



Kulie. '* Sing, Birdie Sing." Transcription of 

Gkns's Popular Song . . . . Price Ss. 

Kuhe* " La Favorita." Fantasia on the Opera 

of Donizetti Price 4s. 

Qaiiz* " La Vivacity." Polka de Concert Price 4s. 



Ganz. " I Puritani." Fantasia on the Opera 

of Bellini Price 4s, 



GhuiZ. ''La Sonnambnla." Fantasia on the 

Opera of Bellini .... Price 4s. 



Salaman. " Twilight Thonghts." Nottumo. Price 4s. 



aalaman, " Joy." Impromptu 



Price ds. 



Schloesser. '' La Harpe Seraphique." Morceau 

brOlant Price 48. 



Schloesser. "UnerosedesAlpes." Styrienne. Price 4s. 



Schloesser. '' Danse Oatalane." 



Price 3s, 



GUbsone. " Bans les Nuages." Valse brillante. Price Ss. 



Gibeone. " The Singing Apple." A fairy tale. Price 3s. 



Boubier. " Marche des' Troubadours." 



Price 3s. 



THALBERG'S 



Bcotson Clark. ''The Crystal Fountain." 

Caprice. Price 4s. 

Scotson Clark. "La Bose Blanche." Valse 

brillante. Price 4s. 



Brissac. " Comm' thro' the rye." 



Price 3s. 



Brissac. " Weber's last Waltz." 



Price 3s. 



Bojrton Smith. "La Bayadere." Mazurka 

brillante. Price 4s. 



Boyton Smith. "Philomel." 



Price 4s. 



Sydney Smith* " Oolden Bells." Caprice de 

Concert." Price 4s. 



Sydney Smith. "Unenuitdtoilde." Serenade.. Price 4s. 



Sydney Smith. " Pas Bedoubl6." Morceau 

brillant. Price 4s. 



NEWEST 



PIANOFORTE 
PIECES. 



RIGOLETTO, 



BY 



Sydney Smith. " Martha." Grand Fantasia 

on Flotow's Opera. Price 4s. 



Sydney Smith. "Les Huguenots." Grand 

Fantasia on Meyerbeer's Opera. Price 4s. 



LOBPON: ASHD0WH&FABR7,18,HAI0V£R SQUARE. 



THALBERG, 

Price 5s. 



BAILO m MASCHERA, 



BY 



THALBERG, 

Price 5s. 



LONDON: 

CHAPPELL AND CO., 
so, NEW BOND STREET, W. 

Digitized by VjOOQlC 



446 



T^D.M^iliaAL WQEL!). 



prtdy «, im.. 



THE OPERA COMPANY, Limited. 



INCORPORATED UNDER THE COMPANIES' ACT, 1861. 



CAPITAL, ^230,000, "WITH POWER TO INCREASE. 

First lasae, 6,000 Bharesj of £5 each ; no mora than £2 per Share will be galled up without the «anetion of a GeneiBl Mooting of the Shareholtes. 
]>e908itt>|i application, lOs. per Share; on Allotment, 10s.; on the 1st Septemberi £1. 



ROBERT GEOEGE GLUTTON, Esq., 8, Snssez Sq.. Hyde Park, W. 

FREDERICK DAVISON, Esq., 24, Fitzroy Square, W. 

A. C. BRISBANE NEILL, Esq., 15, St. James's Square, aW. 



Direetofs : — 



(R. BANNER OAKBLEY, Esq., 41, Norfolk Square, Hy4e Park, W. 
JJAMES REYNOLDS, Esq., 19, Pembridge Gardens, W. 
I {WUhpwtr to add to their nuntker.) 



Solieitort :'^ I Banker* :~^ 

Messrs. PARKE & POLLOCK, 61, Lincoln's Inn Fields, W.C. | ^essrs. RANSOM, BOUVERIE <& Co., 1, PaU MaU East, aW. 

.Bro*«-«;— Messrs. A. J. BRUNTQN & SON, 82, Cornhill, E.C. 

- Auditors s — 
ROBERT ADDISON, Esq. (Messrs. Addison <fe Lucas), 210, Regent St. | {GEORGE WOOD, Esq. (Messrs. Cramer, Wood & Co.), 201,Reg6nt8t. 

FMic AccaurUant ;— FRED B. BMA^T, Esq., 88, Gresbam Street^ E.C. 

Stcreiary :^miRTVf CAWOOD, Esq. 

Temporary Offices :^ST. JAMES'S HATiTi,, 69, BSOKETT STBEET» IiOlilDOlS'* W. 



PROSPEjCTUS. 



Ths OnBA GoKPAHT (LnnTKD) la registered nnder "The Companiea* Act, 
1863/' and la Intended to carry out, with extended proyiaionB the objecta 8oa|;ht to 
be attained by the ** Enqlish Opbxa AmociATXOM,*' now being Yolantarily wound 
up in conaequenee of ita conatitution having been found Inadequate for ita requlre- 
menta 

Ample powers have been taken In the Memorandum of Aaaodatlon and 
Artidea of Aaaodatlon for the performance of Operaa, the encouragement of 
Muaical Art, the employment of operatic and other artiata, and for muaioal purpoaea 
generally, aa well as the eatabUaunent of a achool of Moilo la this country, and the 



rlucation of artiata for the lyric stage, on the piindple of the Oonsenratoires of 
aria and Bruaaela. 

The Shareholders of the English Opera Assodatlon will have the option of 
pntering into the Oi>era Company Share for Share, being credited in full with the 
fekmonnt paid on their aUotment of Shares in that Association, the OpeTa Company 
adopting the liabilities for preliminary expenses in the Kngliah Opera Association 
bf every Shareholder availing himself of this opportunity, SAd reoetving the bslaofis 
bf the amount so paid. 



PRIVILEGES OF ^HABEHOIiDEBa 

Tbere is attached to every entire number of five Shares of the CompauT's original capital, a freo admission to any part of the houae, according 



every entire number ot nve snares ot tne uompauT's original capital, a freo admission to any part or tl 
to the Tariffo/ Prices published by the Company a) the commencement of each se8^soi)> as follows : — 



5 Shares will have admission to any part of the House £ #. d. 

to the amount of 115 

10 Shares „ „ „ 8 10 

15 Shares „ „ „ 5 5 

20 Shares „ „ „ 7 0/0 

25 Shares „ „ „ 8 15 



BO Shares will have admission to any part of the House £ t. 
^ to the amount of 10 10 



i5 Shares 
k) Shares 
15 Shares 
50 Shares 



12 5 
14 

16 15 

17 10 



And so on, in like proportion, mj)Jcii\g for ever^ 100 shares admissions to the value of I^, 



JSrery endeavour wHl be made by the Diroctora to render these privileges as 
avalMle and oonvuiient as poaalble to the Shareholders coualateat^ wifh the 
welfare and proaperity of the Company. 

Each season will conaiat of about 140 nights. 

The Diroctora have provisionally aecured, on very favourable terma, the uae of 
Covent Garden Theatre for a term of years, commencing the aecond Monday in 
October next. Mr. Qtx has covenanted to allow the amount of his rental to depend 
on the receipts of the Company instead of demanding a fixed rentaL and has furUier 
very Uberally consented to forego, in the first year, a portion of his share of the 
receipts, in order to provide for the preliminary expenses incurred by this Company 
in adopting the liahilitias of Shareholders of the English Opera Association joining 
the Opera Company. The amount abandoned by Mr. Gtb will be nearly, if not 
quite, sufBcient to defray tiie preliminary expenses of both the English Opera 
Association and the Opera Company. Thus practically the Opera Company is 
brought before the public unburdened with any prellminrry expenses, and at the 
some time has secured to itself a very large body of Shareholders. 

The Directors will also have the advantage of the excellently organised staff of 
Mr. Gtb's Theatre, who have for so many years worked together under his direc- 



tion. Mr. Alfred Msllov wQl be the Musioal Conductor; Mr. Wiuxak Bbvalt 
the Scenic Artist; and Mr. Auoustds Habrxs the Stage Manager. 

By this arrangement the Directors will not only have a Theatre raady in every 
■ospect for their occupation, but wiU also have the use of a large amount of 
Scenery, Properties, and other material, without any outlay on their part. The 
imountof capital necessary to commence operations wHl therefore be out amall, 
ind the Directors do not at present recommend a larger Issue than 6,000 Shares, a 
lonsiderable number of which have already bean subscribed. 

In a conunerdal point of view the Directors have every reason Co beHeve that 
ihe undertaking will be a great success. Calculations based on the average receipts 
of former undertakings In English Opera and a liberal estimate of expensea have 
been made; and with a fair regard to the prospect of increased attraotion.wUeh 
the Company hope to offer to the public a very handsome dividend may be expected 
pi addition to the privileges granted to the Shareholders, which it may be obsenra4 
are of themselves a return of 17| per cent, on the Call of £2 per Share. A profit of 
only £10 per night will yield a dividend of 13 per cent, on the capital paid up; the 
•apabUities for seating an audience in Covent Garden Theatre, at English (^r» 
prices, admit of a profit of twenty times that amount. 



\* Fratpectusei and Forms of Application for Shares may be obtained at th^ €hmpani/*s Office, 69, Eegenl Street ; tJu Solicitors'; ths Broker*'; ths 
Bankers*; and thsprineipai Mtuicsellers in town and country ^ to whom application may be made, accompanied by a deposU of 10s. per Skatt, vtthcvt 
which no cqBplication can be entertained. Should a less numJber of Sharet be allotted than are applied for, the balance of the dqHMi money will he 
appropriated towards the payment of the allotment call, 

\ 
Frlnted by nsHDiasoM, Rait, and Fiktov, at No. 13, Wlntley Street, Oxford Street, in ths Parish of Marrlebone, in the Coontar of MhkOsscs. 
rubiUtfied by Wiluak I^9i<pAj| lUnsoM, at the Ofloe, 2U B^gant Street.— Aa(iiroay,JWy S, 1864. 



Digitized by 



Google 




'^Thb wobth of Abt appbarb most BMonarr nr Mumo, sDrcB it bbquibeb mo uatkbial, ho subjbov-icattbb, whoob smsor 

IfUST BK DBDUOTBD: it n WHOLLT FOBX AHD FOWXB, AHD it BAISBS ABD BBB0BLB8 WHATBYEB IT BZFBBSSBS."— O'^t^. 



SUBSGBIPnOS', 7SEB B7 FOST» 20b. FOB AJSINVM 

Fajable in advance hy Cash or Po0t-O£BLoe Order to DUNCAN DAVISON ft C0v244» Be^cent Street* Iiondou. W. 

[^Segittend for Transnmmn Abroad.'] 



Vol. 42— No. 29. 



SATURDAY, JULY 16, 1864. 



^-{^•?£sr- 




HBB MA JESTY>S T HEATRE. 
FAREWELL REPRESENTATIONS 

At 

CH EAP PRIC ES. 

THE Lessee and Director of Her Majesty's Theatre begs 
loaamoonoethftt iM haa d«eidtd on giTing a limited number of 
FABBWXIiIi FEBFOBMAZrCBS AT CHSAF FBIOBS, 
TO SUIT THE VIEWS OF THE GENBBAL PUBLIC. 

Tk« pntent Short Series will oomUne the Whole Vooal and Instmmental Foroe 
•Mbetnw 



9 ooBspioaootly tnooeeifVU daring the poet Seaion. The Nighti of 

Pttftrmanoei will be 

MONDATS, TUESDAYS, THURSDAYS in> SATUBDATS, 

oomcuuxso OH 

MONDAY N£XT, thb 18th July, 

On whloh XTMilng will be performed Verdi*k ftTorito Opera, 

"IL TROVATORE," 

With the foUowlDg Cast >- 
Leonora, Mdlle. HABinas WimiH (her flnt appearanoe in that oharaoter in Eof - 
laad) ; Axoeena^dlle. Oaossi (her flrtt appearanoe in that oharaoter hi EngUnd)) 
»' — ^idame TAooin; II Conte di Lona, Mr. SAanar; * "* 



_ . ^ ^ FerrandOb Slgnor 

BoM; Un Zlngaro, Slgnor CieiBoxi; Eois, Signor MAinrmnDit and kaorieo, 
0ignor GnrBLun. 

OIUOLIKI, SANTLEY, GASSIER, BOSSL 
TrriBNS, TBBBELLI, TAGCANI. 

TUESDAYi July 19th, 
Goonod^ eelebcated Opera, 

"FAUST." 

TITDBNS, TRBBBLLI, VOLPINI, GROSSI. 
BANTLEY, GASSIER BETTINI, GARDONL 

THURSDAY, Jxtlt 218t, 
Will be nprodneed Weber*e Grand Romantie Opera, 

"OBERON." 

TIM atw and extentiTe Scenery by Mr. Telbin,asdsted by ICr. HeniyTelUn. 

SATURDAY, July 28bd, 
Gonnod'f Last New Great Work, 

"MIRELLA." 



Doon open at Half-past Seven : oommenoe at Eight precisely, temUnatlng in tima 

for the Night Trains to the Environs. 

Pw»;-Gal!ery. 2s. ; GaUery Stalls, 4s. ; Pit, Ss. ; Boxes, €s.|Dress Boxes, 7s. 

Prhrato Boxes, Two Guineas, Three Guineas, Two Guineas and a Half, One G^ea 

and lOs. 6d. 

Notioo.*-The usual ReetrieUons to Evening Dress will be dispensed with. 
Box-ofloe of the Theatre open dally, flrom Ten tUl Six, where places may be 
Sr"^*''^, f'*® f* Mitohell's: Bttbb'sj Laoon and OUier's, Bond Street} Leader's, 
Opera Colonnade ; Sam's, St. James*! Street ; Cramer, Wood, and Co.'s, and 
^if?!??**2lS^^*^V^*« ^^^* P~^^ •nd Co.'s, Cheapsidei andatChappeU 
and Oo.*s, 50 New Bond Street. 

^nekete also procurable, on the Evenings of Performance, at the Special Offices, 
open at the Entrances of the Pit and Boxes. r^ ^ * 

R. W. H. HOLMES and Mr. G. W. HAMMOND'S 

toS^'^I^/^^.^I^'^J* ^^^ MISCELLANEOUS CONCEBT will take 
litP^I (Satur^y Morning). Johr i«h, at the Hmovia Sqdaai Rooms. 

ifr;Jl'JSi?"£"iS?» ^SL?M"** <»^Mr. faolmes^se Beaumont Street, and 

Mr. Hammond, 38 Beaumont Street, Porttond Ptoce. 



S^pl Italro n %nr, tfato nt <§vc)itv. 

TOSmmSLY THB IiAST WSBK Tfn ONXL 



EXTRA NIQHT.-ROSINA. MDLLE. ADELWA PATTI. 

On MONDAY NEXT, July 18 (Last Time this Season), 

"III BABBi aBB PI SIVIGIiIA." 

MARQHERITA. MDLLE. ARTOT. 

On TUESDAY NEXT, July 19, 

"7AU8T B MABGHBBITA" 



EXTRA NIQHT. 

On THURSDAY NEXT, July 31 (Last Time this Season), 

"Ii'BIiISIA D'AMOB E" and "I i'HJD BNCHANTBB.** 

On SATURDAY NEXT, July 23, wUI be piodnced Meyerbeer's Grand Opera, 
"la'ETOIIiB DU NOBB.** 



Conductor 



- - Mn. COSTA. 



Oommenoe at Half-past Eight. 

Pit Tickets, Ta ; Amphitheatre Stalls, 10s. 6d., 7s., and 6s. ; Amphitheatre, 3s. 6d. 

The only authorised Box-offloe is under the Portico of the Theatre in Bow St. 

I8S ELEANOR WARD and Miss CONSTANCE 

RODEN have the honor to announoe their MATINEE MUSICALS, on 
leeday, July M, at 66 Caoooax Plaob (by kind permissian), to oommenoe at 
Three o*oi(Dck. FoeaUtto-^MdUes. Linas Martorelli, Georgi, Constaooe Georgi, 
Constanee Roden and Madame Weiss ; Messrs. WUbye Cooper, Weiss, Allan Irving, 
Frank Blmore and Santley (by kind permission of J. H. Mapleson,- Esq.) Itutrn. 
m m t tO Utt .w Pianetorte, Madame R. Sydney Pratten and Miss Eleanor Ward ; Flute, 
Mr. R S. Pratten ; Olariooet, Mr. Lasams ; Harp, Mr. John Cheshire. Ooodootors— 
Messrs. Lindsay Sloper. C. J. Hargltt, W. Ganx, B. Berger and Benediot. Tioketo, 
Half-a-Guinea each, or three for £1 10s. ; to be had of Cramer, Wood * Co., 201 
Regent Street; Ollivler * Co., No. 19 Old Bond Street; |tiss Ward, 61 Albany 
Street, Regents Park ; and Miss Roden, 91 Cambridge Street, Eccleston Square. 

ly/TR. QEORGE DOLBY begs to announce that he is 

1V| making arrangements for a Tour in the Provinces with the following dis- 
iingnishedArSsts:— 

VOCALISTS: 
ICadame GBISI 

AXD 

Madame SAINTON-DOIiBY. 



Mr. FATBY 

Signer MA BIO. 

VIOLIN t 
M. SAINTON. 



ACCOMPANYIST: 
Htorr MEYEB IiUTZ. 

The Tour will commence about the middle of September and terminate in 
December. 

Applications respecting Engagements to be made to Mr. Gioboi Dolbt, Egyptian 
Hall, Piocadllly, London. 

THE CAVENDISH ROOMsi 

I.ATE BIiAGBOVE'S BOOMS, 
MORTIMER STREET, CAVENDISH SQUARE. 

Proprietors - Messrs. EDWARD HUMPHREY and THOMAS GHILDB 

rPHE MUSIC PROFESSION, and the Pubhc generaUy, 

JL are informed that this elegant ttttU of Rooms having been thorooglUy restored, 
redecorated, and fitted on the moot approved accoostlc principles, may be engaged 
for Chamber Concerts, Pianoforte Recitals, Musical Soirees, Ac, behig particularly 
adrated for all purpoeee for which purity of sound is eeseotial. 

They are also admirably applicable for Public Dhiners, Wedding Parties, Private 
Soirt$ IkuuaiUet. and Amateur Performances, for which every requisite of the first 
description will be provided 



Digitized by V^riOOQlC 



448 



THE MUSICAL WORLD. 



[July 16; 1864, 



4NTHNOPOGL08SOS.— This extraordinary Mechani- 
eal PhtBonifiioii, riTaUIng Kfttar* hanelf In Its Yoal and lEloeatSonuy 
m, will be axhiMtod for the Flnt Time, at the Br. JiMU't Ball, FioeadiUy, 
on SATURDAY NEXT, nnd folloirlng days, from Ten tUl Ten. Admiaelon, One 
Shilling. 

EREPORD MUSICAL FESTIVAL, in the 

Catbkdbal and Snu Hall, Angast 30th and Slat, September lit and and. 

JCdlle. TiBTJKxs, Meidamef Liiuium-SHUBivaTOv, Wins and BAzaroir-Dour ; 
Messra. Sine Rkbvbs, M<wtbm Sinni* SaIituit and Wnaa. Programmea forwarded 
nn application to the Condnetor and Hon. See., Mr. G. Townihend Smith, TheCloae, 



M= 



JISS ROSE HERSEE wm sing "THE KNIGHT 
AKD THE MAIDEN ** (Worda by H. Hnsnn, Eiq.), oompoaed by EiOLn 
Drxckr, at Mn. Vernon's Conoert, Tottenham, on Tuesday, Jnly 19 ; and at the 
Glasgow City Hall, September 17 and 24. 

ADLLE. FLORENCE LANCIA wifl smg "A 

THOUSAND MILES FROM THEE,'* composed by Fbamk Mobi, at 
Soarborongh, on Friday, Jnly 22nd. . 



M 

EyenI 



R. BIlfB REEVES wiU nnj 

oompoaed ft>: him by BLcmmAL, at the I 

iyenlng, Aognit SL 



"THE MESSAGE," 

[ereford FestiTal, on Wednesday 



M 

Jnlyl 



R. SMILE BERGER will play his popular Fantasia 

_ on Scotch Airs, •* WA VERLET," at Tottenham, July 19; Crystal Palace, 
nly 25 ; at Myddelton Hall, August 6 1 and Richmond, August If. 



MR. WALTER PETTIT will play a FANTASIA for 
VIOLONCELLO (M.S.). by Chablbs Lucas, at Messrs. Holmes and Ham- 
mond's Concert, Hanover Square Rooms, THIS DAT. 29 Portsdown Road, Maida 
Vale, W. 



fR. G. W. HAMMOND, Mr. H. BLAGROVE and 

_ Mb. W. PETTIT will pUy MB]n>BL8S0B«> •• TRIO in D Mhior,** at 
Ifessrs. Holmes and Hammond's Conoert, THIS DAT, at the Hanorer Square 
Rooms. 



i: 



riSS ROSE HERSEE will sing at the City Hall 

^. ^ Concerts, Glasgow, September 17 and 24, and will be happy to accept engaga- 
ments for other dates between September 12 and September 80. 2 Crescent Place, 
Burton Creecent, W. Ct 



M" 



M ADLLE. LOUISE VAN NOORDEN (Sopruio). 
Communications respecting engagements in Town and Country to be 
addressed to 116 Great Russell Street, Bloomsbnry Square. 



rPHE, OPERA COMPANY (Limited). — Incorporated 



J. under ^^TheCompaalsB' Act. 1862." Capital iSO.000, with power 

6000 ahares of £6 each ; no more than £2 per share wiU be^caHed up withont the 

sanotion of a General Meeting of Shareholdersi 

Robert George Glutton, Esq., 8 Sussex Square, Hyde Park, W. 
Frederic Davlaon, Esq., 24 Fitsroy Square, W. 
A. C. Brisbane NeUl, Esq., 15 St. James's Square, S.W. 
R. Banner Oakaley, Esq., 41 Norfolk Square, Hyde Park, W. 
James Beynolda, Esq , 19 Pembridge Gardens, w. 
(With power to add to their number). 

iSMMtors— Measra. Parke A Pollock, 61 Lincoln's Inn Fields, W.G 

JaRi«r»— Mesara Ransome, BouTerte a Co., i PaU Mall East, S.W. 

5rotsr*— Messrs. A. J. Bnmton a Son, S3 Comhffl, EC. 

Aseretary— Martin Oawood, Eaq. 
Ttm p cr ar f Q^Ims— St. James's Hall, 69 Regent Street, W. 



ABRIDGED PROSPECTUS. 
PBivnJWBS OP Shabbboldbbsl 
There is attached to erery entire number of Fl^e Shares of the Compaay's 
original captUl a free admlaaioii to any part of the boose, wtthoertainreserrationB, 
as follows:— 



fiShares 



K!L»*^ ^**^ ^ ^ f" " "1 Company attheoomiienoe. 
•»«™*o' J I ment^each season. 

for erery five abarea, maUng for erery 100 aharea 



And so on in Hke proportion 
admissions to the ▼alne of X8fi. 

Each season will consiat of about 140 nlghta. 

The Dtxectors hare proTiaionally secured, on Tery f aTonrable terms, the use of 
Covent Garden Theatre for a tenn of years, commencing the second Monday in 
October next 

In a commeidal point of Tiew the Directors haTC e^ery reason to belieTe that 
the undertaking wHl be a great snooess. Calculations based on the average receipts 
of former undertakings in English Opera and a liberal eetimate of expenses have 
been made; and with a fair regard to the prospect of increased attraction which 
the Company hope to offer to the public a veir handsome dividend may be expected 
in addition to the privilegea granted to the ShaieholderB, which it may be observed 
• are of themselves a return of 171 per cent, on the Call of £2 per Share. A profit of 
only £10 per night will yUUL a mvidend of 12 per cent, on the capital paid up ; the 
capabHitiea for seatinc an andienoe in Covent Garden Theatre, at English Optn^ 
prloea, admit of a profit of upwarda of twenty times that amount. 

ProBpectnses and Forms of Application for Sharse may be obtained at the Com- 
pany's Oflkw, 69 Regent Street; ttie SoUoitora*; the Brokers'; tiie Bankers'; and 
the prlaeipal MuiesellerB, in town and oonntry. 



•R TTi.ic ii!M H fciATi *FHHATBS COHPAinr (LimitedV 

11 2>wicfl» airnt, Byrienkead, Uth JWy, 1864. 

rpHE Directors of the above Company are prepared to 

X receive Tenders, up to the 25th inst. inclusive, for the Occupation of fht 
** Theatre Boyal,'* Ar^le Street, Birkenhead, on Lease or otherwise. 

The Theatre has been constructed regardless of expense, amidst a population of 
100,000 inhabitants ; it is calculated to accommodate nearly 2000 individuali; hu 
large Saloons, Refreshment Rooms, Mechanical Stage, Ac., and every modem 
appliance ; with approaches for the Pit and Boxes from the leading thoroughlkre to 
Birkenhead. 

The Directors do not bind themselves to accept the highest dfor (hat may bs 
received. 

All communications to be addressed to the nnderslgned, who will readily fhmlih 
any infbrmatlon required. 

THOS. E. HIGNETT, Hon. 8m:. 



VILLAS AND H0U8E8.-THE CONSBBYATIVS LAND 80GIET7. 
1?0R SALE, an elegant and commodious Freehold Villa 

r Residence, the ** Orangery," at St. Margaret's, Islsworth, and valuable Build, 
ing Plots on the Twickenham portion of the estate. Four Villas at Oxlbrd; Two 
villas at Enfield ; Villas and Houses at Brighton ; Two Leasehold Houses in Wandi. 
worth Lane, Putney ; Four Houses on the Kentish Town Estate ; Nine Leaseholder 



Freehold Houses on the Hackney Estate ; Six Houses on the Old Ford propertjr 
(Park Road), besides Twentv-three Houses on ths Roman Road estate (Usher Head 
South), are also FOR S ALfS. Full particulars of the above Villas and Houses, and 



PUns of the Estates, will be fbrwarded on application. The Conditions of Sale and 
the Prices are peculiarly advantageous for purchasers who pay the coat of a house or 
plot of land in monthly or other Instalments, the Mortgage being only a Gnlnes, 
exclusive of Stamp-du^ and Registration. 

. CHARLES LEWIS GRUNEI8EN, Secretary. 
33 Norfolk Street, Strand, London, W.C. 



4 "highly respectable young man, who 
has had many years' experienoe In the Music Trade at a First-class Wsit-Ead 
(C, is desirous of obtaining a Re-engagement either in that Trade or the Fsaey 
Stationery. 25 years of age. Undeniable references both fhmi late em^ojeis sad 
others. Address— L. B., at Messrs. Duncan Davison A Co.'s Foreign Music Ware- 
house, 244 Regent Street, W. 



•pO PROFESSORS AND AMATEURS OP MUSIC 

X Authors* Works Engravsd and Printed on moderate terms by F. Boweher, 
a, LitUe Marlborough Street, Regent Street, W. 



HAMILTON'S unrivalled PIANOFORTE TUTOR. 
426th edition, TO pagea, 4s.— The pubNshers, ROBERT COOKS and CO., 
beg their friends and the trade to Ihvor them with their orders eight or t»n dsyi in 
advance, as, in consequence of the immense demand for this work, a diflicnfty is 
"ustantly found in supplying it promptly to order, Lon" " ~ " 



_ _ Roam Cocis sad 

Co., New Burlington Street ; and of all muslcsellers and bookssllers. 



EIANO DUETS.— POPULAR OVERTURES, newly 
arranged for two performers on one pianoibrte. By GEORGE F. WEST. 
Blni*s"La Gazsa Ladra,** 6s.; Weber*s -Der Flvischuts,** 6s.; Auber*s "fra 
Diavolo,** 6s. ; Herold*k ** Zampa,** 4s. ; and Auber's « Le Chevml de Bronse," 6s.- 
London : Roaan Coou and Co., New Burlington Street; and of all mwlcsellen. 



By 



Now Ready, at all the Libraries, in one Vol., with Portrait, 

REMINISCENCES of the OPERA- 
BENJAMIN LUMLET, 
Twenty Yean Director of Her Mijesty*k Theatra. 
" Every one ought to read Mr. Lumley*s very attractive ' Remlniscencss.' It Is a 
most enterUining volume. In the ftshlonable, dramatic and literary world its cordial 
welcome is assured. Anecdote succeeds anecdote in this pleasant book with dellght- 
fhl fluency .">-Pes(. 

HussT a Blaoxrt, Publiahers, 13, Great Marlborough Street. 

THE MODERN HARPIST: 

A NEW WORK FOR THE HARP BT MR. APT0MMA8. 
( To 6i FtAKthed »y Subioiption). 

DonaitTS :— Introducti 
of 

Harp 

Damper—Chromatic Combhiatlons— 'Memorising—Playing Is 
Technical Terms— and SeleetioDs from Ihe Gfsat Masten, ic. 

Price of Sabsoriptioiii ONE GUINEA. 
Issued hy the Author, 67 King Street, Soho, W. 



in Publle— Teachbig— 



MUSIC FOB THE SBASON. 



Eli» Cook*s Song of the ** Haymaken" 
The " Harvest Home " Song 
••Hope for the best" . . . . 
*• Sunny days will come again ** . 
The " Harvest Home " March 

Ditto as a Duet • • . . 



Li. 

Mnsio by W. H. Montgomery 2 6 

„ E. Ransford • .26 

rt E. Ranslbrd . .26 

„ Henry Russell . 2 6 

. Arranged by A. F. Godfrey . 3 

3 



4 6 



PUyed, with great success, by the Band of Ihe Coldstream Guards. 
The *• Meny Sunshine ** Quadrille . Arranged by Stephen Glover 

Introducing the popuUr Song, •* I love the merry sunshbie," and beantiftally lllos- 
trated in coloun by J. Brsndard. 

RAXsrow a Sosr, 2 Princes Street, Oxfbrd Circu 



Digitized by 



Google 



July 16, 1864.] 



THE MUSICAL WORLD. 



449 



HER MAJESTY'S THEATRE. 

linaSILLB-*a<yUKOI>— TUTJRNS, ETO. 

{Jimei-^ulif n.) 
M. GooDod't MimUe-^r Mirtaa, as It ia newly ohriatened— grows 
apon acqaaintapce. It is not another Fau$ty but tliat merely proves the 
author's versatility, the subject having nothing whatever ia common 
with Fauit^ while the music, it may he stated without reserve, is in 
eveiy sense happy and effective. MireUU shares two peculiarities 
with Faust, it does not contain a single example of elaborate 
writing— -a single example either of the grand "moruau d*ensembl$" 
(to employ an untranslatable compound'), or of the grand finale, in 
which the most &mous dramatic oomnosers, from Mozart to Rossini, 
have delighted to exliibit their strengtn. On the otiier hand, an indi- 
viduality of style which, in spite of occasional resemblances to Auber 
and occasional imitations of Meyerbeer, reveals the fact that M. 
Gounod's music is M. Qounod's and no one else's— an individuality of 
which, seeing how few Uvins composers can boast anything of the 
sort, tne aooomplished French musician has a right to be proud — ^is 
apparent in MirtUU, just as it is apparent in Faust and in La Reme de 
Saha, the unsuccessful predecessor of that singularly popular work ; 
bat further, we repeat there is nothing in common between M. 
Gounod's last opera and his last but two. That Famt should be 
immediately understood and its worth acknowledged, not alone 
in IVis and London, but wherever it has been performed, while 
MireUU in Paris was laid aside after twenty-four representations, is 
solely attributable to their respective books. The book of Fautt is 
built upon a story and comprises personages familiar to the whole 
civilised world, — familiar through poetry and prose, through ballad, 
painting, statuiry, and engraving. The book of MireUU^ on the con- 
trary, comes from a source wholly unknown to any except lettered 
Frenchmen— and even to them, until of late years, chiefly known 
through the eloquent description of Lamartine. When the Mireio of 
H. Frederic Mistral, of Marseilles — esteemed Iry readers of universal 
poetry, of poetiv wherever to be found and in whatever language 
written, a sort of Homeric troubadour — first appeared, being composed 
in the Provencal tongue, it was inaccessible to all except a narrow 
range of appreoators. But for Lamartine, and the prose translation 
from the author's own pen, to which Lamartine's eulogium possiUy 
oontributed (some ten years ago), and through which M. Gounod 
became intimate with the poem, Mireio might to this day have been as 
little known to ordinary readers even in France (parts of the south 
excepted) as the poetoy of Roumanville and Aubanel of Avignon, 
of Benedit of Marseilles, with other zealous promulgators of Uie 
Troubadour legends and Troubadour rhymes, labourers in the honor- 
able, if not very thankful, task of reviving and spreading the taste 
to an idiom which rivalled even the Italian ioiom of iis period, 
who, had not Mistral produced his great work, would hold a rank 
scarcely bferior to his. With this disadvantage M. GK>unod had to con- 
tend in writing his new opera ; but, in love with his subject, like a true 
enthusiast, he spared no pains to do it justice. He visited, it is said, 
the oountiy where M. Mistral had placed the scene aiid imagined the 
inddents of his poem, imbuing his mind with the spirit of Provencal 
l^end, and filling his ear with the strains of early lYoven^al meloay. 
How much he gathered while in Provence, and for how much we are 
indebted rather to his research than to his invention, it is for future 
explorers to discover. That, however, is just now a point of little 
consequence. M. Gounod has given to the world another genuine 
and charming work, which, if not revealing absolute senius, shows 
something next akin to it. The first place can only be allowed to 
such as are more richly endowed than M. Gounod with the gift of 
spontaneous and continuous melody, better able than he to translate 
into music the emotions of which tragedy is the legitimate exponent, 
and more skilful in those elaborate combinations which, while 
belonging to the highest art, lie only within the province of the 
highest genius successfully to contrive. To such exceptional endow- 
ments he may not pretend ; but, apart from them, he has more than 
enough to charm the world and create for himself a brilliant name, 
the ultimate endurance of which will rest entirely with himself. 

The poem of Mirei<H~sji epic-idyll in the strictest sense — ^is in 12 
cantos, the loves and adventures of the dauj^hter of Maitre Raimon 
and Vincent, the basket-maker's son, serving as connecting links 
in a whole which might have been built up just as well with the aid 
of any other legend, and which has been poetically described as *' La 
Pro9enee die-mime, avee tm eatur de femme et let traits d'un ange.^^ It 
was a hard task for M. Michel Carrd to dig out an operatic libretto 
iW>m such materials as the gr^t work of Homer's " umble escoulant " 
(M. Mistral thus describes himself) presents ; and really on the .whole, 
thouj^h three acts (or even two) would have served the purpose more 
readily than five, he has not performed it ill. If not dramatic, he is 
at least not uninteresting. Rut, tempting as is the theme, we are 
loroed hj considerations for which our musical readers in general, 



and the zealous admirers of M. Gounod's music in particular, will 
easily appreciate, to refrain from entering into further detail. The 
plot with which M. Can^ has famished M. Gounod may be described 
in a very few lines. Mireille, daughter of the wealthy fiurmer 
Ramon, is enamoured of Vincent, a poor basket-maker, by whom her 
love is reciprocated. But Ramon has destined her for Ourrias, the 
bull-tamer, who, rich like himself, he considers a more suitable match. 
Deaf to the entreaties of his old firiend Ambroise (Vincent's £ithet), 
Ramon is obdurate ; and on MiretUe declaring she wiU have no other 
than Vincent, he spurns her and threatens her with his curse. Ourrias, 
hearing Mir.3ille's confession, becomes furious. Following his rival to 
a remote and unfrequented place, he assaults and leaves him for dead. 
Remorse for this crime soon follows, and, wandering from the spot, the 
exasperated bull-tamer loses his way and is drown^ in attempting to 
cross the Rhone on the very night of the murder he believes he has 
committed. Vincent, however, not being mortally wounded, is tended 
by a friendly "wise-woman," called Taven, and ultimately cured. 
Meanwhile Mireille, receiving the news of her lover's supposed 
disaster, from his sister, Vincennette, sets out on a pilgrimage to the 
Church of the Saintes Maries, consistently with a pledge formerly 
entered into between Vincent and herself, in case of misfortune 
occurring to either. She has to pass, on foot and unaided, the vast 
plain of the desert of Grau, and only arrives at the pUce of her desti- 
nation in time to die, of fittigue, exhaustion, and " sun-stroke," at the 
threshold of the church, and in the arms of her inconsolable lover. 
This is the bare outline, omitting some supernatural machinery, since^ 
suppressed in the French version, and never included in the Italian one 
prepared for Her Majesty's Theatre— where, by the way, instead of 
dying, Mireille recoven. That so few incidents, and these so 
essentially undramatic, should be expanded into five acts and yet not 
induce a sense of utter weariness, can only be laid to the account of 
tiie music — ^music which enlivens every situation, gives tongue to every 
emotion, and graphically distinguishes the personages of the drama 
one from another. But we will not do M. Gounod the injustice to 
dismiss his dever and interesting work in the brief paragraph to which 
at present any critical notice of it would necessarily be limited, and 
therefore content ourselves, until a more favorable occasion, with the 
few general remarks embodied in the foregoing. 

The performance of MiretUe at Her Majestv's Theatre is worthy all 
commendation. The characters, large and small, are alike well- 
sustained. Madlle. Tietjens, in Mireille, presents us with a fair pendant 
to her Margaret^ the character bein^ pourtrayed with the same 
dramatic intelligence, the music sung with the same power, expression, 
and — ^where that is called for — ^brilliancy. In the last two scenes — 
that of the Desert and the Saintes Maries— she is as superb as in the 
earlier scenes, where the gentle emotions of innocent love are to be 
depicted, she is graceful, and in that of the finals to the second act, 
where Mireille's devotion to Vincent cowen not even before the terrors 
of her father's anger^ she is impassioned. The " make-up " of Mdlle. 
TrebeUi as Taven, the old «* wise-woman," is as appropriate as her 
delivery of the characteristic air (" La stagione arriva ^y m which the 
reputed sorceress warns Mireille of her danger, and which (as in Paris) 
invariably wins an encore, is striking. Madlle. Volpini, as the 
shepherd-boy— the strains of whose bucolic music restore the 
despairing Mireille to sense (in the Desert scene)— is equally perfect in 
her way, warbling the delicious little air (•• lo sono pastore ") with a 
sweetness and unaffected simplicity that could harcily be surpassed. 
This, too, is a sure " encore ;" as is the eavalina of Vincent (** All se 
de'prieghi miei "), as good in its way and very much in the style of 
«* Salve Dimora," and given by Signer Giuglmi with no less feeling 
and refined expression than marked his delivery of its well-known 
precursor in Famt, The two •» heavy fethers '*— Ramon, father of 
Mireille, and Ambroise, father of Vincent— *re capitally sustained by 
MM. Junca and Gassier. Ourrias, the bull-tamer, disdained of 
Mireille— with an air— (" Se I'Arleesi sonregine ") just as characteristic 
in its way as the romance allotted to Taven— is represented by Mr. 
Santlev, who acts the character as admirably as he rings the music. 
The little part of Vincennette (Vincent's sister) devolves upon Mdlle. 
Reboux, its original representative in Paris, and could scarcely be in 
better keeping. Signer Arditi, as usual, has taken extraordinary pains 
in rehearsing the new opera, and with the best results. His orchestra 
may be commended without reserve; and no one can complain of 
being forced to listen twice to the pretty, light, and essentially 
pastoral overture, played as it is played under his direcUon. The 
chorus is almost, if not quite, as good. The mise en scene has been 
scrupulously cared for ; and while each of the tabUavx painted by Mr. 
Telbin extorts the warmest encomium, the view of the Deswt of Crau, 
with the incidental mirage of the New Jerusalem, may be singled out 
as one of the most natural and beautiful stage-pictures that modem 
art has produced. The opera pleases more and more each tmie it ia 
heard: and at the third performance— which, on Saturday mght, 
attracted a densely crowded audience— in addition to the encoree wo 



Digitized by 



Google 



450 



IBE MUSICAL WORLD. 



[July 50, 1864. 



have Darned. MadUe. Tietjens was forced to repeat the last moveinent 
of her grand tcena in the second act, which she sang with extraordinaory 
brilliancy. It is unnecessary to specify the ** recalls/' 

MireUle Is to be repeated to-morrow and on Thursday. On Saturday 
a ** miscellaneous " performance is announced for the benefit of Mr. 
Mapleson. 

[In consequenoe of the increasing suocees of M. Gounod's new 
opera, Mr. Mapleson has abandonoi the idea of a misceUaneous 
selection for his benefit, and substituted MireiUe. — Ed.] 



ROYAL ITALIAN OPERA. 

l'bUSIR — ^PATTI — HABIO— BOXOONI. 

( Timu^July 11.) 
The revival of Donisetti's best comic opera, L'Mmr d' Amort, after 
a seven years' rest, was one of the most agreeable incidents of last 
season. Signer Bonconi's inimitably droll and thoroughly original 
impersonation of Dulcamara, the most grotesque and diverting of stage 
charlatans, would alone have sufficed to recommend it; but this was 
accompanied by the unexpected apparition of a new Adina, who, while 
warbling the bright and flowing melodies, which the composer— never, 
perhaps, in a happier vein — ^has placed in the mouth of the most 
engaging and prettiest of village flirts, as well as any and better than 
most of her predecessors, presented an embodiment of the character 
which, for winning grace and natural vivacity, was wholly without 
precedent. An Adina so evenly balanced in musical and dramatic 
excellence as that of Mademoiselle Adelina Patti had perha;^ never 
before enticed, tormented, and ultimately recompensed the pains of a 
love-lorn Nemorino. One thing only was wanting to complete the 
illusion — the Nemorino who had been announced in the prospectus, and 
who nevertheless was not forthcoming. This year, however, the sub- 
scribers and the public, who, with the best fkce they could put on, 
submitted patiently to the disappointment, are rewarded for their 
generous forbearance. Signer Mario, after eight years' hesitation, again 
assumes a part in which he has known no equal ; and to crown all, M. 
Faure, now the Recruiting Sergeant, is in many respects the most easy, 
bluff, and genial representative of Belcore that could be wished. The 
four principal characters thus supported, and the rest of the performance 
to match — Mr. Costa heartily appreciating, as he always does, the merits 
of this lively, neat, and sparkling music, and directing his band and 
chorus eon amort — ^no wonder that L'BlUir d'Amore should recover all 
its pristine attraction, and be listened to with fresh gratification. Sel- 
dom has a crowded audience been more enchained and fascinated than 
that of Saturday night. The new Adina — or, ** to* speak by the card," 
the Adina of one summer — fairly, to use a common phrase, " surpassed 
herself." The fir^t duet, in which the rustic beauty cruelly places 
her lover, urging him to the impossible feat of bestowing his affections 
elsewhere, gave an inkling of what was to follow. The " Tu non 
vvLoi^—fereAbf* — when Nemorino vows that to think of an v other than 
nerself is out of his power, was uttered with incomparable archness. 
Then, the Nemorino of the evening being in every sense worthy of his 
partner, the reflned and delicate bye-play was not, as too frequentlv 
happens, all on one side, but honestly divided. The audience beheld, 
as it were, a vision of the past. So it was in the duet with Dul- 
camara, who in the spoilt coquette finds no such willing purchaser of 
his vaunted panacea — no such dupe, in short, as the perplexed and 
amorous Nemorino. If of the latter the charlatan might well declare 
that, though in his traveb he had met with many a fool, he had never 
till now met tuch a fool as his village acquaintance, of the former he is 
compelled to admit that she is better than a match for himself:^ 

*'Ahi, Dottore e troppo scaltra, 
»*PiilditecoBte*nesa«'\ 

Adina's elixir is moi^e potent than Dulcamara's; it exists, as she 
slyly insinuates, in her face and in her eyes: — 

"La ricetta b il mio visino, 
"In quest* occhi h I'elisir.'* 

And doubtless it was a veiy similar elixir, the legend notwithstanding, 
by means of which "La Beale Isonde" enthralled Sir Tristram de 
Liones, in their sea passage from Ireland to the Cornish coast. The 
duet in question was sung and acted, from begininff to end, by Made- 
moiselle Patti and Signer Ronconi, with a point, a humour, an unflag- 
ging spirit, that raised the enthusiasm of the audience to the highest 
pitcli ; and there was no choice for the performers but to return to the 
stage and repeat the final movement. Notwithstanding this, the 
plamtive and beautiful *' Una furtiva lagrima,'' which comes immediately 
after, was given by Signer Mario with such depth of sentiment, such 
finished phrasing, such truly natural and touching expression, that 
again the audience were enraptured. A repetition of the romance, 
demanded with unmistakable unanimity, was not to be resisted; and 



Signer Mario showed his sense of the compliment by singing it, if 
possible, even better the second time than the first. Only a few of the 
most striking features of this admirable performance have been alluded 
to ; the rest, witii a glance at the barcarole for two voices, " lo son 
ricco, e tu sei bella," where Dulcamara mockingly woos Adina, he as a 
"senator," she as a modest "gondoliera" — into the genuine "fiin"of 
which both Mademoiselle Patti and Signor Ronconi entered with, a well- 
sustained vivacity that elicited the continued merriment of the 
house — must be left to the imagination. 

The programme for the current week includes the last performance 
of Don &tdvami»— Madlld. Patti as Zerlina (to-night) ; the Traoiata— 
Madlle. Artot as Violetta (to morrow) ; the Fropkite—Sifpor Tamberlik 
as Jean of Leyden (Thursday) ; Fatut $ ifar^Aer»to--Madlle. Path's 
last appearance this year as Margherita (Friday) ; and the last perfor* 
mance of Vh BaUo in Maschera (Sattird&y). The EtoUe dH Nord^ with 
Madame Miolan Carvalho as Gatarioa, is announced for Saturday week. 
Meanwhile the season — one of the most suoeessiul on record— Is 
rapidly drawing to a dose. 



MIREILLE. 
By the Late P. A. Fiobsntino. 
Mireille, or Miriio^ is the heroin!e of a Proven9al poem, which contains 
some great beauties. Nothing can be more fresh, more poetic and 
more gentle, than this charming story, commencing like an idyll and 
conduding like a legend. It is the simple and touching history of the 
loves of a farmer's daughter and of a poor basket-maker; but if the 
fable is of the most artless description, the details and episode, wiiich 
heighten its effect and serve as a frame -work for it, display astoniahinff 
richness and variety. At times its tone rises to that of an epic, and 
some of its pages might really compete in vigor and grandeur with &e 
works of the Ancients, of whom the author, M. Mistral, says he is a 
humble disciple. The poem has twelve cantos. The piece follows it 
as best it may, condensing and turning it into stanzas, more or less 
successful ; but I greatly prefer a literal translation, in the absence of 
the Provencal verses, which unfortunatelv the reader would not com- 
prehend, ft is Mireille, who, with the chaste ingenuousness of adoles- 
cence, takes the initiative, and induces Vincent, the handsome badiet- 
maJcer, to avow his passion for her by courageously declaring that she 
loves him : — 

" So you think me prettier than ^our sister, do you?" says the young 
maiden to Vincent.—** Much prettier," he replies.— «• Yet what is there 
in me more than in her?" — '* Divine Mother ! what is there in the 
goldfinch more than in the shrill wren, except it be beauty itself, and 
song, and srace J My sister, from running about the pasture-lands, 
my sister, like the branch of a date tree, has sconced ner neck and 
her face in the sun ; as for you, beautiful creature, I think you resemble 
the flowers of the asphodel ; the tan-colored hand of Summer does 
not dare to caress vour white forehead. My sister is still as dim as 
a libellula of the brook. Poor girl ! She grew up in a year ! But 
you, Mireille I . . . ." 

And he looks at her with so beaming an eye, and tells her so artless- 
lessly in what she differs from his sister, that the maiden, letting fidl 
the mulberry-branch from whidi she is plucking the leaves, replies 
with a blush : ** Oh, Vincent, how you talk !" Nothing can express all 
the content, the joy, the tender reproach, and the modest tenderness 
contained in this name thus pronounced. The two young creatures 
discover a tomtit's nest, and, after a most charming scene, which we 
might fancy borrowed from the most pleasing pages of JDaphnU ei ChM, 
the mulberry-branch to which they have been cUnging snaps and sud- 
denly breaks off. Mireille and and Vincent, '* entwined in each other's 
embrace, like twins," fall upon the supple darnel-grass. After the lapse 
of an instant, the poor girl, freed from the young badcet-maker's arms, 
sits down, quite pale, upon the sloping ground, while poor Vincent, 
trem bling with anxiety, says : — 

«• Tou have not hurt yourself, have you, Mireille? Oh, shame of 
the Alli^e, tree of the Devil, tree planted on a Friday, may atrophy 
wither you up ; insects devour you ; your owner abhor you V* But, 
with emotion which she cannot overcome, she says : '* I have not hurt 
myself." Vincent overwhelms her with questions. Is she afraid her 
mother mil scold her for stopping so late to pluck the mulberry leaves? 
Or has, perhaps, the sun of May burnt and intoTocaied her ? 

** No, no T' replies the daughter of La Crau. •* Why should I deceive 
you? My breast can no longer contain the secret I . . . Vincent! 
Vincent 1 shaU I tell you ?— I love you !" 

The poor basket-maker is, at first, stupified, crushed by so much 
happiness. Humbling himself at the feet of this queen, befor$ whom 
tvtry thing bendt, and re-assured at length by her reiterated avowals, he 
says, abruptly : 

** Are you a magician, then, for the si^ht of you to fascinate me as 
it does — for your voice to rise to my brain, and render me mad, like a j 
I man under the influence of wine? Do you not see that your emb 



Digitized by V^riOOQlC 



ibnoe^ 



July le, 1864.] 



THE MUSICAL WORLD. 



451 



has filled my thoaghto with fire ? For, listen t if yon would know it, 
at the risk of your making me — the poor carrier of fire-wood — a bntt 
for your laugnter, I, too, love you ! I love you! Mlreille ! I love you 
with io much love that I could devour you !*' 

Unfortunately, liireille's lather, a harsh and avaricious man, will not 
hear of his daughter's making a bad match, and becoming the wife of 
a wretched basket-maker. He would prefer for his son-in-law Alan, 
the shepherd, whose flocks cover the plain, or Veran, who tends the 
troops of horses, or even Onrrias, the robust and savage neatherd. But 
the young girl cannot repress her aversion for her rich suitors, espe- 
cially the laat, the boldest of all, and the one who displeases her the 
most. Not only, indeed, does she reject him as she rejects ttie others, 
but she rallies and insults him into the bargain. The rage of Onrrias 
fidls upon the youn^ man whom Mirellle dares io prefer to him. In 
the poem, the two rivals have a bodily struggle, reminding one of the 
combat between Gk)liath and David. The giant succumbs, but as the 
conqueror is leaving the spot, and thanking Heaven for having been 
allowed to overthrow his formidable adversaiy, the latter brandishes 
the cattle-goad he has concealed among the furze, and inflicts a terrible 
blow upon the young man, whom he believes he has killed. 

After the murder, the neatherd, pursued by remorse, and fleeing at 
full gallop upon his aflnghted steed, sees the waters of the Rhone sud- 
denly gleam before him. He calls loudly to the boatman to come and 
ferry mm across. We now have a Dante-like vision, full of fearful 
horrors. The moment the assassin places his foot upon the stern, the 
boat sinks and staggers like a drunken man.-7-<< Wretch I you have 
killed some one I"—" I killed some one ? Who told you so ?"— « Ah T' 
continues tiie pale-faced Boatman, " I am wrong ; I forgot that it is the 
night of St. Medart. Every poor drowned wretch — ^from the frightful 
giws, from the sombre whirlpools — ^no matter at what depth he is 
buried beneath the waters — must this night return to earth. The long 
procession has already commenced. Tender they are, poor things, 
oathed in tears ! Yonder they are upon the stony bank, which thev 
ascend with their naked feet. From their garments covered with 
mud, from their dank hair, the thick water runs down in large drops. 
In the shade, uiider the poplars, they advance in rows, each holding in 
his hand a lighted taper." At length the boat sinks in the Rhone. 
The members of the mourniul procession throw a rope to the boatmen, 
who cling to it and save themselves by swimming. Ourrias also 
endeavours to catch hold of it; he cannot reach it, however, and the 
waters dose over him. The conclusion of this fifth canto, one of the 
finest in the poem, Is ohancterised by a truthfulness and energy which 
make (»ie*s blood run cold. A few words will suffice to explain what 
follows. Vincent is not killed. He has been tended and cured by 
a kind old woman, the witch Taven. But poor Mireille, while crossing 
the arid wastes of La Crau, on a pilgrimage to the Saintes, has a sun- 
stroke, and dies on* the threshold of the church, whither she was going 
to pny for Vincent. 

STREET MUSIC. 
{From «• The Book of J5<im..") 
82, MancheaUr Street, Manchetter Square, June 15» 1864. 
Sib, — You will, I trust, excuse the liberty I take in writing to thank 
you for the great boon you are conferring on my profession in par- 
ticular, and society in generaL I am perfectly certain that all the 
ladies who keep schools will be most grateful to you for your efforts 
to remove, or Umit the present nuisance of street music. You are, I 
presume, aware that the majority of the unfortunate men who torture 
London society with the dismal strains of their organs, and other 
instruments, are not bond fide beggars, but ^the hired servants of 
some speculating individual in the cSty, who provides the instruments. 
I have TiequenUy heard you spoken of by a very talented pupil of 
mine, and the fiuit of your acquaintance with her funily has em- 
boldened me to send you these few remarks. I beg again to thank you 
for your exertions regarding the nuisance of street music, very much 
indeed ; and I feel sure that the measure will be most highly appre- 
ciated by the greater part of the inhabitants of London. 
I beg to remain. Sir, Your obedient servant, 
if. T, Ba$9, £tq.t M.F, J. Balsir Chattsbtom, 

ffarpist to Her Majeety the Queen, 



To M. T. Bass, Esq., M.P. 

Sib, — ^Your undersigned correspondents are desirous to offer you their 
hearW thanks for your introduction into the House of Commons of a 
Bill for the Suppression of Street Music ; and they beg to assure you 
that, in the various ways open to them, they will, out of Parliament, 
do th^ utmost to support you in your endeavour to abolish that 
intolerable nuisance. Your correspondents are all professors and practi- 
tioners of one or other of the arts or sciences. In their devotion to their 
pnisnita— tending to^the peace and comfort of mankin4— fb^^ ue dail^ 



interrupted, harassed, worried, wearied, driven nearly mad, by street 
musicians. They are even made especial objects of persecution by 
brazen performers on brazen instruments, beaters of drums, grinders of 
organs, bangers of baiyoa, dashers of cymbals, worriers of fiddles, 
and bdlowers of ballads ; for, no sooner does it become known to those 
producers of horrible sounds that any of your correspqndents have 
particular need of quiet in their own houses, than the said houses are 
beleaguered by discordant hosts seeking to be bought off. Your 
correspondents represent to you that these pecuniary specula- 
tion^ in the misery they endure are far more destructive to their spirits 
than their pockets ; and that some of them, not absolutely tied to 
London by their avocations, have actually fled into the country for 
refuge from this unmerited persecution — ^which is none the less grievous 
or hard to bear, because it is absurd. Your grateful correspondents 
take the liberty to suggest to you that, although a Parliamentai^ debate 
undoubtedly requires freat delicacy in the handling, their avocations 
require at feast as much, and that it would highly conduce towards 
the success of your proposed enactment, if you prevail on its opponents 
to consent to state their objections to it, assailed on all sides by the 
frightful noises in despite of which your correspondents have to gain 
their bread. (Signed) : — Charles Diokens, Alfbbd Tennyson, John 
EvxBETT MiLLAis, Fbangis Gbant, Jobn Fobstsb, J. B. Hebbbt, 
John Leech, W. Holman Hunt, Wilkxe Collins, J. E. Horslby, 
W. P. Fibth, F. Sbymoub Haydn, B. Dotlb, T. Caelylb, Alfred 
WiOAN, W. Boxall, George Jones, Alfred Elmore, Thomas Faed, 
John Phillips, Thomas Crbswiok, Jambs Sant, E. M. Barry, J. H. 
Robinson, S. Cousins, L. Stocks, W. C. Dobson, Thomas Woolneb. 

To the EdUor of the Daily Tbleorapb. 

Sib, — ^Without entering into the merits of street music--in which, 
however, I am a oncere believer — ^there are one or two remarks in your 
recent leader for which I am particularly gimteful, and, coinciding so 
thoroughly with my own impressions, I am induced to write you a line 
on the same subject. When you say, ** We would rather bear the 
little evils tiiat we have than see them set right at the mere will and 
discretion of a coiistable,*' you echo my sentiments thoroughly and 
completely. The reports, tidie after time, in ^our columns, of the 
conduct of the police, as individuals, do not justify us with entrusting 
them with individual power. The other day a woman was brought up 
for assaulting a constable, and it was proved he was wrong. Some 
short time back, after hearing the evidence, one of the West-end 
magistiates said (I quote firom memory), ** I have so often committed 
pkteners on the unsupported evidence of a constable that I am sorry 
this case has come before me. I hope this officer will never offer 
evidence before me, for I should not believe him." Primrose-hill was 
not in favor of the police as a body. Set a beggar on horseback and 
he rides you know where ; but my notion is, that if you put a man 
into a blue coat and a glased hat on his head, he tries to overtake the 
beggar. If you will allow me, I should like to state one or two 
instances of MyeelfMrnM Power and a Policeman. When Garibaldi 
came to the City, I, being in Moorgate-street, wanted most particularly, 
on business, to get to St. MUdred's-court 4n the Poultry. Power in 
Moorgate-street said, *' Yon must go round.*' This I translated for 
myself, and went round, arriving at the comer of King-street. 
Power in Cheapside said, *< Can't pass yeare.*' Self said, " I must." 
Police, in a boay, grinned. Self inquired for superintendent. Power 
« hadn't got one." Self found out superintendent, who passed me 
through to next hairier, where I had to undergo a worse ordeal, until, 
finding an inspector, I got to my appointment in time to be too late. 
I have plenty of other instances in mind ; but I should probably over- 
step your l&its. If you- grant me space for the above I shall be 
obliged; and remain. Sir, yours, &c, 

One who has a Bvn>iB Opiniov of an Organ- 
Gbindbb than a Pouoeman. 



V\it €lpttt\i €\ismi S^atiti^, 

The fifth annual public meeting of friends and supporters oT Church 
Choral Society was held at rooms of Messrs. Couard and CoUard, 
Grosvenor Street, Grosvenor Square, on Monday, under residency of 
George C. Bentinck, M.P., supported by Hon. H. Walpole, G. W. M. 
fieynolds, Bev. S. Bushnell, &c, Hon. Chairman, introdudng business 
of meeting, explained objects of SocllBty, as being to assist choirs in 
London and elsewhere, not only by general superintendence and 
inspection at stated intervals, but also weekly training and tuition of 
choirs and congregational classes, as well as sending voices from 
society's choir for Sundi^^ services and week-day practices. To carry 
out these objects an emdent permanent choir was maintained by 
Society, services of which were always granted to consecration of 
churches or opening, or at opening of parochial institutions. Society 
in giving aid did not stipulate for particular form of service^ or seek to 



Digitized by V^riOOQlC 



452 



THE MUSICAL WOBLD. 



[July 16, 1864: 



alter character of mndc in church, bat endeavoured to promote con- 
gregational podmody, taJdng morioal portion of services as found. 
SSecretary read report of Soaety'a operations during past year, from 
which it appeared that upwards of 2000 visits had been paid to 50 
churches in London and elsewhere, and distance of 14,500 miles 
traversed. Register had been opened for boys' and leaders' voices, first 
examined in vocal and musical proficiency, and, if competent, 
certificated. It was now under consideration to establish Church 
Choral Institution. 

Report unanimously adopted. 

Hon. H. Walpole moved—" That having regard to results already 
accomplished by Church Choral Society afibrding assistance to 60 
churches, to character of instruction given, as well as efficiency of 
pupils, and moral influence brought to bear, meeting is of opinion that 
Society deserves every support." G. W. M. Reynolds seconded reso- 
lution, which was unanimously adopted. Other resolutions in support 
of Society having been carried, usual compliment to Chairman brought 
proceedings to close. 

(T. Jttff SSfeflrrt 



Mr. 0*wAlN Ap'Muttok apraifles the readers of this Column that 
he has suddenly returned to his post, contrary to his own expecta- 
tion and that (no doubt) of nis many and zealous disciples. 
He mildly thanxs Dr. Chidley Pidding — ^his deputy for a snort 
period ; and would be (if he could—but it is not in his nature) 
profuse in acknowledgments to the very original and enliffhtenea 
Dr. Taylor Shoe. Meanwhile, he begs that Dr. Otto Beara— who, 
by Dr.'Shoe^B desire, was to have been his (Mr. Owain Ap'Mutton's) 
sub-substitute, pending the operation to be performed on an 
Alderman^s jaws — ^will attend to his (Dr. Beaid^s) own affairs, and 
not puzzle > his brains with the conduct of Muttoniana, The 
majority in favour of Ministers, in the last great debate at West- 
minster, proved clearly to Mr. Ap.'M that he (Mr. Ap. M) had 
notbdng more to expect from Herr von Bismark, of Shloss-Esol 
(where Mr. Longears, c^owinff himself worthy his j^tronvmic, still 
continues to hang outS. Mr. Ap.'M, therefore, precipitately quitted 
the Little Belt, sold nis smack (at considerable loss), and now re- 
sumes those important f onotions confided to him by the editor of 
theM.W. 

On looking wistfully at his Wire, Mr. Ap'Mutton finds that 
Drs. Pidding and Shoe have disburthened it of all its contents, 
with the soutary exception of a brief (addressed to the latter), 
which he (Mr. Ap*M— who is not the latter), failing to apprehend, 
lays all the more timidly, before his (Mr. Ap.M's) readers :— 

Dbab Shob— Having met with a nail merchant of the name James 
Marlin Spike, while at the Onera on Saturday evening last, and who, 
durinff our conversation, maae enquiries after Dr. Shoe, as he in- 
tendea to open new accounts in London, and I gave him the address, 
244, Regent Street, trustin^p that you will do your best for him as he 
is a stranger in London ; a simple country fellow, you will say so when 
I tell vou. The Opera-house he visited was Her Majesty's Theatre, 
and the performance was the new opera, Mirella, and you know, dear 
Shoe, that in the first act there is a vineyaxd scene, where the fair 
Mirella plucks the grapes and fills the baskets. Well, we waited until 
the finale of the opera, which was very beautiful ; I accompanied Mr. 
Marlin Spike home; we traversed the Hay Market, when walking 
along he said to me, in his Lancashire way — '* £h lad, it was rare and 
hot in yon play-house, I never seed the loik afore, not as I mind 
of." Poor Marlin Spike, never saw an opera before. WeU, sir, we 
had just arrived at the top of the Hay Market, where we came opposite 
a ttvdi shop, and Mr. Marlin Spike again hollowed out in his Lancashire 
lingo — ** ESh, lad, there is a fruit shop, let*s have some of yon grapes, 
for my mouth have been running water all the Ueet since yon lass was 
plucking them from the trees;" so the fruit was purchased, and thus 
ended with a laugh. " So much "—said I— <« for Mr. Telbin." 

I am, Dear Shoe, yours, Buoknolb Bat. 
P§rry C^Uars, Spintter Alley, 

Mr. Ap*Mutton has not attempted to bleach the foregoing, un- 
der the apraehension that Mr. Bucknole Bat might be an intimate 
friend of Dr. Shoe's. Moreover, a pretty compliment to Mr. 
Ap'M.*s respected friend, Telbin, delicately peeps out from amid 
the rusticity of style which Mr. Bat assumes— no doubt with an 
end. 



Epigram. 
The only difference I donbt 

'Twizt Tietjens and Alboni, 
Is one of *em eats iaur-hraut 
And toother macsroni. 

Sdcplk Sxiiov. 

The above epigram was picked up by Mr. Ap'M., in a railway 
carriage (first-class) between Harwich and the capitaL Mr. Simon 
is possiblv less simple than his prename. 

The subjoined, mislaid by Dr.|Shoe, is now laid pn^ierly by Mr. 
Ap'Mutton : — 

iOmitted/rom Dr. Shot^M LoMt.) 

Opera Company, established to carry out, with extended provi- 
sion, objects sought by English Opera Association, voluntarily 
wound up, in consequence of constitution being found inadequate 
to req uirements. Following opinion has been given on case sub- 
mitted by directora : — 

** We are of opinion that legal effect may be given to privileges of 
shareholders and to extension of them bv dissolving Company and 
re-constructing on new basis. Companv has no power to alter memo- 
randum to extent required, and we think no alteration of present 
articles of association alone by statuary, special resolution or otherwise, 
could be safely relied upon; but we think privileges would be 
valid if Company were re-established with memorandum and articles of 
association framed so as to show plainly nature and effect of privileges 
proposed to be conferred on shareholders, and made to appear on &ce 
of memorandum that grant of privileges was one of obpects for which 
Company was established. — H. M. Caims, W. G. Harrison, Joseph W. 
Chitty." 

After receiving opinion, directors of English 0|)era Assodation 
agreed to recommend its being wound up voluntarily ; and share- 
hokiers have since confirmed same. Opera company commences 
with articles of association drawn up by Mr. Cnitty, clauses of 
which are sufiicient to meet almost any requirement Company 
have also provisionally secured Covent Gardoi Theatre, and 
arrangements with Gye appear to be of most satisfactory kind. 
Now remains with musical public and those'who desire to support 
lyric art in higher branches, to give hearty support and confidenoe 
to undertaking. (Seen and approved,) 

Mr. Ap*Mutton should feel obliged to Mr. Short if he (Mr. 
Short) would condescendiuffly keep time. His (Mr. ISiOTt^s) 
communications are invariably a seven-day in rear; and Mr. 
Ap'Mutton would prefer to nave them a sevenday in van^ 
especially when such an important matter is under rumination as 
the new Opera Company. He appeals to auditor G. Wood. 
To the Editor of MvUoniana, 

Rkvebeo Sib,— -Recently, at Hong Kong, I fell over a copy of an 
old AthsMBum^ or an old copy of an AxhmoBum, In a column devoted to 
music, I fell over the enclosed. It immediately occurred to mo that 
the famous Mr. Ap'Mutton might like to fall over the same. I conse> 
quenUy forward same, with compliments— and am, respeotflilly, 

Chang-chow t May 22. * Ulysses Plum 

{Private in Major Gordon** force), 

P.S. — You will be glad to hear we have whacked the four, Wangs- 
including Hoo-wang, who now lies headless (or trunkless, if* head 
make the Wang). 

Mr. Ap'Mutton is beholden to Private Plum, and glad that he 
(Plum) feU over- the paragraph, of which he (Mr. Ap'M.) unre- 
luctantly avails himself: — 

« Some misunderstanding seems to be abroad in regard to the Double 
Pianoforte Concerto by Mendelssohn, one of his earliest works, wAtfA 
we BZAiainBD and heard at Leipsig in the course of autumn Isst, as 
though a rule of reserve and secresy had been indiscreetiy broken with 
respect to it. Such is not the case. The Concerto had been alreridy 
performed sometime previous at one of the Concerts of the Conservatory 
Pupils, which include a numerous and competent audience. The name of 
the compoter not being announced, not any of thorn ouicftho oecret^-* 
even among the persons the most fiuniliar with its author's manner— 
asoribed it to Mendelssohn. It'*' was attributed to this and to the other 
known maeter, but by universal consent was agreed to be weaS; poor, 
and mechanical, not worthy the trouble of performance or of the nune 
qf any great German musician." 

^ Tfas composer ?^r its anthorV msaner ? 
* The composer?— or &c 



Digitized by 



Google 



Jtdy 16, 1864.] 



TH£ MUSIOIL WOSLD. 



458 



The nndentanding of the AiheMsum would aeem (in Mr. Ap.M'8 
advice), '* to be abroad in rc^;ard to ** the whole affair, if the 
MSS. of MenddsBohn are, for famil7 reascHis (or even for good 
reaBona), to be witheld from the eye of an anxious public in general, 
and from tiie eye of Mr. Ap'Mutton in particular, it altogether 
dndee Mr. Ap'M's intellectual grasp upon wjiat grounds thej 
should be placed under the eye of a repreBentative of tiae Aihenaum. 
to be examined^ and then performed for his edification. ^^ In regard 
to,*' and ^^ with respect to*' (echoing the jumble which Mr. Ap*M 
has been at pains to italicise^ here and there) the performance 
^y the *^ Conserratory Pupils"— Mr. Ap'M is of advice that those 
in whom the oaxe of Mendelaaohn's MSS. is vested, ought to be 
stenily called to account for a flagrant abuse of the honouraUe 
charge confided to them. This is not theonly instance of the dead 
master having been thus unceremoniously brought before a 
tribunal to which, living, he would have disdained appeal. His 
Ref<mnation Symphony, Mr. Ap'M has been informed, was tried 
some time since, by a party of amateurs at Berlin — and can- 
dauMd! Who were these .amateurs ?— Who authorised them 
to sit in judgment upon Mendelasohn ?— and worse, the test 
being their own amateurish performance 1 '^ In r^urd " to and 
*^with respect to" the Double-Concerto — ^Mr. Ap'Mutton would 
fain be made acquainted with the names of the persons not 
•iont of the secret** who thus exposed an unknown work bv 
so great and revered a master to contempt and oontomely* £& 
Q&. Ap*M.) presumes that the representative of the AAenmum 
was one of them ; and if cxteris paribus be accepted here as a 
rul^ their opinion is as little to be respected as their dis- 
cretion in playing so unwarrantable a trick. Mr. Ap'Mutton 
tmsts and believes that Herr Moscheles, Herr Rietz, Herr David 
and Henr Hauptmann — the indefatigable *^Four" — ^never gare (ft«tr 
sanction to each a proceeding as that of bringing Mendelssohn up to 
judg^nent before Conservatory pupils aira a critic in the Athe- 
nmum. ThatJ critic, after all, gives but an incoherent account of 
tiie transaction, and speaks mindngly as well as ungrammatically. 
How if tiie work was pronounced ^^ by universal consent to be 
weijc, poor and mechanical, not worthy the trouble of performance 
or 0^ the fame (/any great German mtmoan," it could at the same 
time be '^ attributed to this and to the other known nuuter" the 
Athenmum may perhaps ex]^ain ; not that Mr. Ap'M. would care 
to read the explanation. This is the first time, moreover, that 
Mr. Ap'M. has heard of a concert '^ of Conservatonr Pupils " tn- 
ehtding *' a numerous and competent audience." He, Mr. Ap'M., 
is as full of meekneg and charity as he is full of magnanimity ; 
but he most condemn such a tampering with Mendelssohn's MSS., 
such a hocus-pocus juggling with Mendelssohn's name and repu- 
tation, as thoroughly cusgracef ul and wholly unpardonable. Mr. 
Ap'M. apologises to his readers for thus momentarily putt' 
that calm umnitv for which he is invariably distinguisl 
his choler overtOM: and overcame him. Neverthem, he is be- 
beholden to Private Plum ; is pleased to hear that he (Plum) 
has abetted in whacking the Wangs (including Hbowang); 
and will write to his (Mr. Ap'Mntton's) intimate friend, Major 
Gordon, in his (Plum's) behalf— which may or not (as the case 
may or may not be) procure him (Plum) promotion. 

Mr. Pontifex Fonracres has two bars of music mnning In his head, 
from midnight to noon, and can't, for the ears of mm remember 
whence they came. One of the bars is queer. Mr. P. F. lays his case 
before the conductor of MuUonkma, Here are the bars : — 

Qnear.! 



j*! Br nr flnr#^^^M^f-s 



(.itfp tf i!r 1^f 1^1 p *r frr^ 



Mr. Ap'Mutton has also at times beeft haunted or hunted with 
these bars. Tlier have run in his (Mr. Ap'M.'ii) head at times. 
They are the 2dth and 39th bars of the prelude to the song of the 
Berger^^^lA jour se Uve"— in M. Gounod's delicious pastoral 
opera of MireiUe (to see which the Misses Ap'Mutton — e^^edally 
2£bs Fleece, who is musi<»l— would thank Mr. Mapieson for a box). 
Tbeseoond bur is onl^ ^^^ueer" non-poeticall^ wei(;hedt The 



song itself is omitted from the performance in the Haymarket— for 
which (Mr. Ap'M. thinks) Sig. Arditi should be called to account. 

Mr. Purple Powis prasenta his respects to the conductor of MuiUmiana 
and would be glad if he could inform him where the subjoined theme 
can be found, or whether he (Mr. Powis) has unconsdoualy generated 
a melody:— 

g^wyo a m m ueito. 



f fegH cj: a- iij gH= g^^^ 



f=i^irrVT^^ 



By a singular coincidence Miss Fleece Ap'Mutton was, last 
night, playinff the very piece from which it oomes, to solace her 
papa during his laborious duties as compiler of Muttoniana. The 
theme is the theme of the rondd of the first movement of the first 
sonatina of the six sonatinas. Op. 19, composed by Dusaek, and 
published by Muzio Clementi and Co., 26 Cheapside. So that 
Mr. Purple Powis may relieve himself of the idea of having ** un- 
consciously generated." Mr. Ap'Mutton has also generated a 
melody— but consciously. #iDSW ^n*JSfvAtmi 

King and Beards Blackch^giet, Jufy 15. 

P.S.— Mr. Ap'Mutton stops the press for the sake of an 
erratum: — 

In the seventh line of the letter to Herr von Bismark in last week's 
Mutkal World read through instead of though^ in page 438. 

S. T. Tabli. 

Mr. Table may read the line as he pleases ; Mr. Ap'M. will con- 
tinue to read though. 

N.B. — ^Dr. Shoe being indisposed, has gone to be healed at 
Little Deal. When healed Dr. Shoe will return to this post, as 
sub-editor of Muttoniana. O. Ap'M. 

NONSENSICAL RHYMES FOR NONSENSICAL TIMES. 

{N4W Seriet). 

XXVI. 

There was an old pianist called Jad, 
Who came up to London by rail ; 

But his patron, John Ella 

(Though now so much sweller) 
Had to come up on foot from Kinsail. 

XXVII. 

There was an old pianist called Jael, 
Who liked to be paid on the nail ; 

So his patron John Ella 

Had to go out and sell a 
New paletdt, to settle with Jael. 

xxvni. 
There was an old pianist called Jael, 
Who tojplease those he pUved for did fail, 

When a few notes they heard, 

They cried^ << How absurd 
*^ To set up as a pianist, this Jael !" 

XXEL 

There was an old pianist called Jael, 
Who fell on the keyboaxd like haO, 

So up got John Ella, 

With ms umbreUa, 
Wide open, to screen him from Jael. 

XXX. 

There was an old pianist called Jael, 
Whose progreas was slow as a snail ; 

So us patron, John EUa 

Nearl V Inroke his patella, ' 

In trying to aick on this Jael. 



LnrxBFOOL. — ^The entire company of the London Biiand Theatre, 
commenced an engi^ment at the Theatre Boyal, Liverpool, on the 
27th ult. 



Digitized by 



Google 



454 



TSE MUSICAL WORLD. 



[July 16, 1664. 



MONDAY P OPULAR C ONCERTS. 

Oira HUmBXI} AXrO FIFTT-SnVJBNTU CONOXBT. 
THE SEVENTH SEASON 

0> TBI 

MONDAY POPULAR CONCERTS 

mu. OOMHBirCB 

EABLT IN NOVEMBER. 



NOTICES. 



u at 



To Advektiseiw.— 2^ 0^6 o/ The J^usical Wobld « *.. , . *. i- ui i 

-^ - Co's., 244 ife^eiK Street, corner \ bmrgh took hie place. 



Messrs. Duncan Davison & 

of Little Argyll Street (First Floor). 



of Manofiictiirmg GitleB, purcbased the lease of the 
Regent Street, for bia son Frederick Beale, and Frederick 
took Addiflon for partner. After the busmees bad been a feir 
yean establiahed Beale and Addison induced the fomous pianiflt 
and composer, J. B« Cramer, to add his name to the firm, which 
thenceforward became ** Cramer, Addison & Beale.** Adduion was 
subeeqnentljbbught out by Frederick Beale ; and in theaame year the 
lirell-known William| Chappell (who holds so high a place in the 
Eterary world) was receiyed as Beale*s partner. In 1861 WiUiam 
Chappell was ^bought oat by Beale, and George Wood of £din* 
Frederick Beale diedin 1863 ; when George 



Advertisements received Wood, having, as surviving partner, the option of purchasing the 



Pay- 



as late as Eleven o^ Clock A.]i., on Fridays — hut not later, 
ment on delivery. 

To PuBUSHERS AND COMPOSERS — Music for Review must he for- 
warded to the Editor, care o/Messrs. Duncan Davison & Co., 
244 Regent Street. 

To Concert Givers.— iVb Benefit-Concert, or Musical Perform- 
ance, except of general interest, unless previously Advertised, can 
he reported in The Musical World. 



TO CORRESPONDENTS. 
A SiTBtoBiBSB or Tbv Ysabs' Stikdino is thanked for his amenitons 
retort to our note of last week. He will probably find that, in a 
■hort time, ^e " curious anecdotes and stray bits of information " 
will be multiplied — and, moreover, in the same Column. It is 
impossible to fit a periodical exclusively to the taste of any one 
subscriber ; and we cannot, therefore, undertake to discontinue what 
has met with a hearty response from so very many quarters. As our 
correspondent is in a more amiable mood, we are the more ready to 
inform him that Mr. Dishley Peters has consented to undertake the 
department of "Reviews," in the Musical World; and that he will 
commence !iis labors next week, or the week after. Of Professor 
Bennett's new symphony, anon. Surely also Herr Joachim's con- 
certo was worth an inquiry. We presume that in answeriug ** A 
Subscriber of Ten Tears* Standing '* (which we are compelled to do, 
notwithstanding his injunction), we are also answering " A Very 
Old Subscriber."' We are aware that Oxford is not in Scotland, like 
Perth and Edinbturgh ; — ^but — '-, isc. 



LONDON: 



SATURDAY, JULY 16, 1864. 



rBconverdon of the great music-publishing firm of Cramer, 
Beale & Co. into a Limited Liability Company has become 
one of the leading topics of conversation in London musical circles. 
Why one of the oldest establishments of the kind in the kingdom, 
and one which held the highest repute, not only in England, but 
throughout Europe, should resolve itaelf into a company of ahare- 
holders, bas afforded abundant matter for speculation ;^r, more 
properly, did afford it until the prospectus was issued, which at 
once set the business in so dear and full a light that all wonder 
and speculation was at an end. The company, which is entitled 
*^ Cramer & Co.,'* has been founded by a few thoroughly ex- 
perienced men of business, who perceived that the concern 
carried on under the name of Cramer, Wood & Co. was 
capable of being turned to krger purposes than came within the 
aim and compass of one proprietor, and conceived that by 
getting the establishment into their own bands, and transforming 
it into a limited liability company, the public and [shareholders 
would both be benefitted to a great |extent. The company was 
started, and so feasible was the undertaking on the threshold, and 
BO assured the advantages held out, that the shares sold off rapidly, 
and we believe are now nearly all difipoeed of. The history of a 
house which has made for itsdf a world-wide reputation is worth 
recording. Theestablishment was originally founded by Beale and 
Addison, under whose respective names it was carried on. Thomas 
Bealeof Manchester, a name of the highest respectability in the Queen 



whole business, purchased it accordingly, the value of the bufiiness 
bdng determinedj by arbitration. It will be seen, by this brief 
history, that the late Frederick Beale — whose name figured 
80 conspicuously, and always honorably, with the most stirring 
musical transactionsg of the day (the foundation of the Royal 
Italian Opera, to wit) — ^waa in reality the origin and principal 
element for 34 years of the great firm of Cramer, Beale, and Co. ; 
and that while, throughout the whole career of the establidimenti 
aU other names come and go, his alone remained a fixture nnttl his 
death. It is satisfying to find his son, -Mr. WOlert Beale^ who 
inherxts all his father^s well-known love of art, among the directors 
of the new undertaking. Mr. WiUert Beale's knowledge of mutic 
and large experience in all musical matters will be of great advan- 
tage to the company, while his association with the hoosa wiU 
sustain the prestige it acquired during his father's Hf etime. 

So much for the past. As regards the future, we may state that 
it is the intention of Directors to carry on the business apon 
the present basis and not to embark in any speculative undertaking. 
The stock of music and instruments is very large* There are 
nearly 1000 pianofortes, more than 500 of which are out on 
hire at a high remunerative price. The property further consists 
of the valuable musical copyrights of the firm, embracing, it is 
said, (including many valuable MSS.), the largest collection 
extant. For further information we must refer to the prospectus 
itself — a well-laid out and well-explained document, thonnighly 
frank and evoking public confidence at a glanc»*-whioh wiU supply 

all that is required. 

■■ 

A VOICE FROM PRAGUE. 

Ts the SdUor <if the HusiaAL Wobu>. 

SIR— 4ihe pianist, Herr Leo lion, succeeded in exciting the ezpeota- 
tion of the entire pubHo. By means of gigantic ^ preparatoiy 
announcements" of , hijs concert, posted at the comer of every 
street, he gave us dull-minded, province-bom Pcaguers a fortnight 
to reflect upon the great treat, thanks to him, in store for uj. In 
the name of all that is good, if Herr Richard Wagner thought M 
to inform us some time^ beforehand of the concerts he intended 
giving, why should not Herr Leo Lion do so too ? It is true that 
only a few years ago he was a very little personage in the Prague 
Organ School, but now he is a very great man : Berlin '* Profenor 
of Pianoforte Playing " forsooth. We certainly will not quarrel 
with him for this, and we are truly grieved at our inability to look 
up admiringly to him as a pianist and composer. The only thing 
which consoles us is the thought that the critical pen idiidi Henr 
Leo lion is said to wield with great facility, the result of long ex- 
perience, will certainly compensate for this want of discrimination 
on our part, and manage to write up in the Berlin papers our poor 
little Lea Respect for truth compels us to add that Herr Leo did 
not feel called upon to treat us Praguers again to his ^* Pianoforte 
Trio,^ so we can only hope to see, once more, next.year, his ** pre- 
paratory announcements." 
I will here refer to the concert for the benefit of the Gennan 



Digitized by V^riOOQlC- 



July 16, 1««4.] 



THE MUSICAL WOELD. 



455 



Reading Hallf becanfle it was at that oonoert tlie public heard a 
d^KtanUy endowed with genuine talent, firgt play a piece of any 
importanoe— namely, Beethoven^s Sonata in £ flat major, Op. 81, 
No. 8 — and accorded her a yery iayorable reception. MdUe. Sophie 
Dietrich has, in'conaeqaencejc^ SchulhoflTB instmctiona, made sach 
progress in a comparatively short'period, that we are able eyen now 
to declare that , the J favorable expectations expressed last year with 
regard to her are fnlfllled. Her execution of the beautiful 
Sonata waa, artistically considered, the great feature in the pro- 
gramme. A Gennan national character was given to the concert 
by the choruses, ** £rmanne*dich, Deotschland," by A. M. Storch, 
and «' All Deutschland," by^Fran^bt. 

More interesting forf those at a distance, and more important for 
our own musicai progress, were the three concerts of the Cecilia As- 
8oeia.ti0n; the ecmoertsef the Conservatory ; the '^Easter Oratorio,*' 
and the faiewell concert got up by the Cc^^SiMitler, Herr Jahn. 
The programme of the Cecilia Association consisted^of works by 
J. S. Bach, Handel, Gluck, Haydn, Cherubinl, Mendelssohn and 
Schumann. This list alone is 8u£Blcient to prove the great energy 
and activity cbaracterizing^the Association, a body so important 
for adi asMioal matters among us, and weshooki reaHy much regret 
if«-asiar«pofted— the memben Intend dissolving the Assoeiatidn 
next year, that is, in the twenty-flfth year of its existence. With 
regard to the value of the concerts this year, we must state, as a 
general characteristic of them, that, at each cf the three, kU the 
ineoes were, as a rule, peifwmed very well, and some in a more 
than ordinarily successful manner. Our warmest thanks, as usual, 
axe due to Herr Abt, for thexUsinterested attention and trouble he 
exhibited at the reheaisals, as well as for his care in conducting the 
public performances. 

With regard to the separate pieces of the programme, I must be 
aUowed to remark, in reference to J. S. Bach*s Suite in C major, per- 
fonned at the first concert, that — though the various pieces 
(»' Gigue," " Gavotte," " Courante," &c.) are in themselves highly 
Interesting compositions-— as a natural result ol the dance-music 
f ocm which is the foundation of them all, the rhythmical is the 
preponderating element, and thus the effect produced upon the 
hearar la frequently not so much a musical as a mathematical one. 
Instead of warm and blooming music, we feel, so to speak, the cold 
and barren bar-line. However refreshing, and, after a long'^course 
of modem musical hodge-podge, to a certain extent startiing, may 
be the effect produced by the sharp and vigorous introduction of a 
fugal theme, that effect becomes painful when certain parts are 
sharply present for a considerable time, and contrapuntally treated, 
while, on account of the form selected, ar^piiar fugal devebpment 
is numif flstiy impossible. Each separate piece, therefore, in a Suite 
by J.J3. Bach, will certainly, in consequence oi the masterly treat- 
ment of the form and significance of the musical expression, excite 
our admiration; but a whole series of such pieces — unlike our 
modem symphony — held together by no internal bond, by no red 
thread in the form of a leading poetical idea, will only produce 
upon US an impression'of fatigue. This last circumstance I believe 
probably impelled Franz Lachner^ try if it were possible to retain, 
on the one hand, the old forms, as they exist in J. S. Bach's Suites, 
and, on the other, not to place them one alter the other, like a 
ample string of beads, but to make them^-inwardly connected 
with sach other— the foundation and essential dements of a tone- 
jncture in the sense of the modem Symphony. Whether Lachner 
has really attained his object appear8,*after all, still a matter of 
doubt On us, at least, his last ^' Suite, No. 2, for Grand 
Orchestra** — ^performed at the concert for providing necessitous 
students with a free table— produced the impression of being a 
thoroughly sterling and correct work, affording a fresh proof of 
tkeconposec^ high musical. acqukements, but sadly deficient in 



the '* Pride, pomp, and circumstance** requisite for the poetical 
plan of a Symjihony, in the modem sense, established by 
Beethoven as a final model. 

To return, after this digression, to the programme' of the con- 
certs given by the Cecilia Association, the second piece ol the 
first concert — (Chembini's Requiem) is too well-known to need 
any comment. What Mendelssohn thought of this work of 
genius, may^be seen in his letters ; and its relation to Mozart's 
fiequiem was 'admirably set forth, a short time since, by your 
Berlin correspondent* 

Nor does Haydn's ^Symphony require any detailed notice, the 
most I have to observe being that it is impossible to understand 
why it should be efititled a " Symphony in C minor," when the 
first movement b^^ and closes in C major, whUe, in all the otiier 
movements, there predominates a joyous ** nuijor *' character. In 
the variations of the ^* Adagio," those given to the violoncello were 
more especially well executed by Herr Brichta. 

Mendelssohn's music to Antigone is a wonderful work, unique of 
its kind, and yet, in its essence, it is a failure. What did the 
Boyal Mecnnas really want, when he commissioned Mendelssohn to 
compose music to this gigantic drama of the Ancients ?— Scholars 
have settled, that the ancient chorus did not simply recite, and was 
not merely an objective witness of the drama, or the judgment of 
the public merely personified and phiced upon the stage, but took 
an active share in the plot, and declaimed in such a fashion its 
reflections — accompanied ;with appropriate plastic movements, 
expressing the various emotions, and a decided intonation of 
the verse — ^that,.strengthened by the tcnurono, there arose a kind of 
melody, which was traditionally preserved, and, as a fresh charm, 
could not fail to excite agreeably the Athenian ear, so susceptible 
to beauties of versification. But the ancient chorus' can scarcely 
lay claim to be considered an actual song in the modem sense of 
the term. — ^What was MendelaB&&'iQ.do? Was he, by a sealous 
study of the verse, and by his delicacy >of^ musical feeling, again 
to discover and les^att the old style, whicjf^had been lost, of 
declamation, as well as the melodic fall of the verse, and thus 
fender his art merely the handmaiden of dramatic recitation, 
renouncing music, properly so called in the modem acceptation ; 
light, singable melody ; dramatically moving polyphony ; power, 
and fulness, in orchestration — in a word, all that renders music an 
art? Ox was he to cast aside all the subtieties of antiquarian re- 
search, and, on the foundation of Greek tragedy, as it swept 
forward in moving majesty, construct a musical composition some* 
thing in the style of our modern oratorio ? — What his ^'^'^'^ na 
really desired, it would not, perhaps, be quite so easy, to state, but it 
is very certain that Mendelssohn himself long hesitated what course to 
pursue. With the conscientious feding peculiar to him, he thought 
himself into the subject, which, after all, was but little in accordance 
with his own taste ; and went through a whole course of Greek 
prosody and versification. In this way it came to pass that we 
have his music to the Antigone of Sophodes. The very first chorus 
liffords the best proof of the exhaustive nature of Mendelssohn's 
course of study ; it approaches, probably, nearer than any other to 
ancient melody, and yet in a musical sense it is the weakest of all. 
Where, however, Mendelssohn saw most clearly that he had to solve 
the probl^n as a modem artist, as the standard-bearer of the 
musical romanticists, and in the style of a secular oratorio— where, 
in fact, he was in the most striking opposition to the whole nature, 
the whole notion of the chorus in ancient tragedy, he Is wonder- 
fully fine, and his sixth chorus (the '^ Hymn to Bacchus ") the 
most prominent of his compositions, is the gem of his work. 
As I have already mentioned, the execution of the latter was 

* See MusioAL Wobu), No. 28, Page 860. 

Digitized by V^:iOOQIC 



456 



THB MUSICAL WOBLD. 



[July 16, 1804. 



admirableihioiighoat. The connecting text by Etiffner, and Ereon^s 
melo-dramatically accompanied yerses, were spoken excellently by 
Herr Fischer, and those of Antigone respectably by Herr Huvivrt. 
There is one rock ahead, however, which the beet ddivery can never 
clear : the saperabundanoe of interjections indicative of grief in the 
part of SLTeon. The Greek tragic writer, it is true, could manage, 
owing to the great richness of the Greek language, to introduce 
diversity in this respect, and make " ;«;, W »' altemate'Vith " aial, 
iital " and " oi/iO(." Unfortunately, the German language pos- 
sesses really no more than two such interjections, and they are of one 
syllable. Consequently, that distinguished translator, Donner could 
not avoid introducing those interjections as frequently as the verse 
required. Where, therefore, in the original, Kreon. exclaims 
" oifioij oLfjLoi " or " a«ai, Aiai/' in Grerman he expresses his 
sorrow by a four-fokl utterance of the word " Weh *» (•* Woe I"). 
The readter may easily fancy what monotony, closely bordering 
upon comicality, is the result; no delicacy of j elocution can 
dissipate this impression, and when, in a few lines, Kreon wails 
forth his " Woe I'* for the ttoentieth time,- we may be sure that the 
audience will burst out into a fit of laughter. This evil is to be 
remedied only by a somewhat freer translation. 

At the third concert, in addition to Schumann's Manfred, the 
charming women's chorus from Cherubini's Blanche de Provence, 
was eocecnted and encored, notwithstanding that, in consequence 
of their being no ladies in the Cecilia Association, it was necessary 
to have recourse to the aid of choir boys. With regard to the 
scenes performed from Gluck's Orpheus, instead of ' giving you a 
criticism of my own, I will cite the admirable remarks made on 
the work by Hector Berlioz in his JL travers Chants. 

"Gluck's Onheui is now a hundred years old, and yet. after a 
eantury of mtellectual movement and revolution in art, a« in all our 
other afeirs, it ttiU possesses its original magic power ; in the scene in 
tiie lower world, the instrumental introduction, the music to the 
dances of the Furies, the chorus of ipfemal spiriu, who are at first so 
threatening, but who, overpowejed 6y the strains of Orpheus, become 
moved more and morftp^Wsdy, the touching and- yet melodious 
entreaties of Orph^usHI&nself— in a word, everything is incomparably 

Madame Prochaska-Schmidt (Orpheus) sang the above scenes 
in the bwer world, as likewise Handel's air, finely, and was 
rewarded with genuine applause.— JBcMJwonen (per Gbokeb 

BOORES). 



MUSICAL SOCIETY OF LONDON. 

THE following Resolution was, tre understand, unanimoudy 
adopted at the last Council Meeting on the evening of 
July 4th : — 

ir'ii''^^' exp<«ence of the last five years having shown, that the 
FeUows- Meetings for discussion of Musical subjects have not been 
supported by the Fellows of the Society to the extent that was 
^^^^'"^ }o Tender ihem useful ;-that the Choral practice has also 
failed to attract such a number of Members as would render its con- 
tinuance desirable ;— and that the ConversaEione and Boir6e have 
involved an amount of personal labor and pecuniary expense far 
exceedmg the advantages derived therefrom by Members, espedaUvas 
regards the advancement of the Art of Music;— the CouncU is of 
opinion tl»t these Meetings should be omitted from the Scheme of 
1866, and that the operations of the Society for that year should be 
limited to four or five Grand Orchestral Concerts, and two Orchestral 

A wide* revolution, or one more likely to meet with general 
approval, oould not have been suggested. 



Fhilharmomic Sooictt.— The dixecton for the ensoini 
are Messn. G. F. Anderson, W. G. Cuains, Maxmaduke 
Ferrari, MotMurdie, Joseph Calkin and C. Lucas. 

The Widow of the celebrated composer, Cherubini, died recently 

M. HiNBi WflDlUlVBa, the violinist, is in Paxis. 



LONDON ACADEMY OF MIUSIC. 

The annual concert given by the professional students on 
Saturday afternoon at St. James's Hall was one of great interest. 
It was, we are pleased to record, eminently suocessfid and highly 
creditable to the Principal and the Professors. There was a large 
attendance of the friends and relatives cd the students, while the 
numbers in the balcony and galleries clearly indicated that the 
concert had awakened attention abroad. Tlie fact that the London 
Academy of Music now boasts of 200 pupik is sufficient proof that 
its reputation is widely spread, and that so eminent and experienced 
a musician as Professor Wylde being placed at the head of the 
establishment is guarantee for the effisiency and compUtaDeas 
of the instruction in eve^ department. 

Of the pianists. Miss Fynes (associate) and Miss Fanny Baker 
took the lead, the former more particularly, asc^eving a remarkable 
success. Miss Fanny Baker's p^ormance of Hummel's Andante 
in E flat was highly commented, and would have done credit to 
an established artist. Mias Dolby in Beethoven's Scmata in G for 
Piano and YiolonoeUo (M. Paque, professor, viok>noellist) ; Mias 
Ibbotaon in MendeLasohn's Adaaio and Presto Agitato; and Mias 
Clara Gottschalk in a fantasia by Pudent, showed themselves able 
and expert performers. As violinist Master Saunders, pupil of 
Herr Molique, astonished every one by his performance of 
Majrseder's Air with Variations. Of the vocal artists, Mias Jane 
Smith, Miss de Eossi and Mr. Gay may be mentioned as exhibit- 
ing great promise and likely to take a good position as oonoert 
sinffen. To Mr. Renwick's singing we have frequently alluded 
with satisfaction. This gentleman nas in a short tmie acquired a 

gisition as asinger which few have been so fortunate as to obtain, 
e appeared first in ^blic at one of the New Philharmonic Con- 
certs, and lus reception there doubtless stimulated him on to 
further labor in lus art. 

Cimarosa's famous trio, capitally sung by Mrs. Pace, Debenham, 
and Jane Smith, was one of the vocal Uts of the concert 

The pianists, we understand, are all pupils of Professor Wylde, 
and the singers pupils of Si^. Schira a^ Sig . Garcia. 

Herr W. Ganz accompanied at the pianoK>rte. 

Altogether the concert gave imbounded satisfaction, and showed 
the very great advance made in their instrtiction by the papUs 
since their last exhibition in public last year. 



PARIS. 



(,Fr0ii ourjnm ChrretpondetU.) 
Theatrical monopoly is at an end in Paris. The first of July saw 
stage-toryism quietly inhumed or ingraved, and fh>m its place of rest ' 
the Spirit of Liberty arises. What will be the result who can tell? 
Everybody seems to think hopefUlly and to look with confidence to 
the future. I say nothing. Only I so think that if bakers, butchers 
(no allusion to the curt and cogent operatic reporters of the Mutioal 
World), glovers, hatters, fishkeepers, horsemongers, greendealers, 
teagrocers, druggists and poulterers were allowed to sell what they 
pleased, it would lead to confusion more than it would benefit. I do 
not pretend to argue ; I merely echo a passing thought. If " Chacun 
Ik son eout'* be a good French motto, why should not *' Every trade 
to its fine "— " Every playhouse to its play "— '• Every operahouse to 
its music "—be good French mottos— in English ? For my part I do 
not see the good, even in futuro. However, the originators and 
legislators will soon find out its utility. The Porte St. Martin was the 
first theatre that took advantage of the liberU and transported to iU 
own stage the repertory of the Th^tre-Fran^ and the Italian 
Opera. There is no more difficult opera to render perfect in the 
execution than Rosnni's Barbiere, The most acoompUshed singing 
and acting are required to do it Justice. And yet this was one of the 
first works selected b^ the manager of the Porte St. Martin to exhibit 
the power and versatility of his companv according to the new law. 
The boldness of the attempt was entitleil to praise and pleaded exten- 
nation for short-comings. The other operatic work selected was 
JVormo, which, it seems, had even less success than the Barbiere, In 
the Barlkre, M. Capone, in the rdk of Count Almaviva, displayed a 
very aj^reeable voice and a pleasing style, but was sadly dcfident in 
his actmg. Madlle. BalU, on the other hand, in Rosina, acted better than 
she sang, but was nothing particular for thai M. Beynal, who played 
the Barber, has a good voice and is an excellent comedian, but wants 
fiicility. M. Guillot, the Badlio, has a real bass voice— a basso profondo. 
The execution of JNfbrma was altogether inferior. ^Madame Bcarlat- 
Geismar has many recommendations for the part of Norma, but her 
TOice is wom and ihe is no longer young, lladame Ismael was no 



Digitized by 



Google 



July 16, 1864.] 



THE MUSICAL WORLD. 



457 



better in Adalgin. The voice of this lady U too coane and heavy 
for the delicate priesteis, and she U not Bofficiently Javenile for the 
character. The manager of the Porte St. Martin most now be 
convinced that, when inirodacing operatic performances into his 
theatre, to commence with tha most difficult work was a gUuring error. 
For such performances his artists and his audiences were, for different 
reasons, unprepared. The Avon of Moliere, though another bold 
att-.^iii^it for the company of the Port« St. Martin, was fair more 
successful than either Rossini's or BeUini's opera. This of course 
would be naturally anticipated. 

The performance of Bacine's Utther at the Th^tre-Fran^ais, with 
choruses by M. Jules Cohen, was a success, due alike to the drama, to 
the music, and to the general performance. Madlle. Favart will 
hardly recall Bachel, who played Esther on the revival of the pieoe 
some twenty years ago, but she has eminent merits notwithstanding. 

The France MutkdU writes that Rossini has composed a funeral 
homage {Jiommage funihre) to Meyerbeer, which ** the author of 
ChjJUaume TeU improvised at the moment when the convoy of that 
great genius, whom he had cordially loved, passed under his windows 
at Pans." 

The funeral obsequies of florentino have been celebrated at his native 
place in Naples. The Neapolitan Journal II Tempo writes as follows : — 
" The remains of Fiorentino arrived yesterday and were deposited on 
a rich catafiilque in the Church of Saint-Nicolas-de-la-Douane. A 
French priest and an undertaker from P^ris organised a solemn 
funeral service to which the public were invited by announcement. 
Fiorentino had here a great reputation, and his admirers often appealed 
to his name to show to Alexandre Dumas that the Italians had still as 
much literary merit as the French. There is indeed one Journal here 
which contends that Fiorentino was the author of MonU-Critto, 
which Alexandre Dumas took the trouble to deny. After the 
funeral service the body of Fiorentino was placed in a vault of the 
Campo-Santo, where a monument, already ordered, is about to be 
erected by the family, or the heirs of the celebrated critic," 



SMART AND SPARK. 

Paris (by Electric Telegraph). 

Mr. Henry Smart, of London,* and Dr. Spark, of Leeds, have 
been some days in Pans, examining the organs at Cavailld-CoU's 
manufactory. They are greatly impressed by the purity of tone 
(eBpecially of the reeds) and the exquisite workmanship of this 
maker. The result wiU be probably, an order to build an organ 
for St. George^s Church, Leeds, whicJi will then poasesB the only 
instroment of its kind in England made by a French manu- 
facturer. 

Badiw-Badkn.— Previously to the commencement of the opera- 
tic season, which takes place on the 15th inst., liberal arrangements 
have been made to amuse ^e visitors with concerts. Among the^ 
artists who have ahready appeared may be mentioned, ^the violinist 
Herrman, and his Infe, a harpist; the violoncellist, Ondshorn? 
Mdlles. Favetier and Organi, pupils of Mad. Viardot, and Mdlle- 
Pruckner, of Vienna. TheMatineesof Mile. Eliae Lanff, who founded 
a Choral' Association for mixed Toic«, with which she pves a 
concert every week, are well attended. M. Leonard and his wife 
have arrived from Bruaaells. The Mannheim orchestra, conducted 
by Herr Lachner, will commence their concerts very shortly. The 
proerammeB of the various entertainments contain some of the best 
nttmes, such as those of Beethoven, Moaart, Mendelssohn, Schu- 
bert, and Schumann. Herr Rubinstein is here, but does not play 
in public as yet. Meanwhile, every Sunday morning he gives a 
pianoforte performance in his own rooms, to which the best society 
fl^ks in shoals. Similar entertaiments will shortly be given by 
Madame Viardot-Garcia, in the music hall she has had built on 
parpose, and which is to be opened next month. 

Ems.— The operatic performances have commenced. Among the 
ftrtists at thU season's concerts wiU be Vivicr, Servais, Batta, Hard, 
Vieuxtempe, Joseph Wleniawski. Arban, Mad. Baoudier, MdUe. 
Marion, and Mad. Lemmens-Sherrington. 

HoMBimo.— The "Kursaal" is becoming fuller everyday. The 
splendid theatre will shbrtiy be inaugurated, and the followmg operas 
given, namely: Martha, Emani, Don Juan, La Figlia del Beff^imenio, 
joim Faequale, SlradeUa, and Semiramide, 

Napl».— Antonia Montenegro, formerly a very favourite singer at 
ihe H^ft lfr Naples, and other theatres of Italy, has just died here. Her 
I is ioschbed upon a marSle tablet in the^^r of the Sjoala. 



BEETHOVEN, AS SEEN BY* A PAINTER. 

Arrca the campaigns of 18X3-1814, 1 left the army, and continued my 
artistic studies in Vienna, where already at that time the rich galleries 
of the Drinces, not then to' be found in Berlin, offered the best occasions 
for study. 

A late brother-in-law of mine. Baron von Skebeusky (the owner of an 
estate in Austrian Silesia), begged me to paint for him a portrait of Beet- 
hoven for a gallery of celebrated Vienna artists of that time. To make 
the acquaintance of Beethoven, but especiidly to induce him to sit, was 
a difficult task. The hanpy and accidental acquaintance of a friend of 
Beethoven's, the violoncellist Daut of the Imperial Opera House, helped 
me to it, especially as the latter was himself much interested in the 
sitting. Daut advised me to wait till summer, as at that season 
Beethoven usually spent some time in Mddling, near Vienna, and was 
then the most open and accessible. By a letter fh)m his friend, 
Beethoven was advised of my arrival there, and also of my desire to 
draw him. Beethoven had consented, but only under the condition 
that he would not have to sit too long. I was announced early in the 
morning. His old housekeeper told me that he would soon come, he 
was at breakfast yet ; but there were books by GK>ethe and Herder, 
which could, in the mean-time, entertain me. At last Beethoven 
came and said : " You wish to paint me, but I am very impatient." 
He was very deaf already, and when I wanted to say anything, I had 
either to write it down, or he used his trumpet, unless a young 
assistant (a relative of about twelve years old), who was present, spoke 
the words very loudly into his ears. Beethoven now sat down, and the 
boy had to practice on the grand piano, which was a present fixim England. 
The instrument stood four or five paces behind him, and, in spite of 
his deafness, Beethoven corrected the b($y's every mistake, and made 
him repeat several things. Beethoven always seemed very serious ; his 
extremely lively eyes generally looked upward with a sombre, sullen 
expression, which 1 have tried to represent in the picture. His Ups 
were closed, though the mouth did not look unkind. He liked to talk 
of the arrogant vanity and absurd taste of the Vienna aristocracy, of 
which he never thought much, for he found himself in a measure neg- 
lected, and not sufficiently understood. After about three quarters of 
an hour, he began to be restive. After friend Daut's instructions, I 
now knew that it was time to stop, and only begged him that he 
might allow me to return the next day, as I lived in Mddling. Beet- 
hoven consented kindly an^l said : " Then we can be often togetiier 
yet, for I cannot sit long at a time. Ton must look around in MSdling, 
for it is very beautiful here, and as an artist, you must be a lover of 
nature." In my walks about Modling, I met Beethoven more than once, 
and it was very interesting to note how at times he stood still, a piece of 
music and a pencil in his hand, as if listening, how he looked up and 
down, and then wrote something on the music paper. Daut had 
told me that if I met him thus, I should never speak to or notice 
him, because he would get embaraased or disagreeable. Once when I 
was sketching a woodland, I saw him climbing up a height that 
separated us, his large, broad-brimmed, gray felt-hat under his arm. 
Having reached the top, he threw himself down under a pine tree, and 
gazed for along time at the sky. — Every morning he sat for me a short 
hour. When Beethoven saw the portrait, he observed that he liked 
the hair very much ; other painters had always represented him so 
tltAy as if he had to appear at Court, and he was not so at all. I must 
observe that the oil-painting for my brother-in-law is lareer than the 
well-known lithography, that in the former Beethoven hoMs a piece of 
music in his hand, and that the background consists of a landscape. 

** Beethoven's residence in Modling was very simfde, like his whole 
appearance. His dress consisted of a light-blue coat, with yellow but- 
tons, a white -vest and neck-cloth, as worn at the time ; but every 
thing wa<! very negligent with him. His complexion was healthy, the 
skin a little pock-marked, his hair already turning gray. His eye was 
a bluish-gray, and very animated. When a storm tossed his hair about 
there was really something demoniacal about him. In friendly con- 
versation, however, he assumed a kind expression, especially if the 
conversation touched him agreeably. Every movement of his soul 
'was ihstantly expressed forcibly in his features. He told me himself 
that he often went to the Opera, listening to the performance from 
one of the upper boxes, partly on account of his inclination for se- 
clusion, and partly, as he said, because you hear the entemble better up 
there." 

Pbofessob a. von Elobib (JBirlm). 

MuNioH.— According to good authority, the Baron Oscar von Bed- 
wits has been appointed by the King, Intendant-General of the 
Theatres Boyal. 

MANNHBiM.^-Herr Bichaid WUerst's VinUa baa been lacoeiifiilly 
introduced. 

RoxB. — ^Liszt and Bemenyl ]^ycd on the 10th ult* at Caidi&a 
Nardi'B, J>t. Haynald, Biahop of TnoiQrlviDiBy Alao being (ceMnt» 



Digitized by V^riOOQlC 



458 



THE MUSICAL WOBLD- 



[Jdy 16, 1864. 



THE HABP. 

7b th4 Editor of the Musical Wobld. 

Sir, — ^I should feel obliged if you would allow me to reply, through 
the medium of your columns, to the letter on the subject of the 
" position of the body at the haro/' which I see in your last week's 
impression. It is asserted therein tnat the prevailing manner of resting 
the harp upon the right shoulder is ^ wrong ' — I say it is ' right :' it 
being the position formed from the best methods of the greatest 
performers upon the instrument — viz., Madame Erumpholtz, Count 
Neubourg, viscount Marin, Dizi, Nadermann, Labarre, Qodefroid, 
Bochsa and Parish Alvars. To put the question in the most practical 
and common sense view, let any person totally unacquainted with the 
harp, be seated at the instrument ; and I am convinced that he will at 
once naturally see the utter impracticability of gaining any command 
over it when resting it uj)on the left shoulder, from the crampness of 
such a ^sition, and the certain loss of that equilibrium to the player 
while playing. According to these remarks (in your journal), the 
harpist would require a continual movement of the body as well as the 
fingers : to prove which, a person playing with the left hand in the 
treble has only to try and look at his fingers when playing, and he will 
at once find the difficulty of doing so. Besides, I will ask any person, 
whether the fact of seeing the right hand in its prevailing position is 
not only of immense importance, but infinitely easier, £)th for the 
ezercipe of the fingers and the pedals too. Their beins again, a cor- 
responding facility with the * right* foot for the peaals as there 
unquestionably is with the r^ht hand for executing passages, is a strong 
reason why there are four pedals upon one side and three upon the 
other. It is to the touch that the player's chief attention should be 
given during performance, but which must be of little consideration if 
the performer is left-handed, as your correspondent considers correct, 
because he sees four pedals upon the right side of the instrument. 
Sebastian Erard. who had studied harps* of all descriptions made 
during a period of three centuries, surely knew how his modern harp 
' ought ' to be used, after his having digested every conceivaUe plan for 
perfecting the harp as his genius has done, as also did the highly 
eminent men I have mentioned, or they would not, for the cultivation 
of their works advise a course so feasible, but yet entirely opposed to 
your correspondent's theory. Bochsa, in particular, I am quite certain 
gives no countenance, whatever, to anything the writer has yet insinu- 
ated against the prevailing position at the harp : and to accuse so great 
a master, * he alone* of being * wrong* is, to say the least, a strong 
accusation. Your correspondent thinks an equal strength with both 
hands desirable now-a-days ; so do I, but I cannot forget tliat, to 
arrive at this, an elegant position at the instrument should be one of 
the first studies, but which, assuredly cannot be obtained if the harp be 
supported upon the left shoulder. Up to the present date the exercise 
of * aumnaatiet * has not been considered indispensable for oms who 
would perform elegantly upon the harp— but if the left-handed style 
of playing be adopted, a special gymnasium for harpiats had better be 
erected immediately. Your correspondent having always reversed the 
position of his hands from the modem school of playing, finds greater 
facilities in favor of it ; but the authorities above enumerated strongly 
disapprove his remarks upon their style as being *a modem innovation,* 
it being clear that their school is the only one that ever existed of harp 
playing. I deny most emphatically that the left hand as now used in 
the baas is misplaced, as the writer remarks. On the contrary, I con- 
tend that the right hand, which is (to one not left-handed )|the stronger 
of the two, is very well placed where it is, as the soul of me execution 
of a piece is entrusted to it, firom its superior strength and natural 
capabilities of performance. As to the want -of space, the writer of 
the letter complains of as the strings are now placed, I can only say 
that there has oeen no legitimate passage of any notable efiect {ever 
written but what has, and still can be, played as the instrument is con- 
structed.!^If the harp is to be considered an instrument upon which 
an educated or intelligent musician can study, I think the less said the 
better about the old Welsh harp as one for his choice. Allowing it to be 
ingenious and characteristic for its period, it offers nothing more than 
ingratitude for the pains bestowed upon it; and however enthusi- 
astical the ancient minstrels were, it is remarkable in all instances, 
that l^eir style of playing has been abandoned by aU modem < Welth 
harpitti ' (excepting your correspondent), who have taken any position 
as * educated Vperformers upon uie instrument. Your corr^pondent's 
remarks, I consider, apply to the Welsh manner of harp playing, which 
he himself adopts, and^ which obliges the performer to rest the harp 
upon the left shoulder, otherwise he could not play upon that 
instrament as it is constructed. His remarks have no reference, nor 
certainly the slightest importance to Sebastian Erard's splendid 
invention, nor to modem hurpists whose instructions have been built 
upon the above standard authorities. The two instruments should 
not be confounded. ^^To change the prevailing position at the harp would 
be tp ve tb« lame u iQTerting the ke^-boud of the pianoforte 



In ooDclunoDy your correspondeni's remarks, as applied to modem 
harp-playing, and the modem harp, are as erroneous as they are im- 
practicable, and in saying so, the productions of the eminent men I 
nave quoted are my authority ; their school being, I repeat, and having 
been the standard one of modem harp-pl^ying for nearly half a cen- 
tury. Apologizing for taking up so much of your very valuable space, 
I am, sir, yours obediently, John ChbbhibB| 

Professor and Member of the B. A. of Music, and principal 
Harpist at Her Majesty's Theatre, etc. 
16, Omaburgh Street, BegenCs Park, July 14, 1864. 

CONCERTS. 



At Mr. Joek Thouas's Concert, given on Wednesday evening, 
the 29th ult., at St. James's Hall, a new dramatio cantata, entitled, 
Llewellyn, was produced with genuine success. The cantata has been 
written in Welsh by the well-known Ca^ibrian bard, Talhairn. Mr. 
Thomas Oliphant has stippUed the translation, and the music is from 
the pen of Mr. John Thomas. That a great deal was expected 
from the new work may be inferred from the &ct that a first-rate 
band, under the direction of Mr. Alfred Mellon, had been provided, and 
that Miss Edith Wynne, Madame Sainton Dolby, Mr. Sims Beeves, and 
Mr. Lewis Thomas, had been secured as principal singers. Moreover, 
to do every Justice to the Welsh music, a band of harps was employed, 
the harpists being Messrs. J. Balsir Chatterton, T. H. Wright, J. 
Cheshire, H. C. Trust and G^rge, Miss Trust, and the composer, Mr. 
John Thomas. The band included the iliU of the Boyal Italian 
Opera orchestra, with M. Sainton as first fiddle. With such aids in 
tiie instramental and chief vocal department, added to an efficient 
choral force, a fair chance of success was secured for the cantata before 
hand. But this fair chance was converted into a certainty by the 
agreeable quality and decided character of the music. The audience 
was pleased, nay, delighted, and the cantata was pronounced excellent 
and Welsh to the fibres. On another occasion we may enter 
into details about the story and the music ; at present our readers 
must be content with learning that Llewellyn, Prince of Wales, Ab 
Grufiydd, Tywysog Cymm, spurns the iron rod of Edward, the Saxon 
King, partly invades England, concludes a treaty of peace with the 
tyrant, and marries his betrothed, Eleanor de Montfort, at Worcester; 
the piece concluding at Lleweljm's eastle at Aber, with a grand bridal 
display, and a demonstration in memory of those who fought and fell. 
This fertile theme affords abundant and varied opportunity to the 
musician, of which Mr. John Thomas has made good use. The cantata is 
very lonj^, and we shall, therefore, merely cite a few of the pieces which, 
on the night in question, created most effect in the performance. There 
is much spirit and character in the opening chorus — Morning Hymn, 
*< Ye hundred bards, awake I arise ! "; and the Martial Air, with Chorus, 
'*'I call on old, I call on young," was worthy of especial note, if only for 
the singing of Mr. Lewis Thomas, as Y Bardd, Qrafiydd, Ab yr Ynad 
Coch. The recitative, " Obedient to my country's wish," followed by 
the war-song, *' Firm as the sea-girt rock," for Llewelyn, magnificently 
sung by Mr. Sims Beeves, created a furor. Qreat applause also fol- 
lowed the prayer for Llewelyn and choras, t* Oh, Pow'r Supreme T' 
The air for Eleanor (2kiiss Edith Wynne), " Oh ! fain would I recite 
the days ffone by" — one of the most tuneful pieces in the oantata^waa 
greatly admired ; as was also the legendary ballad, « The chase was 
o'er on Snowden's side," so powerfully recommended by Madame 
Sainton Dolby's singing. Pernaps, however, the best composition in 
the cantata is the terzetto for soprano, tenor and base, " Long may ye 
live and long enjoy," perfectly suftg by Miss Edith Wynne, Mr. Bee?es, 
And Mr. Thomas, and whieh the audience liked so much that they in- 
sisted on hearing it a second time. Without entering into further par- 
ticulars, we may state that Mr. Thomas's new work afforded general 
satisfiustion, and that at the end of the performance he was called for, 
And when he came on was received with cheers. Of the second part it 
is unnecessary to say more than it consisted entirely of Welsh pieces, 
vocal and instrumental, in most of which the harps played a.conspicuous 
part. 

BoTAL AoADXifT OF Musio. — The third concert of Easter term, 
given by the students, took place at the Hanover Square Booms, on 
Saturday morning. The first part was devoted to manuscript works 
by the students, and on the whole was creditable to their talent. Two 



overtures — one by Mr. Hall and one bv Miss Agnes Zimmermann 
(King's Scholar) — are characterised by skilful writing if not bv brilliant 
ideas. Miss Zimmermann's overture is scored very effectively, but 



we fancied we had met with the themes before. A Hanoforte Caprice 
by Mr. T. W. Walstein, performed by the composer, has a good deal 
of merit and was liberally applauded. The caprice was introduced at 
the last orchestral trial of the Musical Society of London and favora* 
bly received. The first movement of a Concerto for pianoforte, hj 
m. Arthur Fox, is also entitled tp a irord of stroD|f pEaisei although 



Digitized by 



Google 



July 10, 1864.] 



THE MUSICAL WOKLD. 



459 



the composer was so neryons in his iplaymg that he did it anything 
bat strict justice. The remaining pieces comprised a part-song, " The 
day is done/' by Mr. Prentice (Potter's Exhibitioner); song, "Solitude," 
by Mr. Arthur Fos, sung by Miss Sophia Kellner; song, '* Heartsease," 
bv Mr. W. T. Walstein, sung by Miss f Macdonald ; and song, ** The 
Slave's Dream," by Miss Madelena Cronin, sung by Miss Fanny Army, 
tage. The part-song was entitled to -most consideration. It is to be 
hoped that the introduction of compositions by the students into one 
of the parts of the Concert will form a standing rule. It is in ac- 
cordance with the course we have always advocated and will always 
continue to advocate. Little need be said of the second part. The 
Andante and Last movement of Mendelssohn's violin concerto was 
admirably played by Mr. Balph and enthusiastically applauded. Miss 
Fanny Armytaee gave the cavatina ^ Come per me sereno," fh>m the 
SonnambuUi; mss EmUy Pitt "Una voce''; Miss Edith Wynne 
«« Should he upbraid " ; and Miss Margaret HaUe in Mercadante's " Se 
m' abbandoni,** all singing well. At the conclusion of the concert, the 
prize medals were distributed by the Countess of Wilton and the Duke 
of Leinster, in the following order : — The Silver Medal, on the ladies' 
side, to Miss Agnes Zimmerman; that on the gentlemen's to Mr. 
Walstein ; bronze medals to Miss A. Thinkel, Mr. Arthur Fox and 
anothfor young gentleman whom we failed to recognize and whose name 
escaped us. 

Ma. Kuhb's Piakofobtb RBorrALS.— A very admirable selection o^ 
classical and modem pianoforte music was performed at the Hanover 
Square Booms, on Thursday afternoon, June 23rd, by that talented 
professor and excellent player, Mr. Kuhe, in preaenoe of a Urge and 
distinguished audience. The examples of the classic master's com- 
prised Beethoven's Sonata, in A major. No. 2, and Scarlatti's Sonata 
ui C. The modern samples were more numerous, and included 
Thalberg's "Ballade"; Liszt's *' Valse " iFautC); Chopin's " Nocturne '' 
in E flat, and " Valse " in A flat; Blumenthal's ** Les Ailes '' ; and com- 
positions from his own pen, ** Harp Eolienne " (song without words), 
'* Etude de Concert," and •* Fantasia on Irish airs." The last was 
new, bat was received with all the warmth of an old acquaintance, 
the airs introduced being all well-known. Mr. Kuhe played, these 
various pieces not only like an expert manipulator, but like a thorough 
musician, who knew and felt the value of each piece, and could 
impart to it its proper expression. He also performed three of Mondel- 
ssohn's " Songs without words," namely : No. 1, Book 2 ; No. 8. 
Book 5; and No. 8, Book 3. As Mendelssohn's "Songs without 
words " may be placed in the category either of " Classical " or 
« Modem IManoforte" works, we forbear to include them in either. In 
his execution of these, nevertheless, Mr. Kuhe seemed to please the 
audience most. All three " Songs " were listened to with rapt atten- 
tion, and followed with murmurs of applause from the tenderer sex 
and loud plaudits from the rougher. Mr. Kuhe was assisted in the 
vocal department by Madame Lemmens-Sherrington, Madame Sainton- 
Dolby and Herr Beichardt. The first named ladv sang the ** Air des 
Bgoux" from Fauat, and the romance "L'Abeille" from La Reine 
Topass; to Madame Sainton-Dolby was assigned Herr Engel's n>- 
manza " Irene," and two ballads by Claribel, ** Norah's Treasure " 
and ** Maggie's Secret " ; and to Herr Beichardt his new song " Eine 
Thr&ne." Moreover, the duet ** Delia Mosa," from the PropheU was 
given by the ladies, and Biangini's duet *' Per VaUi per bosco " by 
iEadame Lemmens-Sherrington and Herr Beichardt. Need we say 
how such well-known pieces were given by such singers ? 

Mas. MsaBsrs Soians MusicALC^-The last of these spinSes was the 
most fully attended. Mrs. Merest, in excellent voice, gained special 
approbation for her expressive delivery of " O rest lo the Lord," 
{Aiiah'). Her own ballad "Bath" was also singled out for marked 
appiause. The other solos of Mrs. Merest were Winter's " Sommo 
Dio," her own ballad, ** Oh chide me not, nly mother," and '* The 
Mermaids' Cave," by the late Charles Horn. Mrs. Merest also joined 
Miss Minnie Poole, Messrs. Carter and Seymour Smith, in a quartet by 
Dr. Crotch, "Lo! Star-led Chiefs;" Miss E. Wilkinson, Messrs. 
Carter, Shoubridge and Smith, in a glee by " Hindle " (harmonized by 
Mr. Henry Baumer) ; the same in Elliott's glee, " Come see what 
pleasuro;" Miss Wilkinson and Miss Minnie Pool, in Mozart's ^Gia 
tan ritorno " (Dm ZauberfloU) ; and Messra. Carter, Shoubridge and 
Smith in Spofiorth's *' Hail, Smiling Morn." Madame Arabella Qod- 
dard was the pianist, and the effect she produced by her giaoef^ul, 
finished and exquisite performance of Handel's '* Harmonious Black- 
smith," and her 4iry-like interpretation of Mr. Benedict's " Where the 
bee sucks," may be r^tdily imagined. Among the vocal pieces that 
deserve special eulo^ was Signer Bandegger's Cradle Sons, " Peace- 
fully Slumber," which Miss Eleanor Wilkinson gave with genuine 
taste. A duet for flute and piano, exceedingly well played by Mr. 
Henry Baumer and Mr. Graeff Nicholls, and Mr. T. H. Wright's 
dever performance of his own /antoiia for the harp on National Airs 
were both featores. Mr. Henry Baumer aocompanied the vocal music 



Miss Helen Hogarth — daughter of our oldest, most esteemed and 
most accomplished musical critic—gave her first MatinSe on Thursday, 
at the Hanover Square Booms, to an elegant and numerous 
assembly. The singers were Miss Florence de Courcy, Madame Weiss, 
Miss L^Mcelles, Madame Sainton-Dolby, Signers Giuglini and Gardoni, 
Mr. Saniley and Mr. Weiss; instromentalists, Madame Arabella 
Goddard and Miss Madeleine Schiller (pianoforte), M. Sainton (violin), 
and Mr. Edward Howdl (violoncello^. The pieces which elicited the 
most applause were Mr. Benedict's pianoforte &ntasia, " Where the bee 
sucks,** played by Madame Arabella . Ghxldard, and unanimously en- 
cored, when " The last Bose of Summer " was subetitated, the fklr 
Eianist in the " Bee" and the ** Bose" alike enchanting the audience, 
ignor Giuglini* " FigUa d'Erina " (** Eily Mavouraeen," from the 
LUy of KiUamey)t encored ; and Arditi's '* Stirrop Cup," by Mr. 
Santley, also encored. There were other performances which, if 
they did not create so great an effect, had equal claims on the admira- 
tion of the hearers— as for instance, Thalberg and De Beriot's Duet on 
the Jffu^ptenoUt for pianoforte and violin, executed by Madame Goddard 
and M. Sainton— a fkultless display ; Mr. Santley's ** Non piu andrai," 
and M. Sainton's playing of his own admirable fantasia upon Fauti. 
Much deserving of praise, too, was Miss Florence de Couroy m Arditi's 
bolero " Leggiero invisibile," and Madame Sainton in the song, " To find 
thee sorromng,"— the last the perfection of ballad-singing. On the 
whole Mbs Helen Hogarth's aristocratic patrons must have felt 
thoroujfhly gratified. 

Madame Shkphbbd Let's annual concert attracted a large audience 
to the Hanover Square Booms. The singers were Madame Lemmens- 
Sherrington, Mrs. Merest, Signer Nappi, Mr. Garter, and the concert- 
giver. The instrumentalists were Madlle. Bido (the Hungarian 
violinist), Herr Coenen and Mr. H. Baumer ^pianists}, and Herr Lidel 
(violoncellist). Madame Shepherd Ley exhibited her acquaintance 
with the dramatic style of " Bobert toi que j'aime," which she gave to 
the entire satisfaction of the audience. An Italian aria, ** La Bosa dell 
Alpi," equally well sung, showed her proficiency in another school. 
Madame Lemmens-Sherrington gave Mr. Boscovitch's "Sweet 
Nightingale"; and Mrs. Merest Mozart's "L'addio" (which is 
not Mozart's) both with remarkable success. Mr. Henry Baumer 
played Weber's "La Gaiety" admirably, Madlle. Bido and Herr 
Coenen joining in a Sonata for violin and pianoforte by Beethoven, 
and the fair violinist concluding the first part of the programme with 
an excellent performance of a Moreeaux de Salon by Vieuxtemps. The 
second part included, amongother things, an effective performance by 
Herr Coenen of Vincent Wallace's Graeovienm^ some songs by Mr. 
Carter, Signer Nappi, and Madame Sherrington. Mrs. Merest's ballad 
" The cham is broke that bound me,** excellently sung by the com- 
poser, and "Le faodo un inchino," by Mesdames Sherrington, 
Shepherd Ley, and Merest. The accompanists were Messrs. Kallmark, 
Baumer, and A. S. Pearce. 

Miss Elizabeth Stevenson's seventh and last " Becital of Pianoforte 
Music '* took place on Monday last, at Messrs. Cramer's rooms, whioh 
were fully ana fashionably attended. Miss Stevenson is (as we think 
we have before stated) a pupil of Moscheles, and a worUiy pupil of an 
eminent master. Her sterling qualities as pianist will be better 
appreciated when they are more known. The selection of pieces was, 
as on previous occasions, chiefly made from the works of the classical 
masters. On this occasion Miss Stevenson gave Weber's grand 
Polonaise in E flat ; Moscheles' Variations on the " Harmonious 
Blacksmith ;/" a Sonata bv Scarlatti ; Beethoven's Sonata PatioraU (in 
Df Op. 28); some of the Lieder ohna WorU of Mendelssohn; a 
Sehlummtrliidhy Schumann; MareheFunebre by Chopin; and aBomance 
by Mozart Miss Stevenson was assisted by Madame Henrie, an 
intelligent and pleasing vocalist, who gained the applause of the 
audience by the agreeable manner in which she sang two songs by Mr. " 
Henry Smart, and " My Home in Cloudland " from Mr. Benedict's 
operetta The Bride of Song, 

Mb. Ignaob Gibsons, the well-known pianist, gave his second 
tnatinie at his residence, Sunderland Terrace, Westbourae Park, on 
Monday, and was honored by a full and &shionable attendance. Mr. 
Gibsone played the AndaMe and Allegro Finale from Beethoven's 
Sonata in E flat. Op. 27 ; " Deux Valses," Op. 64, by Chopin ; and 
aeveral pieces of his own composition, all with good effect. Of his 
own pieces the " Chanson a Boire ** (Scens Oaraeterietique) pleased roost, 
and Mr. Gibsone was called upon to repeat it by general desire. Mr. 
Gibsone also contributed two vocal tnoreeaiix — ** Song of the Fairy," 
sung by Miss Florence De Courcy, and " The Memory of thy Voice," 
sung by Miss Palmer Lisle — the first very pretty and tuneful. Other 
vocal pieces were given, among which we may specifiy Arditi's bolero, 
" Leggero Invisible " by Miss De Courey, brilliantly sung and deser- 
vedly encored, and Mr. F. Bomer's song " Thyri the Fair," by 
Miss Bose Milton, who has an agreeable contralto voice^-also encored. 



Digitized by V^riOOQlC 



4eo 



THE MUSICAL WORLD. 



[July 16, 1864. 



Cbtstal Palaoe ^Oonrnvnieated and odridM^D.^For the coining 
few days a host of attractions is announced. To-day and Monday the 
great fites of the Dramatic College will he held. As at these nearly 
aU the principal actresses and acto^ of the day take part no wonder 
they draw large attendances. The programme issued hy the council 
of the college will show that unusual exertions have heen made to 
render these great popular fStes attractive. Numerous excursions are 
advertised for Monday: one particularly noUceahle bringing people 
from Bradford, Sheffield, Leeds, Nottingham, Leicester, A;c^to London 
and back in a single day, at the ^ost of six shillings. In the grounds 
the Pneumatic Passenger Railway, interesting to all connected with 
railways, is approaching completion . By this S)comotives are dispensed 
with, pneumatic suction or pressure being the motive power. A lar^e 
hippoarome has been erected in the lower part of the grounds, m 
which for some weeks performances will be given by a troop of 
equestrians. The gardens and Park were never in such pwf ection ; the 
shrubs and plants having reached maturity. The great rosary, the 
marble vases and geometrical beds filled with the choicest flowers, 
present a spectacle which, when heightened by the display of the 
numerous fountains, is not to be surpassed. 

St. Martlbik>ke Eye iNSTiruTiov. — A concert in aid of the 
funds of this excellent institution took place in the Hanover Square 
Booms, and went off with spirit. All the artists exerted themselves 
as zealously as if they had been paid double terms. Mad. Arabella 
Goddard's chaste and brilliant execution^ with M. Sainton, of a Sonata 
by Beethoven, for pianoforte and violin, and again of a showy and 
splendid coneeriante duet for tw-o pianofortes, composed by Mr. G. A. 
Osborne (on Fauif\j 'with the composer, elicited special marks of appro- 
bation. Mr. Santley was encored in Signer Arditi*s *' Stirrup Gup." 
The same compliment was paid to Mr. Weiss, in *' When we were 
boys together," to Madame Parepa, in '*Bid me discourse," and to 
MdUe. Enequist in some Swedish airs. A duo eoneertante (harp and 
concertina) by Mr. Boleyne Reeves and Signor Giulio Regondi, a 
clarinet Solo by Mr. Lazarus ('* Traditions of Shakespeare "),and a violin 
solo, on Faust, composed and played by M. Sainton, were all much 
admired ; the whole concert, indeed, gave satisfaction. 

Mb. Haxdkl Gear's Soibees. — The last of Mr. Handel Gear's 
8oir^e» MuneaUtt on Thursday evening, was -one of the best of the 
series. Several of Mr. Geafs pupils assisted ; and among them may 
be singled out, as reflecting credit alike on their instructor and on 
themsdves, Miss Lonsdale, Miss Forbes, Miss Elden, and Mr. Assur 
Eeyser. To impart variety to the programme, which consisted chiefly 
of vocal music. Master Churchill Arudge played some solos on the 
flute, which greatly pleased the audience. Mr. Handel Gear, besides 
singing several duets with his pupils, save, at the conclusion of the 
programme, Mr. John Parry's travestie of" Blue Beard/' which afforded 
infinite diversion. 



A Tritlb Too SvABT.— The Smart Snob's Organ is grinding franti- 
cally for the benefit of the other organs for whose utterance pennies are 
also pitched into the street by people who like coarse amusement. 
While we reco^ise the sacred sjrmpathies of such brotherhood, we 
must protest against downright falsehood. The " tops of the busses" 
like a grin as preparation for the day*s work, and we allow that the Smart 
Snob supplies grin, and occasional gush, in a very honest manner- And 
one would not be hard upon claptrap necessary in the way of trade in 
these days of pushing and bawlinQ^ But as it is simply fklse, and 
not at idl funny, to say that Mr. Bass's bill for the protection of the 
sick and the dying (to say nothing of classes with whom Snobs have 
little in common) from the cruelties of the organ-fiends, is a measure 
for depriving the poor of muac, we may hint that such writing tends 
to excite a contempt which we are far from feeling, as a general rule, 
for any one who strives to please the harmless tastes of his customers. 
The bill is calculated to ^ive the poor Ma times as much music as 
they get at present, for it is meant to drive the oi^gans from quarters 
where they are not wanted. The organ-owners now derive their chief 
income from hush-money, we wish them to receive it as payment for 
welcome service. If the profits of the miscreants who import the 
unhappy Italians, treat them brutally, and mainly live upon the black- 
mail tney extort, be lessened by a police measure, we do not see in 
this prospect any case for the lamentations of a respectable joumtUist. 
As to sneers at the alleged feelings of the late Mr. Thackeray, or at 
those of Mr. Carlyle, Mr. Charles Dickens, Mr. Babbage, and the 
musical artists of London, such things are matters of taste, and the 
tops of the busses are not, periiaps, very appreciative of true art or 
science. But tell the truth, even to smart Snohi,^Puneh. 

Dsesden.— The Theatre Boyal, which has just been renovated, was 
re-opened lately with Schiller's Jungfrau vm Orleans, preceded by 
WeWs '« Jubel-Ourerture." 



Early in Jaly, 

PRIZE POEMS receiving the 100 Guineas offered in 

J_ the Advertisements, "Ho! von a Shaxspiaeb,'* and awarded by Meeen. 
Webeter, J. Stirling Gojne, Andrew Halliday, George Rose, and Thomas 8. Stuart. 
Illnstrated with Uthograph Portraits of Queen EUnbeth and tlw Qoeen of Beaatf. 
Can be had oaAtn at all the twst Drapers in the Kingdom, or fonravded, on receipt 
of stamped address to DAT A Sons, Lithographers to the Qaeea, Publishers, LtBoolal 
Inn Fields, London. 



M 

Sqnar 



R. G. W. HAMMOND will play his "Impromptu" 

_ at Messrs. Holmes and Hammond's Concert, THIS DAT, at the Haaorer 
nare Rooms. 

Published by DtmoiB Datisox A Co., 244 Regent Street, W. 



"DEETHOVEN'S POLONAISE (in 0) will be played by 

JL) Ma. G. W. HAMMOND at Messrs. Holmes and Hammond's Conoert, at the 
HanoTer Square Rooms, THIS DAT. 
London : Published (prioe Ss.) by Dtmoiv Datison A Co., 244 Regent Street, W. 

TrOGLER'S " MARCH of the DANISH GUARDS," 

V for the Pianoforte, prioe Ss. " The Danish soldiers are being led to battle to 
the exdting stnOns of this fine March." 

London: Published by DmiOAH Davuox * Ob., S44 Regent Street, W. 

THTB VOICE AND SnronfO, by APOIiFO FTBRRA,TII~ 

THE new Edition of this celebrated Work on "Thr 
FouiAnox AXD CuLTiTAnoH or TBI Void Foa Swaaa ** is published, prioe 

DuHOAH Dahsox A Co., 344 Regent Street, W. 

TABANTXIiLA, by WALTIBB MAGVABBmri 
n^HIS popular Morceau for the Pianoforte, played with 

JL sneh distinguished success by the Composer at his Conoerts at the Hanorer 
Square Rooms, is published, prioe 4s., by 

DuiiOAK Dayisoh a Co., 2U Regent Street, W. 

In the Press, 

To be Pabllahed by Subtoription, 

A MASS in B flat, for Soprano, Alto, Tenor and Bass. 

J\ Solo, with Chorus. Composed and dedioated by permlsslOB to His Imperial 
Mi^ty Dox PsDBo IL, Emperor of Brasil, 

By WELLINOTON GUERNSET. 

Ts Subteribtn, tt,; If!on-aubsonb&% It, 6tf. 

London : Ddsoav Datisov A Co., 244 Regent Street, W. 

A DELINA PA TTI. 
"DI GIOJA INSOLITA," 

Walts, sung by Mdlle. Adeline Patti with Distinguished Snoeees. 

Composed by MAURICE STRAKOSCH. 

Price 3s. 

With a Portrait of Mdlle. AdeUoa PattL 

L(>ndon : DosoAB Davisov * Co., 2U Regent StreeU 

"DI GIOJA INSOLTTA" 

Is also Transoribed for the Pianoforte by 

B. ANDREWS. 

Prioe ss. 

OABL OTTA PA TTI, 

"I WOULD HEAR YOU, WARBLER" 
(L'Usignuolo— The Nightingale). 

Sung by MdUe. Carlotta Pattt with distinguished suoccas. 

Composed by E. MUZIO. 

Price 48. 

With a Portrait of MdUe. Carlotta Patti. 

London : Duvoai Datisov ft Co., 344 Regent Street, W. 

Just Poblishod, prioe 3s., 

'' MT HEART'S IN THE HIGHLANDS." 

(•« Meln Hers iit In Hochland.") 
Composed bt 

ALEXANDBB BEICHABDT, 

Composer of ** Thou art so near and yet so tar.** 
London : Duxoax Davison A Co., 244 Regent Street, W. 

Jnst PublUhed, 

«' HABK, THE BEIiLS ABE BINGINa," 

NEW 80NQ 

henby'^smabt. 

The Woids by W. H. BELLAMY, Esq. 
' Companion to his oelebrated " L ADT OF THE LEA.** 
Price 8s. 
Lcndon : dovoah Datibos.* C<h, M4 Regent Stmt W. 



Digitized by 



v^oogle 



July 16, 1864.] 



THE MUSICAL WOBLD. 



461 



ASHDOWN AND PARRY'S 

RECENT PUBLICATIONS 

FOB 

THE PIANOFOETE. 



Kobe. " The Pagrim of Love" 



Price 3b. 



Eulie. " Sing, Birdie Sing." Transcription of 

Qans*0 Popular Song • . . . Price 8b. 



Kulxe. " La Favorita." Fantasia on the Opera 

of Donizetti Price 4b. 



OtaXLZ. " La Vivacity." Polka de Concert. Price 4b. 



Ghmz. " I Puritani." Fantasia on the Opera 

of Bellini . ■ Price 4b. 



GkuiZ. "La Sonnambnla." 
Opera of Bellini 



Fantasia on the 



Price 4b. 



Salaxnan. <' Twilight Thoughts." Nottumo. Price 4b. 



Salaman, "Joy." Impromptu 



Price 3b. 



SohloeBSer. ''LaHarpeSeraphique." Morceau 

briUant Price 48. 



SchloOBSer. " Une rose des Alpes." Styrienne. Price 4s. 



Ckdiloesser. " Danse Catalane.' 



Price 3b. 



GibBOne. " Dans les Nuages." Valse brillante. Price 3s. 



GibBOne. " The Smging Apple." A fairy tale. Price 3b. 



Scmbier. " Marche des Troubadours." 



Price 3b. 



Sootaon Clark. "The Crystal Fountain." 

Caprice. Price 4s. 



Sootaon Clark. "La Bose Blanche." Vake 

brillante. Price 4b. 



Brisaac. " Oomin* thro* the rye." 



Price 3b. 



B^laaao. " Weber's last Walti." 



Price 38. 



Boyton Smith. " La Bayadere." Mazurka 

brillante. Price 4s. 



Boyton Smith. "Phaomel." 



Price 4b. 



Sydney Smith. " Golden Bells." Caprice de 

Concert." Price 4b. 



Sydney Smith. "Unenuit^toil^e." Serenade. Price 4b. 



Sydney Smith. " Pas Bedoubl^." Morceau 

briUant. Price 4b. 



Sydney Smith. " Martha." Grand Fantasia 

on Flotow's Opera. Price 4s. 



Sydney Smith. "Les Huguenots." Grand 

Fantasia on Meyerbeer's Opera. Price 4s. 



LOHSOH: ASHD0WH&FARRT,18,HAN0V£R SQUARE. 



GOUNOD'S NEW OPERA, 

"MIRELLA," 

FEfiFOBMED WITH IMMENSE SUCGESS AT 

HEB MAJESTY'S THEATBB. 



IWOOOOQW 



OPINIONS OF THE PRESS. 

Mttor* "^jMUiff If §19$, 
**]L Ooanod bM girtn to tht world ABothar gonnine aod dunning work.**— 2^ 

J* Thtmvmit or JOraUt will ai inrely make iti way with the publlo at that of 
It/ 



A capital opera ; no liring man oonld write anything for the stage oomparable to 



** We have to thank Mr. Mapleion for giving na an opportunity of hearing the last 
work of one who certainly new is the greatest liTlog operatic compoeer.**— 5Miirri«|f 
Btvkw. 

THE PRINCIPAL VOCAL PIECES. 

1.-THB OPBNINa OHOBirS. 

This exqaislte snbiect ('* FAoaiM Cabolb *') may be had as a song, as a duel, as a 
loms, and fnr the pianoforte, by Brlnley RIcnards and Nofrdmann. The following 



quotations ftom the press refer to tliis melody : — ** There Is nothing in modem opera 
to exceed it in fireslmess and Southern diaraoter.**— ^MaMeirai. ** Nothing more 
fresh or melodious has erer been Imagined than this lovely inspiration, a worthy 
pendant to the Yalse in Faud^^'—DaUy Teltffrt^ «* Beantiihlly simple aod tender.^ 

S..THB SAVOTABD MBI.ODT. 

This simple and beautiihl melody is perfbrmed by the orchestra. It is, howerer, 
published with English words, ** fab vbom bm MouvTAum,** and in Italian, ** Ah 
BBBTATi OB sv;** and for the pianoforte by Brinley Richards and Nordmann. 

8.— THE SHEFHEHD'S SONG* 
•« FsuGB PAsroBBL,** sung Inr Mdlle. Volpini. •« A delicious little air.**— l%e Times, 
•Exceedingly charming.**— MTy TOegnvh. **A delidons melody.**— Aiteniay 



4.-ia>IiIiB. TITIENS* BOA a. 

** The most popular is the brsTura aria, ** Nov muta il Cobb.** ** More than the 
rlTal in oar estimation to the Jewel Song in Fautt, as being a purer itrain of 
melody.**— AMdariBl. 

5.-MI>LI«B. TBEBSLIiI'S BONO. 

** La trAOioMB arbiva, o Bblla,** encored every night. *« This will be in every- 
body's movtti, and It is certainly the moet catching melody in the opera.**— Aolnrfeir 
Jtevtav. ** An exquisite UtUe song.**— />ai^ Tekgrtvk, 

«L-siaNOB aiuoLiNrs song. 

<*Ab! SB B'PBBaHi MiBi.** *«A loTcly song.**— itatarday ibeiw. «*A delloloas 
caratina.**— ifomiii^ Aduriiur, 

7.-MB. SANTLBY'd SONG. 
** Si L'ABLU ■ lov RBonn.** A bold and vigorous stndn.**— AandanL 

&— THB DTTNT8. 
1. •* Cbahbob db xaoau,** sung by Mdlle. Titiens and Signer QingUni. •* One of 
the meet captivating things in the opera.**— iVwidair Timu, ** Likely to become as 
popular as anything in FmuLr-aiaiidmrd, a. *« Ah ! pabla Aiooa,** rang by Mdlle. 
Volpini and Mdlle. Tlttens. 

The Complete Open, Sn Italian or Freneh, IBs. For Piaaofinie, lOs. 



. PIANOFORTE ARRAN8EMENTS. 

THB OYXBTTrBS— Solo and Dnet. 
** Seems to be a string of popular melodies of the South of France.**- i>afl|r Mtm, 
•• Pretty, light, and esseotially pastoraL**— 3^ Timu. «• A beantUU oompoeiUon.** 
— iidMrfiier. 

THN AIBS. 
By W. H. Calloott, in Three Books, Solos and Duets. 68. and 6i. each. 



PIANOFORTE PIECES. 



Knhe*s Amtasia, Mirella 

Madame Oury'B Fkntasia 

Rosellen*s flkiuvenlrs de Mirella ( a Selections of Airs) 

Nordmann*s Bouquet de Melodies 

Brinley Richards' Choeur de Magnanarelles (the opening Chorus) . 

Brlnley Rlohardi* Savoyard Melody 

Ketterer's Fantasia, traneorlptlon (a very briliant piece) 

Lysberg*s Mirella Fantasia r. 

QanB*s Eeminlsoenoes of Mirella 

Forbes* Fantasia... •• .« 

00010*8 Mirella Quadrilles 

Coote's Mirella Waltses 

Victor ColUne*s MlrelU Yalse 



BOOSBY & Oo., 88 EoUm Street. W. 

Digitized by V^riOOQlC 



462 



THE MUSICAL WORLD. 



[July 16, 1864. 



CRAMER AND COMPANY 

CAPITAIi £10d,000» IN 10.000 SHAKES OF £10 SACH. 

PEPOBIT, £1 PBB 8HAEB. AUD £2 ON ALLOTMENT. 

CklU not to exead iZper Share, and at uUervak of not lesi than Thm Months. 

Guaranteed M^"**""™ Dividend of 10 per cent per anniun for 5 Tears. 



Dineton, 
Tos BioHT Hov. TBI VnoovHT BOBT, ILP., 48 Bntluid Gate, 8.W. 
• WiLLBBT Bsi^B, Esq., 28 GroBTenor Street, W. 
O. F. Dmmn, siq., 39 Great 8t Hele&*k, E.G. 

Hbhkt Auorarus Mubbat, Esq., 100 Park Street, Qvorrenor Sqoan, W. 
William Edqoumbb Bbndlb, Esq., Cecil Hoose, WimbledOB Park, aW. 
T. H. SOABBOBOVQB, Esq., 5 Bloomslmry Sqnare, W.O. 
JoHM GiLBBBT TALBOT, Esq., 10 Great Q«orge Street, Westminster, S.W. 

Thb Loxdox AMD Comrrr Babk, Si HanoTer Square, W. 
Thb Mbtropolitah ajid PBOvraqiAL Baks, ?5 ComUlUt E.G. 
Solidtm. 
Messrs. Mabobabt * Pbad, 80 Great Georre Street, Westminster, S.W. 

Messrs. 3B00M, Baqshaw A Wbrcott, Pabllo Aoooontants, 36 Coleman Street, EX. 
T. R. Walxbb, Esq., 21 Hanorer Square. 



J. G. Boini, Esq., Coptball Court, Throgmortoa Street, E.G., and Stook Exchange, 

London. 

Sterdartf {pro tern). 
Chablbs Shbpfabo, Esq* 

Ctfficu — 11% Pall Malli 8.W. 



ABRIDGED PBOSPBCTUB. 

TUB Company has been fbrmeil, as Its name implies, for the porpose of acqoirlng 
the boalneBs of Cbambb, Wood A Co., the weU-knoim Moslo PubUshsn in Regent 
Street 

The property oomprises the valoable Musical Copyrights of the firm, embradng 
the largest ooUeoUon of mnsto extant. The stoek of Piaaofortci and otlier musical 
instruments for sale or hlre-^one of the most extensive in the Metropolis— Is, and has 
ibr a long time beeo, highly remunerattvo. 

A conditional agreement has been entered into with Mr. Wood, the only surviving 
partner and present Proprietor, for the transfor to the Company as from the 81st of 
December last, of the entire boslifess (freo from all liaWUttes), in perlbot working 
order, tnolnding the whole stook*in-trad«, and the leases of the commanding premises, 
190, 201, 207 and 209 Regent Street, 67 Conduit Street and 55 King Street, at a price 
the Directors believe to be rtesonaUe and advantageous to the Company. The 
Directors are fortified in this view by the valuations of odknpetent authorities. 

For the period of five years Mr. Wood undertakes to guarantee— in any manner 
required by the Directors to make tiie Shareholders secure— the payment of a 
minimum dividend of i&io per cent, per annum upon the capital. 

Messrs. Broom, Bagshaw it Westoott, Poblio Aooountants, have investigated the 
accounts of the Business, and are satisfied of the solidity of the undertaking. 

With a business in active operation, and a minimum dividend of £10 per oent. 
insured forces years, the Company offers uonsual advantages as an ioTestment. 

The liability of each Shareholder will be limited to the amount of bis subseriptton. 

No promoters* ftes or promotion money in any form wiU be allowed. 

In the event of no allotment being made, the deposit will be returned in frill. 

Prospectuses, with Forms of Applioatlon for Sliares, may be obtained of the Broker, 
No. 2 Copthall Court, Throgmorton Street i at the Metropolitan and Provincial 
Bank, 75 Comhill ; at the London and County Bank, 21 Hanover Square; at 201 
Regent Street; and at the Ofiloes of the Company, 118 Pail Mall. 



CBAMEB AND COMPANY (Limited). 
•\rOTIOB IS HEREBY GIVEN, That no further 

AppUoattoos for Shares in this Company will be reoeived after Tuesday next, 



the 19th inst. 



By order of the Board, 

CHAS. SHEPPARD, Secretary pro. tem. 



NEW SONGS 



BY 



ROSSINI, 

SUNG BT MDLLE. ADELINA PATTI. 

A GRENADE, 

AEIETTE ESPAGNOLE. 



LA VEUVE ANDALOUSE, 

CHANSON ESPAGNOLE. 
Price of each, 38. 

JUST PUBLISHED, 

PEME DRAMATIQUE 

SUR 

PAITST, 

PAB 

J. ASCHEB. 

Price 4s. 



60 NEW BOND 8TBEET, 



Printed by BBBDBisosr, Rait, and Pbktox, at No. 13, Winsley Street, Oxford 

PnbUshed by WaxiAM DoxoAX Datibov, at the Ofliost M4 



in the Pailili of Maryleboae, in the Coonty of MlddloNK. 
gtrnti- JrtMr rf iy>/t<» 19, 186*. 



Digitized by 



Google 





**TBB WOBXB of ABT APPKAB8 MOST EMU i g MT IN MU8I0|^ SOrOB XT BBQUIBIB NO, lUipiUL^ NO ITTi^JBOT-^TTBB, WH08B ETWWJT 
MUST BB DBOIXVBD: IT IB WHOLLY VOBM AMD FOWBB, ABD IT BAISBS aWd KNirOBL^ WHAIIeVBB IT BZPIU^SSES.'* — Qdthe. 



SUBSCBIFTIOir, FBXB B7 POST, 208. FBB AXTNUW 

Pionftbto in advmiUM by Oash or Post-OfflOB Order to DXTNCAK DAl^^OHSf St 00.,a44, BeROnt Street, Iioxidon, W. 

IBegittend for TrantmUmn- Abroad.'] 



Vol. 42^No. 30. 



SATURDAY, JULY 23, 1864. 



^"-{Sissssr' 




HBB MAJESTTIS THEATBB. 



FAREWELL REPRESENTATIONS 

A* 

OH BAP PBIO ES. 

TIm Nlghtf of Perfbnnanoe an 
MONDAYS, TUE8DATB, THURSDAYS AMD SATUEDATS. 



TITIEN8, TRBBELLI, YOLPINI, GR0B8I. 
8ANTLET, OASSIER BBTTINI, OARDONI. 

THIS EVENING (SATURDAY), July 23bd, 
Will to nprodnoed W«ber*i Gniid Ronuuitto Open, 

"OBERON." 

Besift, MdUe. Trnnn : Pack, lCdU«. Grom ; Ftetinw, V/n^mut TmtmwfAA ; Memuid, 
ICdlltt. YoLnS; BelMrMinm, Mr. Sahtlb? ; Babekan, Sl^nor Gamikr; Oberon, 
Signor Bnmn \ and Sir Haon, Signor Gaboohi (liia iirtt appearaaea in that 
ehantlar). 

Coodnetor ... Biovob Am>ITI. 



TiM Btvand axtaulTa Soenary bj Mr. TtUiin, aaaiated by Mr. Haniy Tdbin. 
Ite iBoidfliital DanoM lkiT«nt«l and arranged l7 M. Petit. 



ARRANGEMENTS FOR NEXT WEEK. 



POBrnVBLY VOR THB IiAST TIMB THIS SBASOST. 

MONDAY NEXT, July 26th, 
Gooood'f Last New Great Work, 

•^MIREULA." 

The fcUowing ia the Distribatioo of the Parte :— 
TliiOMiin^ 8ifBor Gnroun ; Orrlas, Mr. Sahtlbt ; Ramon, Signor Ma ■nau.o JuxoA ; 
Ambroglo, Signor GASsin; Taven, Madame Tbkbilu; Ylnoenzina, Mdlle. 
Buouz; Andrelli, Mdllei YoLmo; Clemenaa, MdUe. MSta; and Mirella, 
Mdlle. Timn. 

Oondootor ... Siqiok ARDITI. 

Tba iMwaBd extanaife Soanery, and Original Eflbots, by Mr. Telbin, anisted by 
Mr. Henry Telbin. 

TUESDAY NEXT, July 26th, 
Weber*! Grand Ronantio Opera, 

"OBERON." 

(For Particnlars, reftr above). 

««FAn8T.''-IiA8*F TUCB BUT .ONB. 

THURSDAY, July 28th, 
Will be performed, for the Laet Time bat One, Goimod'i celebrated Opera, 

"FAUST." 

Faaat. Sigoor Giuoun; Yaleniln.Mr. 8a»tlbt; Mqihittophelea, Signor GAanlE; 
Wagner, Signor Bobsi ; Siebel, Madame Trkbblu ; Marta, Madame Taocabi ; 
and MargheriU, Mdlle. Txtibbs. 

Chomi of Soldieri, Citixent, Stndente, Women, Ao. 
Condnotor ... Siqmob ARDITI. 



Notioet-^The naoal Reatriotions to Evening Dress will not be enforced. 

Doors open at Half-past Seven : oommence at Eight precisely, termloatlng in time 
for the Night Trains to the Enyiroos. 

Pbiobs ^-Gallery, 2b. ; Pit, 5s. ; Dress Circle, 7s. ; Upper Circle, 6s. ; Orchestra 
Stalls, 13S. 6d. 

~ Box-oflioe of the Theatre open daily, flrom Ten till Seven', where places may be 
seenred. 

Tickets also prooorable, on the Evenhigi of PerArmaiwe^ at the Special Oflloei, 
opiBatthaBBtraiieeaofthePitar' 



^pl |Man (Bi^m, €iM t&tchti. 

LAST six NIGHTS OF THE SSASOBT. 



MDLLE. ADELINA PATTI.-^XTRA NIGHT. 

On MONDAY NEXT, Joly 25 (First Time this Season), 

**MABTHA." 

LAST NIGHT BUT FOUR. 

On TUESDAY NEXT, Joly 29, 
*<L*BTOIIilB DU NOBD." 



MR. HARRIS'S BENEFIT.-LAST NIGHT BUT THREE. 
On WEDNESDAY NEXT, July 2Y, 

yOB THB 

BHUBVtT OF MB. A. HABBlSl 

Madame Grist (on this occasion only), Mdlle. ArtOt, Madame Didi^ and Mdlle. 
AdeUna PattS ; Slgnori Graziani, Attri, Nandln and Mario. 

LAST NIGHT BUT TWO.-EXTRA NIGHT. 

On THURSDAY NEXT, Jnly 28, 

««I,»BTO II.30 PU NO'BB;'' 

LAST NIGHT BUT ONE.-EXTRA NIGHT. 

On FRIDAY NEXT, July 2», 

"FAUST B llABO gBBITA." 

POSITIVELY THE LAST NIGHT. 

On BATUIIDAY NEXT, Joly 30, 

••L'BTOIIiB DU B-OBD." 



Coodocfor 



- Miu COSTA. 



Oonunenoe at Half-paat Bight. 
Pit Tickets, It. ; Amphitheatre Stalls, 10s. 6d., 7s., and 5s. ; Amphitheatre, 2s. 6d. 

Mb: GEOBGB POLBY beg« to announce that he is 
makiog anraogaments for b Tour in the Provinces with the following dis. 
tingnished Ar&sUt— 

VOCALISTS: 
Madam« GBISI 

AXD 

Madame SAINTOB-DOIiBT. 



Ms. PATB7 

ABD 

Siflinor MABIO. 

VIOLIN : 
M. SAINTON. 



AGCOMPAN YIST : 

Hen MB7BB IiUTZ. 

The Tour will commence aboat the middle of September and terminate ia 

DcoemtMr. . 

Applications respecting Engagements to be made to Mr. Gbobob Dolbt, Bgyptiaa 



Api 



Hall, Piccadilly, London. 



TTEBEFOBD MUSICAL FESTIVAL, in the 

Cathbobal and Sbibb Hall, August 30th and 31st, September 1st and 2ud. 
ie. TiBTJBXS, Mesdame^ LBiuiKBS>SBBBBiirGTOH, Wbiss and SAnrroR.DoLBT ; 
Messrs. Sims Rbbvbb, Mohtbm Smito. Samtlkt and Waisa. Programmes forwarded 
on application to the Conductor and Hon. Sec., Mr. G. Townshend Smith, The Close, 
Hereiford. 



M<me 



CABIilSIiE CATHEDBAD. 



A TENOB AND BASS VOICE BEQUIBED. 

Testimonials to be forwarded immediately to SILAS 8AUL, Esq., Chapter Clerk.. 

Carlisle. 

Salary. MO per Aimunis 



Digitized by 



Google 



464 



THE MUSICAL WORLD. 



[July 28, 1864. 



A NTHROPOGLOSSOS.— NOW OPEN, St. Jambb'b 

J\ Hali..— This extraordinary Hccbauical Phenomenon, riTslling Nature herself 
in its Vocal and ElocoUonary Powers, will be exhibited at the Br. James's Hall, 
Piooadiilr, on SATURDAY, from Ten till Ten. Admission, One ShiUing. The 
Programme will be varied dallj. The Mechanical Yocalist to pronoonoed to be the 
Wonder of the World. 

ASTER MARSHALL HALL BELL'S (Pupil of 

Mr. W. H. HOLMBS) PIANOFORTE RECITAL of Compositions by Dnssek, 
Lbxt, Hommell, PMier, Mendelssohn, Beethoren, Bach, Handel, Woelfl and W. H. 
Holmes. THIS DAT, HAM oyaa Sqpam Rooms, at Three o'clock. 

IS8 ROSE HERSEE wUl sing "THE KNIGHT 

AND THE MAIDEN ** (Words by H. Hkmbb, Esq.), composed by Emilb 
Bbbobx, at the Olasgow City Hall, September IT and 34. 

riSS JULIA ELTON wQl sing Randboobr's admired 

^. j Cradle Song, ** PEACEFULLY SLUMBER,** and the dnet (with Miss Ross 
.iRRSBx) »Ofl, GLORIOUS AGE OF CHIVALRY" from Howard Glover's 
popular Operetta olOnettoo Cftm, at the City Hall (Concerts, Glasgow, September 
17, 24, and October I. 



Bbbob 

¥' 

Hrrsi 



IS8 ROSE HERSEE and MISS JULIA ELTON 

will sing at the City Hall, Glasgow, September 17 and 24 ; and will be happy 

to make engagements in the North of England and Scotland for other dates between 
September 12 and M. Commnnioation to be addressed to No. 2, Crescent Place, 
Burton Crescent, W.C. 



M 



M' 



M 



Patrlcl 



JR. SIMS REEVES wiU sing " THE MESSAGE," 
composed for him by BLUKiaTHAL, at the Hereford FestlTal, on Wednesday 
Evening, August 81. 

R. EMILE BERGER will play his popular Fantasia 

_ _ on Scotch Airs, •• WAVERLEY," at the Crystal Palace, July 35 at 
Myddelton Hall, August 6 ; and Richmond, August 17. 

^RS. CAMPBELL BLACK, VocaHst (Pupil of Dr. 

L FsAMOis RoBnrsoK, Vicar Choral of the Cathedral of Christ's Church and St. 

Patrick's, in the (^ty of Dublin), sings in Italian, German and French. She sings 
slso all the popular BnglUh, Scotch, and Irish Melodies, and has careftilly studied 
Hscred Music. All communicatioos respecting engagements to sing at Concerts, 
Ac., to be addressed to her at 7 Well Walk, Hamstead, N.W. 

ADLLE. LOUISE VAN NOORDEN (Soprano). 

Communications respecting engagements in Town and Country to be 
addressed to 116 Great Russell Street, Bloomsbury Square, 

OIGNOR AND MADAME MAROHESI beg to infonn 

)3 their PupiU and Friends that they have left town for the Season, and will 
return to London, September 1, for the Winter Season. Communication for engage- 
ments for Oratorios, Concerts, Ac., to be addressed to the care of Mr. W. FUh, 
concert agent, 19 Whitehart Street, Kennlngton, S. 



JL 

8,Utt 



PROFESSORS AND AMATEURS OF MUSIC. 

Authors' Works Engraved and Printed on moderate terms by F. Boweher. 
[tUe Marlborough Street, Regent Street, W. 



3^HE OPERA COMPANY (Limited),— Royal English 
. OPERA, CJovBXT GABDn.~Inoorpor»ted under ** The Companies* Act, 1863." 
pital £90,000, with power to Increase. First issue, 6000 shaies of £i each; no 
more than £3 per share will be called up without the sanction of a General 
Meettaig of Shareholders. Deposit on AppUoation, 10s. per Share; on Allotment, 
lOs. ; on the 1st September, £l. 

Robert George (button, Esq^ 8 Sussex Square, Hyde Park, W. 

Frederic Davison, Esq., 24 Fitsroy Square, W. 

The Hon. Seymoar G. Egerton, 7 Grosvenor Square, W. 

A. a Brisbane Nelll, Esq., 16 St. James's Square, S.W. 

B. Banner Oakeley, Esq., 41 Norfolk Square, H;^ Park, W. 
James Reynolds, Esq , 19 Pembridge (Hrdens, W. 

Janters— Messrs Ransom^ Bonverie ft C^., l Pall Mall East, S.W. 

A^olcre--Messrs. A. J. Brunton A Son, 83 Comhffl, S.C. 

Bpedsl pri-vfleges of admission ars given to ShareholdsrsL 

Prospectuses and Forms of Application for Shares may be obtained at the Com- 
pany's Offloes; the Brokers'; the Bsnkers' - •- 



town and country. 



and the principal MusiosellerB, in 

MARTIN OAWOOD, Secretary. 
Temporary OtBoes, St James's Hall, 69 Regent Street, W. 



DUBHAM CATHEDBAIi. 



THE APPOINTMENT OF A MINOR CANON 

TO THB 

VACANT PLACE IN DURHAM CATHEDRAL, 

Will be made by the Dean and Chapter, 

On "WBDinSBDATi the 28th day of September next. 

The TrUa of Candidatei teUcM ioiU talMjOaetat (As Hmu md memmr fe UJUM ty 

the Dttm «md Chapter. 

All applications and Testimonials must be sent in, addressed to Mr. Edwabd 
Pbblb, Chapter Clerk and Registrar to the Dean and Chapter of Dorham, at bis 
Office in the College. Durham, by whom further information as to the office will be 
given, on or before Wednesday, the Tth day of September next. 

Durham, aist July, 1864. 

NDREWS'S PAROCHIAL EDITION OF 

HENRY PURCELL'S ANTHEMS, "O give thanks unto the LoM,'* and 
oice in the Lord " (known as the Bell Anthem), in Vocal Score, Od. each. 
Either sent Post-free for Seven Stamps. Address— R. Ahdbbwb, Music Repository, 
Manchester. N.B.— This Edition Is rendered available for Choirs In Irenerai. 



"ROYAL ENGLISH OPERA, Oovent Garden.— AU 

Xv Applications for Engagements, Jtc, for the ensuing season of THB OPERA 
COMPANY (Limitedy, must be made at once to 

MARTIN CAWOOD, Secretary. 
Temporary Offices, 69 Regent Street 
32nd July, 1864. 



1>0YAL ENGLISH OPERA. Covknt Garden.— The 

1 * Nobility, Sh&redoldcrs, and the public are respoctfoUy informed that THB 
OPERA COMPANY (Limited), will oommenoe Uieir First Seaion on the second 
Monday In October next By Order, MARTIN CAWOOD, Secretary. 

SlndJalJiiaM. 



TTAMILTON'S MODERN INSTRUCTIONS 

XX FOR THE PIANOFORTE. 42Tth Edition. Price 4s. 

** Words are wanting to say anything which has not been already said In fovonr of 
this remarkable work. The 437th edition Is before us, and, after a careful perusal of 
it, we have come to the conclusion that, if hundreds of musical students who are 
wasting time and money would Just forget all that they have learned, and commense 
with this work, we feel persuaded that they would find eve^ page of It cheap st 
move than double the price of the whole work."— CTkrMtaa wcrid. 

Ditto, for Singing, 6s. 

MUSIC.— Messrs. Robbbt Cooks A Co. respectftilly beg to reiq^ the Profession 
generally and the heads of schools that they are, as heretofore, prepared to OPEN 
ACCOUNTS and to SEND OUT PARCELS of MUSIC on APPROBATION. 
Terms (gratis and post free) on application. References solicited. Returns to be 
made at the expiration of every half-year. 

A Catalogue of 8000 Pianoforte Works, also a Catalogue of 2000 Songs, DusCs, 
and Trios, with key, compass, Ac., marked. 

ROBERT COCKS A CO.'S IMPROVED PIANETTE, Parisian model, ohsok 
action, three unisons, most perfect in touch, and very powerful In tone ; ftUlcompsM. 
This elegant class of instrument Is well adapted for the use of Schools. In rosewood 
or walnut, price £26.-6, New Burlington Street Ix>odon. 

THE MODEBN HABPIST: 

A NEW WORK FOR THB HARP BY MR. APTOMMAB. 

{ToUI^tMUhedbtfaatar^ptlm), ■ 

CoMTBSTS :— Introduction— Ancient and Modem^rp-Muslo— Resources— Analysis 
of Passages— Modulation— Fingering— Tuning— Peculiar Effocts— Stringing— The 
Harp Contrasted — Classical Music — Sty le — Touch — Expression — Pedals — Ths 
Damper— Chromatic Combinations— Memorising— Playing in Public— Teachings 
Technical Terms— and Selections from the Great Masters, oc., Ac 

Prioe of Btibscriptlon, ONE GUINEA. 
Issued by the Author, 67 King Street Soho, W. 



MUSIC FOB THE SEASON. 



Music by W. H. Montgomery 

„ B. Ransford . 

n B. Ransford . 

„ Henry Russell 

, Arranged by A. F. Godfrey 



$.d 

2 6 

2 6 

2 6 

2 6 

a • 

s 



Ellsa Cook's Song ol the ** Haymakers " 
The " Harvest Home " Song 
«* Hope for the best" .... 
M Sunny days will come agaU " 
The ** Harvest Home " March 

Ditto as a Dust 

Played, with great sncoeu, by the Band of the Coldstream Guards. 

The ** Merry Sunshine " Quadrille . Arranged by Stephen Glover . 4 o 

Introducing the popular Sofig, ** I love the morry sunshine,** and beautUUIy illss- 

trated in colours by J. Brandard. 

Raksvobd a Son, 3 Princes Street, Oxford Circus. 
Early in July, 

RIZE POEMS receiving the 100 Guineas offered in 

X the Advertisements, "Ho! fob a Shakspbare,*' and awarded by Messrs. 
Webster, J. Stirling Coyne, Andrew Halllday, (Jeorge Rose, and Thomas S. Stuart 
lilostratcd with Lithograph Portraits of Qoeen Elizabeth and the Queen of Beauty. 
Can be had obatis at all tne best' Drapers in the Klugdom, or forirarded, on receipt 
of stamped address to Dat A Som, Lithographers to the Qoeen, PubHshers, Lincoln's 
Inn Fields, London. 

OGLER'S " MARCH of the DANISH GUARDS," 

for the Pianoforte, price 3s. ** The Danish soldiers are being led to battle to 
the exciting strains of this fine March." 

London: Published by DuiroAV I^avisok A Co., 344 Regent Street W. 



pi 



T 



TITB VOICS AND SINGING, by ADOLFO FEBBABI. 
HHE new Edition of this celebrated Work on "The 

FORMATIOM AXD CULTIVATIOll OF THB VolCB rOB SiNOIVO " Is published, priOS 

by 

DwQAir Datboi^ Qo^ 944 Regent Btrssti W« 



Digitized by 



Google 



July 23, 1864.] 



THE MUSICAL WOELD. 



465 



HER MAJESTY'S THEATRE. 

MIBBIO — MIBEILLE — MIRRLLA. 

( Timu—Jidy 18 ) 

Miretta was dven for the sixth time on Saturday night. The music 
of M. Gounod^ new opera is winning its way into general acceptance 
as surely as did that of Fatut last year. Its heauties may be less 
immediately apparent to the uninitiated ear ; but this is wholly attri- 
butable to the subject. Another such drama as that the materials of 
which are furnished by Goethe*s philosophical poem was not to be 
expected; and even had such another been attainable M. Gounod 
would scarcely have acted wisely in measuring himself against himself. 
The delicate pastoral of Mireio offered a new field for the exercise of 
his graceful fimcy ; and the music it has suggested is fiur compensation 
for Sl that his colabourer, M. Michel Carr6, was compelled to reject, 
in dramatizing, after the prevailing &shion, a poem the incidents and 
ifersonages of which were never conceived with a view to the theatre. 
If M. cSrr^'s raid into the unfamiliar realm imagined by the genius of 
M. Frederic Mistral may be likened to the progress of an eager wood- 
man, axe in hand, through a virgin forest of the New World, felling, 
right and left, every object that impedes his advance ; if, too— as an 
accomplished French critic (M. Jouvin) has remarked— the desert of La 
Cian, dreamt of by the Provencal poet, l)ecame reaUzed in 'the work 
of the Parisian librettist ; on the other hand, M. Gounod has contrived, 
with the assistance of his own b^utiful art, to endow the meridian 
fiction with new interest, to present it under a new aspect, to breathe 
into it a new life. For every young tree cut down from the poet's 
woodland the composer lias substituted a melody, as young and fresh ; 
while the music of the careless shepherd, which consoles even the 
worn and stricken MireiUe, is an oasis whence the spectator can survey 
the wide and desert plain with self-ratisfied complacency. To set 
Mireio to music, and preserve intact its characteristics as a poem, 
would never have occurred even to that scorner of improbabilities, M. 
Richard Wagner (whose TriUan and whose Rheingold are, nevertheless, 
unanimously judged impouibU), But why the pretty idyU round and 
about which the modern " Irovatore " has built up his poetic structure 
should not be used, in its primitive condition, for the purposes of opera, 
it is hard to guess. What M. Mistral effected for it as a poet M. 
Gounod has effected for it as a musician : and we are greatly in error 
if M. Gk)unod's new production does not hold its owp, even against the 
overwhelming popuhuity of Faust and Margaret. In the representation 
at Her Migesty's Theatre there are omissions which make 
it difficnilt for those unacquainted with the poem to know exactly what 
the story is about. The contest between Ourrias, the furious dompteur 
de taureaux, with Vincent, the basket- maker, whose possession of 
Mireille's affections has aroused the jealousy and exasperated the 
temper of his rival, is essential to a proper understanding of the con- 
text. It is because MireiUe supposes her favored lover to have ^n 
killed by her rijected suitor that she undertakes, in consonance with 
an old vow, the pilgrimage of the Saintes Maries, The duet, then, in 
which this incident is set forth, should certainly be restored, even if in 
a curtailed form, and even if the supernatural episode of the *' NuU de 
St. Mddard," where Ourrias meets the punishment due to his crime in 
the waters of the Rhone, be altogether abandoned. Moreover, we 
eaonot help thinking that, though the duet might be reconsidered, 
some of the very best music in the opera accompanies this situation — 
the insfemmental prelude and chorus ("Void le Val d'Enfer") 
especially, the opening theme of which has been arraigned as a 
pJagiarism from Menddssohn's Freeto Sehertando, for the piano, though 
beyond the fact tiiat both are in six-eight time and in the key of F 
■harp minor, there is do resemblance whatever. Next, in the scene of 
the Desert, the original song of Andreloux, the Shepherd (" Le jour s^ 
leve ">— preceded and followed by the etherially monotonous sym- 
phony a £2 '* Pifferari" for oboe and clarinet -should be restorrd, and 
the delicious air " Heureux petit Berger," now allotted to the Shepherd, 
given back to Mireille, its proper owner. This would not only preserve 
tiie delicate musical fhtmework in which the composer has set this 
incident— intended, no doubt, as a grateful relief to the music of the 
Val d'Enfer immediately precedinff, and the mirage of the "New 
Jerusalem," conjured up by Mireille*8 distracted brain, immediately 
mcceeding it — ^but it would also account for the apparition of the 
Shepherd, who now has positively nothing to do with the stor>', 
standing much in the same light as " Sir Harry with a song '* in the 
School for Scandal, and without the very natural excuse of having some 
convivial companions to listen to itw Madame Volpini, who gives the 
song which is not the Shepherd's with such piquant liveliness, would 
give the song which ia the Shepherd's just as cleverly ; Mdlle. Tietjens 
(Mireille) would be reinstated in her rights; the Shepherd's advent, 
and his temporarv influence on the spirits of the wearied pilgrim, 
would be int«dli£^ble; and the whole would have a meaning plain 



enough for the comprehension of the alowest-witted looker-on. The 
time saved by omittmjf the Shepherd's original song is scarcely three 
minutes, and for this ** salvage" both author and composer are 
ruthlessly sacrificed. To have aone with objections: we must also 
protest against Mireille's sudden recovery, in the last scene, as incon- 
sistent, absurd, and superfluous, — ^indeed, as a poor and commonplace 
expedient. By all means let her die, as in the original. As well 
might Margaret be brought to life in the last scene of FautL Because 
there is an apotheosis in Fauet, that is no reason why the ddnoAmenl of 
Mireille should be turned topsy-turvy. The first act is perfect in every 
sense — compact in form and everywhere effective. The overture is as 
pretty and lively as it is characteristic ; every phrase of the two-part 
chorus for women's voices (" Ghantez, Ohantez magnanarelles '*)— suns 
at the " Cueillette," by the gatherers of mulberry leaves— is fresh and 
tuneful; the entry of the "wise woman," Taven, is effectively 
contrasted with the joyous strains of the young girls ; the love duet 
between Mireille and Vincent (" Vincennette a votre age"), in which 
the most graceful melody of the overture reappears, is faultless in its 
way ; and the return to the first subject of the opening chorus, at the 
close, is not alone grateful, inasmuch as the repetition of so engaging a 
melody can hardly be unwelcome, but endows the whole with a 
completeness thorouglily artistic. This act — which is so In^ef that it 
might more reasonably be designated " prologue " than what is so 
entitled in Dom'zetti's Luerexia Borgia — must have occurred to M. 
Gounod just as it stands; at any rate, it seems to have been written 
off with a single ^' trail de plume,^ The second act, opening no less 
happily, with a spuited dance and chorus, " La Farandole "— 4 sort of 
characteristic dtmte du pays^ kept up with unflagging vigour and 
instrumented for the orcnestra with the composer's accuiitomed felicity 
— though not, like its precursor, one uninterrupted scene, is of higher 
musical importance, and illustrated with far greater variety. Besides 
the quaint and melodious Chanson de Magali (" La brise est douce et 
parfum^e ")— that sweet and fantastic love song of the South, with its 
chanees of time from bar to bar (not a new expedient, by the way), 
whi<£, sung by Mireille and Vincent, arrests the progress of the 
after-resumed " Farandole," — this act contains three solos, all excellent, 
but one especially noticeable. The song of Taven — " Void la saison, 
mignonne " (so admirably g^iven by ^ldlle. Trebelli) — ^is among ihe 
most original and genial pieces in the opera. Strongly marked 
character was never more happily united to genuine and spontaneous 
melody. Here, again, too, admiration is inevitably excited by M. 
Gounoid's masterly accompaniments ; but as in the treatment of the 
orchestra he excels most living composers, and as, moreover, his 
Mireille displays his genius as a musical colorist more or less 
brilliantly in every piece, it would take up a greater amount of space 
than we can possibly afford to dwell upon any single instance. In its 
way. too, the one solo given to Ourrias (how well sung by Mr. Santley 
has oeen recorded) — '* Si les fiUes d' Aries sont reines " — is just as good 
and quite as original as that of Taven. Rude and at the same time 
earnest courtship has rarely found more eloquent interpretation in 
musical sounds. The slow movement of Mireille's ^rand air (" Mon 
coBur ne pent changer "} is extremely beautiful, both in its theme and 
in the harmony which clothes it; less new, if not less effective, is the 
aUwro (" A toi mon &me, je snis ta femme ") with which it terminates, 
and which the glowing and superb delivery of Mdlle. Tietjens renders 
BO striking and impressive. The finaleio this act, although embodying 
the most dramatically important situation in the drama, u not, in our 
opinion, that in which M. Gounod has been most successful. The 
freshness, the attractive individuality, which we find in every other 
part of MireUle is, in a great measure, absent from this. The decla- 
matory phrases allotted to Ramon, indignant that his daughter should 
presume to reject the advances of Ourrias, whom he has selected as 
her future husband, are vigorous, no doubt (and Signor Junca recites 
them with unmistakable emphasis) ; the impassioned appeal of 
Mireille ("A vos pieds, h^las !") is wedded to a really impassioned 
melody; the respective characters of Ambroise, V incent's father, and 
Vincennette, his sister (in which M. Gassier and Mdlle. Reboux show 
how much can be done by intelligent acting, for parts comparatively of 
little significance) are prominently brousht out; and the slretto, or 
conclusion, in which the chorus and all the principals, including 
Vincent, are engaged, is sonorous and massive, though but timidly 
developed. Neverthdess, the finale is not a gnmd finale^ not entirelv 
up to the situation, and, as we have hinted, not so exclusively M. 
Gounod's own property, rare passages excepted, as anything else in the 
work. This, however, merely strengthens an opinion which prevails 
with musical judges, that in the composition of elaborate concerted 
pieces M. Gounod lacks the faculty to shine. Wt-re it otherwise, he 
would possess an undisputed right to the comnianding position claimed 
for him by his most zealous partizans, among living composers for the 
stage. Of the third act it is unnecessary to add anything to what is 
contained in the preamble to this short analysis.' Nor, after the 
observation! on tbo aoone in the Desert of La Crau, is i\ requisite to 



Digitized by 



Google 



466 



THE MUSICAL WORLD. 



[My 2B, 1«64 



do more than point to the harvebt choros ('* AmiB, vdci la moisson 
laite "), which, fuU of character and gentdne tune, o^s, in M. Gounod's 
happiest and most hrilliant manner, the fourth ; if not, indeed, to 
bestow a word of unqualified praise- on* the very charming 
and melodious duet, '* Ah paries encore ** ^sung and acted to perfection 
by Mdlle. Tietjens and Reboux), in which Mireille, learning from 
Vincennette the disaster supposed to haye occon^d to her lover, 
resoWes upon undertaking the pilgrimage to the Saintea Maries ; and 
to invite attention to the solo of Biireille, on beholding the mirage on 
the far horizon of the Desert, as at least (if nothing more elevated) 
one of the most forcible declamatory passages of the opera, and one in 
which the splendid vocal powers of Mdlle. Tietjens are exhibited to 
singular advatage. The last act-— where the goal of the constant and 
intrepid pilgrim is reached — is short, but to the purpose. The 
opening march and Chorus of Pilgrims ("Vous qui du haut des 
cienx * y naif in melody and unambitious in construction, is at the 
same time gorgeously instrumented, and jiaints the situation with a 
master liand. The soliloquy of the despairing Vincent (** Hon coeur 
eat plein du noir souci ") is expressive, and sung with such refined ex- 
pression by Signor Giuglini as would enlist the sympathies of an 
audience under any circumstances. Still we cannot but think that the 
absence of a carefiilly worked out duet between the lovers—who, 
having each faithfhlly redeemed the pledge of days gone by. 
unexpectedly meet before the Chtirch of the SaiiOes Mariet^ Would 
naturally indulge in a certain amount of rapture after their forced 
severanco— is hardly atoned for by a more or less sentimental solo for 
the tenor. The fkaUy however, in which the church organ, heard 
from within, plajrs its part with appropriate solemnity— is truly 
impressive, the pnndpal theme, like that in the final tno of FauH, 
being one of those large and penetrating melodies which M. Gtounod, 
after the late Meyerbeer, whose disciple in this instance (as in some 
others) he may be fairiy proclaimed, has best the secret of producing. 
There are certain alterations in the last act which we can scarcely 
regard as improvements on the original, but not of sufficient conse- 
quence to interfere with the general effect. To conclude that the 
opera of MireiUe is worthy the composer of Fatut seems to us incon- 
testable, and that it will steadily make its way in public esteem can 
hardly admit of a doubt. 

The performance, of which we were able to speak so favorably some 
days since, has ripened into excellence. The principal singers— Mdlle. 
Tietjens, Trebelli, Volpini, Beboux and Moya, Signor Giuglini, Mr. 
Santiey, MM. Junca and Gassier— one and all do their best, while 
Signor Arditi and his band merit unqualified eulogium. To cite a 
solitary instanco— the duet between oboe and clarinet (Messrs. Crozier 
and Pollard), in the charming pastoral symphony of the Desert scene, 
U an {lerfect an example of delicate instrumental execution as we can 
remember. The chorus, wherever the men's voices are employed, is 
unexceptionable; but in the chorus of the *' Cueillette," m the 
delicious idyll with which the opera commences, either the difference 
of pitch between the Paris and London orchestras (fully half a tone) 
distresses the singers, or the women*s voices in Mr. Mapleson's theatre 
want reinforcement. Of Mr. Telbin's work we have spoken. From 
the scene of the mulberry plantation (Act I.) to that of the SairUei 
Maritt (Act V.) every ialUau is so picturesque and true to nature that 
we should regret the omission of the Vol (f AW/Sir, if only for the sake 
of Mr. Telbin's share in it. 



Tiu Naval Yard, Deal.— By order of the Lords Commissioners of 
the Admiralty the important freehold estate, containing the whole of 
the Naval Yard with the extentdve buildings, dwelling houses, ibc, 
with a large house in Queen Street formerly the Port Admiral's 
residence, and ground in Prospect Place, D^al, was sold by auction 
yesterday at Garraway's by Mr. Murrell, auctioneer, under the direction 
of Mr. Bristow, the solicitor to the Admu-alty. In consequence of the 
opening of the new pier, which extends far out into the sea, and the 
proposed erection of harbour and docks, the sale excited more than 
ordinary interest. Garraway's was crowded to excess. After various 
questions had been asked the bidding commenced at £5000, and after 
a most spirited contest the property was knocked down to the 
Conservative Land Society at X13,200. A portion of the property can 
be retained as a Naval Yard and the remainder turned into building 
land, the want of houses being much felt at Deal The esplanade 
frontage to the sea is 800 feet, and the fronUge to the Dover and 
Walmer Boad is more than 8U0 feet. The property abuts on Deal 
Castle and commands fine views of the sea coast, and is also opposite 
the anchorage of the fleet when in the Downs. 

Dbbsdbn.— The conference of the General Committee of tlie 
German Vocal Union (Stngerbund) with the Select Committee for the 
Second German Vocal Festival, will, at the especLil desire of the 
foiuer, h% held htr j oo th« S5th and S6th September next. 



THE HABP. 
To the Editor of the Musical World. 
Sm, — May I add the following remarks to those which you kindly 
inserted in your valuable journal If the notion, that a theory is good 
because it is universally adopted, had prevailed with every one, where 
would now be those improvements and inventions by whioi the world 
has been made better ? It may be true that wiUiin the last fifty years 
harpists have been in the habit of playing upon the right-hand shoul- 
der, and it is equally as true that horse-power once supplied that of 
steam, which we now enjoy. 

To clearly demonstrate the absurdity of thus sittinR upon the left- 
hand side of the instrument, let me again point out that, by doinff so, 
the extreme pedal. A, is so inconveniently placed, that the effort of the 
right foot to gain a,cce8s to it causes the hody to shift awkwardly to 
and fro, whereas, by sitting upon the opposite side, the pedal work it 
tquaUy divided (allowing one less for the left foot), and the performfr ecai 
be pcied right behind. The process of pulling, peculiar to the han>, 
requires that the hands, on quitting the strings, should escape towaros 
the body ; and hence the absolute necessity for the equUibnum which 
is obtained by this central position. It is easy to realize how such a 
disposition of the body must ensure steadiness upon the seat, to the 
neglect of which must be attributed the bodily contortions so common 
to harpists. Indeed, any mode of holding the instrument which has a 
tendency to dislodge it from the performer's grasp must affect the 
touch, besides giving him an inelegant appearance. If the player is 
ill at ease, there will be an uncertainty in taking the note ; and common 
sense is sufficient to show, that, if the pulling power is directed sidt- 
waye, instead of towards the body, the capacity for execntion is 
materially diminished. That the idea of placing the right hand in 
the treble was conceived at the time the pianoforte began to be known, 
is proved by every ropresentation of harp players from the earliest ages 
up to that time. And it is easy to uuderstajid that pianists stndymg 
the harp would naturally give the left hand to the bass, as they did 
upon the piano, without entering upon the question of choice in the 
matter. If it were necessary to corroborate my previous statement, I 
could produce the individual who would give substantial evidence, that 
Mr. Bochsa, with his own lips, gave the preference to sitting on the 
side of the extra pedal. And if we examine his instruction book 
(*' six weeks, first day "), we shall discover another potent reason which 
led him to this conclusion. The elevation of the bass hand, and its 
consequent lack of support upon the edge of the sounding board, he 
considered so serious an impediment to its manipulation as to necessi- 
tate the introduction of a ** bracelet," which " machine," he said, was 
intended to hold the arm, and thus *'<ftWnisA the etifffUte and fatigue 
attending this eireumatanee.** But why not allot this, comparattvelv 
speaking, arduous responsibility, to the more powerful right hand, 
which would need no <* relief," nor a sling to prop it up. Now 
it is, we can account for the absence of a proper timbre in 
the bass, complained of as characterising the playing of harpists 
in general; the tracing of the weakest hand at the bottom of 
the harmony producing an unsatis&ctory inequality. Bat al- 
though Mr. Bochsa was alluded to, en pauant, it would be M 
unreasonable to quote him as an undisputed authority in ele- 
mentary matters connected with the harp at this period, as it would 
be to quote Mozart in criticising modem pianoforte playing. 
Bochsa's pupils are old men, and he was young when he wrote us 
instruction books fifty years ago. The harp itself, too, was then in its 
infancy, " the extent of the strings taken horizontally," as he said, 
^ from the smallest to the thickest, not exceeding 21 inches." Let me 
add that his music is now unpopular ; and I mean to bring to light 
other great defects in his school, which his pupils have inherited 
^m him. 

It vt not tenacity of grasp so much as delicacy of touch which the 
hand, engaged among the finer strings needs ; and it is a mistake to 
imagine that the left nand is less susceptible than the right one of 
cultivation for the execution of difficult passages. But even admitting 
its supposed inferioritv as an argument against placing it in the treble, 
no harpist can deny the unpleasant fact of his being obliged positively 
to flatten the right hand in order to get its fingers upon the uppermost 
strings, where the space between the brass plates and the sounding 
board, in which to manipulate, is exaeily two inches ! Let the pianist 
thrust one of his hands inside the case, when it is down, in order to 
play upon the wires inside, and he will have some idea of this serious 
obstacle. 

To imagine that playing with the left hand up is suited alone, or at 
all, to the Welsh harp, would be to manifest a total ignorance of that 
instrument ; for, on account of the strings being placed on the contrary 
side of the curve to the pedal harp, the very same impediment ocewe at 
that which belongs to the prevailing manner of holding the latter. 

And, although 1 am a Welshman (and enjoy a reputation of pUving 
Welsh melodies wi'.h good effect), I am not essentially a ** Wel^h 
harper/' but an as^-^ant for the honors due to mtuddans that oaii 



Digitized by 



Google 



July 28, 1864.] 



THE MUSICAL WORLD. 



467 



interpret eveiy style of mndc Nor am I left-handed in anything 
whatever ; bat I should certainly consider myself to be so upon the 
harp if I reversed the natural order of things, as those do who bestow 
the strength which a house needs at its foundation in the garret above. 
I congratulate myself upon being a self-taught harpist, so as to have 
escaped the faults which I am now exposing. No ! my remarks are 
especially intended to apply to Sebastian Erard's newly invented 
double-action harp, and quite as particularly to the manner in which 
that noble instrument is now played ; and, in conclusion, I would say it 
' will be impossible for it to regain its former popularity as long as this 
and other obstacles in the way of learning it are left uhremovea. 

Aptomuab. 



ADELINA PATTI AT THE CRYSTAL PALACE. 
lb the Editor qfths Musical World. 

Sm, — The seventh of the series of grand opera concerts, on Saturday 
(.iTuly 9th\ drew together an assemblage of nearly eight thousand 
visitors. On this occasion the programme was rendered exceptionally 
brilliant by the presence, for the first time during the present season, of 
Mdlle. Adelina Fattl Those who listened to this incomparable vocalist 
when she sane at the Crystal Palace last year will not need to be 
reminded with what marvellous clearness and beauty the bright and 
penetrating tones of her delicious voice rang then throi^hdut every 
part of the vast area of the central transept, and the same precious 
quality characterused her singing on Saturday, enabling those who 
were most remote to derive full enjoyment from the liquid beauty of 
her exquisite organ and her matchless skill in'its management. Mdlle. 
Adelina Patti was enthusiastically greeted when she made her appear- 
ance in the great Handel Orchestra ; she was in admirable voice, and 
her singing has never been surpassed even by herself. She first gave 
<* Yedrai carino " with all the vocal perfection and emotional delicacy 
which she has already rendered familiar to every frequenter of the 
Boyal Italian Opera in her rendering of this charming inspiration ; the 
aria was vociferously encored and applauded to the echo on its repeti- 
tion. But she achieved a still more signal triumph by her delicious 
dn^ng of our own native '* Home, sweet home." Perfect simplicity, 
thrilling tendemessi and deep though gentle pathos could not have 
been more strikingly combined than in her delivery of this delightful 
song, which is connected in almost everybody's mind with some 
cherished associations : she not only ^ve the keenest gratification to 
the ear, but stirred the heart and moistened many eyes. As a matter 
of course she was encored, and listened to the second time with wholly 
undiminished pleasure. 

The other singers were Madame Fried, Signer Tamberlik, Signor 
Attri and Herr ^hmidt, whose exertions were rewarded by warm and 
deserved applause. The orchestra played the overtures to Leonora and 
GuiUaunu Tell. The charms of the Crystal Palace are at this moment 
at their zenith. Within doors the nave is everywhere richly decked 
with luxuriant verdure, offering a eoup-eTceU which it would be impos- 
sible to match elsewhere ; and in every part of the park the profuse 
beauties of Nature, which Art has trained without trammeling, are in 
the ridi fullness of their ripest bloom. Covemtbt Fish. 



THE DUNDEE ORGAN. 
The Dundee Advertiser^ of June 25, has an article on the inauga- 
ration of MeaBrs. Forater and Andrews' first oi^gan in Dundee, of 
which we reproduce as much as oiir limited space will permit : — 

'< The fine instrument which is erected in SL Andrew's Catholic 
Chapel was opened last night by Mr. Broughton, organist of Si. 
Anne's CathoUc Chapel, Leeds. The audience was large and highly 
influential, and comprised many of the musical dlite of the town. 
The programme consisted of the entire of Rossini's Stabiu Mater, 
selections from St. Paul, Elijah, the Oreation, &c., and organ solos. 
The vocal soloists were Miss Lindley, Miss Seager, Mr. Inkersall, and 
Mr. Rutherford. Miss Lindley*s most successful effort was, "With 
Verdure Clad," which she sang with much taste and expression. Miss 
Seager was also well received in the duet, '* Quis est homo." Mr. 
Inkersall's abilities as a concert tenor singer are well known amongst us, 
but this is the first time we have met with him as an interpreter of 
oratorio music. His *'Cujus Animam/' ** If with all your hearts," and 
*« In Native Worth," were most satisfSMitory. Mr. Rutherford, of 
Dundee, fully sustained his reputation. The chorus, which consisted 
of the choir of St. And^w's Cnapel and a number of amateurs, assisted 
1^ the Messrs. Conolly, from Edinburgh, was under the direction of 
Mr. Pearman of this town. There were two chorales from St, Paul, 
•• Sleepers, wake," and " To God on high," and two choruses from the 
Orealion, ** The Lord is great," and " Achieved is the glorious work," 
dl cre^taUy sonff. The solos played by Mr. Broughton were Men- 
~ n's « Gand Organ Bonato," No. 4, and the AndanU from 



Haydn's No. 8 Sym]]liony, known as the '* Biniiifsd Movement." Mr. 
Broughton's ^Surprise" was greeted with loud and prolonged ap- 
dause. The audience evidently wanted more of such plajring, and mx, 
Broughton humoured them by playing the Bfaroh from Athalia, 
by Mendelssohn, which served as contrast to Haydn's popular AndatUe," 

A full and elaborate account of the new organ follows, which 
we also lay before our readers : — 

" The capabilities of the organ were so thoroughly brought out hv the 
organist as to create but one opinion of its exeellence. The diapa- 
sons—a portion of which stand in the front of the organ— are espedatly 
noticeable for their fhU, massive, and pervading firmness of tone ; and 
would themselves sustain a choir. ExoeUenoe in diapasons is a omoial 
test of good organ building, both as showing that the Iniilders under- 
stand their business, and that they have not stinted the quantity of 
metal. The relation which these stops bear to the rest of the organ 
wiU be seen by the contents of the following specification i-^ 

** G&BAT Oboak— GO to G— 66 Notes.— 1. Open Diapason, 8 feet; 2. Dnl- 
dana, S feet ; 8. Stopped Diapason, bass, 8 feet tone ; 4. Stopped Diapason, 
treble, 8 feet tone ; 6. Piinoipal, 4 feet ; 6. Doloet Harmouio Plate, 4 feet ; 
7. Twelfth, 2} ; 8. Fifteenth, 2 ; 9. Miztore— 8 ranks, various. 

** SwBLL OaaAM— GC to G — 66 Notes.— 1. Lieblioh Boordon, 16 feet tone ; 
2. Open Diapason, 8 feet ; 8. Rohr Fldte, 8 feet ; 4. Flute d' Amour, 8 feet ; 
5. Spire Plate, 4 feet; 6. Fifteenth, 2 feet; 7. Oboe, 8 ftet; 8. Cornopean, 
8 feet. 

"Pedal Oroah— CCC to D— 27 Notes.— 1. Bonrdon, 16 feet tone; 
2. Violoncello, 8 feet. 

" CouPLEBS.— 1. Great to Pedals ; 2. Swell to Pedals ; 8. Swell to Great. 
Three Composition Pedals, doable acting. 

"In addition to the Diapasons, we must notice the Dulcet Harmonic 
Flute in the Great Organ. This is one of the German Stops intro- 
duced into this country by Herr Schults^e, and is the nearest approadi 
to the fiute of any stop yet manufactured. It was used yety pro- 
minently in the accompaniment to " With verdure dad,'* for which 
its sweetness rendered it peculiarly suitable. Another of the Ctorman 
stops is the Lieblich Bourdon, in the SweU, the treble of which being 
metal forms a beautiful solo stop. We most, notice, too, the Bohr 
Flote and the Spire Flute— also G^man stops— both of whicdi are 
charming stops of^ their kind — the former the deeper and fUler of the 
two, and the latter lighter and more elegant. But of all the German 
stops commend us to the Flute d'Amour for quality. The tone of this 
stop, when the Venetians were closed, was so soft and mellow that one 
could scarcely believe it possible that it proceeded from so majestic an 
instrument. Of the reed stops we must also speak in terms of the highest 
praise; — ^the cornopean — which will do duty as a trumpet— bemg a 
powerful and rich stop, without any signs of that harshness so diffioxlt 
to avoid in reeds. The oboe is a dose imitation of the instrument it 
represents, and is the lightest of the reed stops. 

'* It mav be Judged firom what we have above written regarding the 
individual merits of the stops, that their combined effect was also 
very fine. In the instrumental solos and in the accompaniments, the 
body was entirdy satisfactory— full, round, and ringing, without shrill- 
ness or undue predominance of either. The sound, indeed, blended 
so sweetly with the voices in the sobs that in the sympathy between 
them the ear sometimes fkiled to distinguish the one from the other. 
The musical part of the audience, one and all, as &r as we have 
heard their comments, were well satisfied with the instrument ; and 
the opinion of the organist was to the same effect. Mr. Forster's next 
organ for this quarter will be the one for the Rev. Mr. Davidson's new 
church in Locbee— a much larger one than that now opened. It is 
expected to he ready by September, when our musio-bving dtizens 
may again expect a treat." 



German Thbatbioal Statistics. — There are at the present time in 
Germany 165 theatres. Of these 19 are really " Court-theatres,'* or 
theatres supported by reigning princes ; 12 Town-theatres of the first 
class ; 28 theatres of the second class ; 89 Town -theatres of the third 
class; and 67 strolling companies, 20 of which enjoy a very good 
reputation and are in a satisfactory financial condition. The number 
of actors, singers and danceifs living in Germany is 6000, and that of 
the choristers and officials abont 8000. 



RoBBEKT AT Messhs. OftAMBB AKD Co.'s. — A robborv was discovered 
on Wednesday morning to have been committed at Menrt. Cramer, 
Wood & Co. s establishment in Regent Street daring the time of 
dosing on Tuesday night and the re-c^ening on Wednesday morning. 
About £20 was abstracted from the till. A large iron nfe containing 
money and valuable securities, however, defied the efforta of the 
burglars, and they decamped with bat a nnaU portion of their expected 
boo^. 



Digitized by 



Google 



468 



THE MUSICAL WORLD. 



[JBly 23, 1864. 



BEMmiSCENCES OF GIACOMO MEYERBEER. 
By J. P. Lysbb.* 

The grief caused bv the unexpected and sudden death of Meyer- 
beer is BO general and sincere, on both sides of the ocean — ^being 
shared even by those who never had an opportunity of knowing 
him personally — ^that I need not, probably, assure the reader that 
I, too, was deeply shocked at the sad event. With Meyerbeer died 
the Icut of the great German composers, with whom I was, at an 
early period, on terms of friendship — having partially commenced 
my modest artistic career simultaneously with them — and with 
whom I remained on the same terms to their decease, which, alas ! 
happened too soon ! 

After what I have said, the reader will easUy understand that I was 
not, immediately after Meyerbeer's death, in a fit state of mind 
to give the public my reminiscences of the deceased composer, 
my late friend. I thought, too, how painfully so early a publica- 
tion of those reminiscences would affect the noble-minded widow 
and the daughters, to whom Meyerbeer, scarcely buried at the time 
to which I rder, was, during his lifetime, so lovingly attached. 
For this reason more especiaUy, I should have deferred still longer 
the publication of the following facts had I not found, by sad ex- 
perience, that the rude spirit of speculation, with its want of 
feeling, had ahread v begun to collect everything relating to Meyer- 
beer's life and deeds, and, mixing up faLaehooa with trutii, in ^e 
most inconsistent fashion, to extol, in the open market, to the 
deceased master's friends and admirers, a con^omeration of more 
than ordinary imbecility and lies. To meet, in a spirit of decided 
opposition, this unworthy conduct on the x^ of unconscientious 
speculators, I look upon as a duty all the more sacred, because, 
even among those who were personally more closely related to the 
master than I, there was, perhaps, scarcely one who felt an inclina- 
tion or the vocation to undertake what I resolved to undertake. 
Rossini and Auber, who certainly possess the power, would hardly 
think of such a thing. For Meyerbeer's nearest relatives the 
matter would, I should say, be attended with the greatest diffi- 
culties, because in more intimate family and social circles Meyerbeer 
snoke but seldom of art generally, and never, except by way of 
allusion, to his own productions. He required to have with him 
persons who could comprehend his hints quickly and correctly— 
who could even continue the subject, and who, when such a course 
was needful, did not fear to contradict him ; then, though not till 
then, he would, like Goethe under similar circumstances, grow warm 
and communicative, giving utterance to much which he would 
otherwise have kept back even from his most confidential friends. 
' My acquaintanceship with Meyerbeer's talent and views was 
brought about a long tmie since by the articles published by Grott- 
fried Weber and Rochlitz in the Cdctlie and the Leipziger Mturik' 
Zeitung ; to Meyerbeer, the man, I was first introduced by iny 
countiyman and his own, as well as Gottfried Weber's feUow-pupil 
under the Abb^ Vogler : I mean Carl Maria von Weber. As we 
all know, Meyerbeer's earliest operas met with but small encou- 
ragement in Germany. Even Die Kreuzritter would not really 
take, though Carl Maria von Weber gave himself ail the pains in 
the world to prepare the Dresden public for rightly understanding 
it ; Weber never for a moment, in any instance, doubted Meyer- 
beer's unusual natural gifts. ^^Let him quietly proceed in his 
search for what is right," Weber used to reply to Meyerbeer's 
opponents of that period ; ^' he will soon find it, for there is too 
much of the German element in him for him to remain long con- 
tented with foreign tin-kettle playing." Weber was pretty safe in 
prophecying, for, neither to lumself nor to others did he disguise 
the fact that Meyerbeer had studied music more thoroughly than 
he had. ^* I have still got a great deal to acquire which Jacob and 
Gottfried learned while with the Abbi Vogler," was Weber's con- 
fession. Vogler himself declared Gottfried Weber to be his most 
profound pupil ; Meyerbeer, his most cultivated and clever ; and 
CM. von Weber, faiis most giddy-headed one— as, indeed, at that 
period, Weber was. He said, however, that all three were 
endowed, though differently, with genius. 

When Meyerbeer's Robert le Diahle was first produced at 
Leipsic, I happened to be there, writing for my fnend, Julius 
Canipe, the musical pocket-book : C&cUie, jThe extraordinary 
sensation created in Germany by Robert, induced me to make two 

* From the Ifeui Berlmtr Mutik-Zeitw^. 



sketches from subjects in the opera, and to affix to the CdciUe one 
of the sketches : ** Alice hastening to the Cross, while Bertram 
rushes from the Cave." Though the execution was verj^ defective 
— ^I myself had jotted down the sketch upon stone— it was this 
very sketch which attracted Meyerbeer's attention to my humble 
scdf . He afterwards said to me in Vienna that my wild lines 
pleased him far more than the magnificent engraving on copper 
which Winckler (Theod. Hell) had had engraved for his pocket- 
book Penelope, after a masterly drawing by the celebrated Moritz 
Re^Bch, in Dresden. On my taking what he said for a joke, and 
laughing, Meyerbeer became Ihnost angry, and obeervea : '* Ton 
know that I never joke about such matters I Retsch has drawn 
the scene ! You, the musics The remark struck me somewhat, and 
nearly made me feel quite proud, for I recollected how Goethe had 
previously requested me : *^ To draw him, in outline, upon a piece 
of paper, the overture to the Zauberfliite,^^ Just as I was about 
to set about the task, Goethe died ; the sketch is now finished, but 
no publisher can be found for it. . 

When Robert Schumann, in conjunction with Friedrich Wieck, 
Carl Bank, and that talented poet, August Biirck, afterwards so 
indescribably unfortunate, founded the Neue Leimger Musik- 
Zeitung, which was soon joined by MendelsBohn Bartholdy, Dr. 
Glass, Alh«d Becher (diot under martial law, at Vienna, in 1848), 
and the present editor of the paper, Dr. Brendel, I wrote for my 
friend Schumann the «tory of Vater Doles und seine Freunde. 
I did not sign it, but simply published it as : *^ From the 
journal of an old Pupil of the Thomas School," and Friedrich 
Kochlitz was pointed out by all the people of Leipsic as the author. 
Even Finck thought for a long time he was so, and Rochlitz sub- 
sequently complimented me *^ for having, on the whole, so weQ 
caught ms tone." Two persons, however, not in the secret, singled 
me out : Mozart's son, Wolfgang Amadeus, and Meyerbeer. The 
former said to me in Dresden : ^^ My mother told you that, did not 
she?" While Meyerbeer, a master in musical style, immediately 
perceived from sundry : ^^ cross capers and cabrioles," that no one 
but myself could have written Master Doles, He asked : who was 
the model of Lenchen* Doles. As I did not feel inclined to return 
an immediate answer, he named Clara Schumann, and now, after 
tiie lapse of thirty years, I frankly confess that, up to this day, I 
do not know with whom I was then, at one and the same time, 
most desp^tely in love, Clara Wieck, Livia Gerhardt, or 
Francilla rixis. I think I loved them all with equal fire, and all 
three fioated before my mind when I conodved the picture of my 
Lenohen. 

(,To be eonHnued.) 



Death of M. Zelqer. — ^The death of that very excellent and 
popular artist, M. Zelger, who for nearly a dozen years held the 
post of prima basso at the Royal Italian Opera, is announced in 
the French and Belgian papers. M. Zelger died at Ghent after a 
long and painful illness, supposed to be brought on by a poisoning 
of tiie blood caused W the use of white lead. It is said that some 
three years since M. Zelger, havine to perform the part of Walter 
in Guillaume T<U at Covent Garden, and having to whiten his 
moustache and beard, made use of a new composition which in 
the course of the night brought on a violent fit of vomiting 
which was succeeded by a long lethargy. From that time his 
health was never completely restored, and he sank in aU proba- 
bility a victim to his imprudence or heedlessness. M. Zelger had 
been honorably known in England previous to his connection with 
the Royal Italian Opera, and came over in 1846 as one of the Belgian 
company, with M. and Madame Laborde, M. Massol, &c, &c. 
Although hardly entitled to be called a first class artist, his fine 
voice, correct st^le of sinfiing, and imposing appearance, made 
him a great acquisition at the Covent Gaiden Opera ; and indeed 
it has been found no easy matter to fill up the void he has left 
in such parts as Walter in Guillaume Tell, Baldassare in La 
Favorita, Oroveeo in Norma, the Doctor in La Traviata, and the 
Sherriff in Martha, 

SiGNOR Tahberlik left London for Madrid on Wednesday. 
The new opera-house opens shortly, and Signor Tamberlik is to 
sing on the first night. 



• ** Lenchen " is th« Gecman ^miniitiv^ for '^KUen." 



Digitized by 



Google 



Jtdy 28, 1864.] 



THE MUSICAL WOBLD. 



469 



SHAKESPEARE IN HIS RELATION TO MUSIC. 

A Leetun delivered on the 2Srd Aprils 1864, before the " BerUner 
TonkUnstler-Verein " 

Bt 
EMILNAUMANN. 

**If mnsio and iweet poetiy agree, 
As thej must needs, the gUter and the brother. 
Then most the lore be great 'twixt thee and m«^ 
* Becaose then Wat tbe one, and I the other ; 
Then loir'at to hear the aoft melodiona aoond 
That PhcBbna' lute, the qneen of moBio, makea, 
And I in deep delight am dhiefl j drown'd 
When aa himself to sineing he betakes ; 
One Ood ia yoe? of both, so poets feign, 
One knight lores both, and lK>th in thee remain/' 

llieBe lines emanate from the pen of the noet whose doee 
and profound connection with music will form tne subject of the 
words which I shall have the honor to address to you — ^from the 
man whose natal hour struck three hundred years ago to-day, and 
whose name is, at the present time, encircled with me admiration 
ci the whole world. 

Shakespeare, the greatest poet of any age, first beheld the light 
of day on the 23rd April, 1564, at Strafiord-upon-Avon. — Next 
to -his countrymen, the English, we Grermans have, probably, 
especial reason to honor the memory of this prince of poets. It 
was by him no less than by the intellectual civilization of classical 
antiquity that our own literature raised itself into independent and 
national life. In opposition to the influences of bastard French 
art, Lessing, Wieland, Herder, Goethe and Schiller, poini)ed, as 
isr aa a century back, to Shakespeare, as to a model, never to be 
equalled, and as to the deliverer, who alone could lead us back again 
to truth and nature. Such men as Schroder, Eaufmann, August 
Wilhelm von Schlegel, Ludwig Tieck, Count Wolf von Baudiwin, 
Kajrl Simrock, and Franz Dingelstedt, were actuated in their labors 
by the same spirit, and, by presenting us with masterly transla- 
tions, followed up the impulse given by the heroes of our 
ftlftniiifift^l literature. These translations are, to some extent, of such 
high value, and we Germaus are so familiar with them, that they 
have completely rendered the great Englishman a part of the in- 
tellectual wealth of our nation. 

But, besides the Grerman nation generally, toe musicians more 
especially have reason to remember the great poet with gratitude 
and admiration. We refer the reader to the motto prefixed to our 
observations, and, starting from it, dwell to-day with more than 
ordinary emphasis on the maxim, so frequently quoted, that a bond 
of most intimate relationship twines round all the arts. In conse- 
quence, however, of the still more intimate connection which we 
nnd existing, within this relationidiip, between separate art-groups, 
our— tiiat is, musicians* — right to yet nearer afiSnity with 
Shakespeare may, perhaps, be rendered more apparent than any 
other. Just as, on the one side, the plastic arts — ^Architecture, 
Sculpture, and Painting— grasp each other by the hand as sisters 
in a peculiar kind of art, on the other side, music and poetry stand 
opposite them, as sisters bound together in a manner no less inti- 
mate and peculiar. 

That I may be able to exhibit to you Shakespeare as the poet in 
whom the musical element is most lavishly and most frequently 
wedded to the poetical, I must beg permission first to attempt a 
survey of the mutual influence of poetry and music upon one 
another, as they are historically known to us. 

In the most remote times, we find music and poetry blended in 
an almost indissoluble manner. All primitive poetry Ib of a 
religious purport, and, when we first meet with tune, that, also, 
is most undoubtedly employed to offer up hymns in honor of the 
Divinity or the gods. Nay, the connection between the two arts, 
on tiiis their first appearance, is so close, that, in many cases, it is 
absolutely impossible to decide which of the two art-elements, tune 
or language, was the first to gain a definite shape in the breast of 
untutored man, following unconsciously his natural inward 
impulses. At any rate, the one did not remain long without the 
Other, and, in most cases, both probably grew simultaneously like 
two braacbn of one and the same trunk, as we learn from national 



The proof of this is furnished by Indians, Pendans, Egyptiana, 
Phoenicians, and Jews, the oldest civilised peoples known to us, in 
the progressive connection in which music anapoetry are exhibited 
among them. With regard to the Indians, we will remind our 
readers only of the religious songs intended for music in the 
Yedas; of the dance, acoompaniM by religious hymns, of the 
sacred virgins (Bayaderes) ; 6f the song accompanied by the 
*^ Wina " (most probably a stringed instrument) in Sakontala, etc., 
etc. — Herodotus says of the Egyptians, Phcenidans, and raoes near 
them, when he is touching upon a most primitive religious song 
common to them all : ** The Egyptians have a song, the * Linos,* 
found, also, in Phoenicia, Cyprus, and elsewhere, but having 
different names according to the different peoples. It is proved, 
however, to be the same the Helenes sing under the name of 
* Linos.^ But, in Egyptian, it is called ^ Mtmcros.^ " 

Even still more developed and close than among the above civi- 
lized nations before the epoch of Grecian Antiquity appears the 
connection between Music and Poetry among the larai^tee. As 
early as in the second book of Moses we read after the destruction 
of Pharaoh in the Bed Sea : ^^ And Miriam, the Prophetess, the 
sister of Aaron, took a timbrel in Jier hand, and aU the women 
went out after her, with timbrels and with dances. And Miriam 
answered them : Sing ye to the Lord, for he hath triumphed 
gloriously ; the horse and his rider hath he thrown into the sea.**— 
But it is in the Psalms that the old indissoluble connection of reli- 
gious poetry with song is exhibited in its last and most complete 
shape. Here even the most varied and practical musical directiona 
have been preserved. For instance, at the commencement of the 
4th Psalm we read : ** To the Chief Musician on Neffinoth, a Psdm 
of David.*'* Or, **To the chief Musician on iMeginoth upon 
Sheminith," as at Psalm 6.t Or, *^ To the chief Musician upon 
GiUith," as at Psalm 8. Or lastly, ^* A song of degrees,"^ as at 
Psalm 120, &c. Still more essential evidence of this complete 
blending with song is exhibited by the Psalms in 'their pi^i y ^ ll^ l . 
qrstem of verses, (^culated for delivery by alternate choruses, and 
by the refrains, in this fashion significant only with musi<»l treat- 
ment, such as we meet with in the 1S6th and other Psalms. 

With the Greeks begins a new section in the histoiT of the con- 
nection between poetry and music. It is true that here, too, we 
find the most ancient religious hymns indissolubly connected with 
song. — But poetry and the plastic art soon became so exceptionaUv 
developed, that, despite the perfection to which they had attained 
in and of themselveB, music and painting, as far as the first two 
arts were concerned, adopted more than aught else a relation of 
imitation, or of subordinate development pursued in a kindred 
manner. It is, however, significative for the blending of poetry 
and music, a blending wUch, among the Greeks as among 
other nations, was primitively one of ppfect equality between the 
two component parts, that, when speaking of the influence of tiie 
** singers,** Homer evidently employs the term *^ sinfi;er ** quite as 
much to designate the poet as the composer. It is here perfectly 
plain that the matter dechumed and characterized merely by the 
word " song ** applies quite as much to the subject-matter as to 
the strain. How intimately the Greek poet was acquainted with 
the most touching and moving effects of music upon the human 
mind ; how strong is the relationship of the two arts to each 
other, and how complete the understanding existing between the 
poet and the composer, is proved us by the fact that when Pene- 
lope, in her apartment up-stairs, hears ** the heavenly strain ** of 
the singer, singing of Troy, she comes down weepine into the mens* 
apartment, and asks for another song, because the first breaks her 
heart, or tha^when Odysseus, among the Phoeacians, conceals his 
head, as the smger, striking tbe golden chords, speaks of the hero's 
brothers-in-arms who have fallen, or of the woes of the weeping 
hero himself, not suppoong that the hitter is listening to him. 

(To be continued. 



* The German rendering of the above is : *' Vonusingen aitf Sattsn^niUn " 
^-literally : " To be rang pablidj on stringed inatrnmenta." 

t In Gennan : ** Vontutingen aufaeht Saiten **—** To be mng pnblidy on 
eight strings.'* 

X In Gennan: '' JEin lAsd un huhmn Chor '*— <« A song b |the higher 
dioma.'* 



Digitized by 



Google 



4T0 



TBE MUSICAL WOBLD. 



[Jufy 2S, 1$64. 



MONDAY P OPULAR C ONCERTS. 

OKfn mnsmaxD ajstd rxFTZ'SavvsTH coivobbt. 
THE SEVENTH SEASON 

or THB 

MONDAY POPULAR CONCERTS 

WILL COMMSNCB 

E^JtLT IN N0VE:MBEB. 

^^ ^"^ ^ NOTICES. 

To Advertisers.-— 2^6 Cj^ce 0/ The Musical Woeud is at 
Hessbs. Duncan Davison & Co*s., 244 Begent Street^ comer 
of Little Argyll Street (First Floor). Advertisements received 
as late as eleven 0^ Clock A.U., on Fridays— but not later. Pay- 
ment on delivery. 

To FuBUSREBS AND GoupOSERS— AftMtc for Review must he for' 
warded to the Editor^ care o/Messrs. Duncan Davison & Co., 
244 Regent Street. 

To Concert Givers. — No Benefit-Concert^ or Musical Perform- 
ance, except of general interest, unless previously Advertis^^ can 
he reported in Itie Musical World. 

BIRTH. 

On Friday, the 15ih instaDt, at her residence, Eildare Terracet 
Wefttboume Parlc, the wife of Desmond Ryan, Esq., of a daughter. 

LONDON: SATURDAY, JULY 2«, 1864. 



fZUR Erinnerung an Louis Eller {A Memoir of Louis EUer) is 
^ ^the title of a small work (Rud. Kuntae, Dresden, 1864) which 
ia veQ got up, and attempts, in only a few leading outlines but in 
an agreeable style, to present us with a picture of the above ez- 
laraordinary artist. We cannot, indeed, refrain from regretting 
that the book is not more complete, though we are obliged to give 
the author credit for having disdained to swell his work out hy 
sesthetical or psychiological verbiage, such as we find in many bio: 
graphers, or, to speak more correctly, book-makers. What he 
presents to us excites the prof oundest sympathy for;;!^the man an^ 
the artist who, at the early age of forty-two, and far from his 
home, was snatched by death from a circle of loving friends and 
from the musical art. Even those persons who did not know, oir 
who never heard, him, will read with interest the few pa^ written 
concerning him, and the disciple of art derive from the ei^unple o{ 
a Gennan artist fresh and elevating encouragement, when he ^rui^ 
iliat an artistic nature is capable of developing itself and attaining 
a lofty end, by the force of will and industry, even when nol 
favored by material circumstances. ' 

Thus, though Eller— bom on the 9th June, 1820, at Grats— 
enjoyed the benefit of a good education^under the rop{ q| parenlto 
themselves well-educated, his father, an attoniey, fell, throiigh 
peculiar misfortunes, iAto a state of actual>>ant. It was a iftecje 
of good fortune for the boy that, on account of his fine voice, hie 
was received as a chorister in the Monastery at Eremsmttnste^, 
where he attended a good school, and, in the person of Herr Hyset 
the Capellmeister, found one who carefully fostered his musical 
talent, and was, at the same time, his first and only vidin-master. 

When he was only a boy of nine, EUer created a sensation, at ja 
concert given to show the progress made by some young musicians, 
but the sterling character of his father and of his master preserved 
him from the career of a boy phenomenon. It was not till the 
year 1886, that, on the solicitation of a high patroness, the 
Countess tallavicini, his father went with him to Vienna. It So 
happened tlj^^t, one day, the youth, then sixteen years of 1^, w^ 
asked, a few hours before a coneert abready announced, to take tke 



place of Herr fiarfher,* a violinist, who had been snddeiily attacked 
with iUness. He consented, and requested only—- a dren^oont and 
a better fiddle. His play afforded very great satisfaction. Even then 
the exceUences for which it was afterwards CBpedally distinguished 
were evident; they were purity, good-bowing, certainty and facility 
in all double stopping, and tasteful but unaffected execution. 

Unfortunately, he soon afterwards was robbed by death of the 
patroness he had scarcelv gained. He could not stay at Vienna. 
In the year 1842 we find him as leader, Concertmeister^ at Sals- 
burg. Prompted by his own inclination, he continued to raise 
himself more and more above the then popuhir productbns of 
Mayseder and De Beriot. Ibstead of these works, he played the 
concertos of Vie^xtemps a^ad P^^g^piini, of Beethoven and Mendds- 
sohn. He was also considered, even at that period, an excellent 
quartet player. 

But his asi^iiing spirit did not allow him to remain long in so 
circiunscribed a sphere. As far back as 1848 he took his vioUn 
literally upon his back ; wandered osa foot through the T^rrol and 
Switzerland, and arrived, by the way of Geneva, at Grenoble, with 
the notion of pushing forward, if possible, as fkr as Pans. It was 
in France that he obtained fame and happiness. On tiie 80th 
January, 1844, he gave his first concert at Lyons, and thence 
visited the large towns of the South, always with results in eveary 
respect gratifying. The news of his father's death called him 
home. But to his artistic aspirations there was now added his 
anxiety about his mother, to whom he devoted himself with the 
profoundest affection. In the following year, therefore, he once 
more, f ^ll of courage and confidence, left his native town ; went, 
by way of Tri^^ Venice and the north of Italy, to the south of 
France again, and a second time proceeded to Grenoble, where, in 
tiie family of a certain Colonel, he was, so to speak, at home. 

He would willingly have gone off without delay to Paris. But he 
had still a bad instrument. He was compelled, tiiei^ore, to resume 
bis tours in the South. During this second sojourn of his, he met 
with warm sympathy and an enthusiastic welcome everywhere. 
" One city "—says his biogr^ipher—" strove with the other as to 
who should best receive the young ^urtist, and send him on, loaded 
with marks of distinction and honor, to the neighbouring town. 
The years 1846, 1847, thus glided away in a series of oonoerts, 
which caused him to remain a oonsiderahle time in Toulouse. It 
was here that a M. S^z, a passionate lover of music, carried away 
by Filer's talent and character, made him a present of a valuable 
Straduarius. Though the latter would nqt hSive satisfied any very 
high artistic requir^nents, still it was an iqstnunent on which 
Eller could rely at his concerts mote than on the old Gtte.—There 
would now have been nothing to prevent his making a journey to 
Paris, had it not been for an event which exercised a decided in- 
fluence in causing him to make a longer stay in the South of 
France. This was his casual meeting with Ole Bull, whopi he first 
saw in the house of the French Colonel, already mentipned, at 
Gr^oble. The meeting had such an effect upon Elleff, that it 
induced him to enjoy as long as possible the society of the distin- 
guished visitor.-— Filer's efforts,4n the treatment of the violin, were 
always more especially '^exerted to bringing out all the peculiar 
character of the instrument, as opposed to the character of .every other 
instrument, irrespective of what the violin can dp, ^ an integral 
part of a whole, 8U(^. Bft an orchestra, or a quartet, fpr instance. 

'< From an. e^r^y period, he had felt convinced that the violio was 
callable of atialnii^g greater independence than that usually attributed 
to it. On this account, he had es^cially cultivated the art of playing 
simultaneously upon several of its strings. How dear to mm had 
Bach's < Sonatas for the Violin alone' become for this reason, 
and how acutely did he regret that, in hia early youth, the Impulaa 
towards the theoretical and productive side of music ^ad not been 

* Karl Harfher, bom in 1815f a pnpil of MayBeder and Jansai 



Digitized by 



Google 



Svify 2», I^IJ] 



TBE MtTSICAii WomX). 



4^1 



foAflieDlly ezdted and developed io Uill ! He ii6w met in Ole Boll 
an artist who was not only master of most of that wfaioh be thongbt 
ought to be got oat of the instrument, and who not merely offered to 
tell him what he knew when asked, bat did so onsolicited. Am Slier 
:was easily captivated and piofoundly moved by everything (great, he 
willingly abandoned himself altogether to the iiffluence of his pecaliar 
visitor, and, not without advantage to his art, enjoyed the pleasure of 
some weeks' friendly association with him." 

The storms of 1846 frightened £3Ier fnHn Fraiioe, though in the 
faegimiuig of 1850, we find him again in ToulouBe, Pau, Bayonne, 
etc., and, finally, at the end of October, in Paris. 

'* The reception with which he here met, from the critics as well 
as from the puUic, was decidedly fiivorable, and men Ske Beudo, 
•HeniT BUnohard, Fioientino, Boooher, 8enr., and others, who, nine 
monms previously, had applauded voung Joaehxm, felt theniselves 
carried away, by what ElLer did, aiid manifested a tively appreciation 
of hjs peculiar exceUendes.'* 

How EUer made, in 1861, a journey to Spain, whioh he 
tmyersed in aB direetions ; how he was wekomed, in 1852, at 
Lisbon, where, unfortmiately, the germs of consumption which 
lurked in his system were so devebped by a cold he caught, 
that thenceforth he could travel only in summer, q>6nding the 
winter at Pan in the south of France, where, captivated by the 
^xmds of deep and hearty friendship connecting him with a family 
cf the town, and the mildness of the climate, he had found a 
second home ; and how, in 1854, in Germany, which he travelled 
through for the first time, and afterwards in London,' he met 
with the same high appreciation of his talents with which he had 
met on his repeated visits to Paris, are facts for which we amst 
Zito the reader to the book itself. 

Alter his journey in Sptdn and Portugal, his health was greatly 
tftiaken. Enthusiasm for his art alone sustained him during t&e 
last six years of his life^ and directly he grasped his instrument — 
he had purchased in 1855, at Paris, an excellent Joseph Guaneri 
for 5000 francs— gave his fingers and arm their old strength again. 
He visited Germany more frequently, the last time being in 1860, 
wken he went to Hanover, for the express purpose of making the 
acquaintance of Joachim ; but he never could wait for the regular 
musical season in the winter. Still he continued tiU the end of 
his life the winter Quartet Mating he had established in Pau. 

" On the 12th July, 1862, the hand of friendship dosed his eyes in 
that town. May that hand, to whose unremitting care alone it is due 
that Eller was kept alive as long as he was, be blessed by aU those who 
were dear to him far away ! To that hand we are indebted for the 
thought that the great * (German artist did not die abandoned in a 
foreign land, but where he fdt at home, and where his heart had 
taken fresh root." 

At the dose of the book mention is made of several'compoaitionB 
for the violin by Eller (Op. 1-24) which, in the absence of 
briUiani and, at the same time, sterling produotionB fcrj thalt 
instrument, might probaUy be worthy attention, and require a 
ifarst-rate master for their performance. 

[The foregoing — for the materials of which we are indebted to 
the Niederrheinische Musik-Zeitung — ^must be perused with reserve. 
The iuflqenoe exercised over EUer by such a man as Ole Bull does 
not say much for the artistic judgment of the former ; and we are 
the more, inclined on that account to view the memoir as a friendly 
panegyric rather than as a fair appreciation. We may, however, 
ne in^rong, and shall be glad to be corrected. — ^Ed. M. W.] 



New York.— The Philharmonic gave their dosing concert fcdr 
the season last month, at which Mr. Richard Hofiooan performed 
Biunpel^s Concerto in A minor, and at the Brooklyn Philharmonic 
^ loUowinff week the same gentleman played Maidelauhn^ 
CoiMBerto in I) minor. 

liknAME Grxsi is about to make a tcumde in the provinces with 
fiigndr ^ario, M. and Madame Sainton, and other artints. Previous to 
Mr departure she wiU sing in a concert at the Crystal Palace fur Mr. 
Clye. -At Ihe end of the Ummk she returns to London for a soies ff 
oonoerts at the same place. 



HER MAJfiiJ^t'S THEATRE. 

Mr. Baker Butcher is again in arroais and again hastily atones. 

On Saturday (July 9t]^, Mir4Ua for the third time. On Tues- 
day, Thursday and Saturday (12th, 14th and 16th), MireUa, 
MireUa^ MireUa (see another page). The fifth performance of 
MireUa was for Mr. Mapleson's benefit, which Mr. B. B. thought 
was the case with all the performances, whether of MireUa^ or of 
any other opera. 

On MoBtday (18th) — beginning of the ** cheap nights" — Faust, 
Tuesday (iWir«)/a— 7th time). Thursday // Trovatore^ Mdlle. 
GrosBi as Azucena— the rest as before. Mad. Harriers Wippem 
having thrown up the part of Leonora (which, however, fell safely 
intowe arms of MdUe. Tietjens) at the eleventh hour. 

To-night Oheron, for the first time this season, and with almost 
every good singer in Mr. Ma^eson's company included in the cast. 
Tant mieux pour Carl Maria Von Weber, BasEB BuTGBSB. 

ROYAL ITALIAN OPERA. 

On Saturday f 9th inst) VEUgir ^ Amort was given for the 
second time, and xoUowed by V1\a Enchantie. On Monday (11th) 
Don Giovanni — last time this season, Mdlle. Adelina Patti 
enhancing the interest of the performance by resuming the part of 
Zerlina, in which she is unrivalled. Tuesday (12th) La Traviata 
(with "Mdlle. Artot) and the ballet. Thursdav (Uth) Le PropKkte 
(SijZ. Tamberlik and Mad. Nantier Didi^^— last time. 

On Friday (the 15th) — a ^* special extra night,*' announced as 
^' the benefit of Mdlle. Adelina Patti '* — that incomparable litUe 
artist played Maigherita in Faust e Mar^heriia for the last time this 
year. Finer acting, more finished singmg, were never heard, hi 
short this was the most wonderful j^ormance of M. Gounod^s 
wonderfully popular opera which has probably been witnessed any- 
where. Mario was more than himseif . Never can the delicious 
garden-ccene, or the solemn scene in the church, be forgotten by 
^ose fortunate enough to be present. The house was crammed to 
the ceiling. Adelina Patti, Mario and Faure had to come forward 
after every scene in which they appeared ; and at the end Adelina 
was honored] by an enthusiastic summons, especially intended for 
herself. Nevertheless she would not appear without her Faust, 
and so Faust came and picked up gallantly the bouquets. This 
was the eighth time Mdlle. Patti payed Margherita ; and these 
eight performances (although nearly all on non-subscription nights) 
have brought receipts to the theatre unexampled at the Italian 
Opera since the days of the '^ lind-fever." Never did Adelina 
Patti's star shine more brightly in the Lcmdon operatic firmament. 
Her popularitgr is at its zemth ; and she is (as she well deserves to be) 
the idol of the public. Lucky Mr. Gye — to have found such a 
treasure! No wonder you made her a magnificent cadeau in 
diamonds on her benefit night. 

On Saturday (16th), Un Balio in Maschera QMie. Fried as 
Ainalia — ^the rest as before), for the last time. Monday (18th), 
the Barhiere (Patti, Mario, Ronconi, &c.), — ^the last time. 

On Tuesday (19th) Mdlle. Artot eEsayed the character of Mar- 
gherita, and was very favorably received. The performance, 
generally, however, was by no means good. Whether there had 
been no rehearsal, or not enough of rehearsal, or too little, or too 
much, of something, or of something ebe, it is impossible to say ; 
but certainly so cold and careless a representation of M. Gounoa*s 
Faust^ on the whole, has rarely been witnessed. Sig. Attri played 
Mephistopheles, for the fust time here, and fairly justified the 
encomiums lavished on his impersonation of that character abroad. 
But of the execution generally, as has been hinted, the less said the 
better. Mdlle. Artot, a most diligent, conscientious and accom- 
plished artist, must take her revenge. Site and Sig. Attri alone 
can be reported to have done their best on this occasion. 

On Tnursday (2l8t) LElisir d^ Amove— '}B&t time. House 
crammed. Duet oetween Adina and Dulcamara (perfection) 
encored with rapture. 

To-night the revival of VEtoile du Nord, On Wednesday Mr. 
A. Harris takes his benefit, and the entertainment begins vrith. the 

first act of Norma — ^Norma by by ^by Giulia Grisi ! 

BuTGHEB Baker. 



Ebbatum. Li No. 29, page 456, article Musical Society of 
LoDdon-^or ^^ A iridet revdution,*^ read a wi«er resolution. 



Digitized by 



Google 



472 



THE MUSICAL WORLD. 



[Jidy 28, 1864. 



PARIS. 

(^From cur own Cbrreapcndeni,) 

I peroeiye that the Gazette des Etranger$ announoeB that the 

piece oompoeed hj Boesmi on the day of Meyerbeer's interment is 

entitled : — 

** Qaelques M^sores Fun^brai a mon paavre ami Giaoomo Me jerbeer, 
'* 6 May, 1864, 8 o'eloek a.m." GxoACCHuro Rossnn. 

It is a chorus in four parts, the large rhythm of which is indi- 
cated simply by blows struck in equal times on muffled kettle- 
drums. The theme is solemn and of a melancholy character, and 
seems to have been suggested luder the inspiration of deep 
emotion. The words were written by M. Emilien Paccini, 
oo-laborer in all the vocal pieces which have recently proceeded 
from Rossini's pen. 

The new grand Ballet of Action, called NemicL, some considerable 
time in reh^ursal, has been produced successfully at the Grand 
Opera. It is a pretty affair, very clearly told in the action, and 
affords splendid opportunities for choregraphic display. The plot 
is a sort of mixture of Don Juan, Zampa and Pygmalion, in which 
the supernatural element is largely employed, and Cupid, or Eros, 
is made to play a conspicuous figure, xhe authors of the book are 
MM. Ludovic Hal^vy and Henri Meilhac ; the composer of the 
music, M. Minkus, or Minkous, first violin of the Royal Theatre of 
Moscow. M. Saint-Leon came all the way from St. Petersburi^h 
to superintend the choregraphic department. Mdlle. Mouravief 
distinguished herself in the part of the heroine, and showed some 
curious and brilliant steps. The Berceuse, which dbe dances in 
the first act, in dialogue with the flute, is applauded with enthu- 
siasm nightly, and sddom escapes an encore. The music in general 
is light and agreeable, and now and then betrays glimpses of 
character, as though M. Minkus, or Minkous, could do better 
things if put to it. I hope somebody, or something, will put him 
to it. MdUe. Fiocre — not the fair danseuse who sustained the part 
of the winged god in the divertissement of Pierre de Medicis, but 
a sister, MoUe. E. Fiocre — ^made her dSbut as Cupid, and with 
much effect, being at the same time a charming dancer and a 
charming person. The other chief parts were played by M. 
M^rante (the Count), Mdlles. Sanlaville, Beaugrano, Pilatte and 
Aline Volters. 

The Op^ra-Comique is even now busy in preparing for the 
winter,>r autumn and winter season. Besides Lara, the great 
success of which will doubtless lead to a second prosperous career, we 
are promised the revival of the Pre aux Clercs, in which M. Achard 
will sing the part of Mergy. The novelties to be put successively 
into rehearsal are : — ^Feliden David's Tout est bien qui finit lien 
(Shakspere's AWs Well that ends Wett, I suppos^, the translation 
or paraphrase of which has been supplied by MM. de Leuven, 
Midiel Cktt^ and Hadot ; the opera of MM. Sardou and Gavaert 
— Le Capitaine Gaston ; and lastly, Les Tresors de Pierrot, the 
words by MM. Michel Carr^, and Trianon, the music by M. 
Eugene Gautiers. 

The introduction of the ballet next season at the Theatre 
Italien, in accordance with the new Greneral Permission Theatrical 
Act, is likely to exercise a powerful influence on the destinies of 
that theatre. We may now suppose that M. Bagier will throw 
down the gauntlet to the director of the Grand Op^ra, and produce 
the "great French operas of Rossini and Meyerbeer. M. Bagier 
is busy organising his corps de ballet, and already has secured forty 
of the loveliest and best coryphees Paris can afford. Moreover, he 
is making important alterations in the theatre,'principally with a 
view to increased accommodation. 

M. Adolphe Sax, the great brass instrument maker, has just 
completed a new saxotromba, which, it is confidentally asserted, willbe 
the most perfect instrument of the kind ever invented. Tliere is 
a long account of the new Saxotromba in the Menistrel of last 
Sunday, and had I thought it would interest your readers I should 
have transUted it for them. The instrument is lauded to the skies 
and said to possess extraordinary advantages over old instruments 
of the same family. 

Paris, July 20. M. Shoot. 



Madakb Hiaannui Wxpmir left for Berlin on Thuisda7» 



New Theatre aio) Opera House in Liverpgol. — ^A limited 
liability company, the directors of which include some of the most 
influential and wealthy ^^ merchant princes '^ of Liverpool, have 
purchased a plot of . ground in lime Street, Liverpool, near the 
liondon and North-XVestem Railway Station, and opposite St. 
George's Hall, on which they are about to erect a handsome theatre 
and opera house. It is expected that the new building will be 
opened before next Christmas, though it is to be a very krge and 
handsome structure, combining iQl the recent improvements. 
Especial attention will be paid to ventilation and to the comfort of 
the audience, for, though tne theatre will be a hurge one, it is only 
intended to seat 1500 persons, who will, however, enjoy the novelty 
of having plenty of room to sit and view the performances with 
comfort and ease. During a portion of the year, operatic per- 
formances will be eiven in a style of completeness worthy of 
metropolitan opera houses, but the ordinary performances will 
consist of first-class entertainments of all descriptions. Thd tilieatre 
will be leased to a respectable manager of tned experience, liie 
directors only exercising a general supervision ; and it is rumoured 
that Mr. A. Henderson, the present popular and successful lessee 
of the Prince of Wales Theatre, has made a most satisfactory 
arrangement as to his managing their property with the directors. 
The building is to be called the Alexandra Theatre and Opera 
House. 

Presentation of Plate to Miss Louisa Ptiix.— On Hiuiaday 
afternoon a select circle of Miss Louisa Pyne's friends and 
admirers met (by permission) at the mansion of the MarchioneaB 
of Downshire, Belgrave Square, and presented her with a magni- 
ficent piece of plate, as a testimonial to the services she has 
rendered to art and to her high worth in private life. Mr. Brinley 
Richards, who acted as chaiman, prefaced the presentation with 
a speech, and afterwards read an address to Miss Pyne, both speech 
and address being received with much applause. Miss Pyne rose 
to return thanks, but was so over-powered by emotion that she 
could not proceed for some time. She, however, after a while, 
spoke a few words, sensible and to the purpose, and sat down amid 
hearty cheers from the whole company. A vote of thanks was 
proposed by Mr. Richards and a verv handsome volume presented 
to Miss Clift, the lady who acted as honorary secretair to the testi- 
monial fund, and whose services were eminently usefu in bringing 
the affair to so successful an issue. Finally, a vote of thanks was 
proposed to the MarchionesB of Downshire for the use dt her 
spacious and splendid apartments, and the company separated. 

Mdlle A. Peschel's CoNCERT.—Mdlle. Peechel is one of the 
most talented pianists now resident in Paris. During her first 
visit to London she has had few opportunities of being heard ; but 
wherever she has been heard she has won golden opinions. On 
Monday afternoon she gave a concert at the residence of Signer 
Campanula, and was mtened to in various pei-furmanccs with the 
utmost attention and interest by a fashionable audience. Aldlle. 
Peschel played the Ereutzer Sonata (withM. Niedzielski), Chopin's 
Valse, Op. 84 (No. 1), a Tarantella by De Beriot the younger, 
Henselt's Polme d* Amour, a Song without Words by Menaelss^, 
and an Etude Caprice by De Beriot the younger. Her tone is full 
and pleasing, her touch light and crisp, her take wholly unaffeted 
and her execution neat as well as brilliant. Mdlle. PeBchd*s 
success was complete, and she afforded entire gratification to her 
patrons. Some vocal music by Mdlle. AngMe, Signer Campanella 
and Mr. A. Irving (accompanists Signers Campana and RIotti), 
and a violin solo by the gentleman who took part in the sonata, 
agreeably varied this agreeable concert. 

The Akthropoglossos. — This extraordinary piece of mechanism Is 
now being exhibited at St. James's Hall. M. Saguish, of Constanti- 
nople, is the inventor. It represents the head and shoulders of a 
human being holding in his mouth a trumpet, through which issues 
the sound of the human voice. This eztraordinaiy automaton head 
6ing8 a variety of songs in so perfect a manner that it is imposable to 
beheve it produced by mechanism alone. The words of the song are 
heard quite distinctly!! the quality of the voice (a tenor), though some- 
what nasal, is exceedingly agreeable, and the invention utogether one of 
the most astonishing in this nge of mechanical miraclea The pio- 



The exhibition is to be varied daily. Every curious inquirer will go 
and hear " The Anthropoglossos." 



Digitized by 



Google 



Jtily 28, 1864.] 



THE MUSICAL WORLD. 



478 



X. 



More queBtioDS have been posed rinoe Mr. Ap*Matton*8 retam 
than he could under any circumstances undertake to answer. All 
he can possiblj do is to cull. He therefore culls. 

^ Voice bam % S^kiuu 
Mt x>kab Ap'Mdtton, — The last time we dined toeether (at John 
Broadwood'8— you remember?) you pledged your word to me that if I 
died before you, you would look to my posterior fame— that you would 
not only spread the knowledge of my works, but see that they were 
revised whenever a new edition appeared. Now, in Uat MuUoMona, 
I find a quotation from my Op. 19, with a wrong note in it— an £, in- 
stead of a D. I requote the last three bars of the quotation : — 



± 



^^ 



invites to a counterpoint which he (Mr. Ap'M.) has ''found ** for 
the answer : — 



Answer to theme *' found" by Mr. P. F. 




Counterpoint '* found^ by Mr. Ap'M. 





^^ ^-jj rm 




Own this is a queer way of keeping your promise. What is Mr. 
Purple Powis, who fiaincied he had " unconsciously generated" my 
melody ? He must be an arrant donkey. All the gods and 
goddesses read MtUUnianaf especially Mercury, who says you are as great 
a thief as himself, and Diana, who declares that if she eould forget her- 
self for any one it would bo '* for that dear dnck of «in Ap*Mutton.'' 
Himmel is here (if he wasn't, he swears he would have changed his 
name to HOUe*) ; but not Woelfl, nor Steibelt, nor my poor Louis 
Ferdinand — tiiough I am told by Venus that the Prince is shortly 
expected (sAtf longs to seo him). Meanwhile, I am as happy as I mav 
be without a Broa4wood. I cannot describe the instrument with which 
I am obliged to play Juno to sleep, when Jupiter wants to go out. It 
almost sends me off as well. Never mind — Hebe pours out my nectar. 
What a donkey the Governor was to abandon her for Ganymede! — 
Yours, as of 4dd, dear Ap'Mutton (who'd think it was sixty years since 
^« ™«t !)> lo^Hmi SnUnioii ^xautk 

Olympui. 

P.S.— By the way, why doesn't Arabella Goddard play my Adieux & 
CUmenti^ my EUffie on Louis Ferdinand, my Op. 35, and, last not least, 
my Invocation f Surely they are all better than Woelfl's N$ Plut Ultra 
and Steibelt's Madame Buonaparte, Speak to 8. Arthur Chappell 
about it, and thank him for republishing * my violin sonatas and can- 
zonets. Tell him also that there is ons of my quartets still un^yed at 
his Monday Concerts (Apollo calls them '• Pops "). But, for Heaven*s 
sake, don*t let him ask Uall6 to play any more or my music. 1 heard 
him (HallQ, with my Olympian ear-trumpet, do Le Betour it Parte 
(why the deuce does he call it *< Plue Ultra f*); and reaUy it was too 
expansive for my nerves (thank Jupiter, I still have nervesX Luckily, 
Jaell can't play' my music if he would, and Pauer thinks too much 
of Schumann and himself. How's John Ella? J. L. D. 

Mr. Ap^Mutton is delighted to hear from so ancient and esteemed 
a friend, but sorry that lus (Mr. Ap'M.*s) age should have been 
thus (he thinks) indiscreetly revealed to his fairer readers. Mr. 
Ap*M. has no influence with Arabella Groddard, nor with S. 
Arthur Chappell, but will give the sonatas to his (Mr. Ap'M.'s) 
daughter, Fleece. 

Mr. Pontifex Fonracres (with thanks for Mr. Ap'Mutton's courtesy) 
has found a theme for a fhgue, and beg^ Mr. Ap'M. will suggest how 
it should be answered. Here is the theme for a fugue which Mr. 
Fouiacres has found ; — 

ir 



Will Mr. Fouracres say where Mr. Ap'M. ** found " that coun- 
terpoint, or whether it was (consdously or unconsciously) gene- 
rated by him (Mr. Ap'M.) ? He (Mr. Fouracres) had better pMS 
off his jokes on a less wily generalissimo, or he may find himseu in 
the plight of Grant vereus Lee — ^t.e., in a dead lock. 

Dr. Wind begs the editor of Muttoniana (who seems to know every- 
thing) to inform him when Madame Malibran died, and how old she 
was when she died ; also when Mad. Albertazzi died, and how old she 
was when she died. Dr. Wind will be extremely grateful for the in- 
formation. Perhaps, if Dr. Ap. Mutton is ignorant, Dr. Shoe or Dr. 
Pidding may be able to enlighten him (Wind). 

He (Wind) is instructed that Mr. Ap'Mutton is not a Dr. in 
anythinfj. No more was Handel. Secondly, Mr. Ap'Mutton 
cannot possibly be ignorant on any point whatever — ^much less 
possibly on points familiar to hia own deputy, Shoe, and to his own 
sab-deputy, Pidding. Albertazzi (Mr. Ap'M. begins with her 
—hoping to twitch Dr. Wind's conscience) died Sep. 26, 1847, 
a^ S2 ; Malibran died Sep. 25, 1836, aged 28. 

Dear Ap* Mutton — I have a wager with Boil. He says that Grisi 
never, since she was in the Royal Italian Opera, had an apology printed 
for her on the evening of performanee^ and on the plea of *' cold and noarse- 
ness.'* I say the contrary. We have agreed to refer it to you, as in- 
fallible, and am, yours always, and with a respect very unlikely to 
diminish, Paul Moist. 

The Pond, Drippingham, July 20. 

If Mr. Moist bets "the contrary*' he wins the bet. Mr. 
Ap'Mutton has taken subjoined out of his SSrd pigeon-hole : — 



aat^^m ^ ^t^^ 



Mr. Ap'Mutton would answer it in this way : — 




At the same time (as the letter from his friend Dussek will have 
ihown) Mr. Ap'Mutton is too old a bird to be caught even by the 
oha£F <» Mr. Pontifex Fouracres, whose attention he (Mr. Ap'M.) 



* Hot to be confounded with H«U^.— 0. AfH. 



The Directors have great regret in stating, that Madame GRISI 
is suffering from so severe a Cold and Hoarseness as to prevent the 
possibility of her performing this Evening ; the kind indulgence of 
the Audience is, therefore, most respectfully requested towards 

Madame CASTELLAN, 

who has most kindly offered to sing the part of Pamina, 
Royal Italiah Opbba, May llth, 1862. 



— and '^ am" his (P. Moist's) ^* with a respect veiT unlikely " &c. 
What makes the matter oueerer is this : mi. Ap'Mutton and Mr. 
Baylis (Baylis, Mr. Ap'M. presumes) Boil were, that very same 
evening, in a box at the R.I.O.— with the Duchess of Fitzbattleaxe, 
Lord Aldgate, and one of the youne Pump*— to witness the per- 
formance of Die Zauberjlote] and so tickled with Ronconi's 
mimicry of Mad. Viardot, in the duet between Papaffeno and 
Papagena, was Boil, that he nigh burst. This makes the matter 
queerer. Is Boil's memory wandering? 

To the Conductor of *' Muttoniana" 
HovoBED Sib— An air, of which I have an edition to Italian 
words, " lo ti lascio, cars, addio," but which begins as follows, 



P^ 



^ 



^ 



r f_f=:.:T 



•ir=v 



Digitized by 



Google 



474 



THE MUSICAL VTOBLD. 



[Mf!2a,18IM. 



liiftve hem in the haUt of aitribatiog to Mosart, but now, aomebody, 
I forgot whom, bat I know he had a beard and a white choker, at the 
Opera, the opera was MireQle, asanred me it was not Mozart's, bat 
Haydn's, bat will yon, Mr. Ap*Matton set one, or both of an, right, and 
oblige one, or both of us, but especially yours with veneration, but not 
personally acquainted with your person, Sihoook House. 

July 20. 

. *»But" not 60 many buta. Whv "but?" And why ail 
commas? The song in ^netrtion nrstt appeared shortly after 
Mozart^B demise, -in a collection of so-callea Mozartische Lieder^ 
tinder the name of " LMsen muss ich," with a pianoforte accom- 

eniment. Mr. Ap'Mutton, however, was informed by Madame 
ozart (afterwards Madame Nissen), that the melody was the 
composite of one Gottfried von Jacquin, and that her illustrious 
first husband merely put an accompaniment for four string 
instmmetits ; so that the accompaniment only was Mozart's com- 
posite. " But ^' that is both here and there. Further information 
18 open to Mr. House, if he will open Dr. Ludwig Ritter von 
EOckel's Chronologisek'themaHsdies VerzeichnUs $&mmtlicher Tihi- 
werke Wolfgana Mozarfs^ at page 524. The copy forwarded 
by Dr. von ElSckel to Mr. Ap^utton is to be seen at tiie King 
and Beard, where Mr. Ap'Mutton hangs out. Will Mr. House 
favor him (Mr. Ap*M.) with a call ? 

MjLBUH SpZKS at TBS OpEBA. 

Sib — ^My letter to Dr. Shoe might be rather disageeeable, but not 
with the intention of hurting his feelings. I should be very sorry to 
attempt it. Mr. James MarBn Spike I found to be a man straight- 
forward in all his buainesa, and passionately fond of musio ; you will 
say so when I tell you. On Saturday evening we visited the self-same 
Opera-house, Her Mijest/s Theatre ; the opera was the self-same, 
the charming Mirdla^ and during the performance I found that my 
friend, Mr. Marlin Spike, although a nail maker by trade, knew 
something of music, but I will tell you the commencement. We took 
our seats on the O.P. side in the pit stalls, and right behind us sat a 
short, grey-headed old ffcntleman, whom Mr. Marlin Spike knew by 
sight, a South- Welsh lawyer, a man who should know everything 
and everybody's business, and who would tell you what was coming 
next, which was very unpleasant, but Mr. Marlin Spike, sat tim 
and payed every attention to the music, and when the nrst scene was 
over, he expressed himself in this way : '* £h, lad, that's playine it 
greatly, I shuld loike to hear it again, it fair makes my hair 
stand on its end." But just now came two foreign gentlemen, evidently 
Italians, who tamed round to tell the boy who sold the programme, 
and said in Italian: '* QuaiUo cotta;" of course you know, Mr. AprMutton, 
what tliat means, but the old lawyer overhearing this, said aloud, just 
when the fair Mirella was singing her air, <* It is not Oosia at all, it is 
Ard-kUter, and a very good one, quite as eood as t'other." Mr. Marlin 
Spike, who was enjoying the singins, said: ^ Hould thee noise, wilt,'*, 
and I said, <* Hash," but on went the performance. You know, Mr. 
Ap'Matton when they come to the f movement, in fact, it is every 
other bar | and \ — ^words, I forget what — poor MarUn Spike was count- 
ing time with his hand, and it is evident that he knew the right time. 
When we came to the finale of this passage he exclaimed : ** Eh, did 
thee ever hear mch chords, lad, especially tluit { movement.*' The old 
lawyer who kept listening to one and to the other, said, somnously 

" What did you say about 6s. 8d. ? are you insinuating to me, sir ?— if 
you want to talk about business, call at my office." This caused Mr. 
Marlin Spike to laugh, and we waited with* great Mee until the fihish 
of the opera, and what with the beautiful singing of the artists, and the 
lawyer fiurce, we left for our homes delighted at everything. — I am, sir, 
yours respectfully, Buckmoue Bat. 

P.S. — By-the-bye, I am happy to inform you that your friend 
Ap'Shenkio is about to visit the metropolis. 

Mr. Ap'Mutton will be glad to see Mr. Ap'Shenkin, but trusts 
that Mr. Bat wiU not take his friend Spike any more to the opera 
—especially when Mirella is put forth. 

Mr. Pim presents his compliments and encloses some intelligence for 
Mr. Ap'Mutton's consideration. It is about Herwyn. 

Mr. Ap'Mutton having considerately considered the intelligenoe, 
oonsiden that it stands in no need of reconsideration. 
Hbbwtk. 

M. Hbnbt Hcbwtk, a French violinist of the highest order, now on 
a short visit to England, and who first made himself known in this 
country by playing several charming pieces of his own composition at 
the charitable fiU given at the South Kensington Museum, presided 
over by Her Royal Highness the Princess of Wales, has since been 
•leotritying the maaoal -worU in aevetal private concerta. His tonei 



and mechanism of touch ave marvteUolA, whilst the varieties of his 
expresrion are full of touching syinpathy lind exquisite sentiment. If 
ever M. Herwyn should appear in public, we. predict for him an exalted 
position fhftt mart lead io a brilliant and "vrctl-nierhed celebrity. 

When Mr. Ap'Mutton played the fiddle he Also made himself 
known bv some charming pieces of his own composition, and was 
also voted a fiddler of the highest order. He (Mr. Ap'M.) also 
*'^ electrified " at sevend private concerts. His tone was also con- 
sidered uarvellous, as also the '^varieties of his expression.^' 
About his ** medianism of touch ^^ Mr. Ap'M. remembers less than 
about his '* touching sympathy and exquisite sentiment'* <A which 
his ^^ mechanism " was so full, that an *^ exalted position *' Was pre- 
dicted for him, which he had attained even anterior to the pi^ction ; 
while other qualities in his (Mr. Ap'M.'s) playing had led to a 
brilliant a&d, he (Mr. Ap'M.") believes, well-merited celebrity, 
even before he (Mr. Ap'M.) nad won the *^ exalted position." 
NevertheleBB, Mr. Ap*M. tenders his thanks to Mr. Pim. 

A Duel. 

ifiy Electric Tdegrcg^K) 

Mr. Dovey Scoones presents his respects to Mr. Ap'Mutton. A duel 
took place (owing to a quarrel about an ^g)^ between Sir Caper 
O'Corby and Sir Oodle Poodle, in a field near Tewkesbury Point. The 
combatants exchanged pistols, and then shots. One ball hit the 
hat of Captain Pearbottom, Sir Caper's loader ; the other hit Waid- 
riffe. Sir Oodle's groom, in the left heel. The combatants then 
shook hands : and the general opinion remained that neither Sir 
Caper nor Sir Oodle could be conridered a dead-shot. 

With thanks to Mr. Scoones, Mr. Ap'Matton remains with the 
general opinion. 

The Wind Oboah. 

SiR,^Can you inform me when the wind-organ first became in 
common use, and oblige, Yours respectfully, Fblcl Bbooub. 
To Owain Ap^MuUon, Esq, 

The wind-organ (Mr. Ap'Mutton well remembers") became in 
common use a.d. 514, in the time of Cassiodorus, wno flourished 
und^ King Vitigas, the Qoth ; and (Mr. Ap'Mutton also remem- 
bers well) it was then blown by hand-bellowB. ALr. Ap'M., at that 
period, composed a mebdy for it. 

Molls. Bbunetti. 

Mb. Ap*Mutton— Sib, — I see Mdlle. Brunetti, who is to play 
Pntscovia in VEtoiU du Nord at the Royal Italian Opera, is annoanoed 
as appearing ** for the first time ih Enghind." Can you, in the pleni- 
tude of your information, instruct me in this matter ? I have a wager 
witli an occaidoual contributor to your column (Mr. Abel Grogg), who 
maintains it is true what the R. I. O. advertisement announces. I 
maintain it is not true. Your obedient servant, 

QuiXTiK Quack (M.D.) 

Mdlle. Brunetti (or Brunet — ^for that is her French patronymic) 
came out at Her MAJes^'s Theatre (under manager £. IT. Smith) 
as Gilda in RigoUtto^ on Saturday, May 12th, 18^. Mr. 
Ap'Mutton was present, with Mrs. and the Misses Ap'Mutton, 
and remembers well that Miss Fleece threw the young d^naantt 
(towuds whom Mrs. Ap'M. would not allow Mr. Ap'M. to 
address his opera-glass) a bouquet which she had called ^om 
his (Mr. Ap'M.'s) window-flower-pots. Mr. Ap M. also re- 
members that Mongini placed the Dake, and that Sebastiaiio 
Bonooni, a brother of his (Mr. Ap'M.'s) inimitable friend, 
Giorgio, played the jester. Mr. Ap'M., lastly, remembers 
that Mdlle. Brunetti (or Brunet) was a pupil of his (Mr. Ap'M.'s) 
long-standing friend, Duprez, by reason of a letter of recommenda- 
ti(m which he (Daprez) wrote to him (Mr. Ap'M.), and which he 
(Mr Ap'M.) now produces in a thin frame : — 



Chbb Ap'Mutton— Fais moi I'amiti^ de prater une oreille a ma 
jeune et charmante ecoliere, Marie Brunet. Elle va essayer aes 
ailes an The&tre de sa Majesty, et Je demande i ton amiti6 poor moi 
ton oreille jndulgente pour elle. — A toi de coear, Dvrass. 



Mr. Ap'Mutton not being allowed (as aforanid) to lend an dje 
rwhich might h^ve been too indulgent), lent an ear (Ins moftt in- 
aolgent ear— his kf t ear), and h^l no canae to repent Inm of the 



Digitized by 



Google 



July 28, l««li} 



THE MUSICAL WORLD. 



4f5 



EPIGRAM. 

There waMi»'0)d fiddler called Lauierbach, 
Who» thteklikii.to wheedle hi» daughter back, 
imy^ '* Hey diddle, diddle,'* 
** Tliie oa* and the fiddle," 
When OYec the Jkldon. jamped Mim Lanterbach. 

SuFLB Simon. 
Mr. Ap'Mtrtton nicked up the above— be lorgetB wheve, never- 
IheleBB, he regards Mr. Simon as a simpleton. 

OwAiN Ap'MurroN. 
King and Bwrd, Black Chapel, Jtdy 22. 



IN MEMORIAM. 
{AdeHiicnalPcmtfirihenexiedUum; dedicated to Ifr. Bam, M.P., 2y 
graUfid LatirealeJ)* 

I. — BEFOEB BAflS. 

Biaiar thou thus, dim mom, again, 

Upon me dull and dreary atreet, 

Where, 'ere in ]«Vringford'B retreat, 
I sought oblivion of my pain, 

1 groaned and fsetted painful yean. 

Stretched on the barrel-organ's rack. 

Though sleeping in a first-floor-back. 
And wearing cotton in my ears ? 

Net less street-music, hour on hour, 
Would pierce the brain with iterate chime ; 
Till organ-thunder, murdering rhyme. 

Turned milk of human-kindness sour. 

And when the organ, from my door. 

By dole unblest was bribed away, 

The kilted bag-piper's strathspey 
Made misery keener than before. 

And when the piper's wind gave out, 
Upon the blast by crashes Dome 
Game ophideide, bassoon, French hom, 

la UnkM discord clanged about. 

Mora passed-— dull day to dark declined : 
Gas, London's better sun, ga?e light : 
Those sounds still hideous made the night ; 

Till life seemed one perpetual grind. 

I said : This town befits not bard : 

For staying here I can but die, 

Unuttered all my fantasy, 
With tuneless tunes my music marred I 

I said : I will seek out some place 

Where no street-muno is allowed ; 

Where to the ass-ears of the crowd, 
None bids the finer brain give space. 

n. — ^ArrsB bass. 
I left &ir Farringford's retreat : 

I said, I will reseek the town ; 

Though green in Park and Square be brown ; 
And dust and clamour choke the street. 

Anin, as in the years gone by, 

1 sleep within my first-fioor-back ; 

Nor cotton for my ears I lack. 
Though all unused 'tis left to lie. 

The sun still wears his cap of cloud. 

As did the sun I used to know ; 

I hear the cry of" milk below," 
And " water-creases " clamouring loud. 

The sea of wheels still roars and rolls ; 

The pavement t^till is vexed of feet ; 

Tet a strange peace broods o'er the street, 
And all unchafea we poet-souls 

Mav shoot our swallow-flights of song, 

^or struggle with the organ's blare : 

And nigger-melodists forbear, 
And German bands, resolved in wrong. 

like a caged thrush, that yet doth fill 

The hours with music as they pai», 

I sing my gratitude to Bass 
And them that voted for his Bill ! 

* ** It was well known that the Poet Lfuireate bad been driTcn oat of London 
b^ the itreit mmt^'fr'Mm. Basbi in. JMate m Snmi Mwk SOU 



m . S B ur-qiTBrrioa. 
And have I done sweet music wrong, 
That deem the organ-man accurst, 
And for their praise in song have burst 
.Who drained his barrel of its song ? 

A poet I, an organ he ; . 

Is this our quarrel and no more ? 

I drive a rival from the door ; 
Two of a trade can ne'er agree. 

Or am I hard, as Avrton holds, 
Denying prisoned area- belles 
The only joy that eloom dispels 

Of days sore vexed with toils and aoolda ? 

Ah ! — ^no : 'tis that I love too well 
The music that those organs slay ; 
'Tis that my glance too oft will stray. 

Pleased with some blooming area-belle. 

Unwilling that her eyes should err, 
From me policeman drawn aside, 
• Or Grenadier, his country's pride, 
To that black whiskered foreigner 

Who grins and grinds, and grinds and grins, 
And in the area's smile elate 
Defies the first-floor's rage and hate, 

And, if I seize him, kicks my shins ! 



THE CHOIR OF ST. JAMES, WESTMINSTER. 
{From an cecanmal Obntrt&tifor). 

The Eleventh Anniversary of this Society took place on Tuesday 
the 12th inst., and, as usual, consisted of a day out of town at the 
expense of the congregation of the church. In order to the making 
a long day of it, and completing a variety of amusements, the juveniles, 
of the party were *'on the wing" at an early hour, making a con- 
siderable country excursion previous to the general meeting at the 
Manor House, Green Lanes, Homsey, where dinner was appointed at 
2 o'dock. Soon after that hour upwards of seventy ladies and gen- 
tlemen sat down to dinner. Mr. Crane, ex-churchwarden of the 
Krish (in the unavoidable absence of the Rector) taking the chair, 
nner over, the following programme was gone through : — 

ToMtl— The Qaeen and Boyal Family: «*Natloiia] Anthem'*; Toast 3->The 
President and Cleiigy; Part-«ang— "The Dawn of Day'*: Toast Z—ThB Vloe- 
Presldent; Part-eong—'* March of the Men of Harieoh,^ Thomas; Toast 4— The 
Treasurer; Part-song— " When eveninx's twilight,** Hatton; Toast 6— The Or- 
ganist; Part-song— ** Anld lang syne," €t. W. Martin; Toast e— The Master of the 
Choir; Qlee-^" The chough and crow," Biihop; Toast 7— The librarian; Hunting 
Qlee— '* Foresters, sound the cheerful horn," Bishop; Toast S— The Ladies; Glee— 
**Here*i a health to all good lasses**; Toasts— The Choir and Hon. Seoreta^; 
Glee— " Glorious Apollo," Webbe; Toast lO— The Vlsttors; PartIng-Glee~**To 
our next merry meetfaig,** Phillips. 

Quadrilles and Waltzes, to Saunders's band, first on the green sward 
(of rather fkded hue unfortunately), and at nightfall by i^oumment 
m the long room, concluded the day's entertainment about midnight. 
In the course of the afternoon the company were incidentally enter- 
tained with solos on the violin and violoncello, by De Beriot and 
Piatti, performed by two sons of Mr. Saunders— youths of the respec- 
tive ages of about 12 and 14, the violin and violoncello of his 
quadrille band — in a highlv effective manner. 

Last to be mentioned in connection with this little affiur, though 
not least, for it was the feature of the day, is that it was made the 
occasion of the presentation to Mr. Burrowes, the organist of the 
church, of an ornamental, inkstand in silver, of the value of twenty- 
five guineas, subscribed for by the members of the Quire, as a token 
of recognition of his valuable and unstinted services in the promotion 
of the objects of the Society. The unmistakeable manifestation of 
delight that interrupted lUe presentation address at the moment of 
unveiling the little piece of plate (which had stood on a pedestal in 
the centre of the table during the dinner, under a covering, and un- 
observed by the general company), constituted the ** sensation " scene 
of the day's entertainments. Indeed, the whole of the attendant 
circumstances sufficiently testified to the fact of the high esteem in 
which Mr. Burrowes is held by this very respectable band of amateurs. 



Glasgow Grrr Hall Saturday Evkkino Comoeets. — We observe 
that the eleventh season of these popular concerts commences on the 
drd September. For the first two concerts the principal singers 
engaged are Midlle. Liebhardt, soprano; Madlle. Elena Angele, 
eontnlto; Mr. Brewster Wylie, tenor; Mr. Chaplin Henry, basso; 
With a ohonia of fifty voices. 



Digitized by 



Google 



476 



THE MUSICAL WORLD. 



[July 28, 1864. 



Messbs. W. H. Holmbs aitd Q. W. Hamhokd's third pianoforte and 
miscellaneous concert took place at the Hanover Square Rooms on 
Saturday morning, the 16th instant. The important pianoforte pieces 
were Beethoven's Sonata, Op. 7, played by Mr. W. H. Holmes ; the 
same composer's Polonaise in C, executed by Mr. G-. W. Hammond ; 
and Menddssohn's Trio in D minor, for pianoforte, violin, and violon- 
cello, performed by Messis. Hammond, Blagrove, and Pettit. All 
three performances were excellent, Mendelssohn's Trio coming in for 
the largest share of applause. The other pieces for the pianoforte 
were fan tasias, Ac, the most noticeable of which was a new Impromptu by 
Mr. G. W. Hammond, played by himself and very favorably received. 
Mr. Holmes played a very ingenious piece of his own entitled 
** Tableau Musiod," introducing an air composed by his late Royal 
Highness the Prince Consort, " Sounds are through me forest dying," 
botn composition and performance eliciting admiration. Mr. Holmes 
also played a fantasia on Danish airs by Mr. Harold Thomas; 
" Homage i la Reine,*' introducing " God save the Queen," by Madame 
Rosalie Themar ; and Thalberg's fantasia on ifM«, the Jast particularly 
raising the enthusiasm of the audience. The other instrumental perform- 
ances were Vieuxtemps' fantasia on ** The Minstrel Boy," splendidly 
played by Mr. Pettit; FarUaitie' Caprice for violin, by Mr. Blagrove ; and 
duet for two harps by John Thomas, played by Mr. J. Balmr Chatterton and 
Mr. Cheshire — the last loudly encored. The vocal miuic was recom- 
mended by two extracts from Mr. W. H. Holmes's sacred eantala entitled 
The Redemption, namely, redtativeand air, "When the wicked man tumeth 
away," sung by Mr. Weiss, and quartet '* To the Lord our God belong 
mercies and forgiveness," sung by Madame Weiss, Miss Florence de 
Courc}', Mr. Wallace Wells and Mr. Weiss. Both were well sung and 
much applauded, the quartet being remarkable for simplicity of form, 
but well knit and compact. A new song, ** Whither thou goest I will 
go»" from BtUhj a sacred piece composed in honor of the Royal 
Wedding, by F. Weber, resiaent organist of the Royal German Chapel, 
St. James's Palace, a very expressive and tuneful composition, was most 
charmingly sung by Miss Florence de Courcy and loudly applauded, as 
indeed both song and singing deserved. Madame Weiss gave 
Mendelssohn's air " On song's bright pinions," accompanied on the harp 
by M. Balsir Chatterton, a very excellent performance ; Mr. Weiss as a 
matter of course was encored in his own ballad '* We were boys 
together," upon which he gave " The village blacksmith ;" and Mr. 
Wallace Wells san^ Mr. F. Clay's song — a charming bit of sentiment 
— " Shades of evemng," very cleverly and with much feeling. Mr. S. 
J. Noble was conductor. 

Webtboubme Hall, Batswater. — Miss Kate Gordon and Mr. 
George Lansdowne Cottell gave a concert at the aboVe hall on Thurs- 
day evening, under distinguished patronage. Miss Gordon and Mr. 
Cottel are pianists, and the lady, we Mieve, i^ the gentleman's 
pupiL There were many names in the programme, certain of which 
we had the pleasure of seeing for the first time. There were, how- 
ever, some well-known names, as Miss Eleonora Wilkinson, Miss Julia 
Elton, Mrs. Helen Percy, whom we were pleased to see. Mr. George 
Lansdowne Cottell we have said was a pianist. Mr. Cottell is also 
a singer, a tenor singer of the bravura school. His assaying " O 'tis 
a glorious sight " and «* The death of Nelson," left no doubt of this. 
Among- the many vocal performances ot the concert we were pleased 
with none more than the Rataplan song from the Mitir d^Amore and 
the ballad " When thro' Tife," sung by Mrs. Campbell Black, with a 
very agreeable voice and very pleasing style. We shall be glad to 
hear Wn, Cambpell Black asain. The selection was almost entirely 
vocal, the only instrumental performances being a solo of his own 
composition, played bv Mr. Cottell ; Herr Kuhe's " Bianca," and " Les 
Tambours,*' composed exiwessly for her, performed by Miss Kate 
Gordon; and Duo Concertante on OuUaume Tell^ for pianoforte and 
violin, by Miss £atc Gordon and Herr Otto Booth. The concert 
seemed to gratify all present. 

Miss Elbanob Wabd and Miss Comstanob Roden's Mating at 
Cadogan Place, on Wednesday morning, was well attended. Miss 
Ward, the pianist, is a pupil of Mr. Benedict, and reflects credit on 
the teaching of her distinguished master. On the present occasion her 
performances consisted of " />« Paeeione" by Coop, ** SpiwUied** by 
Litolf, fantasia, " Where the bee sucks " (Benedict), and farUatia on 
airs from Martha (Kuhe). In all she exhibited neatness of execution, 
correctness of phrasing, and an excellent manner, and in all elicited 
marked applause. Miss Constance Roden has an agreeable voice and 
sings with tante and expression. She began the concert, in conjunction 
with Mr. Frank Elmore and Mr. Allan Irving, with Verdi's trio ** Te 
ifol quest' anima," and afterwards sang the old ballad *• She wore a wreath 
of ros( s," and Cherubini'8 *' Ave M;iria." In t!ie second part she gave, 
with Mr. Frank Elmore, Signor Canipana's duet ** Dimmi che m'ami," 
and a song by Miss Virginia Gabriel, ** Ahi che Taffetto mio,'' with 
which the audience were greatly pleased. ' Among the other artists 
who aasistod was Mdlle. GWgi, who sang the air "La Stagion« arriva" 



from MireUa, and Siffnor Arditi's Bokro, *' Leggiero invisibile," both 
of which afforded evident satis&ction. An apology was made by Mr. 
Benedict for the non-appearance of Miss Constsnoe Georgi who was 
suffering from hoarseness. Miss linas Martorelle nng some Spanish 
songs in her usual spirited and characteristic style ; Mr. Weiss contn- 
buted his' genial ^ We were boys together,*' Madame Weiss a serenade 
by Hatton, and the two together sang Donizetti's " Santa Voce." Mr. 
Allan Irving, moreover, introduced a new song by Hutchinson " When 
the silvery moonbeams sleep,'' Madame Pratten played a solo on the 
guitar and Mr. Cheshire a solo on the harp. The *' conductors " were 
^r should have been) Messrs. Lindsay Sloper, Wilhelm Ganz, C. J. 
Hargitt, Emile Berg3r and Benedict. 

At Hebb Cabl Dbichmanm's Morning Concert (Wednesday, June 29 
— Willis's Rooms) some new compositions by the concert-giver were 
presented — namely. Sonata' in D minor for pianoforte and violin, and 
part-songs '* Serenade" and " The Quiet Life." The sonata is care- 
fully written and interesting throughout. It will doubtless be heard 
again, and we shall then be afforded an opportunity of speaking of it 
more at length. It was extremely well played by Herr Deichmann and 
Herr Edward Dannreutter, and liberally upplauded. The part-songs 
are well written for the voice (men's) and cleverly harmonized. They 
were sung by Messrs. Fielding, Carter, Montem Smith, and Lawler. 
The programme in other respects was admirable. One of Haydn's 
string quartets (in F mijor) was admirably performed by Messrs. 
Deichmann, Wiener. H. Webb, and Daubert; Beethoven's Trio in E 
flat. Op. 70, No. 2, was recommended by the steady and correct 
playing of Messrs. Dannreutter, Deichmann, and Daubwt ; while each 
of the three artists exhibited his powers in a solo. Miss Banks Banc[ 
" Ah I why do we love?" from Macfarren's Den Quixote^ and " Voici ^ 
la saison " from Mirella^ and joined Mr. Montem Smith in two duets ' 
by Schumann—" Family Picture " and " Love's Garden,*' all of which 
afforded satis&ction. The concert, announced " under tiie immediate 
patronage of the Duchess of Cambridge and the Princess Mary,** 
attracted a large attendance. 



Bbbun. — ^Last season, Herr Ullmann promised the Berliners a series 
of concerts at which Carlotta PBtti was to make her ddbut. He was, 
however, prevented by the success the fair singer achieved on the 
Rhine from coming here to make the necessary arrangementa. He 
remained, therefore, with his companv, on the Rhine ; in Holland ; and 
in Belgium, but has, at last, made the most comprehensive arrange- 
ments for all Germany and especially for Berlin. His company next 
season will consist of Carlotta Patti ; Herr Alfred Jaell, the pianist ; 
Henri Vieuxtemps, the violinist ; Jules Steffens, the violonccdliat ; and 
Signor Ferrari, the barytone. With regard to the performances of 
Mdlle. Carlotta Patti, she created the most extraordinary /tirors during 
all her last year's tour; everywhere was homage paid to her talenC 
which &r surpassed all the expectations formed of it. She is excelled 
in her execution by hundreds of her fair colleague*, and yet there are 
fioriture which she executes with brilliant facility, and which hardly 
any other singer would like to attempt. Carlotta Patti is not to be 
compared with any other vocalist. The result at which we most 
always arrive is that she is a phenomenal being apart, who has not 
achieved her present position bv study, but whose natural powers 
excite the admiration of even the sternest critics. Herr Ullmann's 
concerts in Berlin will commence about the end of the winter. 
Besides the five artists already mentioned, M. Vivier, the homist, 
and M. Godefroid, the harpist, are engaged for Berlin espeoUUy. 
Negotiations are going on, also, with the contralto Mdlle. Ton 
Edelsber^ of Munich, the young lady so celebrated by her singing at 
the Rhenish Musical Festivals ; Herr Schnorr von Carolsfeld, chaniber- 
singer to the King of Saxony, Dresden ; and two artists in London. 
For the execution of orchestral works as well as for accompanying the 
vocalists, the services of all Carlberg's band have been secured. With 
artists such and such a band, Herr Ullmann will be enabled to offer 
the Berliners a programoie containing much they will have an Of^por- 
tunity of admiring for the first time. 



Just paUished, prioe as., 

JESSICA BAMEIM'S NEW SONO. 



« IT WAS ONLY A DBEABI," 

Song, Written and Copiposed by 

JESSICA RANKIN. 



Digitized by^ 



Google 



July 23, 1864.] 



THE MUSICAL WORLD. 



477 



TABANTEIiIjA, by "WAIiTUB MAOFABBSH'. 
n^HIS popular Morceau for the Pianoforte, played with 

L rooh dittingaished tuocesi by the Composer at his Concerts at the Hanover 
B^OMf Rooms, It poblishad, price 48., by 

DuMOAX DATisoir A Co., 344 Reiirent Street, W. 

In the Press, 
To be Published by Subsoription, 
MASS in B flat, for Soprano, Alto, Tenor and Bass. 

Solo, with Chorofl. Composed and dedicated by permission to Hli Iroperia 1 
^ty DoM PiOBO IL, Emperor of Brazil, 

By WELLINGTON QUERNSET. 

To Subteriben, Ss,; Non-Subteriben, It. 6cf. 

London : DnsoAir Datisou A Co., 244 Regent Street, W. 

A DELI N A PATTI. 



4 



"DI QIOJA INSOLIT A," 

Walts, snng by Mdlle. Adelina PatU with DUtingnished Snecess 

Composed by MAURICE 8TRAK0SCH. 

Price 3s. 

With a Portrait of Mdlle. AdeUna PattL 

London . Duvcan Datisov A Co., 344 R^^ent Street. 

"DI GIOJA INSOLITA'* 

Is also Transcribed for the Pianoforte by 

B. ANDREWS. 

Price ai. 

OARL OTTA PA TTI. 

"I WOULD HEAR YOU, WARBLER'' 
(L'Usignuolo— The Nightingale). 

Sang by Mdlle. Carlotta Pattt with dUtingnished success. 

Composed by E. MUZIO. 

Price 4s. 

With a Portrait of Mdlle. Carlotta Pattl. 

London : Duvoah Datisom ft Co., 344 Regent Street, W. 

Jnst Pabllshed, price 3b., 

"UT HEABT'S IN THE HIGHLANDS." 

C* Mein Hers ist in Hochland.'*) 

COMPOSBD BT 

AIiSXA19^DB]3 JEtEXOHABDT, 

Composer of *' Thou art so near and yet so iar.** 
London : DiniOAir Datisok A Co., 344 Regent Street, W. 



Jost Published, 

'< HARK, THE BELLS ABE BINaiNa," 

NEW SONO 

HEX^^BY^SMABT. 

The Words by W. H. BELLAMT, Esq. 
Companion to hU celebrated "LADY OF THE LEA." 

Price 3s. 
Lcuoon : DuncAX DAmoK A Oo^ 344 Regent StrMt W. 



''MABY DEAB," 

SIMS REEVES'S NEW SONQ. 

Composed by HOWARD QLOVER, and enthusiastically encored at St. James's 
Hall, is pnblished, price 8s., by 

DmroAv Datisoii A Co., 344 Regent Street, W. 



Jnst pnblished, price 4s., 

" VOOLI AN A," 

JCasurka de Concert, pour Piano. 

Dodleft h son ami Monsieur^ EDOUARD, DE PARIS, 
Pab 

WILHELM GANZ 

London : Dusoah Datibok A Co., 344 Regent Street, W. 
Jnst pnblished, price 3s.^ 

"L'AMOUB," 

REVERIE POUR LE PIANOFORTE. 

Par 

FREDERIC BOSCOVITCH. 

London t Domax Davuoh A Co.| 344 Regiat Str««t, W* 



ASHDOWN AND PARRY'S 

RECENT PUBLICATIONS 

FOB 

THE PIANOFORTE. 



Kuhe. " The Pilgrim of Love" 



Prioe 3s. 



Kuhe. " Sing, Birdie Sing." Transcription of 

Ganz*B Popular Song . . . . Price 3s. 



Kuhe. " La Favorita." Fantasia on the Opera 

of Donizetti Price 4s. 



Ganz. " La Vivacity." Polka de Ooncort. 



Price 4s. 



Ganz. " I Pnritani." Fantasia on the Opera 

of Bellini Price 4s. 



Ganz. "La Sonnambnla." 
Opera of Bellini 



Fantasia on the 



Price 4b. 



Salaman. '' Twilight Thoughts." Nottumo. Price 4b. 



Salaman. ;' Joy." Impromptu 



Price 3s. 



Etehloesser. " La Sarpe Seraphique." Morceau 

brillant Price 



Schloesser. "Une rose des Alpes." Styrienne. Price 4s. 
Schloesser. '* Danse Catalane." Price 3s. 

Gibsone. " Dans les Nuages." Valse brillante. Price 3s. 
Gfibsone. " The Singing Apple." A fairy tale. Price 3b. 

3b. 



Boubier. ** Marche des Troubadours." 



Price 



Bcotson Clark. 

Caprice. 



"The Crystal Fountam." 



Price 4s. 



Scotson Olark. 

brillante. 



'La Rose Blanche." Valse 



Price 



Brlssac. " Oomin' thro' the rye." 



Price 



Brissac. " Weber's last Waltz." 



Price 



3s. 
3s. 



Boyton Smith. 

brillante. 



'La Bayadere." Mazurka 



Price 



Boyton Smith. "Philomel." 



Price 



4b. 



Sydney Smith. " Golden Bells." Caprice de 

Concert." Price 4s. 

Sydney Smith. "Unenuit6toil6e." Serenade. Price 4s. 



Sydney Smith. " Pas Redouble." Morceau 

brillant. Price 

Sydney Smith. " Martha." Grand Fantasia 

on Flotow's Opera. Price 



Sydney Smith. "Les Huguenots." Grand 

Fantasia on Meyerbeer's Opera. Price 



48. 

4s. 
4s. 



LONDOS: ASUD0WN4PARR7|18|HA1[0V£BSQUARS. 



Digitized by 



Google 



478 



THE MUSlCAi WORLD. 



[July 23^1864) 



GOUNOD'S NEW OPERA, 

"MIRELLA," 

PERFORMED WITH IMMENSE SUCCESS AT 

HEK MAJESTY'S THEATRE. 
m oooo o a>M 

. OPINIONS OF THE PRESS. 

"The mnslo of JUrOla is as goodM tb»t of Fmul; pertiAps,iii some retpeets, 
better."— Doj^ y§»s. 

'* 11 GooBod bM given to the world another genuine and charming work.'^^Tht 
Tlmm, 

**ThemasioofiAre7lawill as.«irely make Its way with the public as that of 
Fenatr-^SUmdard, 

** A capital opera ; no liTlng man could write anything for the stage comparable to 
it**— iUtouMm. 

" We have to than Mr. Mapleson fbr giving os an opportunity of hearing the last 
work of one who cer ly new is the greatest living operatic composer."— Aiftrday 

THE PRINCIPAL VOCAL PIECES. 

l.-THia OFBNINCh OHOBUS. 

This exquisite subject 0* Faocum Cabolr ") may be had as a song, as a duet, as a 
ohomSf and fbr the pianoforte, by Brinley Rlclurds and Nordroann. The foUowlag 
quotations from the press refer to this melody :— ** There is nothing in modem opera 
to exceed it in freshness and Southern character."— ^(toMRtm. *< Nothing more 
fresh or melodious has ever been imagined than this lovely inspiration, a worthy 
pendant to the Yalse in f oim^"— ^otfy msgrtfh, ** BeantiAilly simple and tender. " 

~-J>wUy Newt: 

2.-THB BAVOYABD MHIiODT. 

This shnple and beautiftal melody is performed by the orchestra. It Is, however, 
published with English words, " fab fbom hhi MomrrAiMB," and In Italian, ** Ah 
ouTAn on sv;*" and for the pianoforte by Brinley Bichards and Nordmann. 

8.— THB BKBPHBBD'S SONG-. 

** Fklioi Pastorsl," song by Mdlle. Yolpini. ** A delicious little air."— 2!^ TifMt. 
•« Exceedingly charming."— iDoiJy Ttiegrapk, "A delicious melody."— iSoterdoy 

*''***' 4.— ICpXiIiB. TITUBNB* BONO. 

** The most popular is the bravura aria, *' Nos hut a il Gori." ** More than the 
rival in our estimation to the .Jewel Song in Faulty as being a purer strain of 
melody ."— ^Staiutanf . 

fi.-MDIiIiS. TBBBBLIirB BONO. 
•*La btaoioxi ajibiva, o Bklla." encored every night. **This will be in every- 
body's mouth, and it is certainly tiie most catching melody in the opera."— jSEofunftw 
Bwkw. ** An exquisite UtUe soi«."—2>at<y 2Ws0riyi^ 

&-SIGHOB QUJOIiTSTB BOKCh. 

**Ah! as n'THORi miki." "A lovely song.*'— iSalardaif Btviem. "A deUolons 
cavatina."— Jforatn^ AdvertUer. 

7.-MB. SANTIilSY'S BOKO. 

'* 8i L'ABLU SI B0» Rboikk." A bold and vigorous strain."- jSKofutoni 

a— THB BUIBTB. 

1. ** CuAiiaoir oi magau,*' sung by Mdlle. Tltiens and Signer QlugUni^ " One of 

the most captivating things In the opera."— jStakfay Timtt, ** Likely to become as 

opular as anything in Fautl.-'Stmdmd, 3. " Ah ! pabla ahcob," sung by MdUe. 

dplni and Mdlle. Tltiens. 

The Complete Opera, in Italian or French, 168. For Pianoforte, 10s. 



Vc 



PIANOFORTE ^ABftANBEMgNTS. 

THB O VBB'I' U KU— Bolo and IHiet. 
** Seems to be a string of popular melodies of the South of Frsnoe.***~Z>aily Awt. 
" Pretty, light, and essentially pastoral.**— 7A« TVmef. <* A beauttftil composition." 
—Advertuer, 

THB AIBB. 
By W. H. Callcott, in Three Books, Solos and Duets. 6s. and es. each. 



PIANOFORTE PIECES. 

Kobe's Fkntasia, Mirella „ 4 o 

Madame Onry's F^tasia 6 

Ro«ellen*s Souvenirs de Mirella ( a SeleoUoos of Aiif ) 4 

Nordmann's Bouquet de Melodies 4 o 

Brinley Richards' Cho^ur do Magnanarelles (the opening Chorus) 3 o 

Brinley Richards' Savoyard Melody 4 

Kotterer's. Fantasia, transcription (a very brlilant piece) 4 

Lysberg^ Mirella f^utosia 4 q 

Oanz's Reminiscences of Mirella 4 q 

Forbes' Fantasia „ 5 

Coole's Mirella Qwadrillcs 4 

Coote e Micella Waltzes 4 

Victor Conine's Mirella Valse 4 

BOOSEY & Co., 28 HoUea Street, W. 



NEW SONGS 



BY 



ROSSINI, 

SUNG BT MDLLE. ADELINA PATTI. 

A GRENADE, 

ARDBTTE ESPAGNOLB. 

LA VEUVE ANDALOUSE, 

CHANSON ESPAGNOLE. 



Price of each, 38. 



JUST PUBLISEED, 

FEME DRAMATIQUE 



SUR 



FAUST, 

PAB 

J. ASCHER. 

Price 4s. 



60 KBW BOND STBEET. 



Printed by HnmuKm, lUir, Md F«»ro«, .t Ko. 13, VThulv BtrMt, Oxford Stnet, In Ui« Parlih of KtryloboiM. In th. Cons^ of MliMlMtT 



Digitized by 



Google 



J 





■4 



"Th» WORIB of ABT APPSAM most VMBIKtT Dl UOMO, KtUCE IT WtQUWn »0 MXTBRUL, XO BVMItOtMMMXaB, ^ 

Mvsr «» SROuontD: tr n wHot»r row* Asm powxb, aw) ft -Baum WTO ovoam irttwwntt i» ittwumw —ma*. 



P«y«bU in MlTUlM br Oi»*» or Poit-Oaoe Order to DUlTOABr DA'TISOS * «<X M4. »«l««»t BtrMt^ Irfwdon. W. 

XStgiatrti fbr Trdnmittion Abroad,] 



Vol. 42— No. 31. 



SATURDAY, JULY 30, 1864. 




HEB MAJESTY'S TSEATBE. 

FINAL REPRESENTATIONS 

OH EAP PBIO ES. 

Hie NiffbtB of PerfonnAOoeire 
ifONOAYa, TUE8I>ATS, THURSDAYS IKD BATUBOATf. 

NOTICE. 
MM of tiM Buneroa ftppUei^lloaB, ONB MOBB PBBFORMAlfCB of 
QOUNOD'S LABT KB W OBEAT WOBK wUl bo given. 



MONDAt, August Ist, 
WUl bo poiflvmed, for the Last Time thU SeMos, GooBod'k snceefiftil Open, 

"MIRELLA." 

BsoaoBi OIUOLINI, 8AKTLST, MABCELLO JUNCA, B083I. 
IfOMJOi TBBBBLLI, REBOUX, YOLPINI, m6'YA amm TITIBKS. 

Condootoir . ^ , » Blaaom ABDITI. 
Tke Mw ond eztootiTo Soe&ery by Mr. Telblb, usisted Iqr Mr. Henry TelMn. 



TITIEN8, TREBELLI, SANTLEY, B08SI, OIUGLINI. 
TUESDAY NEXT, August 2nd, 
WiU be repeated Gooned's oelebnted Open, 

** FAUST." 

Condootor ... Siohob ABDITL 



TITIBM8, TREBELLI, 8ANTLEY. BOSSI, 6IUGLIML 

THUB8DAY, August 4th, 

Donlxetti's admired Opera, 

"t-UCREZIA BOROIA." 

Tbe followiog is tbe powerAil Cast ;— 
Oonnaro, Signor GivoLna^ B JHci AUbnao, Mr. ErAXTLaX (hit flntappearanoe in that 
oharaoter); Bnatlffbello, 8lgnor Mavtudis Llaverotto, Bijpior MABiomt 
Gnbetta, 8Ign4r Boifi ; Pelmoci, Signor CaSabovi ; Vitelono, Signor Bbbtaociu g 
Mnflto Oraini, Madame Tbbbblu ; and Lucreila Borgia, Mdlte^ Toibhs. 

Conductor ... Bigkob ABDITI. 



Poon open at Half-paat Seven : oommenoe at Eight preoiselx, terminating in timo 
for the Might Trmlna to the Envlroni. 

VoftiOG*— 'The nsoal Beetrlotiona to Evening Dress will not Im enforced. 

PBiCBi>-Gallenr,tt.4i^if.; Bmis Chicle, Ys.^ ITp^ Circle, 6s.; Orchestn 
BtBlls, ISs. fd. 
Boz-omoe at tBi Thentr* opA (kdljr, from Ten titt Seven, irhere places obj be 



Tickets als6 t^lMcBrable, on the Evenings of ^eitbr^nce, at the Special Offlcss, 
open at tlie Entrances of the Pit and Boxes. 



OP£] 



OYAL ENGLriH OPfiRA, Covbnt Garden. 

Nobtlit]i^-Shaisb0lders,Bnd the pabUo are nspeolMly informed t 
iRA COMPAKY '(Linkfted),wlll mmmenM their nratSaMonon the second 



tnOetAernezt 



-The 

pabUo are nspeolMly informed that THE 
•;, «.!•< com '• • ~ - - 

By Order, 



MARTIN CAWOOD, Secretory. 



TilTR. ALFRED MELLON has tlie honor to announce 

Jxl that hU ANNUAL SERIES of CONCERTS wiU commence at the Rotal 
Itauab Opbba, €<biirBKr Qabibv, on Monday, Angnst 8. I^^ll.parlicniars will be 
nbortly annonnced. 



Ill ISS ROSE HERSEB wiU sing "THE KNIGHT 



M^ 



B. GEORGE DOLBY begs to BBBoaim that he ra 

^,^ hiaking arrangements for B Tonrin tfcePiwinoei wllbtfce foUowingdls- 

tUiffulshcd Artists:— 

VOCALISTS : 

Xadune GBISI 

AXD 

ICadftme SAINTOIT-DOLBT. 
JiB. FATUT 

ABD 

atgoe g KAB XO. 

ViOLINi 
BC fl AIHT OBT. 

ACC0MPANYI8T: 
Tbe Tonr will oorame&oe abont the middle of September and terminate In 



A^SuMiions respecting BngagemenU to U made to Mr. Gbobob Dolby, EgypUa* 
Hall, Piccadilly, Lond on. 

MISS JULIA ELTON will sing Randbgobr's admired 

popnlar Oper^ of Ob« too Qftm^ at the City HbU Ccnoerts, Glasgow, September 
IT, 24, and October 1. 



MISS ROSE HERSEE and MISS JULIA ELTON 
will BiBB at the City HaU, Giatgow, September IT and 34 ; and will be happy 
to m»xT^iS^fi^v!iS» Sortti of feglluid and Sortland for otC^tes between 



£ptemberl3and9S. Commnnication to be addreseod to Mo. S, Orescen|. Place, 
Bnrton Crescent, W.C. 



Eveni 



R. BIM8 REEVES wfll sing "THE MESSAGE," 

Hereford Festival, on Wednesday 



.__ comp<»ed for Wm by BmuBBTBAt, at the 
Ivening, Angnst 31. 



M 

mood, 



R. EMlLfi BERGER will iJay his popular Fantasia 

on Scotch Airs, " WA VEBLBY,- at Myddelton Hall, Angnst S ; and Bich- 
{.Angutlt. _________«»— ^___ 



RS. CAMPBELL BLACK, Vocalist (PupU of Dr. 

Fbabcib BoBoraox, Viear Choral of the CathediBl of ChiWh Chord; and St. 

;'s, in tbe CUy of Doblin), sings in ItaliMi, German and French. She sta^ 
al^idl Se popular EngUsh, So?toh, and Irlah Melodies, and hM nMefolly studiwl 
sSwrld MmK MrsTCAMrBELL BticB accompanies herself on the Haro^ Pianoforte 
and Guitar. All eommonlcatlons respecting engagements to sing a* Coneerts, 4o., 
to be addressed to her at f Well Wallc, Hamstead, N.W. 



Patrick's«ln 



MADLLB. LOUISE VAN NOORDEN (Soprano). 
Codunnnieations respecting engagements in Town and Country to be 
addressed to 116 Great Bossell Street, Bloomsbary Sqnare. 

MR. REN WICK (BarytoBc) requwt^tkatcoininilndcationB 
respecting engagement! m iy be addressed to 38 Walpole Street, Chelsea, 8. W. 



irR. WILLIAM CHARLES LEVEY (Composer of 

VI /"«€»*««), having completely recovered from his ri|eentlB«^ 
^knouice that he is now ready to resume his dutiss as Professor of the Pianoforte. 
Address-^ Cecil Street, Strand. 



SIGNOR AND MADAME MARCHESI beg to inform 
their Pupils and Friends that they have left town for the Season, and will 
return to London, September 1, for the Winter Season. Commnalc^on forenpkgc- 
ments tor OratoiiosTConoensr Ac., to be addressed to tbe eare of My. W. Fish, 
concert ag ent, 19 Whitehart Street, Kennlngton, S. __^ 

TO PIAKOFOBTIS TUNAbB. 
TTTANTED immediately, by a Country House, a Firdt- 

W Class PIANOFOBTB TUNER, with good address. Unexceptionable 
re&^moes given and rtqnifea. One apcostomed to tij ^ontey Trade p^^ 
Aroly. ■*»*^#*»J^'y required, Ac., to B. * Co., care of Usis^ 0bB|?Rell, »P Neir 



Digitized by 



Google 



480 



THE MUSICAL WORLD. 



[July aO, 1864. 



ABTICIiED PUPIIi. 

WANTED, by a Ltondon Professor, a YOUTH about 
Fifteen Years of Age. One with some knowledire of Music, uid a prelimi- 
nary general Education, Indispensable. He will be Uught the Pianoforte and a 
Wind instrnment, and when competent will be Introduced to business. A small 

Eremlum «qolred. For flirther particulars, address to A. B. C, at Messrs. RnJall, 
^oscA Carte's, 20 Charing Cross, 8. W. 



'PC PROFESSORS AND AMATEURS OF MUSIC. 

1. Authors' Works Engraved and Printed on moderate terms by P. Bowober, 
3. Little Marlborough Street, Regent Street. W. ' -w^wucr, 



BUBHAK CATHBDBAIi. 
THE APPOINTMENT OF A MINOR CANON 

TO TBI 

VACANT PLACE IN DURHAM CATHEDRAL, 

Will be made by the Dean and Chapter, 

On WBDNIDBDAY, the 28th day of Beptamber next. 

The Trial (^ Candiduta UttcM tMi taktptaee at the Hnu* and manner tobejlxedtv 

iht Dean and Chapter. 

P«1i*.'?!lIi^??riJt?**.^"»°?°.^^**"*'!f* ^ •«*** *°' addressed to Mr. Edwi.d 
ftSi.f« ♦W',,^**'^V.*°? Registrar to the Dean and Chapter of Durham, at his 
2?J? nn'J® £f"®*?Jr^,"^**^°'« **y "^"^ '"f****' InfbrmaUoi as to the offloe will be 
^vii^rS'2^f^Z^,'^S:t''' '**' "' "^^ of September next. 7 



E'^.9.^s COLLEGE. -ELECTION SATURDAY. 
» *i . * *^"c'"»*on ottbe fireworks the band (Soots Fusilier Guards) nlaved 
National Anthem and " God b»«js the Prince of kles.-'^iS^llSS^ y'Sf 
" G<;rt i>l^s thrPri^™ r f^*^*^"^^J**' ^"?^M^ ''«' Harmonium by J. Warren, Ss. 

CA???XmS?^'^"''^9"'* EDITION of ROBERT COCKS A Co.'s THEMATIC 
2^ Ji5;^£Pw;^V*^!'^lP"^^'''*>'^ ^^C^*^ MUSIC, giving the flit four barT. 
Jw., with the words, of each song. Also a copious List if >ar^Songs, Ac. Frw Ly 

j^^l';i^^'^^^^^OTVTOJi. 428th EdiUon. 4s. All MusioseHer. and 

Addfess-6 New Bur lington Street, London. 

Just Published, 

"ALAS! THAT SUCH PLEASURES SHOULD PASS AWAY." 

Sung by MADAME WEISS. 
Composed by 
JOHH" S. STEAITE. 
, Price 48." 

Sent /roe for 2s. in stamps, from the Composer, Metevale, Atherstone. 
^Pdon; J. H. Jewell, 104 Great Russell Street, W.C. 

THE MODERN HARPIST- 

A NEW WORK FOR THE HARP BY MR, APT0MMA8 

( To be Published by Subicr^tim), 




Pike of BoDscription, ONE QUINBA. 
^ . Iwwed by th» Author, 61 King Street, Soho, W. 



Early In July, 

^^?h?5dvFiL™^.® "*'?''^« *-^^ 100 Guineas offered in 



Wtibt 



yOGLER'S "MABOH of the DANISH GUARDS" 

I.on«lon! P»Mbheaby Dum!X„ DAvigoi, a Co.. M4 Kegmt 8lr«rt. W. 

TSB VOICE AND 8INGINO, by ADOLFO PEBKABI. 

rrUE new Edition of this celebrated Work on "The 

Dp»>ji Datuoii a Co., 2M Krgent Stntt, W. 

Just Publlihed, priM tt. 

|U0 in. A for THE PIANOFORTE AND VIOLIN 

Composed by ' 

JAMES IjIBA SUIOOSBS. 
London : Dawm DansoH and Ca, »44. Regwt Str«et, W. 



D 



TABAjmililiA, by VTAX/TWEL MAOFABBBN. 
n^HIS popular Morceau for the Pianoforte, played with 

X. Bnoh distinguished suoeestf by the Composer at his Concerts at the Hanorer 
Square Rooms, is published, price 4s., by 

DuMCAM Davisom A Co., 244 Regent Street, W. 

In the Press, 

To be FubliBhed by Sabaoription, 

A MASS in 6 flat, for Soprano, Alto, Tenor and Baas. 

IJL Solo, with Chorus. Composed and dedicated by permission to His Imperial 
Majesty Don Psdbo II., Emperor of Brazil, 

By WELLINOTON GUBRNSET. 

To Subeeribert, it, ; ycn-aabteriben, U, 6tf. 

London: Ddhoam Dafisoh A Co., 244 Regent Street, W. 



ADELI N A P. ATT I. 



CI 



DI aiOJA INSOLIT A/* 

Waits, nmg by Mdlle. Adellna PatU with DisUngnished Success 

Cmnposedby MAURICE 8TRAK08GH. 

Price 3s. 

With a Portrait of Mdlle. Adellna Pattl 

LoBdoB t DovoAv DAnaov A Co., 244 Regent Street. 

"DI OIOJA mSOLITA** 

Is abo Tnmsoribed for the Pianoforte by 

B. ANDBEWS. 

Price 38. 



OARIi OTTA PA TTI. 

"I WOULD HEAR YOU, WARBLER" 
(L'Usignuolo-The Nightingale). 

Sung by Mdlle. Carlotta Patti with diatingulahed suooess. 

Composed by E. MUZIO. 

Price 4t. 

With a Portrait of Mdlle. Cariotta PattL 

London : Duvoav Datmoit ft Co., 244 Regent Street, W. 



Just Published, price Ss., 

"UT HEABT'S IN THE HIGHLANDS.' 

(** Mein Herz 1st in Hoohland.") 

COMPOSSD-BT 

AIiEZAN'DBE &EICHABDT, 

Composer of *' Thou art so near and yet so tar." 
London; DoycAW DAVisoa ft Co., 2U Regent Street, W. 



Just Published, 

HARK, THE BELLS AJtE BINQING,'' 

NEW SONG 

HBNBY^SMABT. 

The Words by W. H. BELLAMY, Ewj. 
Companion to his celebrated •« LADT OP THE LEA." 

Price 3s. 
.u.nuMi r DOMOAX Davisov ft Co., 244 Recent StiMt W. 



**MABY DEAB/' 

SIMS REEVES'S NEW SONG. 

Composed by HOWARD QLOVER, and enthnsiastically encored at St, James's 

B»U, is published, price 38., by 

DmiCAx Datuov ft Co., 244 Regent Street, W. 



Jnst pnblished, price 4s.. 

" VOOLI AN A," 
Maaurka de Ck>noert» poor Piano. 

Dedle* h son ami Monsieor EDOUARD, DB PARIS, 
Pab 

WILHELM QAN2 

London! Dpitoab Dahsow ft Co.. 244 Recent Street, W. 



Just published, price 3s.^ 

**L' AMOUR," 

RfiVERIE POUR LE PIANOFORTE. 

Pab 

FREDERIC BOSOOVITCH. 

LwidWi : VvaoAM Datmow ft Co., 344 B«f«it Stmt, W, 



Digitized by 



Google 



July 80, 18640 



THE MUSICAL WORLD. 



481 



ROYAL ITALIAN OPERA. 

L'bTOILB DU NOBD — 90BIBE — METEBBBEB. 

( Times^Jidy 26.) 

The reyival of VEtoiU du Nord on Satarday night attracted one of 
those enormous aadiences which during the present season at Govent 
Garden have been more a rule than an exception. It will be 
remembered that, towards the close of the season 1855, Meyerbeer^s last 
great historical opera was produced in a style of unusual magnificence. 
Composed expressly for the Op^ra Comique in Paris, it had been 
brought out at that theatre, February 16, 1854 ; so that nearly eighteen 
months elapsed before it was transferred to the London boards. 
The delay, nevertheless, was inevitable. The conventional dialogue of 
the Opdra Comique would not suit the Italian stage, and Meyerbeer 
had undertaken to turn it into accompanied recitative. Lablache the 
elder, too, had agreed to play the small part of Corporal Qritzenko — 
but on conditions. The conditions were that it should be *' written 
up," and this also Meyerbeer undertook to do. Thus what, on however 
largB a scale, was originally a bond fide comic opera, assumed the form 
and' dimensions of a grand lyric drama, fit to mate with Robert^ the 
Jffuguenots, and the Prcph§U. In its new shape, with the late Madame 
Bosio, Herr Formes, then in full possession of his means, Mdlle. 
Marai, Signor Gardoni, and the great Lablache in the chief characters, 
a splendid band and chorus, and a mm en teine unprecedented, La SteUa 
del Nord—tLS Signor Maggioni, the Italian translator, rechristened it — 
obtained an extraordinary succefe. Meyerbeer himself was among the 
audience ; and none who witnessed it can have forgotten the brilliant 
reception awarded to the gifted composer, when, after the superb finale 
to the second act, in answer to an overwhelming summons, he appeared 
before the lamps. VEtoiU was destined, notwithstanding, to be given 
no oHener than eight times, the last performance being on an ** extra " 
night, for the benefit of Mr. Harris. On the 5th February, 1866, 
Covent Garden Theatre, which had opened as the Royal Italian Opera 
nine years previously (the 6th of April, 1847), was burnt to the ground, 
and in its ashes lay buried the music, costumes, scenery, and decorations 
of some forty operas, the last of which was the opera in question. On 
the narrow stage of the Lyceum — where, for the two succeeding years, 
the stricken but still resolute manager was compelled to carry on his 
fortunes — such works as the Eloile du Nbrd, <fcc., were out of the 
question; and so until Mav 15, 1858, when the maffnificent new 
theatre, which Mr. Gye's indomitable energy had enabl^ him to erect 
upon the ruins of the old, opened its doors for the first time to the 
public, with the JluguenoUy not another note of Meyerbeer was heard. 
Since the last performance of IfEtoih du Nb^d not only the representa- 
tives of Catharine and Qritzenko have been taken away, but the poet 
and composer who gave Catharine and Gritzenko dramatic and musical 
life — Scribe not long ago, Meyerbeer but the other day, while con- 
templating a visit to London for the purpose of assisting at the revival 
of his work, and while busying himself with the final arrangements 
for his Africaine, the production of which on the boards of the Italian 
Opera in London it was equally his intention to superintend. Happily, 
Mr. Costa was quite competent to the task, without the presence and 
advice of the celebrated composer, whose views and wishes, moreover, 
had already been communicated; and it is fair to doubt, had 
Meyerbeer been in the house on Saturday night, whether he would 
have found a single word to say— unless that word was one of 
unqualified approval — ^with such zealous care and eminent ability has 
the music been rehearsed. UEtoile du Nbrd restored, the Covent 
Gard«'ii repertory', so far as Meyerbeer's grand operas are concerned, 
is now once more complete. Like its predecessors in order of revival 
— the Iluguenotiy Dhiorah^ the Prophete and Rcbert U Diable — ^it has 
been placed upon the stage with even greater liberality and splendour 
than at the old theatre. It is not too much to say that the scenic 
spectacle at the termination of the second act (the Russian Encamp- 
ment)— whether the gradual steps which lead to the climax, or the 
climax itself, be considered — surpasses anything that has been 
witnessed at any European theatre. It was no more than just on the 
part of M. Faure, when summoned at the fall of the curtain, to bring 
forward with him Mr. Augustus Harris, to whose experience, intelli- 
gence and untiring actirity it is needless to insist how much of the 
scenic efiect was due. 

The dramatic romance which the prolific Scribe — to whom every 
aubject came naturally — has constructed upon a familiar anecdote 
connected with the early life of Peter the Great may be briefly 
described. The most redoubtable of Czars, dreaming of a future 
Muscovite fleet, has inscribed his name as Peter MichaSlhofT 
(MichaClwitz might have betrayed him) in the Dockyard of Saardam. 
There he resides, with the crowd of dock handicraftsmen, working at 
this or that department of shipbuilding like an ordinary laborer, his 
identity, of course, being unsuspected by his companions. Scribe, 
bowever, takes Peter ana the audience to W^borg, on the coast of 



Finland, and accounts for Peter's having established himself there by 
the &ot that, in one of those bursts of passion for which he was noted, 
he had become senseless and was deserted by his followers. Finding 
himself, on regaining reason, at a place which was to his likine, Peter 
resolved — ^if we may credit his explanation to those curious about his 
anteeedente and oonnexiona— to remain there; the real trnth^ however, 
being that he is over head and ears in love with a young and beautiful 
girl, an orphan, who has been tended and brought up by a gipsy, and 
for whom this same gipsy has predicted a remarkable career. The 
girl herself— no other than Catharine — ^is redding at Wyborg, with her 
brother, George, over whom she watches with an anxious and 
affectionate interest. The moral character of Catharine (to say nothins 
of her beauty) creates a lively impression in the breast of Peter ; and 
a circumitanoe soon occurs which induces him to make that impression 
known, and urgently entreat the intrepid orphan girl to unite her 
destiny with his. All the preliminaries have been arranged by 
Catharine to marry her brother, George, to Prascovia, niece of an 
innkeeper in the place, and with whom sne is on terms of close amity ; 
but, just as the affianced twain, attended by the marriage procession, 
are on their way to perform the ceremony, a horde of armed Tartars 
arrive, interrupt the procession, and threaten to exterminate the whole 
party. About this period it should be understood that Russia and 
Sweden are at war, and that Finland, which obeys the rule of Charles 
XII., is obnoxious to all the subjects of the Czar, barbarians and other- 
wise. Nevertheless, the suppositious carpenter — <* Ctar und Zmmer" 
numn" — ^infuriated with rage, seizes a hatchet and menaces the 
aggressive Tartars. Here was the self-same Peter, who, in more 
imminent peril, at Dorpat, fiercely attacked his own undisciplined 
followers, and showing his sword to the crowd, exclaimed — ** The 
blood upon it is not yours, but that of my soldiers. I have come to 
save you." But Catnarine has a secret more potent than the axe of 
her exasperated lover. She addresses a few words to the Tartars, who 
incontinently touched by her voice, her beauty, and her grace, desist 
from their intentions and quietly disperse. Peter, too, charmed and 
vanquished, forthwith makes the proposition to which, on one condition 
—that of his alnndoning the career of an artisan and adopting the 
more glorious one of a soldier — ^she assents, ijlnding the stipulation 
to his mind, the Czar pledges himself to obey her, and placing a ring 
upon her finger, sets off to the Muscovite camp, in company with 
Danilowitz. Prascovia now tells Catharine that her own brother, 
Prasoovia's affianced husband, being forciblv pressed into the service, 
must leave immediately for the army, unles he meets with a substitute. 
Quick, as Usual, Catharine hits upon a remedy. She will find the 
substitute, if George only promises to join his regiment at a 
reasonable time after the wedding. Her secret idea is speedily carried 
out ; she puts on male attire ; gets herself accepted as substitute 
for her brother; and while the vessel slowly bears Catharine away, the 
curtain falls upon the first act. In the second we recognize Catharine, 
in her military suit^ submitting with peculiar grace to Uie indispensable 
exigencies of drill,'and certainly not the ugliest soldier of the regiment. 
Gritzenko, the Tartar, gratified with her diligence, places the 
welK&vored recruit as sentinel near the chief tent. The culminating 
point of interest is at hand. The Czar, under the name and disguise 
of Colonel Peters, arrives in the camp, and comfortably esconces 
himsdf in his tent, where, afler despatching some few matters of 
business, he resigns himself, with Danilowitz, to his &vorite indulgence 
— the bottle. The new-comers having stimulated the curiosity of 
Catharine, she watches for a moment when Gritzenko is out of eyeshot, 
and, peering through a chink in the tent, recognizes her betrothed. 
Peter, then, has kept his promise. That at least is a consolation. He 
has won his epaulettes ; that is another. He is resorting to his old 
habit, nevertheless, which used to vex her so much at Wyborg ; he is 
drinking hard, and getting the worse for his potations. But never 
mind, Ms toast is ** Catharine," the mistress of his heart ; and the 
mistress of his heart forgives him firom her heart. Soon, however, appear 
a couple of vivandiireSt who not only serve Peter with wine but help 
him to drink it, and with whom, alas ! he is becoming too familiar for 
her modest gaze. Catharine, distracted, vainly endeavours to tear 
herself from the spot. She hears the voice of Gritzenko, who has 
come, with a new sentinel, to relieve her, but pavs no attention to his 
words, until, reproaching her with insubordination, the rough Tartar 
receives, as recompense for his temerity, a box on the earw. Gritzenko, 
enraged, drags Catherine before the Colonel, and prefers his complaint. 
Even when drunk, the Czar, having a strong sense of the necessity of 
strict discipline among subordinates, orders the peccant sentinel to be shot 
inttanter. Catherine, astounded, utters a cry of despair, and is carried 
away by force. The cry, tlie well-remembered voice, the strange 
resemblance to his beloved, speedly bring Peter back to reason, and 
making a desperate effort he shakes off the lethargic effects of the 
liquor and orders the young sentinel to be brought back. Bat it is too 
late ; Catharine, more' hurt by Peter's fickleness than by his cruelty, 
has thrown herself into the riyer ; and whether the fire of the loldien 



Digitized by 



Google 



482 



THE MUSICAL WORLD. 



[Julj 80, 1864. 



has taken effect, or not, is left in doubt; at any rate, she is lo«t to the i 
Czar f<x ever. 'Misfortunes never oome alone. No sooner has this 
calamity afflicted the haughty potentate than anotlier is anaonnoed. 
A conspiracy has broken out in the army. Regiments sdre mutinons, 
and deserters count by hundreds. The names of the chief oonsptrators, 
however, have been revealed by Cathariue, in a paper which, at the 
last moment, she consigns, with her zing, to Gritaenko ; and witb his 
habitual daring Peter suddenly appean among the oonapthktors, 
offering to deliver the Czar into their power, unarmed and unprotected. 
At the ciy of exultation with which this offer is received, Peter bares 
his breast and says, <* Behold him ! strike !" : — 

" Chlionof 

IlCuir! Ferita!** 

The traitors and their confederates are struck dumb ; thejy kneel to 
their master, are pardoned, and fallow him with enthusiasm against 
the Swedes. In the third act the war is over ; the Czar, returned to 
Moscow, has built, in the gardens of the Palace, a counterpart of the 
village of Wyborg QBravisamo / M. Scribe), to remind him of tlie 
liappv days he spent there. Catharine (need it be uttered ?)iBnot dead. 
On the contrary, ahe is living tranquilly in Moscow ; but, as her intel- 
lects have wandered, those who know the truth are afraid to reveal it. 
At length, however, the Czar is ip formed of the fact ; Catharine is 
brought back once more, as she imagines, to Wyborg; beholds her 
brother-— her friends, Prascovia, Danilowitz, and the rest ; hears the flute 
lesson that used to be practised of old by Peter and her brother ; and 
at the sight of these iauiiliar objecta and the hearing of these familiar 
sounds, which at first impress her as a dream, eventually returns to 
sense. Seeiug and recognizing Peter, sh^ falls into his embrace ; the 
regal mantle is thrown over her, the Imperial diadem placed upon her 
head, and she is hailed Empress by the Czar, the army, and the Court. 
Finii coronal cpt/u. 

Though nine years have elapsed since VEUdU du Xord was played 
in London, the incidents of the drama and the beauties of the music 
are fresh in the memory of opera-goers. The music, indeed, has 
become everywhere popular, not only on the stage but in the concert- 
room, where some of the more available jaeces are frequently 
introduced. Tliis prescribes tlie necessity of entering into lengthened 
detail and warrants us in clothing the few observations we have io 
offer in general rather than in critical language. No opera by 
Meyerbeer is more rich in varied melody. In the first^act> where the 
Czar, studying the art of shipbuilding, as plain Peter MichaSlhoff, 
becomes enamoured of Cat^^arine, one meloay succeeds another with 
such rapidity that it is difficult to recall what has gone before until it 
again wooes the ear in some new and still more aSuriog shape. The 
dramatic progress of this act, though one of the longest ever written, 
is extremely simpOe. When the curtain rises, groups of Finnish 
artisans, after working-hours, are idling, drinking, or otherwise solacing 
themselves on the quav; JDanilowitz, the Muscovite pastrycook, is 
vaunting the merits and urging the purchase of his dainties; and the 
only one engaged in work is Peter (or Peters, as M. Scribe denomi- 
nates him), who, in a solitaiy mood and thinking of his love, looks 
sulkily at his lighter-hearted companions. How gratefully the 
introductory chorus succeeds the brilliant military overture which, 
with appropriate pomp, acts as prelude to the m)era, and how again 
this is, in turn, relieved hv the pretty song of Danilowitz (** Chi ne 
vuol? son qui?'), with the choral responses at the end, can hardly 
have been forgotten. Then the drinking chorus 0*Alla Finlanda 
beviam"), accompanied by characteristic dancing; and lastly the 
quarrel between the Muscovites (Peters and Danilowitz) and Finlanders, 
arrested by a bell which calls back the workmen to their toil, and 
brings the introduction to an end — all is as fiesh and tuneful as it is 
in picturesque keeping with the situation and the scene. The first 
song of Catharine — when she pleads for her brother, George 
Savoronski, who sues for the hand of Prascovia, niece of Mevnolds, the 
innkeeper— is as quaint as it is original ; and so artfully are the florid 
passages in the rot/a la^d out and accompaiued that— what is rarely the 
case with such ad eaptandum contrivances for vocal display — they seem 
part and parcel of the whole. Nothing could more e£^tively aid the 
fearless heroine in drawing attention to herself and stamping her 
identity at once. But wo have already passed our limits, and must 
not be tempted by the graceful and prolific muse of the illustrious and 
lamented composer to enter into such an analysis of his charming 
opera as at the best could be merely a catalogue non raitonni. We hope 
to find another occasion to say a word or two about music for the proper 
appreciation of which a thorough knowledge of the plot is indiBpen- 
sable, so conscientiously careful was Meyerbeer, alike as scene-painter, 
painter of incidents, of emotions, and even of words. Enough for the 
present, that the rest of this delicious first act is to match. Who does 
not remember, indeed, the exquisite duet in which Catherine 
interrogates Peter (•* Di qual dtti sei tu?")— and the not less exquisite 
duet where she consoles Prascovia, beginning so sadly and ending so 



merrily ? Who can have forgotten the ingeniously constructed and 
riphly varied finalt^ including Prascovia's very characteristic air with 
•chorus (** Al Euon dell' ora), when the impatient bride is supposed to be 
waiting for her dilatory spouse, the picturesque chorus of veteran 
soldiers (** Soldati andiam **), stung while the leas «nthus]aBdc recruits 

KB in mahtary order at .the bock of the stage, and ]ast» not least, the 
utifiil iirayer and barcarole :-^ 



^'YeffUadaloUlralor, 
Madre, mtei pitet Mtior,**— 



— with its ^ trill*' and cadence long drawn out (the theme taken from 
the overture^, addressed by the heroic Catherine to the bridal part^, as 
she regvetfully takes her departure? Upon the gloriously-imagined 
second act, possibly the most gorgeous and elaborate portraiture of 
military life at camp in the whole ran&;e of operatic mufic — its 
sutler's waltz and quick step; its Cavalry song (Ismalloff); its 
Infantry song (Gritzenko) j its " Tin, tin, tin " (an approj^riate title for 
an apostrophe to the influence of '* copeks ") ; its mysterious chorus of 
conspirators ; its trio, Peter and DanUowitz inside, Catherine outside 
the tent, her modest reserve contrasted with tlieir inebriate " laifur 
alUr ;" its finely built up concerted piece, ^quintet and sestet, com- 
prising also the vigorous Bacchanalian of Peter^ and the inimitable duet 
of the Vivandi^res (" Nella citti di Mosca) ; its truly imposing fnaU» 
with the " Oath " and ** Prayer," the Czar's famous march, \\\» address 
to the soldiers, and the climax, where the March, the Oath, the quick 
step of the Tobolsk Grenadiers (fife and drum), the trumpet flourish, 
and the chorus, consentaneously help to make out one of the moat 
intricate aiid at the same time effective combinations in dramatic mvaoQ 
— upon these we cannot stop to descant, much as might legitimately be 
written. Nov can we do more than call attention to the expresfiive 
soliloquy of Peter (" O lieti di '*), with its new and charming accom- 
laniment to the second couplet; the quaint romance of Prascovia 
(«• Sul suo sen indinando **) ; and other remarkable passages in the 
third act, the conclusion or which-wis in Dinorah and ^auU Qmi 
earlier .than either, in Auber's ifasanie//o)-— brings again before us so 
many familiar traits of the first, thus, by means of a poetical glance 
backwards, giving artistic completeness to the whole. To these we 
may return when opportunity offera Meanwhile it remains but to 
regret that the genius that conceived so many delightful melodies 
should have passed away, while much was lefl undone, which the 
restless brain had plotted, and the trained but now cold hand would 
readily have put in shape. 

The performance generally of VEUaJU du Nord was, as has been 
hinted, admirable— more •admirable, perhaps, than before. To say 
nothing of the overture, and other pieces of importanoe, the colossal 
finaJU to the second act was given with a precision which we had 
scarcely believed possible. Of the representation of the principal 
characters we must speak just now briefly and with reserve. M. Faure 
(who succeeded M. liataille in the character, at the Op^ra Comique) is, 
on the whole, the best Peter we have seen ; for though he may not 
impart such hearty vigour to his histrionic portrayal as Herr Formes, 
his delivery of the music is uniformly pointed, correct, and effective — 
which could not fairly be said of his predecessor. Madame MicJan 
Carvalho is so well versed in the school to which this opera belongs 
that it would hardly have been possible to select a singer, as things go, 
more competent to " do justice " to the part of Catharine. No doubt, 
the voice of Madame Bosio— to speak of nothing else— haunted the 
remembrance of many among the audience who bad heard the open 
in 1855 ; but Madame Bosio is unhappily dead ; while MdUe. Pauline 
.Lucca, who had been announced for the part, for reasons " political " or 
otherwise, did not condescend to stay. Under these circumstances^ 
therefore, Madame Carvalho's highly- flnished execution, invariable good 
taste, and thoroughly artistic training were doubly welcome. Mdlle. 
Bruhetti (pupil of Mr. Duprez), who appeared as Gilda (Uigdt^)^ four 
years ago, at Her Majesty s Theatre, has wonderfully improved since 
then ; and as representative of the agreeable and by no means unim- 
portant character of Prascovia her co-operation is really valuable. To 
Signer Ciampi was consigned an unenviable task. Whoever bad seen 
the late Lablache as the Cossack soldier would be disinclined to look with 
charitable ^^y^^ on any successor (except, perchance, Bonconi), Kever- 
theless. Signer Ciampi did his very best to be humorous, and bad 
evidently well studied his music. Si^or Naudin played ranilowitx 
(Signer Gardoni's part in 1856); Signor Neri Baraldi, Savoionsky 
(formerly allotted to Signor Lucchesi) ; and the two Vivaodi^res again 
wore the features of Madame Budersdorff and Mdlle. Jenny Bauer, 
upon whom the passage of nine years has seemingly exercised but 
little influence, physical or otherwise. The remaining mull parts 
were more or less efficiently represented. To Mr. A. Hiu'ris we have 
idluded. >Ir. W. Beverley, in the two principal to62eauz— the " Village 
near Wyborg," with the cottage, the church and the gulf; and the 
" Russian Encampment " — has equalled any previous achievement of 
his brush. Both are masterpieces. The last — with its rocks, inter- 



Digitized by 



Google 



MffiOi tBS4.} 



TOE SftTSICAL WOBLt>. 



4SS 



sected b^iilkVities} rlsiifg'dn^ abov^'another, its oreHianging trees on 
either side, and such Tlk» pfotairesque' deviee»^woald have excited 
admiration as a beantifUl painting, even deprived of the tent of 
Colonel Peters, the laughing Vivandibrest the live horses of the 
Cossack cavalty, the varied accoutrements of the infantry, the cannon, 
the national dances, and the well-planned military evolutions which 
' render this one of the most busy and striking scenes on record. In 
snbrtr^ the revival of the Btoile du I^ord must rank among the very 
nbtiibli) achievements in the long list of notable achievements by 
which the history of the Royal Italian Opera is marked ; and the 
enthoniasm raited by the pdrformince on Saturday night may bo 
aecepted as aogary thai the opsra of Meyerbeer will be a profitable 
and lastitag addition to the r^perioire.^ The performance occupied not 
less than four hours; and though curtailments have been already 
made, some more might be contrived without material injury. But of 
this by-and-by. 

To tha Editor of the Timu, 

Sir.— •In your very interesting report of UEtoile da Nordj contained 
in Thf Tini38 of to-day, when alluding to the bnmini^ of Covent 
Qardenv Theatre in Kebniary 5, 185S, you say that ** In iti ashes lay 
buried the music, oostumes, scenery, and decorations of som3 40 operas, 
the last of which was the opera in question." 

This is true, with one important exception — ^viz.. thai of the music ; 
the full' score of the work in question being in my pdssdssion on the 
night of the catastrophe. The £ict is, the full score had been intrusted 
to my care by Messrs. Cramer & Co., to produce for their house a 
complete edition (and for which I am proud to have received great 
praise from Meyerbaer himself), with the dialogue as originally pro- 
duced' in Paris, translated into Italian and English, the former of 
which 'had been set to music by the great master especially for it^ 
pirfbrmanee at the Italian lOpera in London. The mu^c, therefore, 
most fortuaaiely did not perish, and I am happy at having been the 
humble maaos of its preservation. I write this thinking that you 
may oonsider it' worth recording, and am your obedient servant, 

2S, S^mtrtet SUeet. PoHmM Squan^ Juljf 25. Fbaxk Mobi. 



MEYERBEER AND L'ETOILE DU NORD. 
(From The Dailif TeUgtaph.) 
To many; perhaps to most, of thoie assembled on Saturday night, 
VBtoUe du ybrd had all the charm of novelty, although twenty years 
hare now elapsed since a portion of its music was first given to the 
wx>ridl li was in 184 (■ that Meyerbeer wrote for the opening of the 
snmptaously^eoorated opera-house of Barlin a piece d'oeeation, entitled 
Sin Feldlofftt tn AsUsmn, in which the national vanity of the Prussians 
was flaUered by the stave presentment of their only hero, Frederick 
the Oreatw The flute-iuaying propensities of the young warrior were, 
however, net lost sight of by ReUstab, the librettist, and they were 
turned to good account by the ingenuity of Meyerbeer. It was, indeed, 
to the eflfect produced by Jenny Lind in the final bravura trio for voice 
and two flutes, that the success of the work, both in its original shape 
and in its subsequent modification under the title of Vielka, was in great 
port to be attributed. But Meyerbdcr was not the man to sacrifice 
gems on account of their ineffective setting. So when satisfied but not 
satiated with the glory acquired by Robert, Lee ffuguenott, and Le 
Frophite, a noble trilogy of grand historical tragedies, he determined 
to invade the province of the Op6ra Comique, he conceived the idea — 
srtioitoiu always to preserve his best thoughts in the best pos-Jble form 
— of using up the materials from which A Cmnp in Siheia had been 
coDstnictM. But the new subject demanded new treatment and sug- 
gested new ideas ; so, out of twenty-six " numbers,'! only five of the 
original work were introduced into VEtoile Du HoriL The success of 
the opera was immense, but it excited even more surprise than admi- 
ration. Forgetful of the coquettish duet from Marguerite de Valois 
and ilaoul in the second act of Lee Huffuenote, of the trio hou^e in the 
tent scene of Le Prophile, and of numberless other pieces in which 
Meyerbeer had displayed the sprightliness, the grace, the humour, the 
delicacy-— and the qualities in short which are chataoteristic oP the 
Op^ra Comique school, the arbiters of public opinion had made up their 
minds that the hero of the Academic de Musique would make t^Jkueo 
if he ventured into the Rue Feydeau. How their expectations were 
frustmted — how th/e German pupil of dry old Voglar proved that he 
could rival in French fimem Gretry and Boieldieu, Harold and Auber— 
how the open ran for some three hundred nights, with scarce any 
interruptions save those caused hv the fatigue of the singers — these 
things are matters of history, which it is idle to recapitulate now. But 
the depredators of Meyerbeer's versatile genius were not yet dlenced ; 
they now shifted their ground, and, citing the grand choral and instru- 
mental effects in the second act of L' EtoUe, declared that Msyerbeer, 
instead of conforming to the traditions of the Op^va Comtqae, had 
dragged the «x^edienti of the Aead^mie upon its smaller tisge. 



It was to refute this accusation that MeyerbeeY* wrote Le Pardon 
de PloSrmel, founded on a simple^ pastoral story, simply told by three 
rustio ohanieters, almost unaided by the chorus, and set off by no 
extraneous effects. Renewed astonishment among those who did 
not know that in music, as in mathematics, the greater includes the 
less ^ The truth is thai genius is of neoeasity versatile, or rather, to use. 
Sir Bulwer Lytton's admirable expression, " comprehensive," in its 
nature. In spite, too, of his world-wide popularity, and of the honours 
that were heaped upon hibi, Meyerbeer was during his lifetime per- 
sistently undervalued. He was looked upon with jealous animosity by 
his compatriots, wlio — iv^itness Schumann's elaborate abuse of * Lee 
llaguenote and Heine's constant fiendish sarcasm— were incensed at his 
abandonment of their national theatre fbr the cosmopolite stage of the 
Acad^mi^ de Musique-* 



^'IpHH Isi beaaz verk, ls'd«iis^ U maalqns, 
JU'ati de tromper les yetuc par lea coaleiu 
Vtai plos heareaz de addure les oooars,' 



Di cent plsfain font un plaisir aniqoe "— > 
and with' equal jealousy by the Frenchmen, who witnessed by a German 
the invasiofi of their strongest artistic citadels. The fiuiUetonietee were 
never tired of jeering &t the mjticutous solicitude with which the com- 
poser endeavoured .to eecure the best possible interpretatbu of his 
works; and unfortunately— such is the power of satire — this extreme 
care has become to be looked upon as an element of ac(lual weakness in 
the^ man. As well might a painter be depreciated for the careful 
choice of colours, which are to delight all eyes for generations yet 
unborn, or a sculptor be satarised for selecting a marble which shall 
embody his sense of beauty** for centuries to come. Shame on those . 
who, eagerly trading on their undeserved intiniiu:y with a great man, 
dared, almost before his body was cold, to hold up his personad peculi- 
arities to public ridicule 1 Of a truth, a living donkey is more to be 
feared than a dead lion. 



REMINISCENCES OF GIACOMQ MEYERBEER. 

Bt J. P. Ltseb.* 

(Conaudedfromp. 468.) 

All who ward parsonally aoquaintdd with Meyerbeer, and know 
how keanly he relished delicate humour, will easily^ conceive how' 
much h3 wa? amused by the frank confeasioa I at last made. He 
wa? parfectly well aware that I — " th3 Dave" — wowtW never dare 
say tcf only one of the young ladies : " I love you 1 " . 

I hai gone to settle at Dresien, iu tha year 1834,- and — let not 
the reader laugh, for the affai): tutnecl oat very l>adly for ma 
afterwards — in 1836 I married a young lady, who, as I was assured 
by ereryone who knew her, includinig even my father, *< Would 
prove a true and loving partner to me for life." About a fortnight 
after mv marriage, some one sent me a most beautiful clock with a 
piece off papar bearing the words : ^^ May this clock announce to* 
you only hours of happiness." 

A few days subsequently, I hai a visit from WilKelm Beer, who 
brought me the kindeat remembrances from Giacomo, whose friend, 
Carl Kaskel, of Dresden, had sent him the first volume of my book; 
KiinstnoveUeti, then just published. Wilhelm Beer informed me, 
also, that Giacomo would be co ning to Dresden very shortly, 
and call upon me immaiiately he did so, ^* for he was very fond of 
me." 

After the lapse of about a W33k, I receive 1, early one morning, 
the following note : — 

^^MTy^dear Sir, — t arrived here yesterday eyetiing. Unfortanstely, I am 
eompsUedto'keep my room, as I hdve caught a bad cold oa the journey. But 
Winkler says yoa woald coma, to ms, if I asked you, which I now do, 

** Very truly yours^ ** Mbtbrbkbr." 

As a matter of course, I did not fail to obey the invitation, and, 
at eleven o'clock, went to the Hdtel de Rome, where Meyerbeer 
had put up. II 3 received me as an old acquaintance, and when 
Winkler came in, 8om3 time afterwards, he found us engaged in a 
most confidential and animated conversation.^On this occasion, 
Meyerbeer remainod o!ily a few days in Dresden, not being even 
able to wait for the first representation of Les Huguenots, On 
taking leave of m3 h3 said : *^ Write at once and say how the opera 
has gone, but let me know the whole truth I — ^TicliatBcheck wul, I 
trust, get well through the character of Raoul I I hope the same 
of Risse, as far as the vocal portion of Marcdl is concerned. 
Heaven only grant that Mad. Schroeder*Devrient ma^ be in a 
good humour on the firiit night I As Leonora (^in Fideho)^ she ill- 

^ Ftom iht yeue Berliner Musik-Zeitung. 



Digitized by 



Google 



484 



THE MUSICAL WORLD. 



[July 30, 1864. 



treated poor Beethoven most uujustifiably the last time she played 
the part." Fortunately, after the first performance of Les Hugue- 
nots^ I was able to write and inform the master that ^^Tichatscheck 
and Mad. Schroeder-Deyrient surpassed themselves ; that all the 
other persons concerned, down to the lowest chorus-singer, had 
performed their tasks in a manner worthy of the work ; and that 
the opera had been enthusiastically received." 

Reissiger was so delighted with Les Huguenots^ that he especially 
request^ me to write in the part of a page, between whom 
and Urbain the likeness is unmistakeable, for his last great opera, 
Adik de Foix^ the libretto of which is by Robert Blum. He sent 
me the score of Les Huguenots to look through, and said, with 
marked emphasis: '^ Write something good'* (prdentliches) ^^about 
it." lliis was tiie origin of my pamphlet Die Hugenotten von Giacomo 
Meyerbeer^ beautif uSy printed by Blochmann. Wilhelm wrote to 
me as follows (it was the last letter I ever received from him) : ^^ I 
sent off vour jpamphlet to Jacob immediately, and he is immensely 
delighted with it. The fact is, up to the present time, there has 
been nothing better or more profound written about Les Huguenots.'* 
Meverbeer himself wrote : ^^ You will be astonished when I tell 
you that, at the present moment, I am engaged on no less than 
three great works : on the music to Michad's Struensee (which I 
think of finishing first) — and on two grand operas of which Scribe 
18 writinff me the librettos. 

Meyerbeer was, indeed, working, at that period, on the music to 
Struensee, on that to L'A/ricaiue, and on that to Le Prophete. 

Unfortunatelv, he was obliged to interrupt these labors of which 
he was so fond, to comply with the King of Prussia's command 
to set L. Rellstab^s FeldUtger in Schlesien. 

'*Pity your poor friend" — wrote Meyerbeer — "what have I 
done to deserve the punishment of composing, by Royal command, 
the music to a libretto of only temporary interest " (^GeUgenheits- 
Opemtext) by Ludwig Rellstab ? It will be labor thrown away, 
as was the case with Dom's Dido, but I cannot refuse, like our 
dear Weber. In addition, this man (Rellstab) will not listen to 
reason ; he will not hear of any alteration or judicious curtail- 
ment ! — ^Pity your poor friend I" 

As we know, Das Feldlager in Schlesien excited as Vielka, with 
Ma^e. Jenny land, an immense sensation in Vienna, and paved 
the way for Le Prophete better than Les Huguenots, whicn had 
been so hacked about by the Censure as to be no.bnger 
recognisable. 

But Meyerbeer derived no satisfaction from the brilliant suocees 
achieved l^ Vielka in Vienna. 

" It alwajrs has been and always will be the child that caused me 
the most pam I Even the new book which Scribe is writing for 
it will not at all change the state of affairs." 

1 can boast of having been the first whom Meyerbeer albwed to 
look through the original score of his Prophete, which he did in his 
room, with the doors locked, before the work was produced even in 
Paris. The success the opera achieved in Vienna was valued by 
Meyerbeer still more hignly than that which it had obtained in 
Paris. He was rather amng at Uie period of its performance, but 
still he conducted six successive times. On my seriously advising 
him to take better care of himself, he replied : " I am under aii 
obligation to the Viennese pubUc : besides, it is a pleasure to sit 
at the desk and conduct such a oand and such singers. I shall 
never hear Le Prophete executed so well anywhere else as in 
Vienna." 

On the day of his departure from Vienna, he said to me: 
" VAfricaitt is getting on. I will, however, first rive you a Uttle 
surprise." The ** little surprise" was Dinorah. — ^Meyerbeer*s last 
letter to me was dated six weeks previous to his death. 



Carlsruhr. — The grand inuHcal festival of the General Musical 
A§.«HM;iatioii uf Ocrniany will (ako place iu the la»t week bat one of 
August. It will lH8t four day$. and comprise four concerts, the princi- 
pal direction of whidi has be«ii undertakeu by^Dr. Uans von Billow. 
It is probable that Dr. Frany< Liszt and Herr Richard Wagner will be 
present. 

NeCuxy. — The widow of the celebrated Giierubini was buried here 
on the ist inst. Aulier, the nio^t gifted pupil of her deceased 
husband, attended the ceremony. 

UAMBoaau. — Ilcrr A. F. Uieciu.-*, foruierly couductor at the Stadt- 
theator, Leiiwic, is engaged at th- Stadt theater here. 



SHAKESPEARE IN HIS RELATION TO MUSIC. 
By EMIL NAUMANN.* 
{Continued from page 469.) 

After the decay of the old world, and with the propagation of 
Christianity, another highly significant and different diange takes 
place in the relation of poetry to music — ^just as, "With the magni- 
ficently soimding language of the Greeks, and the wonderful 
development of their verse — ^both music in themselves — the musical 
art became a servant whose piincipal task consisted in raising the 
melodious harmony of the first, and strengthening the rhythm of 
the second — for a song-like delivery of Homer^s strains, or the 
musical treatment of the strophe and anti-strophe in the choruseB 
of the tiagic poets are conceivable only in this manner — ^we see, 
under the superior influence of Chnstian elements, the process 
reversed, and music transformed into the dominating art, to which 
poetry is attached more in a subservient than in any other character. 

The whole of the most ancient Christian hymnology was written 
with a view to music, that is to say : all the primitive songs in 
question were from the ver^ beginning intended to obtain the 
nillest and most profound significance by the means of music 
As Growing how, to a certam extent, at the very gates of the 
new world which Christianity called into existence, poetry and 
son^ grasped each other by the hand, we may <}Uote the fol- 
lowing description of the meetings of the first Chnstian congre- 
gations : ^* In subterranean vaults, in the thickets of the forest, on 
mountain tops, in caves, and among the clefts of rocks, were they 
obliged to celebrate their first rehgious services, so as not to be 
betrayed by the loud tones of their songs. Instead, however, 
of remaining dumb, under such straits and anxiety, seeing that 
the price of the confession of having sung their songs to Christ 
was ib&T life, they s&ng those songs with only the greater 
faith. Even at the stake they gave utterance to tl^ last stndns, 
like those of the dying swan, till smoke and flames smothered 
their voices, and their soul, borne on the last sounds, winged its 
course upwards to its heavenly home.^^ One thing especially 
characteristic of the new period is that we find in its very first 
attempts rhymed verses. This is decidedly an outward oistui- 
gui^iing sign of the close relation of all the earliest Christian 
poetry to music. We meet with rhymed religious hymns as far 
back as in St. Ambrosius, that is, in the fourth century, and even 
long previously. Ambrosius and other inspired singers of the 
Churcn were followed by innumerable disciples; musically con- 
sidered, the Ambrosian Chivch chant was changed into the Gregorian, 
till the rich spring of sacred song-writing reached its acme in the 
thirteenth century. Among the German songs of this last period, 
the gentle and fervent *^ Marien-Lieder ^' are particularly dis- 
tingmshed, their dreamy poetical purport demanding, as it were, 
musical treatment. They formed a large and rich daas of their 
own, and amonc the poets who produced them we meet with 
the names of Walter von der Vogelweide, Hartmann von der 
Aue, and others. Side by side, and simultaneously with the 
sacred songs, a wondrous and rich store of secular songs as well 
was created, as the names of the above poets tell us. The 
^^ Minnesanger ^^ and Troubadours, also, flourished most in the 
twelfth and thirteenth century, as did likewise the secular 
national song. But here again one of the leading considerations 
was, in most cases, the active co-operation of music, as well as — 
quite apart from the fact of the poets themselves frequently 
striking the strings as musicians — the circumstance that a deeply 
musical spirit, and a poetical purport musically expressible are 
inherent in all their writings. 

As ihi influences of classical antiquity upon the Christian 
world again became stronger, the relation of the two doeely allied 
sister arts underwent a third and different change. Dante is, to a 
certain extent, the quintessence and intellectual focus of the ex- 
pression of an entire age, and, moreover, the first reaUy fl^reat 
poet in whom we meet with the revolution to which we allude. 
As was previously the case in the more impoi-tant r pic attempts 
of the period of the ^* Minnesanger — ^for instance : in the Niebehtngen 
Lied, the Amelungen Lied, in Parcival, Tristan and Isolde, 
poetry begins with Dante once more ^ stand entirely on its 
own feet. Yet it always differed essentially from the antique 
poetical style by a fundamental feature of a lyrically musical 

^ TruiBlated exprenly for the MustOAt Wobld^ bjr J. V. Bjuookav, Esq. 



Digitized by 



Go ogle 



Jnfy 8©^ 1864.J 



THE MUSICAL TfOKLD. 



48» 



Dtttiire. Sock a trait raiiB tjuough all its prodnctiaiis, whereas 
apredomi nant epically -plastic stainp is peculiar to the poets, eyen the 
lyrical poets, ox the Greeks and Komans. That dreamy reyelling 
in emotions, and that blissful process, sufSucingfor itsdf , of losing one*s 
self in niture, so characteristic of the Christian and more modem 
poets, and so nearly allied moreoyer to musical feelings, was almost 
entirely foreign to the poets of the Ancients. On the other hand, 
howeyer, we find quite as rarely, in the poets of the specifi- 
cally Christian period, that objectiyity and clearness of represen- 
tation so common among the Ancients. The Nibelungen probably 
contain more of the epic element than any other poem of the 
Middle Ages. But we must not forget that at their commence- 
ment—in the form of ancient folk^s legends — ^they extend back, 
perhaps, to a period prerious to the Christian era. There is 
much, too, suggesting that the mzmca^-poetical element still 
so abundantly represented in them dates its origin onljr from the 
re-arrangement 5t the Lied in the 13th century. We intend this 
to apply especially to the character of Volker, that agrees but too 
well with we time to which the re-arrangement belongs ; that is 
to the most flourishing time of the ^'Minnesanger,** who, like 
Volker, were as well able to wield the sword as to touch the lyre. 
When, therefore, we read of Hagen*s*brother-in-arms : 

** Volker, der schnelle, legte den Schild ^'on seiner Hand, 
Und legte den riel gnten bin, an des Saalet Wand, 
Znm Saale ging er wieder, wo stine Oeige lag, 
Da dient er seinen Freondien, wie er so geme pflag. 
Als ihm der Saiten TOnen, so sUsa und klar erklang, 
Die stolzen Hdmatfemen, die sagten es Votkem Dank. 
Und sUaser, immer sanfter, zn geigen er begann ; 
So wiegt er in den Schlommer gar manchen soigenden Mann/* 

such deeply musical outbursts spring, probably, rather from the 
romanticism distinguishing the age of men like Wolfram yon 
Eschinbach, Gottfried yon Strassburg, and Walter yon der Vogel- 
weide, tlum from the original spirit of the old heathen poem. 

To return to Dante, with especial reference to the central 
point in his poetry, namely, his Divina Comoedia^ the fundamentally 
epic tone preseryed through the whole must strike us as an 
attemj^ return to the poetical style of the Ancients. But, for 
this yery reason, its purport appears ;the more essentialljr different, 
for it is not, in the sughtest degree, of an epic^ but, genuinely, of a 
tlKMt>ughly lyrical nature. And herein we recognise another and a 
new element, which distingcdshes from the Greek poets not only 
Dante, the greatest poet of the Christian Medi»yal period, but, 
also, the whde modem world of poetry, eyen when, as early as the 
15th and 16tii century, cbssical influences were exerting their full 
strength. The Greek poets, it is true, assign a certain jphice in 
their works to music ; they allow it to re-echo through their com- 
positions ; they eyen depict its profound effects upon the mind, 
or cause us to feel them ; but out of their actual poems, despite all 
the harmony of the yerse, and all the magnificence of the forms ; 
despite all the depth and splendour of t^ style, there issues no 
music. As we haye abreach^ hinted, we are not now speaking of 
the music of the language but of the fundamental musical tone, 
of the total spirit and feelmg, streaminff forth like music as it 
were, and whidi, since recourse had been nad to the principles of 
Christianity, spread like a magic perfume oyer all poetry, in such 
a state <rf things, it is of quite secondary importance whether 
music, as such, is mentioned or not. 

In Dante, now, a fundamental musical spirit appears in relation 
to subsequent poets ahnost with a certain oyerpoweriug, though 
wondrous one-sideneas, remaining up to the yery last years of his 
exutenoe the background on which his character seems to repose. 
It was thus that in Rayenna, when, after long-sufferings and 
troubles, he found there his last earthly refuge, he wrote his seyen 
PenUenlial Paalmy his Credo, also, being assigned to the same 
period. Lastly, the Divina Cornelia, a|>pear8 almost eyc^where 
completely permeated with musical spirit and feeling. Thus in 
the second canto of the Purgatorio, on the appearance of Casella, 
the admirable singer and composer, who had been Dante's music- 
master and had set seyeral of his canons to music, we read : 

** Such fbU contentment that illnstriona sage 
And those who stood around him, testified, 
Naoght else, it seemed, their senses conld engage. 
W« all were fixed with raptore on bis song. 



Or in the fifth Canto : 

** Meanwhile npon oar flank obliquely hnng 
A band of sonU that o'er the moantain oame» 
And verse by Terse the Miserere snng, 

When they observed that, as Ipaased along, 
My body was impervions to the ray, 

Into a long hoarse '* Oh ! " they changed their song." 

And no less m the seyenth : 

*** Salve Regina* ohannting, met our eyne, 
Spirits who rested on their floweiy seats." 

I might cite a himdred passages of a similar tendency. Such 
quotations, howeyer, as we haye already giyen the reader to 
understand, are here not the essential part of the matter ; the 
musical feelinff of the poet is dispbyed far more in the choice of 
his subjecte and in his manner of treating them ; his poem has of 
itself ihe effect of music. 

We haye thos come, without hazarding any long leaps, much 
nearer our theme, properly so-called: the consideration of the 
musical element in Shakespeare. For Shakespeare, like Dante, 
belongs to the epoch of the third of the changes affecting the 
mutual relation of poetry and music, only Dante stands at 
the commencement of the epoch when classical influences were 
reyiyed and worked upon men^s consciousness, till then speci- 
fically Christian, while Shakespeare marks their full height, and 
the harmonious blending, already commenced, of the elements of 
ciyilization belonging to two distinct periods in the history of the 
world. As, moreoyer, the great Englishman displays an innate 
susceptibility for, and comprehension of, the effects of music in a 
higher degree than any poet either before or after him, so in the 
case of no one dse, probably, would it.be so easy to display to the 
soul the completely inward fashion in which poetry and music 
haye, in modem times, permeated each other. Before endeayoring 
to do this, howeyer, I must beg Ipaye to refer to a couple of great 
minds nearly allied to Shakespeare, and which, most significantly, 
are most closely related to him in this yery musi^ dement 
innate in him. 

{7b be continued,) 

MADLLE. TIETJENS. 

A magniftoent diamond bracelet, and pair of diamond earrings, of 
the richest and costliest desisn, with an appropriate inscription, record- 
ing the occasion of the gilt and names of the donors, engrayed on 
ydlam, were last week presented to Madlle. Tietjens, at her residence 
in Reffent's-park. The distinffuished party from whom the gift pro- 
ceeded, represented a large body of the fashionable world, Subscribers 
to Her Majesty's Theatre. They were headed by the Countess of 
Lincoln, who was accompanied by the Lady Sandys, his Grace the 
Duke of Leinster, The £arl of Lincoln, the Eari of Strathmore, the 
Eari.of Hardwicke, the Earl of Wilton, Major Blake, and Mr. Bligh, 
M.P. The Countess of Lincoln, after introductions, spoke as follows: — 

"Madlle. Tletjens,— The following Ladiea and Gentlemen, bemg desiroos of 
showing their high appreciation of your great talents, beg your aooeptance (at my 
hands) of these tokens of their extreme admiration and respect. 'Their names 
are— The Doke of Leinster, the Marchioness of Downshlre, the MaraulB of OrraondS, 
the Maxqniaof Olanricarde, the Marquis of Hartington, M.P., the Marqnis of Bland- 
ford, the Eari of linooln, the Earl of Westmoreland, the Eari of Strathmore, the 
Earl of Hardwicke, the Earl Dudley, the Earl of Wilton, the Countess of Wilton, 
the Lady Olarenoe Paget, the Lady Caroline Blcketts, the Lady Sandys, the Lady 
Howard, the Viaooant Hood, the viscount Kilcoursie, the Viscount Curzon, Lord 
Earisfort, Lord Bobert Pelham-OUnton, M.P., Lord Edward Pelham^CUnton, Lord 
Bobert Thynne. M.P.. Lord Sandys, the Hon. Fredric Calthorpe, M.P., General the 
Hon. H. G. OaTendlsn, Sir John Lowther, Bart., Sir Conwallla Ricketts, Bart.. Sir 
I. Bertie Guest, Bart., Mrs. Adamson, Mrs. Dickenson, Mrs. John Hall, Mrs. Hope, 
Mrs. WOliam Lyon, Mrs. Schwabe.Mrs. Wheeler, Malpr Blake, Mr. Edward BUgb, 
Mr. Gerard Sturt, M.P., Colonel Napier Stuart, M.P., Captain Bateson, Mr. G. 
Bellamy, CapUin Shelton Bond, Mr. Charles Brrant, Mr. J. Douglas Cooke, 
Colonel Brownlow Knox, M.P., Captain F. Cooper, Mr. Hubert de Burgh. Mr. C. 
B. Deniaon, Major-General Dupuis, Mr. T. B. Fenwlck, Mr. Bobert Garrard, 
Captain (Hrrard, Colonel 0. Higglns, Mr. Geo^ Johnson, Mr. J. Eyrie, Mr. 
Charles Leslie, M. P., Mr. Beginsid Macdonald, Mr. H. Nelson, the Bct. Charles 
Perring, Mr. H. Petre, Captain Peyton, Mr. B. Phillips, Mr. Maurice Posno, Mr. B. 
Buthven Pym, Mr. J. W. Safe, Mr. George Schwabe, Mr. Alfred Seymour, MP., 
Mr. H. C. Sturt, Mr. B. L Webbe, Mr. a Wheeler. Mr. Conrad Witter, Mr. A. 
Zanzi, and many other ladies and gentlemen." 

In acknowledgment of the present, and the gratifying circnnistances 
under which it was made, Madlle. Ticljens replied in very feeling 
and graceful terms. The present — ^the obiect of universal admiration 
on account of its taste, elegance, and value-^was manufactured by 
Me!>8rs. Garrard, the celebrated Crown Jewellers, of Panton-street, 
Uayiuarket. 

EoTTBiDAX. — Herr Louis Saar, formerly of Stettin, and pupil of 
Dreyshook, hat been appointed conductor of the German opera.. 



Digitized by 



Google 



^66 



WtS lIUStCAL l^^RfiD. 



gvfyis^irmL 



MONDAY POPULAR CONCERTS. 



aiSA&oiK 



Omo EUHBBKD Ain> yM>TY-8BrV3WraH, C3ON0BBT. 
THE 

moKjday 



SKVENTH 

OF TBK 

POPULAR QONQER.T3 

WILL COMMIlfCI 

IN NOVB^MBEB. 



A 



XrOTICBS. 

To Advsrtmsiui^-*?^ Office of The Musioal World^ is at 
Messrs. Duncak DaViISOK k Go'^., 244 Regent Street^ corner 
of Little Argyll Street (First Floor). Advertisements received 
as late as ekven o^Clock A.if ., on Fridays-^hut not Iqter, Pay' 
ment on delivery. 

To Publishers and Composers— JftiWc /or Review must be for- 
warded to the Editor^ care o/MiBseRS. Dukcan Davison & Co., 
244 Regent Street. 

To Concert Givers. — No Benefit-Concert^ or Musical Perform- 
ance^ except of general interest, unless previously Advertised^ can 
be reported in THE MUSICAL WORLD. 

DEATH. 
On Tharsdny, Jttly 28, at Raddiffe Hidl, Yorkshire, Mrs. Woop 
(formerly MSss Paton), of the Theatre Royal, Drury Lane, and 
Covent Qardeo. 

LONDON: SATURDAY, JULY SO, 1864^ 

CORRESPONDENT, writing from St. Pctersburgh, cn- 
cloeeB the programmes of all, the concerts given by the 
Musical Society of Ruasi^ during the season just expired. Our 
readers may perhaps derive some amusement from a perusal of 
their contents : — i 

Fiuaer CoNCEKi': — ^Music to iftfn/ w^-Sehumami ; Overture, Les 
Gi*onditU$^liiioW; Cavatina, Fdutl^Qounod ; Concerto, Violin — 
Ferdinand David; ** Romances, Pianpfort'e;" Gurileff: Symphony (A 
major), Beethoven. Second CoxoEirr : — Overture, Les deux Joumiet — 
CheruUni ; *' Symplionetic Poem," Orjihcciu — Liszt ; Fragments from 
the opera of Orpkotus — Gluck ; Concerto, Piano (F minor), Chopin ; 
Symphony (A mmor)— Mendelssohn. THiun Comcbbt : — Overture and 
Fragments from the Opera : Russian and LudmUla — Glinka ; Serenade 
(D major, first movement for fall< band) — J. Brahms; Air^ Titus — 
^lozart ; Symphony (D mcgor) — Ha\-dn ; •• Nachthelle '* — Franz Schu- 
berfc ; Chorus, Men's Voices (Orchestral acoompauiment by Singer) — 
Franz Schubert ; Overture, No. 8. Lsonort — ^Beethoven. Focbth Com- 
ctBT ; — Overture to a Tragedy— Bargiel ; Concert Air — Mendelssohn ; 
Qoncerto (C minor), Pianoforte, Beethoven; **Huudredih Psalm** — 
Ilaudel; Symphony (B flat major)— Schumann. Firru Coxcsar: — 
Overture and Fragments from Oftrron— C. M. von \Vel»er; Overture, 
i/o/b— L. Ehlert ; Concerto, Violoncello (MS.)— Davidoflf; Twp Cho- 
ruses ^ a eapdla'* ("* Tenebrie facta sunt " — Haydn, and ♦• Ave verum" 
— Mozart); Symphony (C major) — Schumann. Sixth Conckbt. — 
Theme aud Variations from the SuiUt Franz Ijachner; Air, Do^Juan 
— Mozart; Concerto (D minor). Pianoforte — Mendelssohn; '* Romances, 
Piano" — Glinka; Fragments from *' Missa Solemnis"— Beethoven; 
Symphony (G minor) — Mozart. SavEirrB Coxcbbt : — Overture, 
*' Meeresstille und glUcklich Fahrt *' — Mendelssohn; Chorus, ** Moeiess- 
tille und glUckliche Fahrt " — Beethoven ; Concerto (F sharp minor) — 
V iolin — Ernst ; Serenade, Women's Voices— Franz Schubert ; '* f^iisa- 
caglia " (scored by Esser)— J. S. Bach ; Two Chorales a eapeUa ** Teiie- 
brn fact«B sunt " — Haydn ; " Crucifixus,** for eight voioesr—Lotti) ; 
Symphony (C minor)— Beethoven. Eighth Concebt :— Symphony 
(C minor) — Spohr ; Fragments from Ltlit — Berlioz ; Concerto, Piano— 
Scliumanu; Air, Life for the Ctaar — (ilinka; Overture (C mnjor, Op 
124)— Beefhoven. Ninth Coxcebt: — Overture, Fausi — Wagner; 
Ciiorus, Isis — ^Lolli; Chorus, Cbstor ei Pollux — Raaieau; Overture, 
Vir Sohn des Mandarifte/^-^Kui ; Concerto, Clarinet — Weber ; Choru!*, 
Jjie ZaubmJldUf^^iosaLA; Symphony (D minor)— Schumann. Testth 
Conobbt :— Overture, IlamletS. W. Uade; "Nachtlied/' Chorus 
and Orchestra — Schumann; Billet, from the opera, Der Ddmon-^ 
Vietingliof; Aria, ••Ah, Perfido "—Beethoven ; Concerto, Piano (E 
flat major)— Lint; Symphongr^No. 9 ('• Chonl T)— Beethdveo. 



So mudi'for the Mumcal Soeiety, over the doingfr of ' wMch H^fv^ 
Anton Rubinstein presides with so much spirit. The progrsmmca 
of the Quartet performances are quite as varied and interesting in 
tiieir way ;— 

FtBsT EvKvisro:— Quartet (C oMJor)— Hayda ; Sonata (fn A}, Piano- 
forte, Op. 101— Beethoven ; Quartet ( A minor)— MendelsaishD. Sbcokd 
Evening :— Quartet (E flat major)— Beethoven ; Sonata, Pianoforte, 
Op. 109— Beethoven ; Quartet (D minor)— Franz Schubert, Tman 
Evenino: — Quartet (C minor)— Beethoven ; Sonata, Pianoforte, Op. 
110 — Beethoven ; Quartet (A minor) — Schumann. Foitbth Evekino : 
— Qutftet (C major)— Haydn; Sonata, Pianoforte, Op. Ill— Beethoven; 
Quartet (F minor)— Beethoven. 

Besides all this, it appears that the Society got up'tiuree 
Matinees for Mad. Schunuum, in which that.lady, played com- 
positions by Schumann, Beethoven, Chopin, etc* 

Two hundred and sixty-three pupils have entered the ConserTA- 
tpiy this year. — ^Branch Societies have, also, been opened at Kieff 
and Charkoff. The Br^mch Society ^of Moscow seems to have 
greatly distinguished itself during the past twelvemonth. ThrM 
grand concerts, held in the Riding School, attracted altogether no 
less than 12,000 auditors. The object of these performances was 
to afford the poorer classes, by means of reduced prices of admis- 
non, a chance of hearing really good music.^ So none can say that 
the *' divine art" does not progress in Russia. Nor will anyone 
refuse to give the credit, which is his due in thia movement, to 
Herr Anton Rubinstein, with whom is frequently asKXsiated in the 
good work in which he is engaged, the celebrated rioHnist, M. 
Henri Wieniawski, 



ALBRECHTSBERGER. 

To the Editor of the Musical Wobld. 

SIR, — In his Elements of Musical Composition, Albrechtaber^tt^* 
supponng the student to have pveiviously made hamony and 
accompaniment naore or less his study, has not entered into long 
details on those interesting subjects, which generaUy precede the 
study of composition in the course of youthful instruction. This 
consideration determined him to place an IntroducUon at the 
beginning of his work, in which such subjects should be explained^ 
with an exactness suited to their importance. Having effected 
this design, he foimd the sice su^ciently large to be published 
separately, under the title of A System of Harmony and Accom- 
paniment. To that work he refers all who wish to complete them- 
selves in the knowledge of the Elementary Principles of Music : of 
intervals ; of the consonances, dissonances, and chords ; and in the 
method of writing correct harmony, and putting a bass under the 
melody. In that work the student wiU also find a thorough pre- 
paration for the study of composition. 

L Preliminary Litroduction* — Under this title, in the first six 
chapters of the work, Albre(ditsberger mskw a few observations on 
the species «nd harmonic nature of intervals ; on the movements 
of counterpoint ; on the march of the subject, and on the harmony 
which is suited to it in different cases ; and finally, on the different 
species of composition. 

Chapter 1. — Of Intervals in General. — (1) According to the 
principles of harmony, it is well known that there are but eight 
intervals; viz., the second, third, fourth, fifth, sixth, seventh, 
dghth, and ninth. The unison, which contains no interval, is 
often employed in composition for four parts, instead of the 
octave ; and the tenth instead of the third. The unison, properly 
so called, as for instance, ut-ul^ re-re^ may be changed by Novation, 
by altmng the ut to utj^ and re to re% &c., &c. ; it is then called 
augmented unison, or semitone minor. The second contains three 
species: the minor second, otherwise called the major semitone; 

* Organist to the Imperial Court of Vienna, Chapel Master of the Cathe- 
dnd Church of St. Stephen's ; and one of the l ustr uctoi s of -Beethoven. 



Digitized by 



Google 



Jti^rsonM^rji 



THBinwiOifiWDftm 



m 



the major second; and thBumgnMnkdiMorndL The thixd ooniaiiu 
three speoieB: the diminMid third ; minor third; and major third. 
Thefoorth contains three spedee : the minor^ or diminished fourth; 
the perfect fourth ; and the major^ or augmented fourth. The 
fifth contains three spedea: the miaor, or dimim^ed Jiflh ; the 
perfect fifth; and the major^ or augmented fif^. The sixtb con*- 
tains three spedeB : the minor ; major ; and augmenUd sixth. The 
seventh contains thiee species: the diminished; th» minor; and 
mqjor seventh. The ninth has onlj two species : the mo/br; and 
fRtnor ninth. Albrechtsberger neither approTes nor blames the 
usage of some composers, who consider the augmented octave 
as equivalent to the major unison ; and the augmented ninth as 
equivalent to the augmented second. 

(2.) By placing above ut^ taken for the fundamental tone or 
root,— one, two, or three, of the intervals just spoken of, and 
which are generally received, a chord of two, three, or four parts 
is formed. The chords in two parts which form the notes of the 
diatonic scale, above sol in the major mode of that note, are seen 
in Fig. 2. In Fig 3 are the chovds in three parts, which may 
form the same notes above that root ; and in Fig. 4 are the chords in 
four parts. In Yig. 6 are represented, without preparation or 
resolution, all the intervals which can possibly be employed, in 
two parts on the same tone, either in strict or free composition. 

(8.) The notation used in these examples, to signify the chords 
in 3 or 4 parts, is not the same as that which is usually adopted : 
Albrechtsbeifger always plaoes the figure which represents the 
smallest interval at the bottom ; as for instance : — 
4x|7 69 88476 

2 3 4 7 and not 4 7 1^8 5 8j ko. It would be incorrect to place 
fe8 « 8.8 

over the first and last note of the baas any of the three flgnrea whid& 
serve to denote a perfect chord ; for every performer cihould know 
that most pieces begin with a perfect chord, unless indeed it be one 
which begins with that of, the sixth, on the third note of the 
scale, which is often the case in arietta: it should likewise be 
known, that all these pieces finish in the prindpal mode and tone, 
and of course end on a perfect chord. 

Again, it would be equally improper, and contrary to custom, 
to pUoe over the note of the bass, two 3ds, two 6lha, or two 5ths ; 
when the third, sixth, or fifth, should be redoubled in a oonqpod- 
tion for four parts. 

The signs ](, t^, or if, are here used to denote a. perfect major 
<Hr minor chord, when any one of these- fonns appear in an unex- 
pected manner. Most of the chords, espedally the consonants, 
excepting the fourth, and sixth, are noted by a single figure ; for 
hy« the rules of accompaniment it is known what the. second 
figure is which should be joined to the first ; and what the third 
figure is which belongi to the two already given. The second 
and third figures should not be affixed, unless the interval which 
is thereby represented be foreign to the chord ; or, when there 
happens to be an accidental sharp, flat, or double sharp. In short, 
All»-echteberger has made it a rule not to figure the perfect chords 
dther with one or two figures, unl^ they are preceded by a 
dissonant combination ; or, when there occurs a ligatured sixth ; 
— or, lastly, when in the regular succession, a dissonance comes at 
the end of a perfect consonance, or of a third. Fig. 6, a, b, c. 

(4.) There are a great number of dissonant chords, whether 
prepued or not, or in other words, of appogiaturas, or retardations, 
which are practised, by prolonging on a chord, two or three no^s 
of the preceding chord ; and which ought always to be figured in 
a slow movement ; but there are beddes chorda to be met with, 
* both in regular and irregular passages, which seldom are used, 
and which it would be almost needless to, mention, or describe, 
^hat we have now to invest^ate is, the distinction of intervals 
into censonants and dissonant. 



Chapter IL-^^/ CoBasMMeea and JHssonanees*^!^) The un> 
tervals described are divided into consonant and dissonant: so 
called, because the former please, while the latter offend, the ear. . 
The consonances are, 1st, the unison,— the fifth, and the perfect 
octave ; 2dly, the third, and the major and minor sixth, the three 
fint are denominated perfect, and the otl^ two impe^ect oon- 
sonances* All the other intervals, that is to say, the major unison ; 
— ^the minor, major, and augmented second;— the diminished 
third;— the three species of the fourth;— the diminished and 
augmented fifth ;— the augmented sixth ; the three sevenths ;— 
— ^the diminished and augmented octave, and the two ninths, are 
dissonant. 

Some authors consider as a consonance, the perfect fourth, 
accompanied by the major sixth and perfect octave, because thqr 
I»oceed from the second inverdon of the perfect chord ; or, accord- 
ing to others, because in the perfect chord itself it is highest in 
the chord. Fig. 9. Whatever name may be given to it, Al* 
brechtsberger always r^;ards it as a dissonance, and haa more 
motives than one to support lus opinion. - Otto Beard. 

(To be continued.) 



ROYAL ACADEMY GRANT. 
To the Mitor qf the Mvbioal WoBLOh 

SIR, — ^In the last number of John BuU^ there is an article upon 
. the quertion of the recent Parliamentary grant to the Royal 
Academy of Mudc, which oar own readem may like to peruse. 
We append it in extense : — 

"Kever was a move made more in a right direction than the. grant by 
Parluiment of 5002. to the Royal Academy of Mnaic; and nerer was a penny- 
wise ponnd'foolish policy exhibited to a greater extent than by those wno 
moTed the rejection of tliis Tote. The position of the art of mnsie in 
this conntiy is somewhat remackable. A few years ago England was behind 
most civilized nations in the popular taste for mosic, but now she may almost 
daim to be ranked in the Tan. To JuUien, Hnllah, Costa, and more recciii W, 
Martin, is in a great degree due the credit of this change, for ^ach in i.u 
sevcnl line has cultivated and increased the lore of music among onr people. 
Two Operas, two Philhaimonic Societies, oonoarts of. ali iunds from the 
fashionable Mating to the Monday Popalar, tegetber with numersas amateas 
societies, may be pointed at as proofchat London is:nowi a musieid oity* hm 
IB this tsste confined \o the capital alone ; Edinbnr:^^ and Dublin, Manchestfer 
and Liyeipoolf* afford their audiences of thousands at frequent concerts and 
rarer operatic performances. In short ereiy one must now aimit that 
Enghmdis a musical nation.' But while the country affords attentive and 
inteUigent listeners it cannot be denied that she produces comparatively few 
performers of the first dass. Tme, we have AraUUa Goddard, Sherrington, 
Santley, and Sims Beeves, but they are ram affss oomparad with the number 
of the foreign artists, and while the world is ransacked to supply musicians 
to England, England does not return the compliment by supplying musicians 
to the world. Then again how are we to aooonnt for the circomstaaoe that 
mnsical composition is at so low an ebb in this country ? Far be it from us 
to slight the claims of Balfe, or Wallace, or any other of our English 
composer^ or to envy other countries their Beethoven or Mozart, 
Mendelssohn or RAsaini, those bright jewels placed by the hand of Nature in 
a nation's crown. But how is it that musicians in this oountry so seldom 
soar above a pentie fujfitiot for the piano, or a ** Would you love me if you 
knew me?' for the voice ? We think that our answer to these questions is 
that musical talent has not a fair.chanee of cultivation in England. Any- 
one here wishing to take up muaic as a profcssion haa cither ta go 
to one of the Continental schools or, if that cannot be managed, to give up 
the profession of his choice altogether ; for if he remains in England instruc- 
tion at a guinea per hour will probably be quite ont of his reach. 
There is, however, no reason why the Royal Academy of Msaie in 
London should not be placed on the same footing as the Conservatorium at 
Leipsio, where stadents for £4 or £5 per annum have the advantage of the 
tuition of musidans like Moscheles, and where Mendelssohn was a Professor 
before his death. Melpomene is a fickle goddess, and does not always haunt 
the same spot Formerty our singers all came from Italy ; i^w the land of 
song only furnishes about a third of the cast of a modem opera. Of the pre- 
sent efficient company at Her Majesty's Theatre, both the principal scprani 
are German, the ^rtmo hatso French, the baritone English, while only the 
primo tenors and eontralto are from Italy. We are far from being adverse to 
a free trade in music, but we wish that this country should have a fair start in 
the race. Wo desue, in conclnrion, to call attention to the remarks of Mr. 
Bemal OsbonM in oppontimi to the vote/ He seemed. t» oooridsr that the 



Digitized by 



Google 



4S8 



THE MUSICAL WORLD. 



[Jidj 80, 1864. 



I of the ■phere of wefoloeaB of the Bajak Aeademj of Moaie would be 
onlj for tlie benefit of the rich. This is a complete fsIUcy. Musical instnifr- 
don in this conntrj is now practicallj denied to the poor, and it will not be 
until we have some institntion like the Conservatoriums of Germany that this 
disabnitj will be removed. How many hands that might have 

* Waked to ecstacy the living lyre * 
are denied the opportnnitj^of following the vocation to which nature calls 
them, because musical education in this country is the monopoly of the wealthy. 
In Ge rmaay the parent of a child of decided musical talent, who is unable to 
go to tfae expense of cultivating it himself, has only to obtain a certificate of 
his ch ild*8 abilities from a local maettro^ send it to one of the Conservatoriums, 
a d the child receives a first-rate musical education- Again Mr. Osborne un- 
charitably challenges the Chaooellor of the Exchequer ' to name six good 
singers whom this academy has produced.' Comparisons are ever odious, and 
it would perhaps be difilcult to come up to the standard of so ard(>nt a lover of 
m usic asMr. Osborne appears to be, but we hope Mr. Osborne went to the concert 
recently given by the pupils of the academy and judged for himself. If he did 
so, and can consdentionsly repeat his challenge, wc pity him ; but if he did 
not, and speaks only from hearsay, the sni>er at so valuable an institntion was 
most uncalled fox.'' 

Although the above is probably from the pen of an amateur (as 
the '^ JuUien, Hnllah, Costa and Martin '* paragraph, and one or 
two other paasages suggest), it is from an amateur who thinks 
seriouslj about music, and whose advocacy and co-operation are 
therefore valuable to musicians. Dishlet Peters. 

Tadca$ter^ Servke-tree and Sable, July 27. 

Mark Lemon's Jest Book. — If any man is entitled to become god- 
father of a jest book, the editor of Pwidh may well claim the honor. 
Mr. Mark Lemon has published, in a handsome volume, a collection of 
all the iesti, ancient and modern— from Democritusto Douglas Jerrold 
— which have &llen under his expert observation. The book is com- 
posed, as the compiler tells us, " mainly of old jokes, some older tlian 
Joe Miller himself, with a liberal sprinkling of new jests gathered 
from books and hearsay.'*! It is a most amusing collection, and may 
be taken as reference-book for jokes of all time, so far as they have 
succeeded in escaping oblivion. If Master Slender had only had 
such a book in his podiet he need not have hesitated to fiice the com- 
pany round B^ter Page's dinner-table. We can cordially recommend 
the volume to all who like to hear new jests or refresh their memories 
about the point and parentage of old. 

Madame Arabella Qoddabd leaves London to-day for Boulogne- 
snr-mer. She returns to England for the Birmingham Festival, where 
she is to play Mendelssohn's second concerto (in D), which has never 
been heard there sinoe the composer played it himself (in 1840). 

Herb Ebhst leaves England to-day for Boulognc-sur-mer, en route 
for Germany, his ultimate destination being Nice, where the illustrious 
artist will pass the winter. Herr Ernst is already far advanced in the 
composition of a new quartet, Tant mieuz. 



TO THE ADMIRERS OF WEBER IN ENGLAND. 

BEING about to edit a ^^ Chronological list toitJi explanations oj 
the entire works of Carl Maria von Weber^'' similar to the one 
of Mozart by KSchel, I address myself to all those who possess 
manuscripts as well as autographs of Carl Maria von AV^eber, 
and beg them to aid me in my undertaking, by entrusting for a 
short time to my care the above mentioned manuscripts. Those 
persons who will kindly comply with my request may rest assured 
that the greatest possible care will be taken of those precious 
documents, and that they will be sent back to their respective 
owners in the shortest possible time — ^prepaid, and also registered if 
desired. Please to address, either to myself or to Monsieur IHspagne^ 
head of the musical department of the Royal Library in Berlin. 

F. W. Jahns, 
IDirrctor of 3f usic to I/.;}f. (he King of Pnmia,'] 
62, Kraufen-Strasse^ Berlin. 



English Opkiia Company. — ITie first opera playe^l by this 
cumiMiny (in October next) will be Benedict's Lily of KiUarney, 
with ^ladiuue licmiuens Sherrington as the heroine, Mr. Santley 

as Danny Mauu, and an American tenor, Mr. as iMiles-na- 

Coppoleeu. llie first new opera is to be Helvelyn, book by 
Ozenlord, music by Macfarren. 



GOUNOD AND ARDIH. 

Saint- CUmd, mardi lijutOei 1864. 

Mom cuee Arditi. — J'apprends par une lettre de Choudens toute 
I'ardeur, tout le z^le et toute I'intelligencc que vous avez d^ploy^s dans 
la direction de Mirella : rien ne m*^ tonne en cela de voire pari, et 
vous saves que je n'avaia pas rombro d'un doate k ce sojei: mais Je 
tiens k vous dire de suite combien je vous en remercie. Un de mes 
principes en fait d'ezecution muricale est celui-ci: <^Le premier snjei 
d'une troupe est le chef d*orchestre." Se figure-ton une victoire facua 
ou m^me possible avec de bons soldata et un mauvais g^n6nl ? Assur^- 
nient non, si la tdte est mauvaise, tout va de travers. Maintenant, 
vous qui avez et^ k mdme do payer le m^rite de chacun de mes inter- 
pretes, veuillez. de ma part, leur transroettre la part d'^loges et de 
remerciments qui revient k tons. Veuillez dire Ik MM. les artistes de 
i'orchestre et des choeurs, combien je regrette qu'aoe captivity qui dure 
encore, m'ait priv^ de I'honneur et du plaihir de me rendre aupr^s 
d'eux, et deleur ezprimer personnellement et directment toute ma re- 
connai^sante satisfaction. Je vous charge, enfin, de mes meilleurs 
souvenirs pour Mmes Tietjens, Trebelli, Rebonx, Volpini, et ponr MBI. 
Gtuglini, Santley, Junca et Gassier, que je remercie de son ohligeante 
et M modeste cooperation. 

Recevez. mon cher Arditi, la nouvelle assurance de mon sincere et 
affectuenx devouement. Ch. Gounod. 

39, JiauU Imperiale, Samt-Chud. {Seine-et-Oise.) 

M. Ulman. — ^Les journaux allemands et qnelques feuilles fran9ai8e8 
ont public une liste d'artistes engages par M. Ulinan pour une toumte 
en Allemagne. Cette liste est de tons points menaong^re ; nous en 
avons re9U Tassuranoe de MM. Vieuxtemps, Alfred Jaell et Qardoni 
eux m^mes, que M.' Ulman n'a pas craint de faire figurer sur son 
tableau de troupe, alors que rien ne Taut orisait a se permettre une 
parcilie licence. Dee pourparlers ont pu avoir lieu entre M. Ulman et 
ces artistes, mais ils n'ont ki6 suivis d'aucun r^sultat s^rieuz. MM. 
Vieuxtemps et Jaell, pour leur part, sont libres et dispostfo i traiter 
pour des concerts, Ik partir du ler octobre jusqu^i la fin de mars. Nous 
tenons en outre de bonne source que Mile Carlotta Patti a fort k se 
plaindre de son secretaire, dont elle n'a pas eu de nouvelles depuis plus 
de deux mois et oui parait trop oublier le veritable caract^re de ea 
position auprds d'elle. Giaoomelli. 



Mr. Alfred Mellon's Promenade Concerts beffin at the 
Royal Italian Opera, on the 8th of August. MdSe. Culotta 
Patti is again to be the vocal star ; MdUe. Murie Krebs the pianist. 

Mr. MuoiB*8 Library has pasted into the hands of a Limited 
Liability Company. The property has been divided into £100.000 
worth of shares ; and of this sum Mr. Mudie retains possession of 
£50,000. Some part of the ie.ond £50,000 has been subscribed by Mr. 
Murray and other publishers ; and the remaining part will be offered 
to the general public. Mr. Mudie continues his services and powers as 
managing director, at a salary of £1000 a year. 

Thk New Canon of Westminster. — ^It is expected that Rev. Wm, 
Conway, M.A., of Trinity College, Cambridge, nominated by Crown 
to canonry of Westminster Abbey and rectory of St. Margaret^s, West- 
minster, vacant by death of Rev. Dr. Cureton, will be formally installed 
in Westminster Abbey on second Thursday in Aug. By Mr. Conway's 
preferment vicarage of St. Margaret's, Rochester, becomes vacant. 
New Canon — firm adherent of Evangelical party in Church of England 
— ^is of considerable wealth, and will nrobably do much good for parish 
of St. Margaret's, many portions of which consists of poor districts. 

Q ' 

Weimar. — The theatre was closed on the 26th ult., with Meyerbeer*s 
ever fresh opera, Robert le Diable. According to report it will re-open 
on the I6th September next, with Goethe's ^mont. The operas 
recently given have been Rossini's Quillaume Tell (a very flat perfor- 
mance, owing principally to the evident indisposition of *Madame von 
Milde); Rienzi (twice); Der Freiseh&g ; Der Fliegende Holldnder ; 
Lohengrin (a weak performance, especially as far as the liand was con- 
cerned) ; JMe Kindiache Saalnixe (after* Kauer's Donauweibchen) ; La 
Juive; Martha; and // Tiovatore. — Mendelssohn's Elijah has been 
admirably executed at Eisenach, under the direction of Professor 
Muller-Uartung. — The celebrated Salzung church-choir, formed on 
the model of that at the cathedral, Berlin, lately gave a concert in the 
Town-church. The following was the programme: "O, Roma 
nobilis" (hynm of the 8th century) ; •• Patiis angelicuK," by Palcstrina; 
"Lux ajterna," by Jomelli ; '*Exultate Deo, by Scarlatti; chorale, 
"Jesu, nioine Freude," by Sebastian Bach; **Tantum ergo,** by 
Cherubini ; Prayer for three-part Boys' Chorus, by Hauptmann ; and 
the Eightieth Psalm, by Dr. Emil Naumann. With the exception of • 
a few trifling deficiencies, the performance was excellent, and the 
advanced state of the choir, which is under the protection of the 
Crown- Prince of Meiningen, does the greatest credit to its oonduotor, 
Herr Mttller. 



Digitized by 



Google 



My 30, 18640 



THE MUSICAL WORLD. 



489 



Mr. Ap*Matton being absent, with Mr. Kippington Pipe (at 
Bogwood Races), and also engaged to play in a cricket-inatch, 
between his own Eleven and Qie Kidbury £leven, which was to 
come o£f yesterday* at Tadcaster, Dr. Shoe has been urged to act 
once more as sabstitute — as which, after much urging, he ^Dr. 
Shoe) has consented to act. Happily his labors are Ught. The 
subjoined letter hatf just come to foot : — 

Ap*Shenkim at the Opera. 
Sib, — Mr. Marlin Spfke has left town for his country seat ; and your 
friend Ap'Sheiikin has arrived. On Saturday we went to Her Msgesty's 
Theatre to see Oberon performed, and he, Mr. Ap'Shenkin, expressed 
himself to me thus:—*' Scenery most superb, orchestra second to none. 
Artists from' the first rank, (he gives the names of five) ; Santley, 
without any exception, the finest baritone of the day ; Titiens, the 
heroine of the stage, and like a goddess in perfection ; Gardoni, full 
of energy; Mons. Gassier, excellent; Bettini, well up in his part; 
Mdlle. Gross! a second Alboni ; Mdlle. Trebelli sin^ charmingly, and 
the Corps de Ballet tres joli;" and he says that with Mr. Mapleson*s 
company and a larger stage he would challenge the world, and I think 
so the same ; we must not forget the choras, which he states are great in 
voices. Mr. Ap'Shenkin is sorry that he canH attend another perform- 
ance at Her Majesty's Theatre this week, as he intends to go and hear 
Fatti at the Italian Opera, Covent Garden ; he says, it is some time 
since he heard the warbling songstress. In Paris, January 28th, lb68, 
he had the pleasure of listening to her, the opera was Don Giovanni^ it was 
for her benefit, the Emperor and Empress were there, and the little 
prima donna had an audience with the Imperial Majesties ; but Mr. 
Ap'Shenkin wants to see and hear her again. — ^I am. Sir, 
RaicaUher*8 Courts July 26. Buoknolb Bat. 

Dr. Shoe respectfully leaves the explanation of the above to Mr. 
Ap'Mutton ; as also of the following : — 
Epiorah. 
There was an old house called the Sthrand; 
Which, no matter to what guiding hand 
Its affairs were oonfoided, 
Was ginerally avoided 
By those who don't go near the Sthrand. Simple Smov. 
PewUr Place, July 27. ' 

— ^which appears to Dr. Shoe, although apparently the inspiration 
of an Irishman, to contain a superfluous sequitur. 
{By EUetrie Telegraph,) 
The long expected cricket match between the Kidbury and 
Ap'Mutton Elevens came off to-day, with a result which will be 
seen below : — 

Kidbury Eleven. 
Firet Inning*. Second Innings. 

Dr. Chidley Pidding ... 6. by Ap'Mutton 1 e. by Ap'Mutton 

Purple Fowls, Esq^ c. „ I .^.... 6. „ 

Manin Spike, Esq t. „ 1 a. „ 

Spurway Horn, Esq. ... b. „ 2 e. ,. 1 

Sidey Ham, Esq t. „ 1 rtmout 

Butler Brush, Esq c. „ 1 b. by Ap'Mutton 

Digby Serpent, Esq. ... b. „ 1 c. „ 

OUver BallTodds, Esq. «. » 1 b. „ 

Sir Caper O'Corby runout 1 natout 

S. T. Table, Esq 6. by Ap'Mutton 1 e. by Ap'Mutton 

Abel Grogg, Esq not oiU 1 6. „ 



Byes 



12 
.200 . 



1 
.170 

171 



Ihe extreme fieroeneas of Mr. Ap'Mutton^s bowling will account 
for the unprecedented number of ^* byes *' obtained by the Kid- 
bury Eleven. The ' ^ Long Stop " was changed over and oyer again, 
but to no purpose. Mr. Spurway Hom^s bat broke in his £knd, 
in attempting to ^* cut^* one of the balls. The betting was brisk. 
As the sum total of the Kidbury Eleven amounted to 383 (thanks 
to the ** byes*'), it will be seen that the Ap*Mutton Eleven won 
the match by 286. A return match will take place shortly at 
Tadcaster. Betting already 100 to 1 on the Ap'Mutton Eleven. 

OPERA. LIRBETTI. 

Sir, — We never seem to get decent subjects for our operas ; why do 
not our librettists turn to the Arthurian romances. Surely there are 
lovely and dramatic subjects enough in Malory's " Morto d' Arthur," 
and the '* Knights of the Round Table." You will be doing a service 
by calling our composers' attention to this. Yours, dkc, 

C. WiLUAMS. 

Dr. Shoe agrees with Mr. Williams, and recommends the episode 
of Balin and Balan. Further he dares not recommend, being 
chary of treading on Mr. Ap'Mutton's exclusive ground. Mr. 
Ap'Mutton claims Kifig Arthur as a Cambrian, and denies that 
he was bom in the Castle of Tintagil, of Vter and Igrayne, 
DuchesB of the slain Duke of Tintajl, whose likeness Tby the 
enchantments of Merlin, pupil of Blaise — ^the ^^ great Clark of 
Nigromancy") Vter was enabled to put on. Dr. Shoe's re-, 
spected chief denies all this. Tatlor Shoe. 

Boot and Hook^ Shoeshury^ 29. 



NONSENSICAL RHYMES FOR NONSENSICAL TIMES. 

(New Series). 
XXXI. 

There was an old pianist called JaeL, 
Who drank like a fish — say a whale ; 

So he went to John Ella, 

Who'd some good Calcavella, 
But thought stout would do better for Jael. 

XXXII. 

lliere was an old pianist called Jael, 
So stout he could scarcely inhale ; 

So he went to John li^Ua, 

Who said, " My dear felU», 
^^ Try Wanting— you'll get thin and pale." | 

XXXIII. 

There was an old pianist called Jael, 
Who lived on too costly a scale ; 

So he went to John Ella, 

Who was dumb as Fenella, 
Fearing ^^ tin " was the errand of Jael. 



212 
Ap'Mutton*s Eleven. 

Dishlcy Peters, Esq e. by Spike 93 

Groker Roores, Esq run out 70 

Ripptngton Pipe, Esq. «. by Serpent 

Yaxton Last, Esq b. by Serpent 40 

Mons. Dnrillon d'Engelure e. by Serpent 13 

Bay lis Boil, Esq 6. by Spike 5 

Dr. Wind runout 3 

Zamiels Owl, Esq *. by Brush 80 

D. C runout 84 

Captain Pearbottom c. by Brush 11 

Owain Ap'Mutton, Es^q not out 270 

Byes 

^ ^ 

♦ Friday. 



The Late T. P. Cooke.—" T. P. Cooke," tho popular actor- 
Thomas Potter Cooke, Esq., of Thurlow Square, Brompton, and St. 
Vincent Villa, Ryde, Isle of Wight — w!io died on the 4th April last 
at aa advanced age, has left persona tly estimated at 25,000/., besides 
freehold estates. His will was executed in February last, and a codicil 
the month following, being a few days before his death. The exe- 
cutors are the Rev. W. S. H. Meadows, M.A., Vicar of Chigwell ; 
Warren Pugh, Esq., Bloomsbury Place ; and Augustine Sargood, Esq., 
Temple, barrister. To his Uaughter, Mrs. Gumming, who was 
residing with him, he has left hi** real estate and the residue of hin 
personalty. There are a number of small legacies to personal friends ; 
amongst them are the names of Benjamin Webster, John Buckstone, 
Henry Wills, editor of All the Year Bound; Mr. Bowles, editor of 
Galignani^a Newspaper, Paris. To each of his executors 100/. To tlie 
nurse, who has long lived in the fiimily, he leaves an annuity of 86/. 
All legacies to be paid free of (*uty. There is one very prominent be- 
quest m his will. He leaves to the Royal Dramatic College a sura of 
2,000/., in perpetuity for a prize for the best drama on a nautical or 
national subject, to be called " T. P. Cooke's Nautical or Nation .1 
Dramatic Prize," to be competed for ; and suggehts that on the 23rd 
day of April, the birthday of '* our immortal dramatic poet Shakspeare, 
and which is my own natal day al?<o," a public holiday or treat shall 
be given to the pensioners of the college ; and, after the toast of the 
day — '» To the memory of the immortal bard Shaka'peare " — shall have 
been duly honored, the terms and conditions of this " my gift" shall be 
read, and announcement made of the successful candidate, as well as of 
the title of the piece, and the theatre at which it is to be performed ; 
and bequeaths a further sum of IfiQOl., for this purpose. 



Digitized by 



Google 



4^ 



THE mmiCAL W3kt£f. 



[My^l?8«lf. 



LETTERS TO THE EDITOR. 



THE HARP. 

To the Editor of the Mwioal Wobld. 
Sib,— The writer of the letter in your last week*s jounial QlK>n the/ 
mibject of the harp has not answered any question contained in my 
previous letter, and consequently in no way proved that the present 
generation of harpists are 'wrong' in their, theory of playirtg, ak he 
asserted in his first letter, which ended by saying-^'* a9far tu fingering 
and * everything * eUe go, it it perfeetUf immmtmial which of the two methode 
be adopted:" openly acknowledging the utter indiflferenise (ttx him)- of 
any decided method for teaching the instrument : moreover, it proves 
that he does not know what it the proper method of teaching it. 
Your correspondent says he never was taught the art of harp-playing» 
and it therefore stands to reason that he cannot teach others: oon- 
gratulating himself upon the fact, he discards all scientific researches 
yet made for the harp as being peurile and insignificant ; he sneers at 
ite living profeasorSi and, for a finale, insults Bochsa (the man whose 
immensity of works, vast eznerienoe and genius, did more for the harp 
than any man who ever lived) by saying that graat master is '* wrong f' 
Here lies the subject, one of oonsiderable development. Your corres- 
pondent surely must consider himself just thrown down from the 
heavens with supematucal power amongst a lot of heathena We are 
aware of his (vesence, but do not intend bowing *ye<* until we 
are quite sure that it it to an immortal being that we bow. If so 
great a personage falls so great a height, he cannot expect to pick 
himself up without a bruise, if his strength prove less than he thinks 
it. He is amusing ; he intends- (so says his letter) *' bringing to light 
the dejecte of Boteha and thoee inherited from him by hit pufile" This, 
from a eelf -taught player, who asserts Bochsa to be wrong, and whose 
school of playing he never *knew* nor apparently cares to know, is 
rather a good joke. Where is the man who so thoroughly and so 
contemptuously discarded the ordinary routine of ' education,' forming 
his theories upon imaginary prindf^es so vague and inconsistent as your 
correspondent, that ever was worthy of being considered a substantial 
authority. No such mortal ever breathed. All men of distinction 
gladly congratulate * themeeUei upon liavinghad the foundation of their 
talents etUtioated bj' a fixed standard of acknowledged rules ; of ele- 
mentary studies, however, these may be changed in after experience. 
Had your correspondent received such, hiA exceptional and most unjus- 
tifiable assertions might be weighed with those of others ; but he has 
not received audi, and is wHhout precedent in any age or country 
for having arrived (as he says) at excellence without any schooling. 
How fortunate t to have eaoaped fiiultA, and paying guineas, which 
should have told them him. I at once say that he neither knows 
theoriticall^ the mere alphabet of the harp nor the science of music, 
witii all his aspirations. If he does, the R. A. of Music had batter 
close its doors at once ; professors, teaching and drudgery are no longer 
wanted. Strange, though, that< opinions should so vary. It is a pity 
Erard put pedals to his liarps they do seem to fidget your corre- 
spondent : tnit * A ' pedal being an immoderate teaaer- to him. But 
I suppose they must feel awkward to a ulf-taught player, and by the 
way there are no pedals upon the Welsh harp. I may also say that 
your correspondent evidently attaches more importance to the **/<^ " 
than either to the fingers or head ; there cannot be a doubt of this in 
any way whatever, ft is difficult to obtain sound knowledge at times ; 
but if you do not wish a master's advice, don't slap him m the face 
from ignorance of possessing it. Your correspondent's attempt (like 
all hasty ones) to slap Bochsa, has failed, for he is too big a man and 
too dever a boxer not to have parried the blow. I write to defend him, 
as 1 cannot see him nor Ms works so confessedly misunderstood as is the 
case with yourcorrenpondent when bespeaks of the " proeeM o/pullino" 
at the harp. It is the first time I have ever heard that the strings of 
a harp should be pulled. I have more than once seen uneducated 
players, say those on steamboats, quadrille players and such, endeavor 
to extract a noite from the instrument ; but all well-informed harpists 
would feel the strings and make their touch the exnonent of their 
feelings by produdng what's rightly ten{ied tone, caused by ''prestwe*' 
Pulling the strings is a misnomer, and applies to pulling ropes on board 
a ship, bell ringing, Ac , &c. ; it lias nothing to do with harp playing. 
1 agree with the dentist who exihactt teeth, not puUe them* out; 
and the proper tone of tlie harp is only got by extraction and 
preteure upon the string. One of tlie secrets of your correspondent 
tuts, however, been divulged, and we now learn from him ceruin 
causes, and we shall probably, ere long, hear from him relative 
to sundry contortiont of harpists which he speaks of emanating. I 
suppose, from his '* pulling proeeet.*' Your correspondent says Bochsa's 
music is unpopuUr. Tuis is a sad confession of his that **echooling 
it necestarg,*^ Bochw wrote to be understood,, and others thought 
lessons desirable, but your correspondent not having partaken of 
any is no authority on th^ BOtsject* either of Bochaa or his works. 



most, and the best of which were written in the zenith of his fame 
and experience, which is by no means so long ago as to be 
obsolete and contemptible asyoilt corhsspondent infers. Where a harp 
is Bochsa aocompanies it. Is this unpopularity ? The " bracelet " which 
your oorrespondent alludes to wato not^ altogether, the introduction of 
Btehsa* but mainly that of Mr. William Srat, then a harp maker and 
pupil of Bochsa^ who, in his entire works f which are now before me) in 
no way speaks of it as a thing indispensible to strength, but simply as 
a graceful addition for a lady harpist. To infer that Bochsa ever 
advocated a change of the prevailing position at the harp through a 
braedet being worn, and seeing his school then and now in practise, is 
childish. Most players, especially amateurs, find a dryness with the 
ordinary passages of the left hand, and. unluckily, treat such with some 
indifference; but "work" will equalize both hands in strength, but 
tiever to facilitate a performance upon the harp, if it be (as now con- 
structed), supported upon the left shoulder— or rather the left arm, for 
it requires but the slightest effort to totally derange the equilibrium of 
a left handed player. The harpost with the right liand in the treble 
(as is proper) has only to seat himself at the instrument and' it naturally 
faUs witli tne slightest movement to the right shoulder, a) it was 
intended to do, he at once feels a conlmand which a left-haifded 
position totally prevents. Experience is bstter thin all the reasoning, 
and the prevailing position at the harp has existed over since the harp 
existed. What more is wanted. Speaking of " ddieaeg" your corres- 

rmdent seems ignorant that this comes alone from " breadih " of tone ;. 
forget, though, h^ is self-taught, and as tho seed is so is the fruit. The 
age of improvemenU it, I confess, prodigious : but we have not yet 
seen anything remarkable or fertile in your oorrespondent. When it 
comes, it will I presume luve to go through the usual test of we less 
gidbd mortals, as he evidently considers us moderners to be : but until 
this has appeared it is idle of him to dribble out airy nothings in ex- 
pectation of our tirying to catch themfrom a want of common sense ; 
neither should he print in hU p'fogrammes that, until his recent per- 
formances, the harp was in oblivion, and now enjoys a popularity 
ostensibly through him. Does hto ever read the papers or the Musical 
WoBLO ? Does he forgot that Parish Alvars '* was a pupil of Bochsa, 
as M Balsir Ghattert^n, both of whom were in constant mtercourse with 
Bochoa. These names, with others and their predecessors, your corres- 
pondent should venerate insteaid of making insinuations concerning their 
school; insinaations-whieh, if he wishes to be respected by all artists in 
eeneral, had better be avoided for the future. If your correspondent 
intends starting a school of his own and inventing a new harp for his 
special views, it will be time enoogh for him to depredate the easting 
one when his has been similarly tested and provea to be better ; but 
until this be done I think delicaey of feeling and sound judgment 
should, I repeat, teach him to appUud that tchool substantially tested 
by experience, instead of casting bombastic impertinendes towards it 
and its followers. Apologbsing for taking up so much of your valuable 
space, I beg to remiin. Sir, Your's obediently, Jobm Chcshibb, 

Professor and Member R. A. of Music, and prindpal 
Harpist at Her M^yesty's Theatre. 
16, OsnabUrgh Street, Regent's Park, July 26M, 1864. 

FETE FOR ROSSINI. 
(An Bedaeteur da MnsiOAi. World.) 
Monbibub,— Le 21 aolU, jour de nom de Rossini, sera i nau g tw ^^ k* 
Pesaro, lieu de sa naissaBoe, la statue du grand oorapositeut itallen, 
LfO marquis Salaniaaoa et Bl. Delahante, direoteun des chemint de fer 
italiens, par lea soins et aax frais desquels est^lev6e cetttr ' statue 
organisent i cette occasion une grande fdte mnsicale ; appel a M &it 
pour cela i toutes les c^l^brit^s artistiques, et dies se sont empress6ea 
d*accepter Hnvitation de la Soci^t^ llossinienne de Pesaro. Entre 
autres on donnera avee leiir concours, au thditre Rossini, dix repr^ien- 
tations du chef d'ceuvre du mattre, Ouillaume Tell. La premiere aura 
lieu le 14, et la recette en sera consacrde ^ une osuvre de bienfaisance. 
En outre, Mefcadante a compost poiir cette solennit^ un hymne pour 
quatre cents voix qui sera ex6cut^ en plein air, au moment oil la statue 
seraddcouverte. Des personnes de rintitiitd dd Tauteur du Giuramente 
affirment que cette oeuvre est admirable et digne en tout point do 
I'immense r^^Mitation du maestro. Les journaux italiehs donnont 
beaucoup d*autres details sur les dispositions et les preparatifs de cjtet 
filte dont je reparlerais lordqu'cUe aura eti lieu. 

Ux Fbaxoau a Pabis. 



MISS KATE GORDON. 
Sir, — In your review of Miss Kaie Gordon's and Mr. Cott^U's 
concert you write — *' The lady we believe to be a pupil of Mr. GotteU's.* ' 
I shall be greatly obliged by 3'our correcting it in this week's Musical 
Wobld.— 1 am, Sir, yours truly, Kate Gordon 

(Pupil of Jules Benedict). 
82 SL Gwrge's Road, Warwick Sgwue, Belgravia. 



Digitized by 



Google 



SxAj 80, 1*64.] 



THE MUSICAL WOELD. 



4^1 



FISH AT THE OPEBA. 
lb tke EdiUr of tiW Momoal WTobld. 

8iB,— It might seem enough to record the &ct of the revival of 
Martha at the Boysl ItoUan Opera, and to itate that -the exocllleooe 
of the performance has undergone no abatement sinoe I first reviewed 
ill it deHail. But, in the interval which has elapsed, the genius of Mdlle. 
Adelina <Bstti has exhibited so many novel and striking phases that it 
is impossible to resist the temptation to dwell upon the evidence which 
her fresh and lovely Smpersonation of the heroine of this opera aiflfordr 
of that versatility, combined with the highest fkeidty of dramatic and 
vocal delineation, which places her far above all rivals on the lyric 
stage. The matchless Leonora in the Trw&Um, the incomparable 
Margheilta in Fau^, the best Dinorah, <hie most faultless Amina, the 
peefiess Bosina, the most bewitching Adina, is sleo by many degrees 
the most delightfal representative of Lady Enrichetta who has ever 
apoeaved betbre an English audience. The simple truth is that Mdlle. 
Adelina Patti does everything she undertakes a great deal better than 
it has ever been done by anybody befora her. Her acting has the 
priceleBB charm of entire spontaneity, and no one who is competent to 
form an opinion can watch her without feeling satisfied that she is 
guided by an Innate dramatic instinct so powerful and so truthfbl that 
it never leaves her at ikult, no matter what mav be the nature of the 
efnotion io be portrayed. Her impersonation of the Lady Enrichetta 
is a gem in which the most soratkiising eye might be defied to detect a 
flaw. In eadi of the successive phases of mischievous coquetry, Atn, 
terror, tenderness, remorse, and Joy, the emotional delineation is fuU of 
dramatie force and deliaate beauty. Upon a thoroughly natural concep- 
tion of the character, which is at once charming and efTecti ve beeause it is 
iree from the slightest tslnt of staginess, she embroiders a mass of minute 
details of exquisite by.play, ^ich, always unobtrusive, give intense 
vitality to the ideal personage. Of her executloa of the music we 
wiemaysav not only that it is throughout delicious, but those who 
have not heard hsr give *< Qui sola vergin rosa '* (<* The Last Rose 
of Summer '*), ean have acquired "but a fiiiot oonoeption of the possible 
perfection of ballad-singing. The entrancing tenderness, pathos^ and 
vocal beauty, which characterised this interpretation— 4he rimple ren- 
dering of a delightful inspiration by a lovely voice, guided by the 
purest taste— raised the andiesiee to the higher enthusiasia, and 
elicited a rapturous encore. MdBe. Adelina PMti had the ablest of all 
possible coadjaton in Signer Mario, whose LioneUo is both hi«trioni- 
eaUy and musically a masteruiece. He acted with infinite tenderness 
and grace, and sang with an inoompsrable artistic beaui^ which mtist 
have led every one who listened to him to l^pe^that tiis increasing 
r4p€rUfir^^to which Faust has been the latest and a very briBfaot addi- 
tbn — will be yet further augmented by many of those parts in which 
he can be matched by no living tenor on the stage. 

The Queen Dowager and Queen Begnant of ^e world of song 
were both seen upon the etage here on Wednesday evening, and so 
also was the King of the same realm — who, bv the way, though the 
lawful husband of the Queen Dowager, has of late frequently set the 
peoprieties at naught by appearing in public as lover of the Queen 
Begnant. Our musical readen can scarcely need that tikis intimation 
sbmild be translated into the prosaic announcement that the perform* 
anoe was adorned by the talents of liadame Griid, Mdlle. Adeline 
Fatti, and Signor Mario. The entertainments were announced to be 
ibr the benefit of Mr. A. Harris, the clever and indefiitigable stage- 
manager, wlio has placed upon the boards of the Bosral Italian Open 
so many marrellotts dramatic pictures of real life, equally remarkable 
for pioturesqae beauty and perfect fidelity to nature. It was a graoeAil 
aet on ike ptwi of ttve veteran prima donna, whose many and brilliant 
triumphs in bygone yean still live in the recollection of thousands, to 
isnsrge on such an occasion from the retireoMnt which all had been led 
to lo6k upon as fimd, and to lend to the programme the peiKerfkil 
attsaaUon of her eminent name. Madame Onsi revisited the footUghu 
is the first act of Norma, and the reception which greeted her on her 
entrance must liave afibrded to her a graiiiying proof how vividly the 
inemocy of the glorious achievments of her genius in its prime is uni- 
versally present in the minds of the musical public. Very rarely indeed 
has ihe most frigid audience in Europe been known to arouse itself to 
such a pitch of wild enthusiasm. From a house filled in every available 
comer there came an outburst of cheering and applause which lasted 
Ibr some minutes without intermission, while hats and liaiikerchiefs 
were waved by the more demonstrative admirers of the heroine of 
almost innumerable successes. Madame Gri&i was loudly recalled at 
the conclusion of " Casta Diva ; " and at the end of the act she was four 
times summoned before the curtain, and overwhelmed with wreaths 
and bouquets. Criticism on such an effort, under such circumstances, 
would be an impertinence — nor would it bean easy task to comment 
upon a performance in which, the inevitable shortcomings of the present 
were smothered out of view by the ever-recurring and moat delightful 
memories of the past. Mdlle. Artot was the Adalgisa, and sang the 



music very pleasingly, acting, moreover, with unobtrusive grace and 
feeling, while Pollio and Oroveso wererepresented, as before, by Signor 
Naudm and Signor Attri. Two acie of ^autt e Marghmta followed, 
MdUe. Adelina Patti resuming the pact of Margheritat in which she 
has never yet found a rival, and Signor Mario being, as ever, an alto- 
gether peerless Faust. We have so recently dwelt veiy fully upon 
these two exquisite impersonations thai we need say no more of them 
than thai they retained last night undimiaishod all their familiar 
delicate vocal and dramatic beauty. 

Low prices certainly do not involve with Mr. Mapleson incomplete 
performances. Since the close of the regular season the rates of 
admission have been considerably diminished, yet there has been no 
abatement in the completeness with whic^ the various worlu repre- 
sented have been placed upo9 the stage. He must be a vcqt exaetine 
critic, for example who could find iauli with the representation or 
Oberon, which was revived last Saturday and repeated before a very 
full house on Tuesday. The oast is exceptionally strong, and the 
mounting of the work is characterised by equal liberalitv and taste. 
It is the fashion with some to sneer at the libretto of Weber's de- 
lightful opera as hopelessly absurd ; but we must frankly own that in 
these exceedingly matter-of-&ct days a slight spied of AraUan Nights 
legend and fidry lore is by no means unacceptable now and then, 
and I would rather have them wedded to charming music than serving 
as a ikamework on which to hang the not always very sparkling 
jokes of an extravaganxa — though, lit us add, if an ^ranapataa on 
the same theme had been written by Mr. Planch^^ the author of 
this libretto, there would have been no risk of its lackmg polished wit 
and elmnccL It is late in the day to dwell upon we many and 
sterling oeauties of Weber*s musie, the highly &vourable verdict passed 
upon which by the audience which first listened to it at Covent Garden 
in 1826 is by no means likely to be reversed, and in the hands of 
such artists as those to whom its interpretation is entrusted at Her 
Majesty's Theatre, these beauties could not fail to receive the most 
ample justice. Mdlle. Tietjens was a superb Beiza. As a matter 
of course, her great vocal triumph was in great scena, " Vasto, tre- 
meno mare," more familiar to English amateun as '* Ocean, mighty 
monster,*' the whole of which she sang magnificently. Physical power, 
musical ability, force of dramatic delineation and artistic soul must all 
be found in combination before justice can be done to this fine 
composition, and Mdlle. Tietjens possesses them all, in addition to a 
rich and glorious voice. At the dose of tliis arduous koul she was 
enthusiastically recalled, and throughout the opera she sang incom- 

Kably and acted with all her wonted impressiveness and grace, 
tima could not have found a more delightful representative than 
Madame Trebdli, who sang *^ D* Arabia sul confin," and '* Arabia, 
eara Arabia" with infinite dehcacy and beauty, and was in imch iuBtanee 
rewarded with an encore. She was equally excdlent in her sRare 
of the duet, " Vidi in riva alia Qdroona,*' with Mr. Santley, the 
Sherasmin, who nobly earned his part in the •«call *at its close. Of 
his acting and singing throughout we know of noMiing that we could 
say more laudatory than that they were worthy hiuiseUi Mdlle. 
Volpini gave l^e Mermaid*s song charmingly, throwing into its 
delivery a large amount of sweetness and expression. The fine 
voice of MdUe. Orossi shone with excellent eflect in the musie 
allotted to Puck, and Signor Gassier dil all that an artist could do with 
the part of Babekan. A more carefnl Oberon than Signor Beitioi 
could hardly be wished. The ehoruies were for the most fiari well, and 
in some instances excellently gi^en. Signor Arditi's admirafale band— 
the chfld, be it always remembered, reared by his genius and diligence 
from decrepid infkncy to rij^ and vigsrous manhood— -added laig^y to 
its laurels by its share in this peribrmanee. The overture was played 
on both eyenings with a precision » brilliancy, and delicate nuanes which 
could scarcely be too much praisisd—its execution atfording constant 
evidence of the presiding genius of Signer Anliti and the unity of his 
ideas with those of the composer. It was on each occasion rapturously 
eneooed. This wtiola of liie inslrainftntal poriaon of the opera wa*s 
executed in a style of equal excellence. This revival of OUron is ^ 
triumph for the 'management, and entitles Mr. Btaplesontoa reward he 
has often earned before — the cordial thanks of the public 

I have something io any about Madllo. Artot, both in the 
Traviata and FauU e Margh4rUa^ whkh, with other matt^ns of 
interast, I shall — ^you permitting-- entertain {jpem the irord) tha 
readen of the Musical World n«zt we^ 

jSalmon Lodge— July 2a o CovnrraT Fish. 

Sib £. B. Lvtton. 

Sib,— I have read in a paper of this evening that Sir E. Bulwer 
Lytton is staying at Wardeli*s York Hotel, liimsgate. I beg to s^ 
that my hotel U at Margate, and that I am honored by having Sir B. 
B. Lytton amongst my visitors. — I beg to remain yours most t^ 
spectfullv, * RoBRBT Wardell (formerly of Vauxhall). 

York Familif Hold, Mar^, Jufy 22. 



Digitized by 



Google 



492 



THE MUSICAL WORLD. 



[July 80, 1864. 



TONIC 80L-FA v. DOTTED LINE. 

Sib,'— I see in the newspaper advertisements, and in handbills all over 
the town, the announcement of a '* Tonic Sol-Fa Concert " at the 
Crystal Palace ; conductor, Mr. Toung. The terms of admission are 
said to be one shilling. <' as usual." The Tonic Sol-Fa Association 
will be equally astonished with myself to see this announcement, and as 
it is calculated seriously to mislead the public, I hope you will give 
place to the present protest. Mr. Yonn^ was one of the early Tonic 
Sol-Fa teachers of London, and was chosen by the association to 
conduct, with Mr. Sarll, a number of the Crystal Palace concerts ; but 
he has lately published and taught upon a system of his own, which 
rejects our Tonic Sol-Fa notation, and adopts a different educational 
method in the development of time and tune. It may be that through 
the wide personal acquaintance with our Tonic SJol-Fa friends to 
which the leadership introduced him, and through the &ct that he 
prints in his dotted line, or dotted staff notation, the pieces with 
which from long use our Tonic Solfaists are very familiar, that he has 
a large number of Tonic Sol-Fa pupils in his choir ; but as his ooncert 
is intended to be a demonstration of what the dotted line system can 
do rather than the Tonic ifd-Fa method, I think it wrong that the 
public should be misled by his concert receiving the wrong title. 
The Tonic Sol-Fa method, founded on Miss Glover's tetrachordal 
system, was published by me about twenty years ago, and I have ever 
since given the greater part of my time and strength to the extension 
of its usefblness and the improvement of its educational facilities. I 
think, therefore, that I am justified in some solicitude that it should 
not be confused in the public mind with this and other systems which 
have sprung out of it. I am, Sir, truly yours, 

PlaistoWf Ef July 27. Johk Cubwen. 

rXhe concert took place on Wednesday, the 27th instant, 
ana will be noticed in our next. — ^Ed. 3f. TT.] 

SHAKESPEARE MEMORIAL. 
The following circular has been iasued to the subscribers : — 
Sir, — ^At the meeting of the Executive Committee, held at the 
Society of Arts, the Right Hon. W. F. Cowper in the chair, a suggea- 
tion was received from the Duke of Manchester (Chairman of Execu- 
tive), to the effect that a statement of facts should be laid before the 
subscribers, and their concurrence invited in a plan by which it is 
hoped that their wishes . may be ultimately carried into effect. The 
proposal was unanimously adopted. The subecriptioo list now amounts 
to 2,260Z.; the expenditure to about 970Z.; balance, about 1,280/. 
This balance, it is thought, may be somewhat increased; not so 
largely as to justify the Executive in submitting to the subscribers a 
costly scheme for a memorial in one of the public parks ; but so far as 
to secure for London a monument of Shakespeare, at least equal in 
importance to the statues which foreign countries have erected to their 
national poets. The new Thames embankment will offer unusual 
advantages for such works ; and a noble and appropriate site may be 
secured on this load near the Temple Gardena After much consider- 
ation of the matters intrusted to their charge, the Executive are 
nnanimoQsly of opinion that the subscribers would do well to allow the 
above balance to be invested, with a view to its increase, until the 
Thames Embankment shall have been built, and ftirther steps can be 
Ixmefidally ti^en. May we ask the &vour of your statins whether 
you object to this recommendation ? If you concur you need not take 
the trouble to write ; unless you should think proper to favour the 
Executive witii suggestions for carrying out the common wishes of the 
subscribers. If you object to the recommendation, we should be glad 
to receive your commands by the first day of August. We have the 
honour to remain, your obedient servants, 

W. Hbpwobth Dixon,) ^r^^ «^_ 
J. O. Halliwbll, 7 Hon. Bees. 
C. L. Qruneisen, Esq., F.R.G.S. 

We have been requested to publish the following reply to the 
above drcular : — 

To the Bon, Seeretariet of the Shaketpere Memorial, 

Gbntudcen, — In reifiy to your circular of the 20th, I must protest 
against any application of the money raised for a grand memorial 
towards a petty monument, to figure on the Thames Embankment, to 
be pointed at by the finger of scorn, as the failure of the London 
Committee to do honour to Shakspeare. I think that a meeting of the 
subscribers ought to be convened at once, to consider the best course to 
be pursued; Imt in the event of the Executive Committee not deeming 
it expedient to meet the general body oi subscribers, then I beg 
respectfully to suggest that it would be far better to appropriate the 
fiinds in band, after audit of the expenditure, to the Dramatic College 
for the schools. I remain. Gentlemen, your obedient servant, 

C. L. GaUMEISBN. 

16, Snney-street^ Strand, W.O, 



(i?arofi Mabtin and Special Jury,) 

TELBIN V. FECHTEB. 

Action against well-known actor to recover about ISO/., alleged 
balance due plaintiff, theatrical artist, for painting scenery for Bmdet 
at Lyceum, under management of Fechter. Defendent denied liability 
for alleged balance, except small sum, paid into court. Hawkins, Q.C., 
and G. 6haw for plaintiff; Serjeant BaUantine and Coventry were for 
defendant. In spring of year Fechter, having Lyceum, entered into 
arrangement with plaintiff to paint and prepare scenery of UamUi^ with 
view to its performance on occasion of opening of. theatre, 28rd April, 
anniversary of birth of Shakspeare. Contract for 400/., and great 
point in dispute whether contract was absolutely for completion of 
scenery by 20th April, to allow time for reheaml. It was not so com- 
pleted ; but Fechter sustained severe accident, which disabled him from 
P|laying for weeks ; and it was not until 14th May that play was adver- 
tised to be performed, and on morning of that day acener}' was in 
theatre ; but, as Fechter alleged, not properly executed. Defence in 
substance was that scenery badly done had to be re-done, and was not 
in time, Ac, so that Fechter had lost week of Hamlet, and whole of money 
was not fairly earned ; 275/. had been paid, and plaintiff claimed resi- 
due. Plaintiff was called as witness on his side. Fechter was also ex - 
amined as witness, and there was difference in testimony, both as to 
terms of contract and manner in which it had been carried out. One 
point in dispute was whether scenery was to be finished by par- 
ticular day. Plaintiff's designs from which he had executed scenes 
were produced in court, and he swore they had been faithftdly and 
fiiirly carried out. On other side various scenes were dedared to 
have been imperfect, not ready for opening. Ghost scene was 
particularly objected to by Fechter. After witnesses on both sides 
had been heard. Judge said questions were — first, as to terms of 
contract, next as to \^ue of work done. Ballantine, summing up 
case for defence, eulogized Fechter for his care of dramatic art ana 
liberal efforts to promote it, which had been carried, perhaps, beyond 
bounds of economy, and urged that Fechter was, at all events, 
entitled to have work for which he was to ptty so liberally, executed 
thoroughly. At same time Ballantine admitted there was delicacy 
and beauty in plaintiff's designs, which, had they been faithfully exe^ 
cuted, would have satisfied Fechter ; if they had been so executed, and 
completed in time, payment of full amount would not have been dis- 
puted. But as Fechter had lost whole week of Hamlet, he was entitled 
to reduction by way of compensation ? Hawkins, on part of plaintiff, 
insisted that, althoujjf^h plaintiff had promised his best to get scenery 
ready by time mentions, there was no absolute undertaking, and that 
Fechter had sustained no real loss by slight delay, because accident 
disabled him for some time from performing. Judge, summing up 
case to jury, told them that if in substance {daintiff had carried out 
contract, he was entitled to recover balance, and that would depend 
upon whether they believed one party or other. If plaintiff's account 
were correct, there was no contract to complete scenery by par- 
ticular day ; if Fechter's account was correct, -diere was such con- 
dition in contract. Therefore, if they believed plaintiff's account 
tbey must find for him and for balance due on contract ; and even 
if they believed Fechter, they must find for plaintiff for balance 
of real value; for he had been allowed to go on after time, and 
work had been accepted and retained ; so that in any view he was 
entitled to recover real value. Now, as to main question of contract, 
there was great distinction, wluch, perhaps, Fechter, as foreigner, did 
not understand, between mere promise to do thing at certain time, if 
possible, and positive and absolute understanding, as conditioQ in con- 
tract. And certainly, as far as letters between parties went, there 
appeared to be no such condition. Jury found no such condition, and 

Sve verdict for plaintiff for full amount claimed— 4ibout 180/. Judge 
lieved Fechter, under error in matter, misunderstood effect of letters. 



OHOPB V» MACKEHZIE. 

Plaintiff, Rev. Chope. applied for injunction against Mackenzie, 
Publisher of Paternoster-row and Glasgow, to restrain from forcing 
legal proceedings on two overdue bills of exchange, and from com- 
mencing legal proceedings on third bill not due. Application was 
based on allegation that defendant had never rendered plaintiff account 
as to sale of work called Congregation Hymn hook, in which plaintiff 
held copyright, and of which defendant was publisher. Accounts 
between parties ran over two years, and bills in question were remanei 
of series which plaintiff had accepted in reference to publication of 
work. From plaintiff's allegation, *< going in for hymns " must be 
rather good thing, provided you can omy get proper accounts. Upon 
defendant writing to idaintifi in June to request him to meet last of 
bills overdue, plamtifi wrote back, and insist^ on accounts, intimating 
intention of having settlement or " soMahing whole affidr." Accoonta 



Digitized by 



Google 



Jidy 80, 1864.] 



THE MUSICAL WORLD, 



493 



not being forthcoming in time to suit plaintiff hence present bill for 
injunction to stay proceedings by Mackenzie v. Chope until acoouiits 
rendered. Mackenzie's counsel stating Mackenzie was in Scotland, 
and had not had time to file affidavits in answer to idaintifiTs bill, which 
was only filed last Thursday or Friday « His Honour consented in- 
junction should run until first day of Michaelmas Term, when plaintiff 
was to pay money claimed upon bills into court, or move Court afresh, 
as he might be advised — present motion to stand over meantime. 
Baggallay and Waller appeared for plaintiff; Druce for defendant. 
(SeM tand opprQ9^.) 

Paper Gardent, July 29<A. f. ^^ff Sfeort 

P.8. Knox v. Gtb next week. T. D. 8. 



ASHDOWN MD PARRY'S 

RECENT PUBLICATIONS 

roR 

THE PIANOFORTE. 



THE CONCORDIA CHOIR. 

(Communicated.) 
The unceasing activity which characterizes the London Musical 
Sewoo, precludes the frequent mration of raburbsn societies. The 
Concordia Choir is worthy of notice for its tiniform artistic li^alty, 
and none the less because its efforts are unobtrusive. Under the pains- 
taking direction of Mr. WilUam Volckman it has devoted itself princi- 
pally to the study and performance of those larger works by the great 
masters, which seldom find their way into ordinary conoert room 
programmes. The most important feature of the pst term has been 
the production of Beethoven's Mass in C, the late repetition of which 
brought the fifth season to a successful close. Both performances call 
for special remark, not only because of the wondrous nature of the 
work itself, but inasmuch as they shew what can be achieved by 
amateurs who are determined to realize the effects of such a difficult 
and unconventional composition, and because of the credit due to a 
director who has the courage to lead his choir through intricaciee and 
dramatic intentions enough to daunt the staunchest society. Although 
the first performance placed the choir in a most advantageous light, it 
was surpassed by the second reading, alike in spirit, steadi.^ess, and 
aoouracy, nearly every difficulty being successfully met and overcome. 
This should encourage the adoption of intellectual music by amateurs 
generally, who have but to familiarize themselves with its beauties to 
make them impatient of lesser efforts. We do not mean to assert 
that excellence is inseparable from the sublimities of sacred music, or 
the profundity and gloom of Beethoven's mightiest inspirations ; hence 
we are prenared to admire a comic opera, a light' cantata, or a briefer 
sketch, each in its degpree, and in its place, no less than a heavier work, 
and we look forward to recitals of more good things of the kind by the 
Concordia Choir, with sanguine expectations. We also hope to hear 
it in a more extended sphere where the acknowledged judges of 
musical matters may have the opportunity to attend in force, when 
doubtless Beethoven's Mass in C should form part of the programme, 
and confirm all that we have thus in simple justice commended. If vodce 
development were universal ; that is, if cultivation always mad^ weak 
voices strong, how gloriously tho works of the Qrsat Masters would 
come out In the abxence of this culture Mr. Volckman well deserves 
the commendation we have awarded him. 

SioMOB ScHiEA haa left London for Milan, on a visit to his . 
family. During his absenoe, we are informed, he will exdusively 
^YOte himself to completing the score of his new opera, Leah, 

DussBLDOBT. — ^A mouumcnt lias just been erected to the memory of 
the composer Norbert BurgmtlUer, who died at an early age, and is 
buried here. 

A Bust of Mr. Santley by Miller and one of Mr. Brinley Richards 
by Davies are this year in the exhibition of the Royal Academy, at the 
National Gallery. 

Mb. axd Mas. Bbinlet Rxohaeds have left London for a tour 
through Switzerland. 

SioNoa AiTD Maaamb Fbbbabi have left London fi»raA»ur through 
the Channel Islands. 

MUSIC RECEIVED FOR REVIEW. 
jBwnx.—** Alms ! thst such pleasure should pau away," by John 8. Steane. 



Kuhe. " The Pilgrim of Love" 



Price 38. 



Kuhe. " Sing, Birdie Sing." Transcription of 

Ganz's Popular Sorig .... Price 8s. 



Kuhe. " La FavoriU." Fantasia on the Opera 

of Donizetti Price 4s. 



Jut pabllshed, price 38., 

"HOPE ALWAT,'' 

80NQ FOR A MEZZO-SOPRANO VOICE. 

Written by MINNIE, 

Oompoced by EMANUEL AOUILAB. 
LoqAoii : Dcxciv DAfnmr A Co., au B6(pe&t Stnet, W 



Ganz, " La Vivacity.'* Polka de Concert. 



Price 4s. 



Qanz. ** I Puritani." Fantasia on the Opera 

of Bellini Price 4s. 

Ganz.* ''La Sonnambula." Fantasia on the 

Opera of Bellini .... Price 48. 



Salaman. " Twilight Thoughts." Nottumo. Price 4s. 



Salaman. '' Joy." Impromptu 



Price 3s. 



SchloeBser. 

brillant. 



' La Harpe Seraphique." Morceau 



Price 48. 



Schloesser. *' Une rose des Alpes." Styrienne. Price 48. 



SchloeBBer. " Danso Catalane." 



' Price 3s. 



Gibsone. '' Dans les Nuages." Valse brillante. Price Ss. 
Gibsone. '' The Singing Apple.** A fairy tale. Price 38. 
Soubier. " Marche des Troubadours." Price 38. 



gcotson Clark. ''The Crystal Fountain." 
Capri^^^ 



Price 48. 



Scotson Clark. "La Hose Blanche." Valse 

brillante. Price 48. 



Brissac. " Comin* thro' the rye." 



Price 38. 



Brissac. " Weber's last Waltz," 



Price 38. 



Boyton Smith. "La Bayadere." Mazurka 

brillante. Price 48. 



Boyton Smith. "Philomel." 



Price 48. 



Sydney Smith. " Qolden Bells." Caprice de 

Concert." Price 4s. 



Sydney Smith, "Unenuit6toil6e." Serenade. Price 4s. 



Sydney Smith. 

brillant. 



' Pas Redouble." Morceau 



Price 4s. 



Sydney Smith. *' Martha." Grand Fantasia 

on Flotow's Opera. Price 48. 

Sydney Smith. "Les Huguenots." Grand 

Fantasia on Meyerbeer's Opera. Price 48. 



imm\ ASHI)0Wir&PARR7,18,HAH0VfiR SQUABS. 



Digitized by 



Google 



4M 



VHB WJSSCUL WDHD. 



19^ 30, ttfel. 



OOUNOD'S NEW OPERA, 

"MIRELLA," 

FEfiFOBMED WITH IMM£SNSE SUCCESS AT 

HBB MAJBSTY'S THBATBB. 



iiilWOlWii 



OPINIONS OF THE PRESS. 

*'The miute of Uirdla U m good m that of Fontl; perhapt, in some rwptcti, 
better.**— Dtfillf Jfwm, 

** If. Goivod hM giren to the world another genoine «4 ehdlffltiig wofk."*-!!* 
"Thna. 

**ThemiieIcorj/If^towlll m forely make Its fray with the pnbUo as that of 
Fmtutr—Standmni. 

** A eapital opera ; no Uylng man ooold write anythliy fot the stage oomparable to 
it.**— ifHtiMnfm. 

** We hare to thank Mr. Mapleson for glring as an opportonlty of bearing the Usfc 
work of one wh-j oer ab4y new Is the greatest Uring <^ratle oomposer.**— AMrdMy 
JUffiiw, 

THE PRINCIPAL VOCAL PIECES. 
1..TSD ovmsmxa chobub. 

This eximlslte snbJeet C* Faooiam Cjmoim ") may be had as a song, as a dns^-afe ^ 
ehoms, and for the pianoforte, by Brlnley Richards and Nordmann* The following 
flootatians from the press refer to this melody ;— ^ There is nothing Is modem opera 
to exoeed it in freshness and Southern oharaeter.**— uUA«MnMk " Nothing more 
freeh or melodions has erer be^ imagined than this lovely inspiration* a worthy 
pendant to the Valse in ramt:'^DaUy Ttl«grafh. •« Beaatiifnlly simple andtender.^ 

S.~THXS 8AVOYABD MBCLOBT. 

This simple and beanUfol melody U performed by the orohestra. It is, however, 
pabllehed with English words, «*FAn vaoM bm MoovTAm,'* and In Italhm, «^An 
Msran on sv;** and for the pianoforte by Brlnley Rlehanfai and Nordmann. 

3.— THB 8HirPH15BD*B SOITO. 
•• Fauos PiaronKL,** smig by Mdlle. Volplni. «* A deliciont little air.**— 7%e nmut. 
*« Exceedingly oharming.**— ^ofly TOtfftx^ «*A dellolons melody." SMmrdap 

4.-MDIiIJB. TITXKNB' SONG. 

** The meet popnlar is the brsTnra aria, " Nov innr4 il Goaa.** «* More than the 
rival ill our estimation to the Jewel Song in F«u$tL as bsing a purer strain of 
melody .**—Af<udanl. 

ft.-XDLIill. TBBBlBIiIirS 80KO. 

'•LABTAOioxBAaairA.oBBLLA,** enoored every night. "This will be in every, 
body's month, and It Is oertalnly the most catching melody in the opera.**— iSbltmlM/ 
Mttim. ''*4AnM4<lleltolltU«soog.**-Z>all^3Ufp^<9Jb. * ^mmwy 

&- siois'OB onroiiiNrB sonro. 
r.-xa. HANTUBYns bono. 

** Si L'ailm h son REOin.** A bold and vigorous strahi.**— AaaJonf. 
a— THIS BtnfiTS. 
I. 'MfOviMov Di MAOAU,** sung by Mdlle. Titlens and Bignor Ologlinl. •* One of 
the most c aptiv ating thiage In the opera.'**-iSimd«y Tima. ** Llkeiy to beoome as 

the Complete Op«n, is IUIUb or rmieh, 16*. Tw Pluiolbrte, lOs. 

PIANOfORTE ARRANBEMENTS. 

TJULU O VHB^TUBB-^Solo And 1bn»L 
•« Seems to be a string of popular-melodies of the S< ' 
•• Pretty, Ught» and essentially pastoral.**— >Vke Ttmu. 
tiiia\mlHmr 



■"•J*2" V 2f -***"* ^ Fhu»ee.**-J«|^ Jftim. 
^-. M *,*. m, — ..^ beautlfol oompiitlon." 



THB AIRS, 
By W. H. Calloott, la Three Books, Soloe and Dnets. 



,-.... PIXMOfORTE PIECES. 

Killed Fhi*asfaK MlrelU 

M^^leme Oary*e Flsatasla 

Roselien's Sourenin de Hirella'( a SeieSloiM'i "iirt V"'.'.'.'.',".".'.'; 
nordmann^ Booqnet de Melodiee 



Britttey Richards^ Chcenr de Kagnanarellos (the opening Chorus) . 

Brinley Richards* Savoyard Melody............. Z........ 

Ketterer*s Fantasia, transcripUon (a veiy brilianc piece) 

Lysberg*s MirelU Fsctasla .'...... 

Oaas*s Reminiscences of MtrelU „ 

Forbes* Fantasia...... „ 

Coute's MlrelU Quadrilles **' 

Coutee MlmlU Walties [ZZ 

Victor Coiline^JUreUa Valse ;'.;;;" 



4 

ft 

4 • 

4 • 

3 • 

4 
4 
4 

4 

5 • 
4 
4 
4 B 



BOOSEY & Cto., 86 HoUes Street, W. 



NEW SON0S 



BT 



ROSSINI, 

SUNG BT MDLLE. AB&LINA PATTI. 

A 0BENABE, 

AEIBTTB ESPAGNOLE. 



LA VEUVE AMDALOUSE, 

CHANSON ESPAGNOLE. 



Friee of each, 38. 

JUST PUBLISHED, 

FEME DRAMATIQUE 

suti 




I^OTJI^ P»IA.lNrO, 



^AB 



Price 4Bi 



OKC-AIPI^EiriXi tSB CO., 

60 KBW BOND 8TEBET. 



FilaMbrBxmi 



"^^ssa^'^si^ij&a^n^^ - »««-«. 



Digitized by 



Google 






"Thi wobth of Am appeabs Mora nmnEirr m Mono, snrcB n bbquibbs no matebial, ho svBJKOT-MAnBB, wnosB snaoT 

MUn BB SBDVOtKD: IT B -WHOLLT fOBM AXO FOWXB, ASD IX RAIBBS ASD EHKOBLIS WHATKTKB IT BSPBUBB." — OOtiu, 



SUBSCBITTIOK, FfiBX BT POST, SOs. FBB w&mrUlC 

FayaUe In advanos by Cash or f OBt-OfBoe Order to DXJXtOAXt BAVISON ft CO, S44» Bagent Street, Iiond^a, W. 

IBejfiiitrtd for TraMmitnm Abroad.'] 



Vol. 42— No. 32. 



SATUKDAT, AUGUST 6, 1864. 



r-c.{SS:?55r- 




HEB MAJESTY'S THEATRE. 



FINAL REPRESENTATIONS 

AT 

CHEAP PBIOES. 



THIS EVENING, SATURDAY. August 6th, 
Will be Performed Verdi's Opera, 

"IL TROVATORE." 

MDLLE. TITIENS, MDLLE. OROSSI, MADAME TACCANI, 8I0N0BI 

8ANTLET, CASABONI, MAliFREDI, AND OIUOLINJ. 

Condaotor ... SiosOR ARDITI. 



LAST VTEBK, 

(LAST NIGHT BUT THRBB.) 

MONDAY NEXT, August 8th, 

(Last oight bat Three), will be presented Donizetti's admired Opera, 

"LUCIA Dl LAMMERMOOR." 

SIQNOBI OIUQLINI, SANTLEY, MANFREDI, CASABONI, AND BOSSL 

MADAME TACCANI, AND MDLLE. TITIEN3. 

Condnetor ... Siqnob ARDITI. 



LAST NIGHT BUT TWO. 

TITIBNS, GROSSI, SANTLEY, OIUGLINL . 

TUESDAY NEXT, August 9th, 

Donizetti's admired Opera, 

"LUCREZIA BORGIA." 

SIONORI QIUOLINI, SANTLEY, BOSSI, CASABONI, BEETACCHI. 

MDLLE. GROSSI, AND MDLLE. TITIBNS. 

Condaotor ... Siovor ARDITI. 



LAST NIGKHT BUT ONE. 

Last Ume of " FAUST," 

THURSDAY NEXT, August IIth, 

Will be repeated Ctoonod's celebrated Opera, 

"FAUST." 



IiAST mOHT OF THB SEASON. 
SATURDAY NEXT, Aoodst 13th, 

LAST NIGHT. 



Doors open at Half-past Seven ; commence at Eight precisely, torminitlnff in time 
for the Night Trains to the Environs. 

Notioa.— The usual Restrictions to Evening Dress will not be enforced^ 

Peices:— Gallery, 2s.; Pit, 5s.; Dross Circle, 7f. ; Upper Circle, 6s.; Orchestra 
SUlls, 12S. Sd. » . fi- 

Box-offlce of the Theatre open daily, from Ten till Seven, where places may be 
■•eared. 

Tickets also procorable, on the Evenings of Performanco, at the Special Offices, 
opea at tha Entrances of the Pit and Boxes. 



ROYAL ENGLISH OPERA, Oovbnt Oardbk.— The 
Nobility, Shareholders, and the public are respectftilly infonned that THB 
OPERA COMPANY (Limited), will commence their First Season on the seoood 
Monday in October next By Order, MARTIN CAWOOD, Secretary. 

MR. ALFRED MELLON has the honor to anDOunee 
that his CONCERTS wiU commence at tlis B«tai> IPALiia Oriiu Homb» 

CovasT Gardxn, on Monday next, Angnst 8. 

Mr. Mellon has at very great cost secured thmrvioei of MDLLE. CARLOTTA 
PATTI, MDLLE. MARIE KREBS (PiANun), MR. ItEVY (CoBXR A Ptnoxs), 
MONSIEUR ARBAN (Ck>BinT A Fmom\ and ALI BEN 80UALLE tha «•!•- 
brated Oriental Instrumentalist. Band of Oiie Hundred perlbrmert. The conoerta 
will commence every evening at 8 o'clock. 

(3onduotor— Mb. Alfbid MaLLOR. 
Promenade, Amphitheatre Stalls and Amphitheatre, One Shilling. 



M' 



R. GEORGE. DOLBY begs to annoan(^ that he is 

making arrangements for a Tour in tha Prorinoee with tha foUpwing dia- 

tinguished Artists: — 

VOCALISTS: 
Madime GBIBI 

IHP 

ICadame SAINT09-D0LBY. 
Mr. FAT3D7 

.:. . Btgno y MAa xO* 

VIOLIN : 
M. SAINTON. 



ACCOMPANYIST:- 
Herr MNYNB LUTZ. 
The Tour will commence about the middle of September and termlnata in 
December. 

Applications respeeting Engagements to be made to Mr. Giobox Dolbt, Bfyptlaa 
Hall, PlcoadiUy, London. 



II'R. SIMS REEVES wiU sini 

ItJL composed for him by Blumbhthil, at the 1 
Evening, August 81. 



r " THE MESSAGE," 

lerefbid Festival, on Wedneeday 



MR. REN WIOK (Barytone) requests that (^mmtiiii(;ation8 
respecting engagements may be addressed to 32 Walpole Street, Chelsea, S. W. 



M 



R. WILLIAM CHARLES LEVEY (Composer of 

Fa$uhttU)t having completely recovered from his recent indisposition, begs to 

announce that he is now ready to resume his duties as Proftssor of the Pianoforta. 
Address-~8 Cecil Street, Strand. 

SIGNOR AND MADAME MAROHESI beg to inform 
their Pupils and Friends that they have left town for the Season, and will 
return to London, September 1, for the Winter Season. Communications for engage- 
ments for Oratorios, Concerts, ^., to be addressed to the care of Mr. W. Fish, 
concert agent, 19 Whitehart Street, Kennington, S. 



M' 



ISS ROSE HERSEE will sing "THE BLNIGHT 

AND THE MAIDEN " (Words by H. Haaaaf , Esq.), composed by EasuA 

Bbbobr, at the Assembly Rooms, Margate, Aug.\9 and 11, and at the Glasgow Cliy 
HaU, September 17 and 24.] 



ISS JULIA ELTON will sing Randeogbr's admired 

Cradle Song, "PEACEFULLY SLUMBER." and the duet (with Miss Rosa 

J) "OH, GLORIOUS AGE OP CHIVALRY'* from Howard Glover's 

popular Operetta of Once too Qftm, at the City Hall Concerts, Glasgow, September 
17. 24, and October 1. 



Hbbsbb 



M' 



RS. CAMPBELL BLACK, Vo(5aUst (PupQ of Dr. 

Fbanois RoBiHSoy, Vicar Choral of the Cathedral of Christ's Church and St. 

Patrick's, in the City of Dublin), sings In Italian, German and French. She singi 
also ail the popular English. Scotch, and Irish Melodies, and has careflilly ttndiad 
Sacred Mosie. Mrs. Caiipbbll Black accompanies herself on the Harp, Pianoforte 
and Guitar. All communications respecting engagements to sing at CoooartBi 4e.* 
to be addressed to her at 7 Well Walk, Hamitead, N.W. 



Digitized by 



Google 



496 



THE MUSICAL WORLD. 



[Aug. 6, 1864 



TABAKTBI.I1A, by WAI.TEB MAGFABBBN. 
T^HIS popular Morceau for the Pianoforte, played with 

L snoh dutlfigniBliM laootn by the OompoMr »t biB Conoerti at oi* HanoTV 
quMre Roonu, if pobUihed, price 4s., by 

DmoAx Dinaoa A Co., 344 Begent Stnet, W. 



Sqmy 



4 



IntbePren, 
To be Pabliahed by Sabsoription, 
MASS in B flat, for Soprano, Alto, Tenor and Baaa. 

Solo, with Chonu. Composed and dedicated by perminlon to HIb Imperial 
[eity DoM Pbdbo IL, Smperor of Brazil, 

By WELLINOTOK OUERNSET. 

To Subioriben, (M. ; Non-atAicribert, 1$. 9d, 

London : Duxour DAmov A Co., 344 Begent Street, W. 

AD ELINA PAT TL 
<<DI aiOJA INSOLITA," 

Walti, niiig by MdUe. Adellna Fattt irlth Dlitlngiilshed Bnooen. 

Oompoiedb7 MAURICE STBAKOBCH. 

PrioeSi. 

Wlih a Portrait of Mdlle. AdeUoa PattL 

London 1 DinoAv DAnaov A Co., 9U Befent Btrett. 

^Di aiojA nrooLiTA** 

It alio Traaseribed for the Piaaolbrte by 

B. ANDBSW8. 

Price 8i. 

Londont DORUa DAnaov A Co., 944, Begent Street, W. 

OABL OTTA PA TTL 

'I WOULD HEAR YOU, WARBLER" 
(L'UBignaolo— The Nightingale). 

Snag by ICdUe. Carlotte Pattl with dittingoiihed foooen. 

Compoeed by B. MUZIO. 

Price 4e. 

With a Portialt of Mdlle. Carlotta PattL 

London : Dcioah Davuov A Co., 344 Begent Street, W. 

Jost PnbUebed, price 3i., 

"MT HEART'S IN THE HIGHLANDS.!' 

C* Mein Hen ist in Hochland.") 

OOMPOSIDBT 

ALEXANDBE BSIOHABDT, 

Compoeer of "Thon art so near end yet lo fu.** 
London : Ddvoam Davxsoii A Co., 344 Begent Street, W. 

Jost Pabliahed, 

, THE BELLS ASB BINaiNQ/' 

MEW SOMQ 

HENBY^SMABT. 

The Word! by W. H. BELLAMY, Eaq. 
Companion to hia celebrated " LADT OF THE ULA." 

Price 8i. 
l«ndon : ]>aoAa DA?noH A COn 3U Begent eiieel W. 

«'MABY DBAB," 

8IM8 REEVES'S NEW SONQ. 

Compoeed by HOWABD GLOVEB. and enthnslastioally encored at St. James'a 
Hall, ie pabliehed, price 8b., by 

DraoAx DATiaov A Co., 344 Begent Street, W. 
Jost pabUshed, price 4i., 

" VOOLI AN A," 

Maourka de Ck>noert» pour Fiaaia 

Dediet h ton ami Moneleor BDOUABD, DE PABI8, 
Pab 

WILHELM QANZ 

London : Dwkoax Datisox A Co., 344 Begent Street, W. 
Jost poblished, price 3i., 

**L'AMOUB," 

RiVEME POUR LE PIANOFORTE. 
PAn 

FRBDEBIC BOSCOVITCH. 
Londoni DfMAM XlanMr a O0.1 au Begent BtNiCi W. 



Jost pabliahed, price aa., 

"HOPE ALWAT," 

SONQ FOR A MEZZO-SOPRANO VQIOE. 

Written by MIMMIE, 

Compoeed by EMANUEL AGUILAB. 

London : IhnoAv Datboh a Co., 344 Begent Stnei^ W 

Early in Jnly, 

J)RIZE POEMS receiying the 100 Guineas offered m 
the Adrertiaementa, **Ho! roa a Shakspsabb,** and awarded by Mann. 
ebeter, J. Stirling Cojrne, Andrew Halllday, George Boee, and Thomaa 8. Stuart, 
niaatrmted with Lithograph Portraita of Qaeen Elizabeth and the Qoeen of BaaaW. 
Can be had gbatu at all the beat Drapera Is the Kingdom, or forwarded, on reedot 
of atamped addreaa to DAT a Bona, Utbographefe to the Qneen, PnbUahen, Lfawola^ 
Inn Fluda, London. 



yOQLER'S "MARCH of the DANISH GUARDS," 
for the Pianoforte, price 88. ** The Deniah aoUiera are being led to battle te 
the exciting atraina of ^ fine March.** 

London: PnbUahed by Dumoav Datimm a Co., 9U Begent Btzeet, W. 



THB VOIOB AND SINOINOp by ▲DOIJPO FBBBABL 

rPHE new Edition of this celebrated Work on "Thb 
X PoBKAinv Axp CuinTAnov or sn Votoi ron Sooao** ii pnhUahad, pdoi 

DovoAV Datoov a Co., 844 Begcnt Street, W. 



D 



aiiitFill)UalMd,i>Ho.ak 

lUO in A for THE PIANOFOBTB AND VIOLIN, 

Compoaed by 

JAM3BB UDA BXTlCMZIBSa 

London: Dvmux Davuov and Oa, 344, Begent Street, W. 



In thePreea, 

«THB OCEAN QUBBN»» 

SONG, 

Song by MISS AKVIB BABTON 

At the Conoerta of Thb Glbb axp Opb&a Umiovi 

Words by O. "A Wood, lDsa.| 

MUSIO BY BENNETT GILBERT. 

London : DmioAir Datisov a Co., 344 Begent Street, W. 



In the Preaa, 

''WHEBE 18 

SONG, 
Oompoaed by RALPH WILKINSON. 
Duwux DA?nov a Co., 344 Begent Street, W. 



InthePrem, 

"WHITHER AWAY." 

SOMG, 

Compofled by GEORGE B. ALLEN. 

London i DmroAV Datisov and Co., 344 Begent Street, W. 

In the Preaa, 

MARY, 

SONG. 
CoifPOgED BT JOHN JACKSON. 
DuaoAB Datxsov a Ca, %U Begent Street, W. 



In the Preaa, 

THE' ROSEBUD, 

MELODY FOB THE PIANOFOBTE, 

Dedicated to Miss Catherine MatUda Blackburn; 

(Composed by CHARLES FOWLER 
London: Ddvcah DAvmoir a Co., 344 Begent Street, W. 



In the Preaa, 

JE VOUDBAIS ETEE, 

ROMANCE, 
A7EC ACCOMPAGNEMENT DE 

HARPE, 

PABOLBS DU CUEVALIEB DE CUATELAIN, 
MusiQUB DB CHARLES OBERTHtTR 

Op. 190. 

LoodoBi DraoAM DAVBoir a Co., 044 BegtatSHlft, W» 



Digitized by 



Google 



Aug. 6, 1864.] 



THE MUSICAL WORLD. 



497 



ROYAL ITALIAN OPERA. 

THE SEASON, 1864. 
( Tmu^AuguMt I.) 



On fiaturdaj night Meyerbeer's srand opera L'BtoiU du Nord was 
played for the fourth lime to a crowded audience. This was the last 
performance of the season, an'd, as the Covent Ghirden director gives 
DO extra nights at reduced charges of admission, the last till the 
theatre again opens, with an Italian company, in 1865. The opera was 
heard with evident delight from beginning to end ; at the fail of the 
eortain the principal artists were odled ; and then the whole of the 
vast assembly rose to the welcome strains of the National Anthem. 

The eighteenth season of the Boyal Italian Opera has, on the whole, 
been the most brilliant, and, at the same time, the most prosperous, 
since 1851, when the original Cr3rBtal Palace, at Kensuigton, was the 
scene of onr first great International Exhibition. Perhaps, considering 
the materials within reach, a more efficient company was never brought 
together. The prospectus was rich enough ; but, in addition to the 
singers there set down, Mr. Oye presented his subscribers with two 
others of the highest Continental repute — Mdlle. Desire Artot and 
Madame Miolan Carvalho. This, however, was in a great measure due 
to the sudden and unexpected flight of Mdlle. PanHne Lucca, for 
causes variously estimated^ but which are now pretty genemlly known 
to have been indisposition in general, and indisposition in particulas to 
undertake the part of the heroine in DEtoile du Nord, Meyerbeer, it 
appears, had promised to alter the music of Catherine expressly for 
her, bat did not live to carry out his promise ; so Mdlle. Lucca hit 
upon the peculiar expedient which enabled her to renovate her health 
on the one hand, and (like Madame Fioretti last year) to escape an 
onArons and undesired responsibility on the other. MdUe. Lucca ^ 



also to have appeared as Cherubino (the Page) in Le Nozste di Figaro ; 
and to her secession we must attribute the public disappointment in the 
loss of Mo2sart'8 delightftil opera. Why Dinorah (promised) was not 
forthcoming it is haid to explain, seeing that Mdlle. Adelina Patti, who 
was to have played the shadowy heroine — ^her fascinating impersonation 
of which, on one occasion, at the termination of the season 1862, 
dwells vividly in the remembrance of all who witnessed it, — ^was at 
disposal. It would have been satisfactory to point to the year of 
Meyerbeer's regretted demise as to the year during which his five 
greatest works were suooessively presented, at a theatre so deeply his 
debtor, in a manner, too, which it would be difficult for any other 
theatre in Europe to zi^ ; and as, independently of Madlle. Patti and 
M. Faure (Dinorah and Hoel), the requisite *< properties " were 
already in the house, this was not merely possible but advisable. 
Vetdi^ last opera La Fona dd DeOmo (promised), though the singers 
for whom the four principal characters had origixudly been intended by 
the composer — Mdlle. Lagrua, Madame Nantier Didi6e, Signors 
Giaziani and Tamberlik— were engaged, was, for reasons that have not 
transpired, also laid aside^ That the Italian version of Otto 
Nicolai's comic opera, DU luttigen Wetber von Windsor ^promised) 
should have been abandoned, may be laid to the account of its success- 
ful production elsewhere, and to a conviction that— -unlike M. Gounod's 
Fautt^ii hardly possessed such extraordinary attractions as to insure 
good houses at two large establishments simultaneously. This is 
more than probable ; nevertheless, it was hardly sufficient reason for the 
non-fulfilment of a pledge. Fidelio, with Mdlle. Lagrua as the 
heroine, looked well on paper; but what became of it no one can 

my. 

The theatre opened on the 29th of March, with Norma, fielUni's 
somewhat hackneyed opera was produced at Her Majesty's Theatre, 
with Madame Pasta as the Dniidess, some time before Giulia Grisi 
(thirty years since) first took the London Operatic world by storm. 
It was on the present occasion, however, recommended and excused by 
the ddbut of a singer who, though of European fame, had never till 
now been heard in England. Mdlle. Lagrua, unanimously recognized 
as a genuine tragedy Queen, both physically and intellectually 
adequate to sustain the part of Norma, obtamed an honest niee^ d'estme. 
But this was unaccompanied by any marks of enthusiasm ; and it was 
unanimously voted, not that Mdlle. Lagrua should have come ** here- 
after," but before — ^say fifteen years before. The useful Mdlle. Marie 
Battu was Adalgisa; the always carefbl, energetic (sometimes too 
energetic), and industrious Signer Naudin, Pollio ; while a new bass, 
Signor Attn (or Atry), who has since steadily made way, assumed the 
ioiposing beard and flowing robe of Oroveso, Druidical High Priest. 
Norma^ played three nights in succession, gave way to MatanieHo^ 
which, besides the temptation of its gorgeous music added to its 

Cot 



rgeous iniM en tUne, offered the excepuonal one of the original 
. jvent Garden Masaniello, when, in 1849, the first Italian version of 
Auber's popular opera was brought out. That Signor Mario's voice 
1VM now not th« voice which fifteen yean jpcoYieusly defied oompariion 



none could deny ; but, at the same time, that what was lost in physical 
strength and certainty had been atoned for b^ superior artistic refine- 
ment, wjas as generally admitted as that Signor Mario's histrionie 
portraiture of we Neapolitan patriot was the finest ever witnessed. 
On the same evening Signor Graziani's rich barytone was once more 
heard with jg^ratification m the barcarole of the traitorous i'ietro ; and 
Mdlle. Salvioni again won unreserved encomium by her graceful and 
intelligent assumption of the dumb Fenella, Masaniello's outraged 
sister. Enough to add that MdUe. Battu played Elvira, and Signor 
Neri-Baraldi, Alphonso — that most insipid of seducers and unworthy 
compatriot of Don Giovanni. After one performance of MatanitUot a 
" sensation " night ensued. The opera was R TrmfaUre, in which, by 
some ^*utB d$ poUrine" unknown to Verdi and unexpected by the 
audience, Herr Wachtel, the sonorous champion of Teutonic tenors, 
electrified the house and set his stamp upon Manrico. The rapture 
after the obstreperous war-song, *' Di quella pira,'* was as unbounded as 
it was inexplicable ; and Herr Wachtel (who, two years previously, had 
been heard with apathy, as Edffardo, in Lucia) awoke next morning 
and found himself &mous. Mdlle. Antonietta Fried, eager and 
painstaking if no more, was Leonora; a new German contralto^ 
JidUe. Derann (afterwards destined to essay a higher fiight), made, a 
tolerably good impression as Ajsucena— the ** inauspicious and ghastly 
woman ^' of l^gnor Mi^gioni's English venion; Signor Gradani, as 
Ccmte di Luna, won the never-fiuling '* encore " for ** U balen del suo 
sorriso*' — in whidi the pure accents of his **soft bastard Latin" 
exercised, for evident reasons, an unaccustomed charm; and Signor 
Tagliafioo gave value to the small part of Ferrando. To II Trooatore 
succeeded La Favoritat trith Mdlle. Lu^rua as the erring and penitent 
Leonora, Signor Majio the chivalrous J^rdinando, Signor Gramani the 
wily King |Alphonso IX., and Signor Attn the fmminatinff priest, 
Baldassare. The heroine of Donizetti's most ambitious French opera, 
was in some respects no less fkvocable to Mdlle. Lagrua than the 
sublimer Norma — ^her pathos above all being sympatlbietic. At all 
events she advanced a step in the estimation of connoisseurs, and, 
moreover, was received with marked &vor.. In the last scene— its 
composer's masterpiece— 4he found a congenial partner in Signor 
Mano, still, in spite of all shortcomings, a Ferdinando without 
peer. 

The performance next in order (Thursdiay, April 16)»when the 
whole of Norma, with the second and third acts of MaaanMo, was 
pwformed— will be long remembered as that which was honovad 1^ the 
presence of General Garibaldi. 

Next came Bossini's magnificent OuiUaufm TW— another of those 
grand spectacular operas in which the combined efforts of Mr. Costa, 
Mr. W. Beverley, and Mr. A. Harris realise a cow d^oreUle no less than 
a eotfj? dcoUi only practicable at a theatre so Uvishly furnished at all 
points. The chanicter of the Swiss patriot was on this occasion sus- 
tained by S&gnor Graaiani, who, less dramatically tame than usual, 
gave unusual charm to the music by his beautiful barytone and pore 
Italian enunciation. That of Walter fell to Herr (Dr.) Sohmid, from 
Vienna, who had previously astonished the subscribers and the puUio 
with his superb bass voice in Oroveso (on the Garibaldi night), and now 
confirmed tne good impression. The penetrating high notes of Herr 
Wachtel didted almost the same enthusiasm as before; and his 
Arnold was Judged equal to his Manrico. The same audacity in 
giving out the <* C '* (or any other note) ** in o^" wherever and when- 
ever we spirit moved him, and whether or no consistently with the 
composer's text, was followed by the same success. As was said at the 
tim»— " Up went the < C ' and down came the applause." But the 
legitimate effect of the opera was the immortal scene of the " Oath," 
which the ddegates from the united Cantons swear near the brink of 
tikuit beautifdl lake upon which the moon (the best stage moon on 
record) shines so placidly, while the insurgents arrange their plans. 
Mdlle. Battu (Mathilde) sang better than on any previous occasion ; 
Madame Rudersdorif, Signors Tagliafico, Poloniniand Baraldi (Jemmy, 
Gesfiler, M^chtal, and the Fisherman) were as efficient, and Mdlle. 
Salvioni, in the Tyrolienne, as graceful as before. On BaUo in 
Matchera—yrhich the oftener it is heard the stronger is the conviction 
that it contains some of Verdi's best and most genial music — came next 
in order, affording Mdlle. LAgroa a fresh opportunity of ingratiating 
herself with the public. On the whole, her AmaUa, though not con- 
sidered equal to her previous attempts,— and, indeed, it hardly offers 
the same chances of distinction— was successful. To Signer Mario's 
incomparably graceful Bicardo, Signor Graziani's Renato, and Mdlle. 
Battu's animated Oscar, a passing allusion may suffice. Another new 
coiOraUa^ Mdlle. Tati— appeared as the Sorceress Ulrica, but made only 
a faint impression. Little can be said in fiivor of the first representation 
of the ProphiUt which took place on Saturday, the 80th of April, two 
days before the illustrious Meyerbeer breathed his last.'^ Here, in his 
most important essay, Herr Waohtel produoed the least satisfiiotaty 

'■ ■ « I I II I !■ I ■- IIP ■ ■ IJJ yi I !■ ■ ■ ■ l l' l ^ I 

* Mi|«tbitt died on Mgnda/, M^ S| i* > m^ 



Digitized by 



v^oogle 



"4^8 



THE MUSICAL WORLD. 



[Aug. 6, 1864. 



impreflsioD. " Happily/' he was indispoeed ; and the coDseqnence was 
an exhibition of that saperfluouBly indulgent critidsm which obtains 
in this conntry, but which is not always for the good of art. Our 
impression is that, under any circumstances, the part of Jean of 
Leyden is beyond the scope of Herr Wachtel's powers. Of Mdlle. 
Deetinn, who in Fides now took the '* higher flight " to which allusion 
has been made, the less said the better. This lady, however, is only 
twenty-three, and the consequence was that she was treated with the 
same degree of lenience as Herr Wachtel. Madame Rndersdorff, to 
whom all parts, in aJl registers, in all repertories, are familiar, and who 
is never at a loss to undertake anything whatever, and, what is more, 
to support it creditably at a moment's notice — an excellent artist, in 
short, and an invaluable member of the company — played Bertha. As 
a '* fpectacU " the Frpphite was all that it has ever been, and the general 
execution of the music, orchestral and choral, unaer Mr. Costa's 
direction, as strikingly good. 

The next event, and among the most interesting of the season, was 
the first performance of II Barbiere di Siv^glia-^ne of those few works 
which bear the unmistakable mark of imperishability. There was, 
first, Signor Mario — " Almaviva of Almavivas " — singing his very 
best, and acting as no other than he now on the boards can act real 
comedy ; then Signor Ronconi (his first appearance) — the most 
humorous, vivacious, and irresistible of Figaros, whose nlace, when he 
leaves us. will not readily be filled up ; ana lastly, Mdlle. Adelina 
Patti — the beau ideal Rosina, who, the favorite and most constant 
attraction of the preceding season, has also incootestably proved the 
favorite and most constant attraction of this. The Bartolo was Signor 
Ciampi — as dry as Dr. Dryasdust ; the Badlio, Signor Tagliaficc^ 
with a touch of Ercles' vein, and a hat not to be excelled in unweara- 
bility. The opera passed off with extraordinary eclat. The reception 
accorded to Malle. Patti showed how enchanted were the audience 
again to greet her ; and with a voice grown mellower by use, and more 
flexible by legitimate practice, a style of singing still more perfect than 
before — singing of the pure unadulterated Italian school — and a comedy 
(which was hardly possible) more refined and intelligent, Mdlle. Patti 
strove to prove to her audience that the good feeling was reciprocal — 
that, in short, she was fiilly as happy to ^tlfy her earliest jiatrons in 
the Old World, notwithstanding ncr tnumphs abroad, as they once 
more to welcome and applaud her. It was an evening not to bo 
forgotten. Uow often the Barbiere was subsequently given, with the 
same cast and undiminished favor, it is needless to remind our opera- 
loving readers. The week following this event was remarkable from 
the fact that the three great works composed by Meyerbeer for the 
Grand Opera in Paris — Le Prophete, Lee uvguenote^ and Robert le Viable 
— were all performed. What must be the resources of a theatre capable 
of representing three such colossal operas — with all their gorgeous and 
intricate scenic appliances, to say nothing of the more or less adequate 
distribution of the principal characters — in immediate succession, and 
within, moreover, so brief a period, may be readily imagined. Of the 
Prcpkete mention has been made. The Huguenote brought forward the 
notorious (in more senses than one notorious — **fm son MCopodSs'') 
Mdlle. Pauline Lucca, whose Valentine, in spite of a cold and hoarse- 
ness which had disabled her from appearing on tiia first night for 
which she was announced, was received with universal and hearty good 
will. Mdlle. Lucca went through the part with extreme zeal, and 
thus showed herself sensible to the kindness of her audience ; but, of 
course, she was unable to do full justice either to Valentine or to her- 
self. On the' same night M. ITaure — now (thanks to his Mephistopheles 
and Peter the Great) so general a fiivorite-^made his first appearance 
as St. Bris ; Sisnor Attn acting substitute for Herr Schmid (disabled 
by illness) as Marcel ; Mdlle. Battu playing Marguerite de Valois ; 
Madame Nantier Didi^e, the Page; and Signor Mario—the most 
dramatic, impassioned, picturesque, and intellectual delineator of the 
character, if not now the most physically competent to all the exigen- 
cies of the very arduous music which he has to utter— Raoul de 
Nangis. In Robert le Diable Mdlle. Lagrua assumed the part of Alice, 
and, aUowins; for certain liberties, hardly in good taste, taken with one 
of the most beautiful airs in the opera, acquitted herself to general 
satisfaction. The rest of the performance — ^beyond the excellent 
assumption of Bertram by Sigp:ior Attri (again a most efficient 
substitute for Herr Schmid), Mdlle. Battu's clever vocalization in the 
part of Isabella, and the gorgeous magnificence of the mite en scene 
(especially the resuscitation of the nuns, with Madame Salvioni as the 
Abbess) — ^was not over and above remarkable. Signor Kaudin*s Robert^ 
in spite of a certain dramatic energy and vigor of declamation, was 
far from equalling the noble and imposinff portrayal of Signor 
Tamberlik ; and in Robert le Diable, after all, Robert himself is of 
necessity one of the most prominent and conspicuous figuresL The 
tender pastoral of Bellini — Ija Somiambula — ^brought once more Mdlle. 
Adelina Patti before her admirers in that character which first won 
their admiration ; and subsequent performances of this genial opera 
(Elvino, Signor Nftudin, Rodolpho, M. Faure), with the same &ir and 



gifted little sleep-walker, testified to the oontinuanoe of ita attcaetion. 
Next came Fautt e Margherila^ with Mdlle. Pauline Lucca as the 
heroine ; Signor Mario, for the first time, as the hero (Signor Tambetlik 
played the part last year) ; M. Fdure, Signor Graziani, and Madame 
x^antier Diui^ asain as Mephistopheles, Valentine and Siebel. The 
impression created by Mdlle. Lucca's very startling and untraditional 
— while, though essentially differing from Madame Oarvalho, very 
French — conception of Margherita, is as well remembered as her 
unanticipated exodus after a couple of performances, and when Mdlle. 
Fricci had already replaced her as Valentine. Signor Mario's Faust 
has been witneaseil often enough to convince frequenters of the Open 
that it was one of his most remarkable impersonations, and that, if he 
could contrive to get the whole of the music as completely in his head 
as he had made himself completely master of the character in a 
dramatic sense, it would be one of the most remarkable performances 
ever witnessed. More about the representation of Fauei e Margherita 
at the Royal Italian Opera need not be said, beyond the &ct that, after 
the flight of Mdlle. Lucca, the part of Margherita was consi^ed to 
Mdlle. Adelina Patti, who played it no less than eight times (six times 
with the flaxen head-dress, twice without it) to the most crowded 
houses of the season, and achieved in it a most signal and triumphant 
success— a success all the more honorable, inasmuch as the <* tessitura " 
{to use the conventional Italian phrase) of the music of Margherita 
IS as uniformly low for her voice as that of Flotow's Martha^ to which 
she imijarts as much vivacity as deeply impassioned sentiment to the 
other, is high. Meanwhile, Signor Scalese, the best living Italian 
buffo after Ronconi, had appeared (vice Signor Ciampi) as Bartolo, in 
the Barbiere, with a success fully confirm«l by his subsequent perfor- 
mance of Leporello, in Don GVovaniti— given for the first appearance of 
Signor Tamberlik, the least insipid of Don Ottavios and the best 
singer of " II mio tesoro." This chef-d'oeuvre — with Mdlle. Adelina 
Patti's Zerlina and Signor Ronconi's Masetto (incomparable alike in 
their way) ; M. Faure's Don Giovanni (which improves every year) ; 
Donna Anna, alternated by Mdlle. Fricci and Mdlle. Lagrua; Dr. 
Schmid's sonorous and truly sepulchral Commandant ; Madame Ruders- 
dorffs veiy thoughtful and artistic impersonation of Donna Elvira, and 
Signor Ciampi's Leporello, after the accident which unfortunately 
deprived the manager of the services of Signor Scalese— was played 
frequently, and always to crowded houses, like that other ** imrooriaV' 
H Barbiere di Siviglia. The production of M. Flotow's 8tradeUa—ik 
feeble opera, not to bo namea in the same day as his Martha — was 
chiefly interesting, inasmuch as it afforded the public an opportuoi'v 
of taking leave of Herr Wachtel under favorable circumstancesi, the 
character of Stradella being the one unquestionably best suited to t!io 
German tenor's capacity of any he has hitherto attempted in England. 
This opera, only played twice, and not likely to be played again, was 
chiefly remarkable for the impeiBonation, by Signor Konconi, of one of 
the assasfins hired to murder Stradella. The impromptu travesty by 
Signor Ronconi, on the first night, of the famous high note of Herr 
Wachtel, and on the next of the exuberant expression of Signor 
Naudin (who played Stradella on the second occasion) was as happy as 
it was mischievous, and convulsed the house with laughter. The 
talent of Mdlle. Battu, though zealously exerted, was comparatively 
thrown away on the empty and ungrateful music of Hortensia — 
Stradella's pupil and the heroine of the opera. 

The next performance worth recalling was that of Roeanrs Otello, 
in which Signor Tamberlik, whose name has been identified with the 
character of the jealous Moor since Otello was first brought out at 
Covent Garden, revived the old *' furore" in the famous duet with 
lago (Signor Graziani) — giving out a C sharp just as musical and pene- 
trating as it was well placed ; while Mdlle. Lagrua again exhibited her 
command of pathos in the terrible last scene, singing the air, ** Asi-^a 
a pi^ d*un salice," with genuine tenderness, and elsewhere msplaying 
an intellectual appreciation of the character. There was but one feel- 
ing, one internal exclamation, — ** What a pity she comes to us so late T' 
Next followed La Figlia del Reggimenlo, in which the dashing repre- 
sentation of the heroine, by Mdlle. Artot, the humorous pourtrayal of 
Sergeant Sulpizio (for the first time), by Signor Ronconi, and the mm 
en ickne of Mr. A. Harris (not forgetting the life-like and picturesque 
evolutions of the Regiment— '* the worthy Twenty-first") were the 
chief points of interest. Shortly after, MdUe. Artot appeared in Signor 
Verdi^s pthisical opera. La Traviata, in which she played the part of 
Violetta (Signor Naudin as Alfi-edo, and Signor Graziani as the elder 
Gennpnt) with the same brilliant success as at her Mi^esty's Theatre 
last season ; but nothing, it is to be hoped, can ever restore this un- 
healthy Iviic drama (upon which the most popular Italian eompoaer of 
the day has wasted so many engaging melodies, and so much real 
musical sentiment) to public favor. Mdlle. Artot next appeared as 
Margherita, in M. Gounod's most celebrated opera, and satisfied every 
one of her intelligent a} preciation of the character and of her capaliility 
to sing all the music with artistic correctness and proportionate eflect— 
but not of her power to charm and enchain the qrmpathies of a spoiled 



Digitized by V^OOgie 



Aug. 6, 1864.] 



THE MUSICAL WORLD. 



499 



and satiated audience in so poetioally exceptional a character. The 
attempt, however, was honorable, and generously acknowledged. 
Meanume the Freph^U had been ^ven — ^with Signor Tamberlik, now 
the most competent representative of the personage of Jean of 
Leyden, and Madame Nantier Didi^e as Fides (a very different 
performance ftom the first). Next in order to the Traviata came 
bonizetti's delicious pastoral, VELUir d^ Amort, with Signors Mario 
' and Bonconi, M. Faure, and Mdlle. Patti in the four principal 
cliaracters — a performance irreproachable at all points; next M. 
Flotow's Miurta, in which Mdlle. Patti (ihe best lady Enrich etta since 
Madame Boido, and in a dramatic sense superior to Madame Bosio) 
sang " The Last Rose of Summer " in such a manner as to remind 
those old enough to remember the queen of ballad-singers — then 
familiarly and lovinglv styled ** Kitty Stephens " — of that unequalled 
mistress of the simple Binglish style; and lastly, the magnificent 
revival of Meyerbeer*8 magnificent historical opera, VEUaU du Nord, 
which (like VElisir and Martd) is too fresh in the /emembrance of 
frequenters of the opera to dwell upon again so soon. At the very 
interesting performance for the benefit of Mr. A. Harris, Madame 
Grisx consented to play in the first act of Norma ; and thus, like her 
illustrious oompatnot, Ghkribaldi (who has seemingly renounced politics, 
as she has renounced the stage), appeared ** for this once only " during 
the season. It should satisfy Madame Grisi that the reception she 
experienced was scarcely less enthusiastic than that accorded to her 
illustrious compatriot ; and now she should fix upon a Oaprera, and 
remain there quietly, lest she stumble (by accident) upon an 
Aspromonte. 



ROBERT SCHUMANN AND CLARA WIECK.* 

Robert Schumann's residence in Leipsic, having proved so im- 
portant in many respects for German music, deserves our 
particular consideration. Robert Schumann, bom at Zwickau, 
on the 8th June, 1810, was the youncest son of August 
Schumann, a bookseller. He took his first lessons in the art-on 
the piano to wit — from Herr Kunsch, Bachelor of Arts, and 
teacher, at that period, in the Lyceum of the above town. ^^ The 
empire of tone soon filled the boy's soul ; its magic " — as Joseph 
von Wasidewski expresses himself in Ms admirable biography 
entitled Robert Schumann — *^ quickly loosened the bonds of his 
spirit, and, at the same time, exercised such a power upon his 
youthful and excited mind, that, of his own accord, and without 
any knowledge of the theory of general bass, he even attempted 
original productions. The earliest of these, consisting of small 
dances, were written as far back as between his seventh and eighth 
year. The gift of extemporising, too, was simultaneously 
manifested in a degree commensurate with the manual proficiency 
he had attained." With regard to the last point, we r^, among 
other things, in a biographical sketch publisned in the AUgemeine 
Mudk'Zeitung (series for 1840) : ** It is related that, even when a 
bo^, Schumann possessed a particular partiality and gift for 
painting feelings and characteristic traits m tone ; nay, more : he 
IS said to have been able to sketch so precisely and comically the 
various dispositions of his playfellowB wno stood around him at the 
piano that they would burst out laughing at the excellence of their 
portraits.'* 

It would^lead us too far were we to attempt to foUow further 
the process pursued in its development by. Schmnann*s talent, 
during the days of his boyhood and of his ^outh, however inter- 
esting the subject is of itself. His various acts, frequently 
highly amusing, and frequently even touching, while he was 
growing up in his father's house, have all, probabljr, been 
mentioned and collected, in a reverential spirit, by Wasidewdd, 
and, therefore, it must suffice for us again to refer to that writer^s 
book, which has been our guide in the present chapter. 

In March, 1828, Schumann went to the University of Leipeic 
to study law. Of the many acquaintances he formed m our town, 
there was not one which proved more important for him than that 
with Friedrich Wieck, concerning whom it may here be advisable 
to give a few biographical facts. He was bom on the 18th 
August, 1785, at Pretsch, a small town near Wittenberg. At an 
early age he nianif ested a partiality for music, but, on account of 
his parents* poverty, was unable to satisfy it. By the help of 
kina patrons, he was subsequently enabled to attend the Torgau 
Gymnasium. On leaving that institution, he proceeded, in 1803, 

* FVom a new work, entitled : Zwr OesehiehUdet ThekcUert und dft MM 
W Imj^, by Dr. Enpl i^eichke. (F. Daachsr, Leipic^ 



to the High School at Wittenberg, as a student of theology. Here 
at last, having several musical acquaintances, he found an oppor- 
tunity of indulging lus ruling passion, and tried his hand at four 
or five instruments, such as the harp, the piano, the violin, the 
horn, and the double-bass, simultaneously. He received, at that 
period, some half dozen pianoforte lessons from Herr Milchmayer, 
the Musical Director, living in Torgau, and this was the only in- 
struction he ever had in his whols life. The student years in 
Wittenberg were followed by his resid^ce, as private tutor, in a 
noble fami^Ti at Zingst, near Querfurt, but his sojourn ended, for 
some reasons not quite dear, by his leaving secretly and at night. 
He next accepted a similar appointment in the house of Herr von 
M., at Bielitz, not far from Bautzen. But here, .too, as well as in 
several other families, he did not remain long. At last, a nervous 
affection compelled him to abandon Jiis old profession entirely. 
He now went to Leipsic for the purpose of consulting Hahnemann. 
He remained in the town, and founded a musical circulating 
library. He also gave pianoforte lessons, at first according to 
Logier's system, and then according to one of his own : *^ based 
upon rational views, and gradually improved by a keen and deli- 
cate faculty of observation." Wieck has been csdled not unjustly 
" a bom pianoforte teacher." At Easter, 1840, he quitted Leipsic, 
and settled in Dresden, where he is still engaged as activdy as ever 
in the exercise of his profession: 

Schumann, who had then scarcely made his acquaintance, 
begged, like others, Wieck to give hun pianoforte lessons. He 
took some, though indeed only a very limited number. As early as 
February, 1829, Wieck was compelled, from want of time, to leave 
off giving these lessons. But even had such not been the case, 
our friend could not have learned much more of him, because, 
soon afterwards he quitted Leipsic for a lengthened period, to go 
and study at the University of Heidelberg. Here, again, Sdiu- 
mann entered himself as a student of law, though during his stay 
at the University he became clearly conscious that he was not bom 
for learning but for art. The notion of chwiging his career 
took firm poeBession of him. He opened his mind to ma mother — 
his father was already dead--and appealed to Friederich Wieck 
to decide the matter. Wieck pronounced altogether in his favour. 
On this, Schumann^s family offered no further objection, and at 
Michaelmas, 1830, Schumann returned to Leipsic, resolved to live 
entirely for music, and educate himself further in it imder Wieck. 
In order to be near him, Schumann even took a lodging in Wieck's 
own residence, in the Grimmaische Strasae. 

The earnestness, however, with which he immediately devoted 
himself to an artistic career, in order to make rapid progress, was 
attended, unfortunately, in one respect, with very disastrous con- 
sequences. In order to give his right hand the greatest possible 
mobility and quickness, he made experiments with string, always 
tying up one finger, and keeping it in the air, so as to render it 
independent of the other not thus raised. By so doing, he 
stretched the sinews of the hand immoderately, and the consequence 
was that it became completely crippled. lie thus saw himself 
disappointed in the hope of ever bemg a pianoforte virtuoso, and 
so ^^ driven to it ahnost inevitably by fate, he at length entered 
u^n that ground in which the seed of creative power slumbering 
within him sprouted forth, and grew up till it gnuluallv became a 
tree full of blosBoms and ci fruit, though, alas, ultimately withered 
at the top: he devoted himself entirely to composition." (See 
WasLelewski.) 

At that period, Heinrich Dom (now Royal Capellemeister in 
Berlin) was Musical Director at the theatre, then a Theatre 
Royal, Leipsic. Schumann applied to him for theoretical instruc- 
tion, and how thankful he was to the end of his life for that in- 
struction, which reedly first opened to him the inward nature of 
art, app^urs from letters which the two men subsequently wrote 
each otner. For a few years our friend^s principal occupation was 
composition ; what he composed may be seen on ref erex^ to 
Wasielewski's book. We may here remark that the first move- 
ment of a still unknown and unfinished symphony, in G minor, 
for orchestra, was destined to be the first work by Schumann pub- 
licly played, whidi it was at a concert given by Clara Wieck, then 
thirteen years old, on the 18th November, 1832, at Zwickau, the 
oompo8er*s native town. The composer himself was present, and, 
unobserved by any one, heard the performance from a modest 
^ding place. • By the way, for the take of change, he spent tb<« 



Digitized by V^riOOQlC 



I0» 



THE MUSICAL WOBLD. 



[Aiig.6, 1864. 



tfitire winter of 1882-38 once more at home, and did not return 
to Leipsto before the March of the year last named. 

He now gave up his lodging in Wieck'b house, not becaose he 
had ceased to be on an intimate footing with Wieck, but only to 
move into an idyllic and tranquil summer retreat in ^^Riedel's 
Garden, which he animated not only in the day time with his 
music, but frequently, on mild nights, with his aoqnaintanoes. 
He did this sometimes in a humorous, and, it must be confessed, 
rather fast manner.** In September, however, he quitted these 
quarters, and hired a lodging on the fourth floor c^ Heifer's house, 
in the Buigstmsse. Here he was destined to be thrown into a 
state of most serious and violent mental agitation, foreshadowing 
his futue fate. A sister-in-law of his died, and the intelligence (3 
the fact coming upon him unexpectedly, produced a profound im- 
pression which, on one particuhir night, attained so great a height 
as nearly to result in smckle. With reference to thu there is the 
foUowing oitry in his diary : ^* Hie fearful night of October 17th.** 

(To he continwd.) 



SHAKESPEARE m HIS RELATION TO MUSIC. 
A It e lm^ d d i Hrtim tht asrd AprO, 18«4, in th§ ^'SerUmer T(m»mta§r- Ymtin.' 

Bt emil NAUMANN.* 
iCoRimued J^om Page 485.) 
In his introdttctian to Don Quixote^ the best thing, perha.ps, that 
ever proceeded from his pen, Heinrich Heine says : 

** OerviirtaB, ShakaspMune, and Goethe, ooostitiite the poetical triamyinte 
who hate achieved the greateet things in the three biancbes of poetic styk : 
the epic, the dramatio, and the 17110. While ascribing the finest prodmctiQns 
In dnnna, romanoe, and song, to the above-mentioned groat trinmyirate, I am 
far from carping at tiie poetical ralne of other great poets. Not only the 
Ancients, bat many of the Modems likewise, have given ns poems in which 
the fiame of poetry bUaes as brightly as in the masterpieces of Shakespeare. 
Cervantes, and Goethe. Still these names are connected as if by some secret 
bond. A kindred spirit beams forth from oat then: creations ; a gentle breeze 
of eternal mildnesa, like the breath of God, blows through the latter ; and 
the modesty of Nature blooms in them. Goethe constantly reminds one of 
Cerrantes, jnst as of Shakespearei and he resembles the former even in the 
details of his style ; in that pleasing prose which is tinged witii the sweetest 
and most harmlec irony." 

A fresh similarity, not percdved even by Heine, is exhibited by 
Shakespeare, Goethe, and Cervantes, if we consider the internal 
miuie that resounds through all their writings. It must here 
strike us as highly sienificant that it is pveosely in the three 
greatest poets t^B world has seen since the tmies at Antiquity that 
we find this predispositiim so strongly derdoped. Is the near 
intellectual afiuiity of the two arts so closely related to each other 
^Bsplayed in all its grandeur only upon the highest summits <A 
genius? Such would afanoet seem to be the case. — ^Where is 
there a heart endowed with feding that does not beat more 
loudly when the name of Schiller is mentioned? nay; perhaps 
that name is the most brilliant one of which modem times can 
boast, if we leave out of consideration our three heroes. Tet 
it is astonishing how much the musically 'poetical element is flung 
into the background in the case of Scmiller, when compared 
to Cervantes, Shakespeare, and Gk)ethe. Notwithstanding the 
poem: ^'DieMadit des Gesanges" (Hie Power of Souff"), and 
the beautiful and spirited words spoken by tiie Muse of Music in 
the *' Huldigung der Ettnste " ('' Uomaffe to the Arts ''), Schiller 
wants the inwara poetical music of whi<£ we have been speaking. 
His dispodtum, which, despite all his dsvated sentiments, and i3l 
his enthusiaan for what is best and most divine, is really idways of 
a reflective turn, does not allow him to hit so eadly upon that 
mudcal tonefuh&esB in the heart presupposing a certain degree of 
unoonsdoosnesB. In Goethe, on the contrary, from the fact of his 
bdng, probably, the greatest lyrical poet of any ase, this 
mudcalty-poetical spirit is, as it were, innate. Songsiike the 
song to the Moon : ** Fiillest wieder Buach und Thai still mit 
Nebdglanx ;*' or the one commendne : ^* Das Wasser rauscht, das 
Waaser schwoll,''posBeBBesnotmerdymcomparablemDdcal harmony, 
but, in the spirit and feeling from which they flowed, are genuine 
music at the soul, for which reason they inwardly affect us exactly 
•• .«»f ».i «nit«s«» ^^»iA X similarly predominating mudcal spirH 



as actual mudc would. 



%TmaUted expressly for the Musioai, Wobld, by J. V, Bridokmaii. 



runs throuj^ all Goethe writes ; nay, we find it even in his proee. 
It would lead me too far were I to go into detail But mudc and 
poetry, as far as he is concerned, cdebrate the greatest triumph at 
their sisterly affinity, in that Easter night, when the starain of the 
organ and singing of the choir, togdlier with the song of the 
Angels : ** Chnst ist erstanden,*' snatch the poisoned goblet from 
the lips of Faust : 

** tOnet forti ihr sllssen Himmelslieder ; 
Die ThrSne qnillt, die Erde hat mich wieder.*' 

At the outset, in consequence of his peculiarly ^nc nature, 
Cervantes does not appear, perhaps, to deserve, in an equal degree 
with Goethe, to be ranked next to Shakespeare as one of our 
most mudcal poets. But it is only the said &nc dement which at 
first deceives us, and conceals the mudcal feeling and sentiment 
beneath the surface. If we examine more closely, every doubt on 
this head vanishes. We will begin by reminding our readers of 
the innumerable songs, nearly always expresd^ adapted for mudc, 
scattered throughout Don Quixote^ and twining, like continuous 
garlands of flowers aroimd ^e piUars, niches, and arches of the 
wonderful fabric, half fanciful, half Moorish of that incomparable 
poem. Let the reader call to mind the mudcal goatherd; 
Cardenio, pouring forth, in mdodioos tones, the complaints of his 
heart, in the sobtude of the forest ; t^e voice of Don Louis, 
sudd^y re-echoing, at midnight, before the small inn, when its 
soft notes cause the eyes of his mistress, as she wakes from deep, to 
overflow with tears ; the singing Knight of the Minor ; the in- 
comparable ser^iades whidi Don Quixote and Altisidora give each 
other, etc. How much mudcal feeling, too, is l^ere in such 
pasBSfles as the following, with the like of which we meet in 
counuees numbers in X)(m Quixote : ** Thus do we wander in the 
mountains, the woods, and the meads, dnging, here, our songs of 
joy ; there, our plaints of love, and drinking the liquid crystal of 
the springs and clear brooks. The oaks offer us, mih liberal hand, 
thdr sweet and jpleasum fruit, and the stumps of the cork-treea 
artless resting-places. The pastures afford us shade ; the roses, 
perfume ; the far-extending meadows, thousand colored carpets ; 
and the air its pure breath ; song cheers us ; lamentations bury us 
in gentle melancholy ; ApoUo funushes the gift of poetiy ; and 
Amor, longing thoughts.'^ — ^What a thorough knowledge cl music 
the beauteous Dorothea is proved to possess by the fact of her 
saying to her hearers in the Sierra Morena : ^* And if I had a few 
hours of leisure left, I entertained myself with some reli|;ious 
book, or diverdfied my amusement witli the harp, being convinced 
by experience that mudc lulls the disordered thoughts, and 
devates the dejected spirits." — We must b^ leave yet to cite one 
of the most psychologically dgnificant and poetic traits from a 
thousand otliers. At the summer night^s adventure, arranged, in 
the midst of the forest, bv the Duke and the Duchess, for thdr 
guests, and which, in tne whole manner of its realization, 
breathes, in the highest degree, a mudcal spirit, the subject is 
continued thus : *^ &K>n no other sound was heard but that of an 
agreeable mudcal concert, which rejoiced the heart of Sancho, 
^o took it as a good omen, and, in that persuadon, said to the 
Duchess : ^ My Itdy Duchess, where there is mudc there can be 
no harm.* — * As little diould we expect any harm where there is 
light and illumination,' answered ^e Duchess.— ^ And yet,' replied 
the Squire, * we may eadly be burnt bv such torches and bonfira as 
these, notwithstanding all the light and illuminations they 
produced; but mudc is always a dgn of joy and feasting.' — 
^ Tune will show,' said Don Quixote, who overheard the conversa- 
tion; and he said wdl, as will appear in the next chapter." 
However toudunff the first cemarK of Sancho's is, that last 
made by Don Quixote is the more interesting, and is so 
dgnificant, because tiie mudc to which he alludes is a dgn 
ndther of merriment or joy, but empbyed to announce the magic 
appearance of the enchanted Duldnea. In a few words, Cervantes 
penetrates to the inmost core of music, and the initiated will 
require no further quotation to prove the great profundity of 
his mudcal knowledge. 

But there is a poet who surpasses both Goethe and Cervantes in 
mudcally-poetic gifts. We refer to Shakespeare, who, in this respect 
as in every other, was the greatest poet ever born. All the phases of 
feeling and all tiie facts in human existence or in the world of fancy, 
which mudc can in any way express or enhance, has Shakespeare 

uttered or ^deavoiired to derateV ^^vui^'^^^ ^ Si"^ ^'^^ 



Digitized by 



Google 



Aiig.6, 1864.] 



THE MUSICAL WOELD. 



501 



reader's attention to the fact, rather unessential to our argument, 
maybe, but still worthy of remark, that most of the dramatic subjects 
he selected contain in themselves so much of the musical element as 
to have been changed, with striking frequency, into operabooks. 
We poasesB Othello by Bossini ; the Capulets and Montagues by 
Bellini; a Midsummer Night^s Dream by Felix Mendelssohn; 
Merry Wives of Windsor by NicoM ; Benedict and Beatrice by 
Barlioz ; Macbeth and The Tempest by Taubert ; another version 
of the latter piece by Hal^vy ; muac to Macbeth hj Chelazd and 
Spohr ; an arrangement of the Winter!s Tale, written with the 
pen of genius by Franz Dingelstadt, and set to music 1^ Fbtow ; 
and overtures to Coriolanus^ Hamlet^ Lear^ etc., by JBeethoven, 
Niels Gade, Berlioz, and others. In some of the above, the 
co-operation of music is facilitated in so remarkable a manner by 
ShaJcespeare himself that they have an almost operatic stamp. 
This is the case with The Tempest^ the Winter^s Tale^ and A 
Midsummer Night's Dream. In nearly all Shakespeare's dramas, 
too, music is introduced in a more general manner to a greater or 
leas extent. Such is the case in Othello^ Hamlet, Macbeth, Lear, 
CymbeUne, Benrp VI, Bichard II, The Merchant of Venice, 
Borneo and Juliet, and ilie comedies. No less frequently in 
Shakespeare are music and its influence made the subject of 
reflection and discussion. But all ^^ vanishes into nothing 
ocHnpared to the wonderful place which Shakespeare nearly alwa^ 
aoccttds to this influence of music, as well as to the grave purport 
of what is said concerning it, while ordinary poets can speak A it 
in only a very traditional fashion. 

Let us consider his dramas a little more nearly, in their relation 
to this drcumstanoe. It is but ri^ht that we shotdd b^gin with 
the Kings. In Bichard II we suddenly hear music In tiie midst x>f 
the paiiSnlly minute monologue which the king, tiied of life and 
bowed down by misfortune and his own errors, speaks in the 
solitude of his prison : 

"Mnsiodolhear? 
Ha, ha! keep time : — ^how sour sweet music is, 
When time is broke, and no proportion kept I 
So is it in the mnsic of men's lives. 
And here have I the daintmese of ear, 
To check time broke in a disorder*d string ; 
Bnt, for the concord of my state and time, 
Had not an ear to hear my tme time broke." 

And further on he says : 

** This music mads me, let it sound no more ; 
For though it have holpe madmen to their wits ; 
In me it seems it will make wise men mad. 
Yet blessing on his heart that gives it me ! 
For *tis a sign of 2om ; and Iwe to Siehard 
Is a strange brooch in this all-hating world I" 

It would be superfluous to add a single word to the profondity, 
the wonderful similies, or the last touching observations in which 
the poet here indulges with reference to music. We would merely 
direct attention to tiie fact that scarcely ever, probably, were tones 
called upon to play so important a part as on this occasion, where 
they are made to interrupt one of the most philosophical monologues 
poanble, and give so new and deeply touching a turn to its oouise. 
Another wonderful place does Shakespeare aasign to inusic in the 
Second Part of Henry IV. The dying kingsays to the priaoes and 
lords around him : — 

" I pray you, take me up and bear me henoe, 
Into some other chamber : sofUy, pray. 

{They convey the Ung into an inner part of the room^ and 
place Ami tq?on a bed.) 
Let there be no noise made, my gentie friends, 
Unless some dull and fiivorable hand 
Will whisper mUsic to my weary spirit. 
WAmwiOK— Gall for the music in the other room. 
Knro Hbnbt — Set me the crown upon my pillow here.** 

What deep feeling is exhibited in the fact that the departing 
spirit of the ruler, who, all through his life, has been comoating, 
full of disquiet, for his crown, should at last, in a strong contrast 
to the monarches previous stormy career, desire nothing more 
than gentie tones to entice it, yearning for rest, over an invisible 
bridge, to the long sleep leading to a blissful waking, if not to 
eternal oblivion. With what a saucy pLiy upon musical expres- 



sions, forming a strong contrast to the above, do we meet in 
Borneo and Juliet : — 

** Tybalt — ^Mercutio, thou consort'st with Romeo. 

" Mbboutio— Consort I What, dost thou make us minstrels? an 
thou make minstrels of us, look to hear nothing but discords ; here's 
my fiddlestick ; here's that shall make you dance. Zounds 1 Consort P' 

And, when Mrs. Ford says of FaJstaff's words : *^ The^ do no 
more adhere and keep place togetiier than the Hundredth rsahn to 
the tune of Green Sleeves,''^ does it not seem as if Shakespeare was 
acquainted with modem Italian opera, and the want of connection 
between dramatic situation and musical ezpession, or the Mosaic- 
> like work of certain other musical productions, in which the most 
contrary things are placed in the closest juxtaposition ?•—— Hamlets 
speech to B^nkrantz and Guildenstem, like a hundred similar 
passages, exhibit to us Shakespeare as a proficient in musical 
manual skill, and other branches of the art. Be it observed, that 
we quite leave out of consideration tiie high tone of genius mani- 
fested in the similes : — 

"Ham. Will you nlay upon this pipe? 

** GniL. My lord, I cannot. 

" Ham. I pray you. 

« Qmii. Believe me, I cannot. 

('Ham. I do beseech you. 

" QjjiL, 1 know no touch of it, my lordr 

« Ham. 'Tis as eacy as lying— govern these ventages with your fiogers 
and thumb, give it breath with your month, and it will discourse most 
excellent music. Look you, these are the stops. 

" GniL. But these cannot I command to any utterance of harmony ; 
I have not the skill. 

« Ham. Why, look you now, how unworthy a thing you make of me. 
Ton would play upon me ; vou would seem to know my stops ; you 
would pluck out the heart of my mystery ; you would sound me from 
my lowest note to the top of my compass ; and there is much music, 
exceUent voice, in this little orjE^an, yet cannot you make it speak. 
'Sblood, do you think I am easier to be played on than a pipe? Call 
me what instrument you will, though you ceoifrst me, you cannot /»2ciy 
upon me.'* 

As it may be said that the whole q^ Shakespeare is fiEed and 
permeated with music, it would lead us too far were we to go into 
details. I will limit myself to a few important qpedmens, 
(To be continued.) 



Lufsio.— The performance of sacred music lately given hy Biedel's 
Association in the Thomas Church was distinguished for the following 
interesting programme : Fantasia (E flat mijorj, vi61in--oomposed and 
executed I^G.Ad.Thomas; '(ObGramundElend," Psahn for soprano 
solo with aocompaoiment — MaroeUo (sung by Madame von Milde of 
Weimar) ; three Bussian sacred four-part songs for chorus : 1. Old 
Buseian Sacred Song from Blew, and of the 12th century; 2. Song of 
aprinutive Bussian race of the 10th or 11th century ; and 8. *< Cherumm- 
Bymn "— -Bortnjansky ; <<IHe Seeligkeiten "— lisst ; Prelude and 
Fuge (D minor)— S. Bach (performed by Herr Thomas) ; " Agnus 
Dei '» for four-part chora8--J. G. Hertsog, of Erlangen ; *« TrOstet 
mein Vdlk," choru»— MlUler-Hartung of Kisenaoh ; « Ach, Gott, wie 
maaches Herseleid,'' cantata for soprano and bass ^th accompaniment 
— J. S. Bach (sung hy Herr and Madame von Milde); and the 
Hundredth Psalm for double chorus— B. Franz. The ffems of the 
performance were the Psalm hy MaroeUo, liszt's " Seeligkeiten." and 
Bw Franz's motet. Marcello could not have found a more satisuotory 
representative than Madame von Milde, who sang his composition 
most admiraUy. The Bussian Sacred Songs-— with the exception of 
that by Bortinansky—- were interesting only from a historical point of 
view. Bortigansky's *< Hymn," however, produced a deep impression, 
and found very many admirers. 

Naples.— The pupils of the Boyal Academy of Music ktsly got np 
a concert in honor of Meyerbeer. The pieces performed were : the 
overture to L'Etoile du Nord ; chorus of conspirators from Der KreuM- 
Jfdhrer ; fimtasia for the flute on motives from Robert le Liable ; the 
overture to Struensee; chorus and introduction from Der Kreimfakrer; 
fiuitasia for piano on Les Huguenott; and the overture to Dinorah. 
The concert was preceded by an address from Signer M. Baldacchini, 
Governor of the Academy. — The San Carlo Theatre closed its season 
with lAnda di Ohamoumz, in which Signore Perelli, Caracdolo, and 
Signer Debassini were greatiy applauded. The theatre re-opens in Nov. 
— Fiorentino's mortal remains arrived here some time smoe. They 
are to be buried with great solemnity. 

Bbusskllb.— M. Gevaert, whose new opera, Le\(k^pUaim ffenriot^ 
will be shortly produced, has just completed a work upon oounterpoinl. 



Digitized by 



Google 



502 



THE MUSICAL WORLD. 



[Aug, 6, 1864. 



MONDAY POPULAR CONCERTS. 



Omg HTTirDBlSD axtd fiftt-bbvxinth conoebt. 



THE SEVENTH SEASON 
MONDAY POPULAR CONOERTS 

WILL cojatnsoM 

EABIiT IN NOVEMBER. 



xroTicss. 

To Ai>VExnBKR6.^1he Office of The Musical World is at 
Messrs. Dunoam Davison & Co*s., 244 Regent Street^ comer 
of Little Argyll Street (First Floor). Advertisements received 
as late as eleven o'clock A.M., on Fridays — hut not later. Pay^ 
ment on delivery. 

T« Publishers and Composers— J/iwic for lUview must be for- 
warded to the Editor^ care o/Me8SR8. Duncan Davison & Co., 
244 Regent Street. 

To Concert Givers. — No Beneft- Concert^ or Musical Perform- 
ance^ except of general interest, unless previously Advertised, can 
be reported in Tos Musical World. 



TO CORRESPO]NDENTS. 

Ikquibkb —Mr. Coeta's first oratorio, ^i, was produced at the Bir- 
mingham Festival of 1855 — Dot at that of 1858, a^ our correspondent 
imagines. 

Fahatioo. — ^Bonconi made his first appearance at Her Majesty's 
Theatre (1842) with the part which was subsequently selected for 
his first appeuanoe at the Boyal Italian Opera (1847) — ^namely, 
Enrico, in Lueia di Lammermoor. 



LONDON: SATURDAY, AUGUST 6, 1864. 



TH£ rehearsals, with orcheBtra and solo Yoicee, which took 
place on Monday, Tuesday and Wednesday, in the Hanover 
Square Rooms, excited an tinusual degree of interest. The three 
new works composed expressly for the Birmingham Festival were 
tried— Mr. Costa's oratorio of Naaman, on Monday and Wednes- 
day, Mr. Henry Smart's cantata, The Bride of Dunkerron, and 
Mr. Arthur S. Sullivan's Kenilworth, on Tuesday. It would be 
premature now to offer any critical remarks, either on the oratorio 
or the cantatas. We may say, nevertheless, that Mr. Costa's 
Naaman was not only pronounced by every one present superior to 
JSU, but a work of remarkable merit— the composer's very best, 
and worthy the distinguished honor of being produced at the Bir- 
mingham Festival ; that Mr. Henry Smart's Bride of Dunkerron 
made such an impression as has been made by no piece of 
the kind since Mendelssohn's First Walpurgis Night ; and that Mr. 
A. 8. Sullivan's KenUworih is extremely light and pretty. All 
the principal singers (Signer Mario and Madame Lcanmensr 
Sherrington- who are to take part in KenUworih — excepted) 
were at their posts. £ach new work was rehearsed twice. In 
Mr. Costa's oratorio the sob. fingers are Mdlle. Adelina Patti, 
Mad. Rudersdorff, Mad. Sainton Dolby, Miss Palmer, Mr. Cum- 
ming, Mr. Santley, and Mr. Sims Reeves ; in Mr. Smart's can- 
tata. Mad. Rudersdorff, Mr. Cumming and Mr. Weiss ; in Mr. 
Sullivin's cantata, MimL Sherrington, Miss Palmer, Signor 
Mario and Mr. Santley. Mr. Costa has fitted his singers with ex- 
traordinary felicity. To Mr. Sims Reeves is aesigned music suited 
to exliibit his rare powers to high advantage ; to Mr. Santley, 
ditto; Mad. Sainton has one of the most beautiful songs in the 
oratorio ; and Mdlle. Adelina Patti, whose singing in a cer- 
tain quartet won her a public salute* from the composer, has a 



part which, or we are greatly mistaken, will help, her to show 
her ability to shine in oratorio as brilliantly as she has ever 
shone in opera. But enough for the present. 



s 



^ Q7.^E]st ?— PishlAjr Petm. 



To the Ikhtor of the Musxoal Wobld. 
IR, — ^Preparations have already been made at Dresden for the 
Grand German Musical Festival, to be held there next June 
or July. The most celebrated composers of Germany have been 
requested to send in grand works adapted for men's voices, and 
themselves to conduct such of these works as may be accepted. It 
is, however, intended to perform old works of merit as well as new 
ones. The following particulars respecting the renovation of the 
Theatre Royal may prove interesting to your readers, especially to 
those acquainted with the building, llie *^ Renaissancee " style 
has been preserved in all the decorations of the two saloons. A 
great deal is simplified. In the upper saloon, the painting on the 
oeUing luis been renovated, all the tones being kept wanner and 
lighter. The walls are painted in oil. The old looking glasses, 
conaisting of small plates, have been replaced by new ones. In the 
grand refreshment room, newly done up, Lessing's statue has been 
erected. A second refreshment room has been opened on the first 
tier, behind the amphitheatre. The corridors at the back of the 
bofes have been painted in oil with gold borders, and the ^^garde- 
robes," or places for doaks, bonnets, &c., arranged in niches in the 
walls. The floor of the ^^ circle" and the pit is raised, in order 
that the spectators may have a better view of the stage. The 
comfortable plush-covered fauteuils have numbers of porcelain 
affixed to them, while the benches are also numbered, so that any- 
one can easily find his plaoe. All the drapery and ornamentation, 
as well as the upholstery work of the boxes in each tier, are new. 
The space in the orchestra has been arranged for the better. AJl 
the hangings and other materials employed in fitting up the boxes 
and other parts of the house are made by Saxon manufactoren, 
with the sole exception of the velvet and tapestry of the Royal 
box. These came from Lyons. The pictorial decoration of the 
audience part of the house has been simplified, and everywhere 
carried out in white (with a yellowish tone) and gold. The beau- 
tiful ceiling has, fortunately, been saved. It has been rubbed with 
bread, and in some places only newly painted. It really looks like 
new, all the necessary operations having been admirably carried out 
by French artists. The gilding on the ceiling throws up the paint- 
ing considerably. The wreath above the chandelier was formerly 
one massive piece. It is now of light />qpi€r mdchd, and thus there 
is no longer any danger of its falling. All the lighting arrange- 
ments have be^ vastly improved by Blochmann and Son, whose 
inventions and industry have been highly praised. One hundred 
burners, in the form of wax tapers, have been added to the chan- 
delier, and the gloomy shades abolished. Still the auditorium is not 
too brilliantly illuminated, and the greater clearness may result from 
the reflection of the white and brilliant painting rather than from 
the chandelier itself. The principal channel of ventilation, through 
the aperture over the chandelier, has been carried directly into the 
open air, and new ventilators have been introduced in. the third 
and fourth tiers. The ^ist performance, however, demonstrated 
that, despite these improvements, the almost intolerable heat in the 
ajidience jMirt of the house had undergone scarcely any diminution. 
The decoration of the proscenium, as weU as all the painting and 
gilding, has been admirably executed by Uerr Lankan, who has, 
also, cleaned the curtain painted by Professor Hilbner. The red 
curtain, a masterpiece of decorative painting after nature, by Des- 
plechin, has been painted up and re-gilt by Herr Rahn. That 
artist has not, however, succeeded in restoring the extraordinarily 
effective beauty of the colouring. Behind the float, the ^tire 
system of lighting has been enlarged and improved, in conformity 



Digitized by 



Go ogle 



Aug. 6, 1864.] 



THE MUSICAL WORLD. 



503 



with theprogrem aud requirements of the present day. But the 
greatest advantage of all is that the whole of the plan for working 
the scenery invented by Miihldorf er of Mannheim has been super- 
seded by the system due to the celebrated machinist Brandt of 
Darmstadt. — ^The first opera performed after the re-opening of 
the theatre was Meyerbeer's Huguenots^ the representation being 
intended as a sort of mark of respect for the deceased master. — 
T€mnhaUser and Dan Juan are underlined. According to report, 
the management has accepted a new opera, Der Cid, by M. Gouvy, 
the French symphony-composer. Gboker Roores. 

l>re$den, Aug. 2. 

• 

ALBRECHTSBERGER. 
(^Qmiinued/rom Page 487). 

CHAPTER m.— 0/ JIforfow.— (6.) No succession of intervals, 
or of chords which compose intervals, can be effected without a 
movement in the parts ; and of movements there are three apecies : 
direct ; oblique ; and contrary motions. Direct movement takes 
place when parts rise and fall together. (Fig. 9. a, b, c.) This 
is the weakest of all the motions, and dangerous in both parts, 
sinoe it produces hidden consecutive unisons, fifths and octaves, 
whioh are not allowable in this kind of composition. Oblique 
movement is produced when one or more parts remain in the same 
degree, while the others continue to rise or fall, diatonically or by 
leaps. (Fig. 10. a, b, c.) Contrary movement is when one part 
rises and the other falls, by d^;rees, or by leaps. (Fig. 11. a, b, c.) 
In a composition for several parts, the different movements may 
be combined. (Fig. 12. a, b.) 

Chapter IV. — 0/Modes,^(7,) By musical mode is understood, 
the order in which those tones are placed which form the melody ; 
or rather the tones themselves ; as the alphabet in language is i^e 
system of those sounds which are used in speech. The series of the 
tones of the mode proceeding directly from grave to acute, or from 
acute to grave, is called the scale of the mode ; and in each mode 
there are three sorts of scales: diatonic; chromatic; and e:iiharmonic. 
These scales should be familiar to the student^ as their importance 
is very great. In Music two sorts of modes are acknowledged : the 
andtnt or ecclesiastical^ and the modem or common ; and it is re- 
quisite to know in which they each consist. (8.) The modern or 
common modes are generally well known. It is likewise known 
that there are two primitive modes : — ^the one major, viz., that in 
ut; and the other minor, in la; and that these modes may be 
transposed in a variety of ways. The ancient or ecclesiastical 
modes are more numerous. In order to know their formation 
properly, it is neceasary first to observe, that in the eeclesiastical or 
Gregorian chant, the melody ought not to exceed, in general, the 
compass of the octave. In the second place, every note of the 
diatonic scale, or gamut ut, with the exception of n, may serve for 
the termination ; which gives at once six different scales ; besides, 
in every one of these scales the final note may be at the bottom, or 
in the middle of the octave, which gives two modes for each scale : 
in all, twelve in plain chaunt. (Fig. 13. 1, 2, 8, 4, 5, 6, for the 
compass and primitive position of these twelve modes). 

(9.) The unequal modes are called authentic or superior ; the 
equal ones are called plagal, collateral, or inferior ; and correspond 
to the Grecian modes in the following order : — 1. Hyper, 2. Hypo, 
Dorien; 3. Hyper, 4. Hypo, Phrygian; 6. Hyper, 6. Hypo, 
Lydian ; 7. Hyper, 8. Hypo, Mixt Lydian ; 9. Hyper, 10. Hypo, 
.£olian ; 11. Hyper, 12. Hypo, Ionian or lastien. All these may 
be transposed in a great variety of ways. The mixed mode is that 
which embraces the compass of both modes ; and it ia evident 
therefore there are six mixed. Besides the Jmal, every mode has a 
remarkable note ; namely, its dominant. This note is the fifth 
aboT6 the Jaial in the authentic, except in the third, where it is 



the sixth. The dominant in the plagal modes is the third below 
the corresponding one in the authentic, except in the eighth, where 
it is the second. Thus the plagal modes have their dominant in 
the third above the final, except in the fourth and the eighth, 
in which it is the fourth. These notes are marked black in the 
above example. (Fig. 18). This is the generally received doctrine 
of the ancient modes, and what is most important to know in 
them. But to proceed to the modem modes. 

(10.) These modes are reckoned to be twenty-four in number, 
although they may be increased to forty-two by making the entire 
circle of the keys with sharps, and the same with fiats ; but since, 
with the aid of flats, these modes can be rendered easier which 
contain too many sharps, and vice versd ; and as that alteration 
produces no difference to the ear, Albrecbtsberger adheres in his 
work to the twenty-four modes, of which twelve are major and 
twelve minor. The last have their scale in common with those of 
the former, which are placed one third higher. (Fig. 14). The 
N.B. phiced between the mode of /a)( major, and that of mi^ 
minor signifies that in order to pass from the first into its relative 
minor, that ot rejj^ minor must be taken ; but that from the major 
mode of sol t^ (equivalent to /a )() we pass to the minor of mi t^. 

(11.) If a pupil were to ask which are the modes which a long 
piece might go through, such as the first or second part of an 
allegro, a symphony, concerto, quartet, quintet, or such as a psalm 
or even a long fugue, Albrecbtsberger would tell him only five 
analogical modes, which in the major modes are found in ascending, 
and in the minor modes in descending, with their natural thirds 
according to the order seen in fig. 15. Thus the major mode of 
ut, and the minor of la, have the same analogy ; and it is the same 
in the modes of sol major and mi minor, and consequently this 
holds good for all thd relative majors and minors. The most general 
order of passing from one prindpLe mode, in the analagous tones is 
this: from the principal major mode to the major mode of the 
fifth of its scale, and from thence to the minor of the sixth ; then 
to the major mode of the fourth, which leads to the minor of the 
second, and lastly, we may pass, when agreeable, to the minor 
mode of the third. After having proceeded through all the 
analagous modes, it is necessary to endeavor to enter again into 
the principal mode, in which the conclusion should be madei at the 
end of every modulation, whatever its length. 

(12) This form of modulation may be better comprehended by 
an example: for instance; from ut major we may pass to sol 
major ; thence to la minor : then to fa major, or re minor, and 
lastly to mi minor, in order to end in ut major where we b^gan — 
in ut major. In the minor mode the modulation is different. 
From the principal mode it is preferable to pass to the third major ; 
as from la minor to ut major ; from that to the major seventh of 
tlie principal mode : for instance ; to sol major ; thence to the 
minor of the fifth mi ; then to that of the fourth re, and from that 
to the major sixth, from which we may return to the principal 
mode, viz. la minor. In regard to the remainder, the order which 
we have prescribed is not imperative ; every one may choose that 
which he prefers ; so that it does not proceed by degrees, which is 
not allowable, except in opera airs and recitatives, for the amuse- 
ment of the audience. Otto Beard. 
{To he continued:) 



M. GouNOD. — ^We are authorised to state that there is not the 
slightest foundation for the report lately circulated with reference 
to the health of M. Gounod. Our readers will be pleased to hear 
that the composer of Faust andMireiUe was never in better health, 
never in better spirits, and never more mentally active. The 
subjeQ[t of his next opera is ahready, we believe, decided on. 

M. JuLLiBK, we are informed, will resume his Promenade concerts at 
Her Majesty's Theatre in the winter. 



Digitized by 



Google 



504 



THE MUSICAL WORLD. 



[Aug. 6, 1864. 



HER MAJESTY'S THEATRE. 

B. B. is again in arrears, and again makes u^ his accounts. On 
Saturday (J5y 28rd) Weber's Oberon was revived (see " Fish at 
the Opera"). On Monday (25th), MirelJa. Tuesday (26th), 
(}6«ro7i— 2nd time. Thursday (28th); Faust (a "bumper"). 
Saturday (30th), // Trovatore,' Monday (Aug. 1), MireUa—'' po^- 
tively" (B. B. hopes not) "the hist time." Tuesday, Faust, 
Thursday, Lucrezia Borgia' ("bumper"), with Trebelli vice 
Bettelheun (an extraordinary improvement), in Maffeo Orsini, and 
our own SantJey as the Duk6 (a legitimate triumph). Tietjens 
(grander than ever) and Giuglini (tenderer than ever) were still the 
lAiGrezia and Geonaio. The whole performance passed off with 
enthusiasm. Of ooune the "Brindisi" was encored, and of 
coune Tietjens, Giuglini and Santley were called at the end of the 
grand scenes 'of the antidote and the poisoning. 

To-night H Trovatore. The theatxe doses on Saturday next. 

B.B. 



ROYAL ITALIAN OPERA. 
On Saturday r28rd ult.), L*Etoile du Nord was revived, with a 
■nooefls described Tsee another column) in detail last wee^. On 
Monday (26th ult.) I%>tow's Martha was given, for the first and 
only time this season (see 'another column). Tuesday and Thurs- 
day (July 26tii and 28th), LEtoile^ for the second and third 
times. Wednesday, the first act of Norma (see another column in 
last week's M. W.), and the third and fourth acts of Faust ^ for 
Mr. A. Harris's benefit. Saturday VEtoile^ for the fifth time, 
and (see another column) the close of the theatre till 1865. 

B.B. 
■ ■ — 

PARIS. 

[From cur own CbrretpondaU,) 

1 understand that a life of Meyerbeer is about to be written by 
M. Georges Eastner of the Institute. M. Kastner was on very 
intimate terms with the composer, who often, it is said, exp'resBed 
a desire that some day he should undertake his biography. Aware 
of this, the family of Meyerbeer, it seems, has sent M. Kastner all 
the docmnents in their posBession which might be turned to account 
in the memoirs. The work, which will make two octavo volumes, 
is not to be issued from the press until after the production of the 
A/ricaine. 

In the building of their theatres the French are far more careful 
and concerned than the English. The Covent Grarden Opera-houses 
old and new, were the work of one architect, imd everything 
was left to him. The public took little or no heed of what was 
ffoing forward, and the Government made no stir. Every one 
here seems profoundly interested in the construction of the new 
Opera, which at ^toB moment forms one of the prevailing topics of 
conversation throughout the capital. But not alone the umversal 
public watches over its prpsresB. The State has constituted itself 
chief guardian of the new &eatre. The Minister of the Imperial 
Housdiold and tiie Fine Arts has expressed a wish that the ques- 
tion of decoration, scenic arrangements, and machinery should be 
studied witii the sreatest care, and that all the modem improve- 
ments of art and science should be employed in the bimding, 
equal regard having to be paid to appearance and convenience. 
For the especial consideration of these questions a commission has 
been instituted, which is composed of the following names : — M. 
Rqgnault, Member of the Institute, Presid^it ; M. de Cardillac, 
Ini^)ector of Civil Buildings ; M. Tresca, Enffineer, Sub-Director 
of the Conservatoire of Arts and Measures ; M. Perrin, Director 
of the Opera ; M. Gamier, Architect of the Opera ; M. Nolau, 
Painter-Decorator; M. Cambon, Painter-Decorator; M. Des- 
plechin, Painter-Decorator ; M. Martin, Ancient Secretary-General 
of the Opera ; M. Sacre, Machinist of the Opera ; M. Brabant, 
Machinist of the Porte-Saint-Martin ; and M. Louvet, Architect. 
It was not in this manner the Royal Italian Opera originated, or it 
might have been the finest theatre in Europe. They manage these 
things better in France. It seems there is a rage now for building 
theatres in Paris. Some of the journals state that a new theatre, 
to be called Theatre International^ is about to be erected at the 
angle formed by the Boulevard Bonne-NouveUes and the street 
of the Faubourg-Saint-Denis, and that the mass of buildinfis which 
crowd each other at this spot are to be demolished forthwifli. The 



salle of the new theatre, we are told, will have the form of a lyre, 
and will contain 6,400 people. The orchestra will accomodate 
120 players; the pit will contain 2,100 persons; and there 
will be several tiers of boxes. The stage is to have a depth of 
thirty metres, being nearly double of that of the Opdra. To what 
exact purpose this huge temple of the Muses is to be put I am 
not informed. 

At the theatres very little is going forward to which I may call 
your particular attention. At Che Gymnase a new piece by M. 
Victorien Sardou, entitled Don QuicJiotte, interminglea with songi 
and dances, has had a rare success. M. Sardou has taken the story 
of Cardenio and Lucinda for the especial points of his plot, but 
introduces Don Quixote and Sancho, just as, if I remember ri^tly, 
Mr. G. A. Macfarren did not^ in his opera of Don Quixote, produced 
many years ago at Drury Lane. A new star has appeared with 
dagsznng radiance on the Parisian horizon, in the person of Mdlle. 
Honorine, who made her first appearance some days since at the 
Palais-Royal in La Perk de la Canne&t^e, and achieved| an im- 
mense success. I have not been able to go to. the Palais-Royal yet, 
but shall make it my business to do so and tender you my own 
opinion of the new lady. From what I learn I am inclined to 
think that Mdlle. Honorine^s success is entirely legitimate. 

I have read in the Gazette Musicale the following article, which 
perhaps will surprise you as much as it did myself : — 

** Madame Arabella Goddard, the celebrated EngHsh pianist, por- 
poaes this winter to vidt Belgium and Holland. The immense repota- 
tloQ of thia ^p^at artist will ensure for her a brilliaot reoeptioQ in the 
Low-Countnef." 

The Pesarese journals inform me that the score of the hymn 
composed by Mercadante for the festival to take place at Pesaio on 
the 2lst of August, in honor of the birthday of Rossini, having 
been received on the 12th of July, ike work was put into rehearsS 
It will be sung by four hundred choristers, in the open air, simul- 
taneously with tlie imcovering of the statue. The hymn, it is «ffMd . 
is worthy in every respect of the author of II Giuramento ani 
La Vestale, The prelude contains a motive fnun GmUaume TeU^ 
and two other subjects from the same opera are found in the ter- 
mination of the hymn. Mercadante has been invited expressly to 
the festival, but old age and failing health prevent his attendance. 

I have just heard theit Mr. Rennet's LUy of Killamey is to be 
brought out at the Th^toe-Lyrique in the ooune of the aeasoa. 

T& Emperor has addressed aletter to Marshal Yaillant, dated 
Vichy, Juh* 31, concerning the re-buildii^; of the Opera-house and 
the Hdtel Dieu Hospital. His Majesty says that the Opera-house is 
already in an advanced state, but the first stone of the Hdtel Dieu 
has not yet been laid. Marshal Yaillant is tho^ore instraoted to 
urge the Prefect of the Seine to commence shortly the works ol 
the Hdtel Dieu, as His Majesty, on moral grounds, conaiders that 
it is in the highest degree important that a building devoted to 
pleasure should not he constructed 'before an asylum for the 
suffering. 

Letter from Madrid state that the Teatro Rossini has proved a 
failure, as far as r^;ards its acoustic properties. Anna Bolena did 
not succeed. Tamberlik is awaitea with impatience. Faust is 
about to be put into rehearsal with Tamberlik as Faost, and Aldi- 
ghieri as Mephistopheles ; but the Marguerite is not yet ^-rMJ qq. 

MoMTAQUE Shoot. 

Parit, H<M du Vbigt Ntnif FUAt^ Aug. 4. ■ 



RoTAL Gallxbt of Illubtbation. — ^Mb. and Mas. Qkbmajk Rxed's 
ENTBBTAunnENT. — ^The season is drawing rapidly to a close, yet, not- 
withataDding the exodus of the better dasses ftom London, the 
audiences continue to be both numerous and fashionable at this popular 
plaee of amusement The combination of the ** Pyramid" in a con- 
densed form, the interlude of ** The Bard and his Birthday," with its 
clever ** BhaiuDerian visions," and the new song of <* The Sea-side,'' or 
'* Mrs. Boseleax out of Town," in which the company unon the beach 
at a fashionable watering place is humorously depicted, form an enter- 
tainment so varied in its features and excellent in itself, that it can 
hardly iail to be attractive, even after a long run of many months. 
The Gallery closes before the end of the month, but will stiortly re- 
open with a new Opera di Camera. 

Mr. and Mrs. Howabd Faxjl are making a four through the watering 
places of England. This week they have been at Margitei and nest 
week they are expected at Scarborough. 



Digitized by 



Google 



Aug. 6, 1864.] 



THE MUSICAL WORLD. 



i05 



LETTERS TO THE EDITOR. 



THE HARP. 
8i&— Since my last expoad of the enoneouB views adopted in reference 
to the best manner of sitting at the harp, I have in the course of my 
investigations discovefed a still more serious reason for giving my pre- 
ference to playing with the left hand in the treble ; and for the sake of 
those who may intend to learn, I beg you will allow me, through your 
ooluo)^, to explain what I mean. In the Instruction Book written by 
Bochsa (and I think now used for teaching by Ms pupils) may be 
found^the following remarks upon the subject of my correspondence : — ^^ 
** Theperform&r must dt ndeuHxyt^ to inat the chest may form an acute angle 
tnih the whfde surface of the atringt*^ And in case there should be any 
mistake as to what is intended to be conveyed, it is afterwards added 
(among the " advantagei to be gained'*) that '* the left shoulder" will then 
<*/aM the whole range of the strings" Now, taking leave of the three 
demonstrative arguments asainst supporting upon the right shoulder, 
with which I started, viz., the extra pedal work for the right foot, the 
want of sufficient space for the right hand's manipulation under the 
neck, and the &tiffue of elevating the left hand in the bass, considering, 
I say, this last euiibition of stupidity apart from the others, it is 
enough of itself to condemn the school in which it has found a place. 
Ima^e for a moment, being located opposite to the strings on one side 
of the instrument, what becomes of the poor right hand round the 
corner, on the other side? It is not improbable, but the favoring of 
the left hand at the expense of the right one, was an expedient re- 
sorted to for the purpose of counteracting the irksomeness attending 
the employment of tne former in the bsiss. But sitting " sideways" 
obliges the performer to " lean the harp upon the right knee,^' and ** to 
touai the body of the harp exactly below that part where it is Joined to the 
couch to the upper part of the right arm {from the shoulder to the eibow"\ 
So says this authority. But, I demand, how is the *'/rM use of the 
whole fore part of the right arm *\ possible, if that same arm, with its cor- 
responding knee, is to support the weight of the instrument ? For, 
remember, *< the upper part of the shoulder cannot constantly touch the 
harp," and that part of the arm " from the shoulder to the elbow" at 
the same time. They may altemately share the responsibility of hold- 
ing it, as the harp sitifls from the one to the other, which &ot will help 
us to understand what is meant by the following ludicrous admission : — 
•' th ease of necessity the harp may serve the wrform/er as a suppcrU" In 
other woids the disagreeable uneasiness felt by this attitude is such. 



argument to be good must be such an one as can admit of being put 
to a practical test. The Musical Worlds June 28, 1862, bears testimony 
to say *' brilliant execution, splendid tone, admirable feeding and ex- 
pression, and varied style ;'* and as *' displaying a thorough command 
of the instrument, which I have literally at my finger's ends.*' The 
Illustrated London News, July 26, 1862, declares that '< I have shown 
how capable is the harp of giving f\ill effect to the highest and most 
classical compositions.^' The Morning Post, December 4th, 1862, 
points to my " lightness and decision of touch." The Bra, July Idth, 
1868, witnesses to the " wonderful dexterity and skill which I have 
displayed." The Paris Ulndustrid, February 7th, 1868, says, "oe qui 
lui caracteresse, c*est une grande puissance uni a une extreme 
delicatesse de doigts." The New York Home Jouimai, 1856, thought 
that " to a touch of great accuracy and finish, I add a wonderfU 
elaboration, scope and rapidity of execution, and fervour of sentiment." 
Two years ago, The EMnburgh Oourant, January 25, 1862, remarked 
that my ^ touch is at once bold, firm, and exquisitely delicate ; and 
that the sound of my harp is not the staccato twang which so frequently 
characterises the instrument, so much as a well sustained tone, 
admitting of expressive cantabile" In February of the present year, 
6th inst, one of the best Dublin critics {Daily Express), observed that 
" to his apprehension, my bass seemed more decided in its timbre than 
in the case of any other performer he could recollect,'* and that my " exe- 
cution was masterly and free ;" to which he added, " and we in DubUn, 
it should not be forgotten, are used to hear harp virtuosity of celebrity." 
In conclusion, let me say that it was simply in the cause of the interests 
of the harp, and for the sake of such as may contemplate studying it, 
that the late Mr. Bochsa has been sO roughly handled by me, and not 
as an attempt to deteriorate from his merits as a musician, in which 
light I have a high veneration for him. Nor did I intend, by my 
allusions to his pupils, among whom are many champions of the harp, 
to underrate their abilities, or the noble service rendered by them in 
keeping it from fidling into oblivion. Much less would I condescend to 
the despicable meanness of resorting to personalities in carrying on a 
dispute : to do so would only show a lack of resources for argument. 
It is when an opponent's views cannot be gainsayed in a legitimate 
way that low invectives are hurled at him. With such facts as I have 
in my possession, I can well afford to be indifferent to any attacks ,that 
may be made upon me, and shall continue to be unless, indeed, I may 
possibly be insulted by a gentleman. 'Aftommas, 

{A self-taught Harpist.) 



that the executant occasionally requires to be balanced upon his stool, 
and in oases of emergency, instcMl of his supporting the harp, only, 
■imply, the harp supporU him. But further on (also among the 
" advantages") it is diHtinctly required that the ** body should assume a 
danling position.'* What, sit in a bent posture over the strings whUe en- 
gaged in " performing extensive passages/' and making ** quick move- 
ments with the feet ? " No wonder, then, that ladies have complained 
of pain in the side when practicing the harp, and that doctors have 
been led by so monstrous a distortion of the body to condemn the in- 
■tmment as predjudal to the health. But, away with such a notion ! 
There is not the slightest necessity for any such result to studying 
the harp. If properly supported between both knees, and leaning 
slightly upon the shoulder, the exertion of playing upon it will 
prove to be a salutary exercise. Let the body be kept erect, and 
in the central position defined in my last letter, the chest will 
beoome expanded, the arms perfectly free 'from embarrasment, 
and the horrible necessity of making a shoulder to get at the upper 
strings, will no longer give to harpists so ridiculous an appearance at 
the instrument. Again, will you believe it, Sir, that not only are 
papiU taught to sit ** sideways " and ** left-handedly " at the harp, 
but, it is sought, moreover, to place the hands in a straight-iacket 
whilst they are playing. For instance, those who have theorized upon 
the sulject say, " the hands should be held in such a position as shall 
ernrn the Joints to be almost vertical," while the sides of the fingers only 
should strike the strings! I will not this time presume upon your 
space by entering into the details of this second, and perhaps worse 
error of the two (both ** one sided *'), but will simply quote a sentence 
fh>m the same source, just to inform you that they themselves acknow- 
ledge the operation to bo '* somewhat difficult on account of the 
ooNTBAcnoN necessitated." Bad habits are often toleratedand defended, 
because they have been acquired for a length of time, and the 
tendency they manifest to become *' second nature," accounts for the 
stem opposition which always appears against an effort for their 
removal. The fear of pecuniary loss, too, and the feeling of envy 
towards the innovators upon the mistakes of the past, especially if he is 
successful, will be sure to show itself in one degraded form or another. 
But, after all, to use a homely expression, " the proof of the pudding is in 
the eating" At the risk of being thought conceited, I shall very 
briefly bring forward a few of the opinions as to tone and facility of 
iSBKiition, with which my perfoimiDoes have been honored; for an 



TONIC SOL-FA v. DOTTED LINE. 

Sir, — In your issue of Saturday last, I find a letter from the Rev. 
John Curwen relating to a concert I had the honor to conduct at the 
Crystal Palace on Wednesday the 27th ult., in which he takes occasion 
to find fault with me in regard to certain things said to have been stated 
in the public announcements of that concert. In reply thereto, may I 
venture to request the insertion of the following : — 

The Rev. J. C. states, that « in newspaper advertisements and in 
handbills all over the town, he has seen the announcement of a Tonio 
Sol-Fa Concert at the Crystal Palace this day.*' This is simply an 
inaccuracy — no handbills were issued, and therefore could not have been 
seen— and the bills that were issued by me did not contain any such 
expression. Truly the large posting biUs issued bv the Crystal Palace 
Company did state that fact, but with these I had nothing to do, and 
did not see them till Friday or Monday 25th, neither for these nor 
for the newspaper advertisements am I therefore responsible. But 
will the Rev. J. C. be good enough to define hie terms? What is it 
to Sol-Fa ? Could not Mr. Hnllah and his pupdls call themselves Sol- 
Faists as well as those taught by the Rev. J. Curwen's letter notation ? 
And what is a Tonic Sol- foist f Might not the Lancashire Sight Singers, 
with hosts of others, adopt that fullest title in common with Mr. C. ? 



and my co-adjutors and pupils, and those who use my music in which 
the tonic line or space is shown to the eye throughout the music, and 
from which the various intervals are measured, even as the Rev. J. 0. 



teaches in his books of instruction, may not these in all justice adopt 
that title if they so choose? I therefore see no impropriety in so 
calling the concert of the 27th, though certainly it was not so called 
by me. 

The Rev. J. C. also says, that the words relating to the terms of 
admission states one shilling «as usual" — the inference which he 
wiehes to be drawn from the said words " as usual,'* being, as we sup- 
pose, to convey to the public the idea that I wished it to appear that 
this was not the first concert of the kind we had held. I beg most 
distinctly to deny that any such words appeared in any of the bills 
issued by us, or by the Crystal Palace Company. He may possibly 
have seen them in the newspaper advertisements, but then they would 
refer to the fact that Wednesday is an ordinary One Shilling cbty, and 
therefore the terms *' as usual." With rewd to ** misleading the 
public" I have only to say the "the pablio^' havt been ao long and 



Digitized by 



Google 



506 



THE MUSICAL WOBLD. 



[Ang. 6, 186i. 



10 well acquainted with the Dame of W. S. Young, in connection with 
Crystal Palace and other popular concerts, that it is simply ahsurd to 
Bunpose they could be deceived. 

Will the Rev. J. C. permit me to ask him where he obtained the 
information ** that the concert of to-day is intended to be a demon- 
stration of what the dotted line system can do, rather than the Tonic 
Sol-fa method?" Does not the Rev. J. C. know that there are 
thousands of Tonic Singers, dnffers who use Tonic principle in 
interpreting music from the estabMied notation, who never learnt his 
letter notation? Is the Tonic principle a new tiling ? Lei his own 
works reply. Of what then has the Rev. «f . C. to complain ? Simply, 
L presume, that we did not use his letter notation in the concert of 
the 27th, but preferred music printed upon the plan which he so 
kindly says has been introduced by myself, and which we consider as 
great an improvement upon his letter notation, as was his improvement 
upon Miss Glower's tetrachorial method. The Rev. J. C, moreover, 
in the early days of his musical career, used to tell us that his 
notation was the easiest stepping stone to the established notation, and 
was not intended to supersede it. Now, however, he considers its study 
so unimportant as to make optional the old notation requirements of 
hii certiHrtate of proficiency ? 

Let it however be distinctly undeKstood, we have no quarrel with 
the Tonic Sol-fa method, we believe, as ever, that it is the best 
process for a learner, but consider that so soon as he has mastered it, 
he should go on to apply its principles to the established notation. 
Apologizing for trespassmg so much upon you. 

I am. Sir, respectfully yours, W. 8. Youvo. 

S, Wood Street, ^dlfields. 



BANQUET TO MR. CHARLES COOTE. 

Sir, — On Wednesday last, the- 27th ult., I emerged from my retreat 
to attend one of the most pleasant gatherings I have ever had the 
good fortune to be present at. It was at the annual banquet given in 
honor of Mr. Charles Coote bv the members of the band universally 
known as " Messrs. Coote and Tinney's band." They assembled at 
the Rose and*Crown Hotel at Watford. The earlier portion of the 
day was spent in the enjoyment of some out-door sports, and at about 
half-past five o'clock they sat down to a most excellent dinner, provided 
in huch a manner bv the hostess, Mrs. Clubb, as to reflect the highest 
credit upon that lady. Mr. Charles Coote of course took Uie clukir. 
The cloth being removed, grace was sung ; after which the chairman 
rose and said : *' The first toast I have the honor to propose is one to 
which I know you wiU all heartily and cordially respond, viz., that of 
* The Queen, the Prince and Princess of Wales, and the rest of the 
Royal Family.' He thought a more appropriate house could not be 
thui the one in which they were now assembled, namely, * The Rose 
and Crown.' For some years the Crown had been adorned by that 
emblematic flower, and he was happy to say it was very probable it 
would be for a great many years to come, at least he hoped so. He 
had been honored for a long time with the patronage of the Royal 
Family, and hoped it would be continued. Ail he and the bai\d could 
do in return was to endeavor to give pleasure and satisfaction by the 
performance of their music." 

The toast was drunk with ** three times three," followed by 
the National Anthem by all the members. 

The next toast proposed was that of the '<Army, Navy, and 
Volunteers,** the chairman observing that as there were three members 
present, two of whom had been in the army and navy, and the other was 
still serving, he should call upon them severally to acknowledge the 
toast, which was drunk in bumpers, followed by musical honors, and to 
the appropriate tunes of "The British Grenadier,*' *« The Sailor's 
Hornpipe," and " The British Volunteer." The " Army *' was acknow- 
ledged by the veteran Mr. W. Egerton in a short but neat speech ; 
that of "* The Navy *' by Mr. Thomas Edgar, who, with one of those 
thunder slaps upon the right \^^ so peculiar to the English Tar, and 
savoring very much of " shiver my timbers,'* elicited hearty applause 
from all present. "The Volunteers" was responded to by Mr. 
Stanton Jones, partly in Welsh and partly in English, doubtless on 
account of his being a Welshman serving in an English Volunteer 
corps, and thus doing honor to both countries. 

Mr. Stanton Jones, who occupied the vice-chair, now rose and said : 
** Gentlemen, the next toast which I am deputed to propose is what 
may be termed the toast of the day, namely, * The health of our 
worthy conductor, Mr. Charles Coote.' We, who have been so long 
associated with him professionally and as friends, can testify to the very 
able and gentlemanly manner in which he carries out his position. I 
feel myscdf very inadequate to do proper justice to this toast, but I will 
not yield to any one the high esteem I hold him in, as a man, a friend, 
and (I can Ba>0 A brother^ for we are brother masons ; and it is rather a 
singular coincidence that to-4b,v is his birth-day. I will not attempt 
to guew his age, for he talks of dreumitanocw that he remembers so 



many ^ears ago, and withal looks so young, that it's <}uite puzzling to 
reconcile his conversations upon things ancient with his modem appear- 
ance. Therefore I beg. to propose * Health and prosperity to Mr. 
Charles Coote, and many happy returns of the day.' " 

The toast was drunk with musical honors, in such a maimer thai 
professional rinffera could have listened to advantageously. I could hear 
one voice amonx the many, with a peculiar Dutch accent, and upon 
looking round the table, lo f I saw a lineal descendapt of Sir Henry 
Bishop^s glee hero. Mynheer Vandunck, in the person of Mynheer 
Snyders, singing with all his might and main behind a bumfter of 
Champagne, " For hiss a Charley Coote feller." Mr. Coote, who on 
rising was received with immense cheering, said — 

" Gentlemen, the very kind and expressive manner in which you 
have received and responded to the toast of the Vice-chairman, leave* 
me in the difficulty of not being able reciprocally to return .thanks ; 
but I deeply feel the compliment, and shall always study your respect 
and esteem. I know I have always your attention when engaged in 
your professional duties — I may say unwearied attention — for you are 
often at work at sunrise; but the results are gratifying, for a gentleman 
once told me, that Coote and Tinney's band was a great institution, aa 
it caused many matrimonial engagements, and offers were maide, 
accepted, perhaps sometimes rejected, whether in the mazy waltz, the 
quiet talking quadrille, the whirling galop, or the reciprocal *< Hdrnm" 
in No. 8, or the friendly ** Visite" in No. 4, or the "Chain of Hands'' of 
No. 5 in the Lancers, he could not say. Gentlemen, I have detained 
you too long. Allow me to drink health, happiness and prosperity to 
you all; also your fiimilies. Respecting the remark of the Vice- 
chairman, claiming me as a brother mason, I am pioud to say I am 
one, and tpe know that the principles of Freemasonry tend greatly to 
make men better ; therefore I hope to improve." Several other toasts 
were drunk and responded to, intersi>ersed with some excellent 
singing. The chairman intimating that in half an hour the last train 
to London would start, the company broke up, all evidently much 
pleased with the day's entertainment. Yaxtox List. 

FUh and Volume, Tewkesbury Point, 

FISH AT THE OPERA. 
If Oberon were the worst opera ever written, cast as it is at Her 
M^esty's Theatre it could not fail to prove eminently attractive. 
Oberon, however, is not the worst opera ever written, but worthy the 
genius of the composer of Der Freiacha:2, exceedingly interesting, 
full of a strange and wild charm, and perfectly originaL The drama, 
too, admits of unusual spectacular display, and the painter, dresser, and 
machinist are in their glory. Enough and more than enough has been 
said and written about the book of Oberon. The music has obtained a world- 
wide fame. In 1860 Oberon was brought out at Her Miyesty's Theatre, 
under the management of Mr. E. T. Smith, not in the regular season. 
— but as an opening to his " cheap " or " supplementaiy " season, and 
was played some flve or six nights with success. The cast then com- 
prised the names of Mdlle. Tietjens, Madame Alboni, Signori 
Mongini, Belart, Everardi, Gassier, in. The present cast includes 
Mdlle. Titiens as Reiza, Mdlle. TrebeUi as Fatima, Mdlle. GroMi u 
Puck, Mdlle. Volpini as the Mermaid, Signer Bettini as Oberon, Signor 
Gardoni as Sir Uuon, Signor Gassier as Babekan, Si^or Gasaboni as 
Haroun el Raschid, and Mr. SanUey as Sherasmm. With such 
singers it is needless to say that the vocal music was given to perfection. 
Mdlle. Tietjens is magnificent in the music of Reiaa, as she was last 
year and in 1860, singing the great seena ** Ocean, ^ou m^hty 
monster" with prodigious force and brilliancy; MdUe. Trebelfi is 
encored in both the songs of Fatima, which she rives with exquisite 
sweetness and the utmost finish ; Mdlle. Grossi makes quite a sensation 
in Puck, and shows both high dramatic and vocal capabilities 
in the recitative in which Puck recounts to Oberon the adventure 
of Sir Huon at the court or in the kingdom of Charlemagne; 
Mdlle. Volpini gives the song of the ** Mermaid " deliciously ; Signor 
Bettini as Oberon sings the florid passages with surprising ease and 
facility ; Signor Gardoni, in the music of Sir Huon, proves himself a 
thorough artist, and is loudly applauded in the scena; whUe Mr. 
Santley and Signor Gassier could not be surpassed, perhaps equalled, in 
the small parts of Sherasmin and Babekan. The band and chorus are 
both adourable, and a finer performance of the glorious glowing 
overture has seldom been heard. The encore is vehement and irresist- 
ible. Oberon at Her Majesty's Theatre would be well worth seeing, 
for nothing else than the splendid manner in which it is mounted ; its 
many pictorial changes ana illusions, its brilliant assemblage of fidrief, 
water nymphs, and dancing girls; the splendor and novelty of its 
tableau^ the richness and variety of the costumes, and the magnificence 
of the appointments. Covkrtby Fdh. 

CoLoaifB. — ^Herr Theodore Formes has been singing here yvj 
aacoeasfully. 



Digitized by 



Google 



Aug. «, 18640 



THE MUSICAL WOBLD. 



567 



|ft>ttt0idaits. 

Mr. Ap'Mntton has not jet returned, but Dr. Shoe cannot 
help (respectfully) thinking that the subjoined communication 
from Mr. JSat wiU be regarded by him (Mr. Ap'M.) as a piece 
of grievous impertinence. Dr. Shoe may, or may not, be wrong ; 
but as, if not wrong, he is 'sure to be right, and as he can 
hardly be not right, being in all probability not wrong, he is (con- 
sequently) right. Let the readers of Muttoniana ju(%e : — 

Sib, — I have jutt received a letter from Mr. Marlia Spike, who 
writes from Hot^ Jack Dol, August 2nd, 1864, and says : — ** Mr Good 
Fbixhd— I am haopy to tell thee that I never felt letter in my life, 
and I hope that thou art the same. I suppose that thou knows all 
about the cricket match. Eh lad, thou would have laughed if 
thou ware theere ; that Ap'Mutton is a rare batsman ; but I^ back 
thee again him any day. I'll tell thee what it is lid, 111 make a 
match to play any ix of Ap'Mutton's best at a single wicket ; that is 
us three, Ap*Shenkln, thee, and me. Write and tell me what thou 
think about it. From thy old Friend, Srass." 

I have sent this epistle to Ap'Shenkin, and both him and myself 
anoe with Mr. Martin Spike to play six of Ap'Mutton's best at 
single wicket ; and Mr. Ap'Shenkin proposes that upon this occasion 
Mr. Fundi shall take the grand stand, and that the beverage sold at 
the above shall be nothing stronger than Lemon — ode. 1 propose that 
we shall have a catch and a round after. Bdcknole Bat. 

Mr. Bat must ^r. Shoe opines) be an owl thus to presume 
upon his name. There is a quarrel on hand about the return 
match between the Kidbury ana Ap^Mutton Elevens. The Eadbury 
insist upon Dishley Peters and Zlamiels Owl bdlng exchanged for 
Sidey Ham and Sir Caper o'Corb^; but Mr. Ap'M. wm only 
concede Dr. Wind and Baylis Boil, in exchange for whom he 
requires Spurway Horn and Dr. Pidding. 

The folbwing comes from Dr. Shoe's old and j^ersevering col- 
lege-chum, French Flowers, whom he (Flowers) will remember as 
his (Shoe's) fag. 

THS ROTAL ACADEKT QRANT. 
Sib, — I am quite of Mr. Bemal Osborne's opinion on the sultject of the 
grant His challenge to the Chancellor * of the Exchequer, eaold not 
be fidrly met. This does not surprise me, inasmuch as the principal 
siogiDg master of the Royal Academy of Musio told me himself that 
•• the £nglish have always colds." If Senor Garcia had a pathological 
knowledge of the nature of the break tn the voiee, this reason would no 
longer blight the prospects of British vocalists. How perverselv 
ignorant* this consumptive country is on the subject of eokU; but it is 
certain Senor Garcia can never thoroughly develop voices till he can 
give a wiser description of the nature and cause of the break than is to 
be seen in his work or any other work on singing. I will further add 
that medical men ought to know the cause well, and explain it 
physiologically too— but do they? Signer Adolfo Ferrari was early 
initiated in medical science; he reuly ought to have entered 
pathologically into this question in his work on singing, then he might 
have introduced these lines which are something after the inimitable 
metre of the poet Laureate, and he might have sung them lustily to 
** a tone of his own composing,'* 

Break! bnak the break ! 

So that thy voice, O throat ! 
Mt J give a greater compass 

And equalize each note. 
But ah! if jou want these powers 
Don*t tiy the new system of Flowers. 
I have the honor to remain. Sir, Four obedient servant^ 

G. F. Flowxbs. 
Dr. Shoe will communicate with Senor Garcia and Signor 
Ferrari on the subject. He (Dr. Shoe) remembers when Mr. 
Ap'Mutton, whose voice is a ba$$o-tenore^ had a cold— which 
preyented him from singing for the recreation of his (Ap*M.'s) 
mends— it was attributed to the break. Mr. ^p^M. haa been 
breaking in a somewhat toublesome steed ; and as he never gives 
up a darling project, he perosted, although it rained a deluge all 
the time, to break-in this troublesome steed, and broke it, ulti- 
mateljr in, in his (Mr. Ap*M.'s) break. So that Mr. Ap'M.'s cold 
was rightly attributed to his break. Dr. Shoe has studied the 
^* new system of Flowers,** and recommends it strongly to Senor 
Garcia. 

Dr. Sting's compliments to Dr. Shoe, and wishes to be informed 
whether the Bee-master of The T^mies resides at St. Hives, and whether 
the Scotch bees would kill the drcme of a B flat bagpipe. 



Dr. Shoe respectfully informs Dr. Sting that the Bee-master of 
Hie Times formerly resided at St. Bees, but has removed to Mel- 
combe KeginsB. He (the Bee-Master) has also hives at Wazford. 
The question of^ the bagpipe had better be reserved for Mr. 
Ap'Mutton. 

Dr. Bile wishes to know to what tho orchestration, at present going 
on, is to lead. Perhaps Dr. Shoe can inform, and will, by so doing, 
oblige him (Dr. Bile). 

According to the Scotch law, the Qrchestration may lead to 
sequestration. ^. Ap'Mutton will say more when he returns to 
his four quarters. 

Mr. Ap'Shanks has forwarded to Dr. Shoe (with compliments) 
the subjoined epigram : — 

WhoU smash Pnnch's nob in ? 
" I "—says Cock Sparrow— 
** With my paper, The Arrow, 
" ril smash Punch's nob in." 
. Dr. Shoe has backwarded the foregoing epimm (with compli- 
ments) to Mr. Ap'Shanks, and substitutes one by Professor Short- 
fellow :— 

I shot an arrow in the air. 
It fell to earth, the Lord knows where ; 
Sometime after, in the house of a friend, 
I saw it again, from beginnmg>to end. 
But it wouldn't be proper to say where. 
This, Dr. Shoe opines, is a power better than the other, and a 
power nearer the purpose. 

Since writing the above Dr. Shoe has received an epigraph on 
the same subject from the sharp-pointed stylum of D. U., which he 
(Dr. Shoe) hastily impinges :— 

There was a new paper. The Arrow^ 
Brought out by a little Cock Spanow. 
In search of a butt, 
Punch it fixed upon — ^bnt 
Very short of the " Mark" feU this arrow. 
— and which he (Dr. Shoe) opines to be the best of the three and 
the moat purpotous. 

Boot and Hcek, Shoebury, Aug. 5. CHglot jl^oe. 



Pbaoue. — The management of the Royal German National Theatre 
has engaged M. Nandin for 7 performances in the month of September. 
The operas in which he will appear are Lueia, RiacletU), Stradella, 11 
Trovatare, La Traviaiat Ernanif and La Sonnambida, In October, he 
goes to Madrid, and on the Ist January, 1865, to the Italian Opera, 
Paris. — The Italian company under Signor Merelli were to have con- 
cluded their engagement at the Neustadt theatre with Dan Juan. 
Owing, however, to their great success, they will give some additional 
performances. The Sisters Marchisio have become especial fiivoritos 
with the public 

TuBiv.— According to the paper called II TrwaJUrre^ King Victor 
Emmanuel has conferred the order of St. Maurice and Lazarus upon 
Signor Calzolari the tenor. The same artist received, also, some vears 
ago, from the Emperor of Russia, the Gold Medal for Merit, with a 
portrait of the Imperial donor. The medal, which was bestowed upon 
Lablache, Tamberlik, and Madame Bosio as well, is worn suspended 
from the neck, and set with diamonds to the value of 10,000 francs. 

HouBVBGH. — Franehesi, Yieuxtcmps, Alfred Jaell, Seligmann, and 
Madame Fabbri-Mulder appeared at the first concert given this season 
in the new and splendid theatre, while David, Rosa Eastner, and 
Margarethe Zimdorfer took part in the second. During the present 
month, an Italian opera company, comprising among its members the 
sisters Marchisio and M. Naudin, will give a series of performances. 

MiLAir.— The great topic of conversation here at present is the 
inauguration of the Quartet Society, which took place recently in the 
rooms of the Conservatory of Music. Quartets by Mendelssohn and 
Mozart, with Beethoven's Septet and Sonata in D were performed on 
the occasion. — Beethoven's Sin/oma Broiea was played at the third 
concert of the Conservatory. 

Aix-la-Chafelle. — The receipts of the last five Musical Festivals 
of the Lower Rhine held here were respectively : 4160 thalers in 1851 ; 
4775 thalers in 1854 ; 4198 thalers in 1857 ; 5015 thalers in 1861 ; and 
6170 thalers in 1864. 

Hahbubg. — By a recent decree of the Senate, Herr B. A. Hermann 
has been accepted as manager of the Stadttheater for five years, that 
is, to the Ist June, 1869, upon the same terms as his predecessor. 



Digitized by V^riOOQlC 



3 son 



THE MUSICAL WORLD. 



[Aug. 6, 1864. 



LEEDS TOWN HALL ORGAN COlfCERTS. 

7b the Editors of the Leeds Mercury, 
Gentlemem, — As a regular attendant at the Satorday evening organ 
performancea I am sarprised to hear that gentlemen on the Organ 
Committee incline to treat them as fidlores, in &ce of the fibct that the 
attendances have reached near 40,000, and find that many others 
entertidn like feelings of surprise and regret, and a desire to protest 
against the result of so rig^d, and indeed* un&ir, an application of the 
paying test being allowed to stand as a reason for aepriving us of a 
great pleasure. Many institutions, which in a money sense don't pay, 
we can iU afford to lose. Surely there does not exist in what we are 
sometimes pleased to call *^our good old town of Leeds," such a 
fopecabundanee of influences " honest, pure, lovely, and of good report," 
that we can afford to lose the one in question, with all its pleasant and 
humanising influences and associations. Any regular attendant will 
bear witness that while on every occasion all classes have been repre- 
sented, often the working classes have been preponderatingly so — amongst 
them frequently decent, respectable men with their wives or daughters, 
market basket on arm, calling on their return home^ leaving the hall 
with satisfaction depicted on their countenances, havmg evidently spent 
a most agreeable hour. Cases are known where employers have 
allowed wdl-conducted trustworthy assistants the privilege of absence 
firom their places of business to enable them to e^joy the hour's 
entertainment at the Town HalL Leaving out of question the 
comparatively small number who avail themselves of balcony accomo- 
dation, practiodly speaking, all classes meet in the Victoria Hall, 
without being fenced off from each other. Out of the mutual comfort 
of this custom comes the growing mutual respect between all classes. 
During these Saturday evening organ performances nothing rude or 
unpleasant has passed. All agree in saying that the organ has 
improved in every respect under Dr. Spark's careful and skilful hand. 
Would it be wise or creditable, after having spent so much money on 
this noble instrument, to allow it to spoil for want of sufficient use, 
and to become little better than a heap of lumber? Competent 
judges agree, also, it is believed, in admitting that the organist's salary 
IS not an over liberal oue, considering the quality and quantitv of 
services rendered, the good taste evinced in selection, and skill in 
execution — severe physical exertion^ unfailing punctuality in atten- 
dance, and courtesy in compliance with frequent encores — remember- 
ing, too, his time of appearance in public represents a portion only of the 
time actuallv expended by Dr. Spark in discharge of duties attached to 
his office. 5rone grudge the Tuesday's performance to those able to 
attend. By all means continue them, for tne sake both of strangers and 
towns-people. But persons engaged in business cannot conveniently 
attend an afternoon performance. To discontinue the Saturday evening's 
concert would take away an enjoyment from very manv who could not 
afford to attend any other musical recreation, and would likewise have 
a tendency to check a ^wing taste for good music. Whilst 
ratepavers are doubtless smcerely grateful to worthy aldermen and 
ooundlllors for evincing a laudable anxiety to administer the public 
funds with a due regard to economy, they are not less grateful to those 
who manifest a wise and kind desire to maintain the use of a piece of 
public property for public eigoyment Afler xupng aU who value 
good organ music by frequent attendance to make future concerts more 
remunerative, and to remember that each payment will somewhat re- 
move ^e painful load of anxiety which Yiia hitherto preyed upon the 
minds of some gentlemen on the Organ Committee, allow me, in 
conclusion, to express the hope that our worthy local senate will 
confirm to our use, in its entirety, the liberallv devised and admirably 
arranged scheme of organ performances, ana so confer a pleasurable 
advantage upon their fellow-townsmen, and at the same time add an 
additional lustre to honors already won through the zeal and ability 
with which they have worked out the great principles of municipal 
self-government. Gentlemen, I am, yours respectfully, 

BsaULAB ATTENDANT. 

[With reference to the above, it may be necessary to explain that 
an agitation is on foot in the Leeds Town Council with the object 
of diminishing, by one half, the yearly number of organ perfor- 
mances in the Town Hall, and making a corresponding redaction 
in the organist^s stipend. It is propped to abolish the Saturday 
evening^s peTformances, and on the plea that, generally, the organ 
performances do not pay, and, specially, that the Saturday even- 
ing^s performances, being chiefly intended to attract the working 
classes, have failed, inasmuch as said working classes do not much 
patronize them. The first point (specially noting that 40,000 
persons have attended these concerts) may, we think, find sufficient 
answer in the letter we have quoted from the Leeds Mercury, As 
to the second plea, it may be worth while to suggest the possibility 
of making too much fuss about the *^ working classes.^' If they 
Will not Attend these organ-performanoei, it it probably beoauM 



they prefer beer to music, and are more appropriately amused in a 
tavern than in the Victoria Hall. In any case, it is their choice, 
and there the matter should end. It would be certainly groes 
injustice to deprive the regular attenders of the Satmday^s concerts 
of their accustomed enjoyments, because others imagine themaelveB 
better employed elsewhere. 

We fear, however, that all this is Httle better than show and 
pretext No doubt that Dr. Spark, like most sn oa ia sfu l men, has his 
share of professional enemies. With a certain party, probably, 
everything he is concerned with will be abused. Perhaps these 
amiable sentiments find their way somehow into the Town Council, 
and perhaps, — our readers may easily infer the rest.] 

Mb. Mapleson's Toub begins at Manchester, on the 16th of Sep- 
tember. The operas at Manchester will be Mirellat Faust and Fidelio, 
The troop consists of Mdlle. Tietjens, Mdlle. Sinico, Mdlle. Grossi, Mr. 
Santley, Mr. Swifl, Signers Casaboni, Bossi and Gardoni. From 
Manchester they go to Dublin for a fortnight. The operatic 
performances will be succeeded by a concert tour, to terminate with a 
series of performances in London, afler which Mr. Santley will leave 
England for the Opera at Barcelona, where he is engaged for the 
winter. 

Operatic dbpabtubes. — ^Mad. Harriers Wippem has returned to 
Berlin. M. Gkissier is gone to Madrid ; M. Junca to Trieste. Signer 
Ghuxioni left for Paris on Tuesday ; Signer Ronconi for Spain on 
Sunday. Mdlle. Adelina Fatti leh for Boulogne on Thursday, out will 
return for the Birmingham Festival. Madame Volpini is engi^y^ for 
the winter at Lisbon ; Madame Trebelli and her husband, ^gnor 
Bettini, are engaged for Home, and afterwards for Warsaw. 

Mb. E. T. Smith has a sensation in store for the patrons of *' Astley^s,* 
in the person of Miss Adah Isaac Menken, an actress and equestrienne 
of distmction, who is engaged to play " Mazeppa,*' which she does 
without a " double '* (as it is called in theatrical parlance), «iMhi>g up 
rocks lashed to a horse, and executing a variety of bold feats not even 
attempted by male representatives of the part. Great preparations are 
on foot to make Maaeppa an eminent success.— (CbmrntfRteoiecQ- 

Beethoven's Pobtbait bt Stiebbb is announced in our advertising 
colunms for sale. This highly interesting portrait was taken when the 
great '* tone poet *' was writing his Missa Solermis. 

Cassel. — ^Louis Schube^*s comic opera, Das Rosenmadehen, has been 
accepted, and will probably be produced next season at the Ducal 
Theatre. 

' Pesth. — Signer Barbieri, the conductor at the operahouse here, has 
completed a four-act opera entitled A Winter's Tale, He wishes to get 
it produced in Vienna. 

Bambebo. — A most praiseworthy performance of Beethoven's Fidelio 
has just been given here. 



MADAME LEMMENS SHERRINGTON, Mr. W. 
H. CuMMiifoiand Mb. Sastlkt, will sing the trio, ** I KAYIOANTI ** (The 
Mariaen), composed by A. RAodegger, at the Birmingham FWtival. 

ADAME SAINTON DOLBY, will sing Hbnrt 

Smibt's popular song, <* THE LADT OF THE LEA," at the Blrminghaia 
and Hereford Festivals. 

ADLLE. LOUISE VAN NOORDEN (Soprano). 

Communications respecting engagemeots in Town and Coontrj to be 
addressed to 115 Great Rossell Street, Bloomsbory Square. 



•^pO PROFESSORS AND A&ATEURS OP MUSIC. 

X Authors* Works Engraved and Printed on moderate terms by F. Bowoher, 



3, Little Marlborough Street, Regent Street, W. 



BEETHOVEN.— The original Portrait of Beethoven 
uften engaged wUh thi eompoiUion of hi*'* Missa SoUmnis,'' painted In Vienna 
by Stieler, Court Artist to the King of Bavaria, is offered for Sale. For partlonlazt. 
Address— C. de S., 7 Talbot Terrace, Westbonme Park, W. 



DURHAM CATHEDRAL. 



THE APPOINTMENT OF A MINOR CANON 

* TO THI 

VACANT PLACE IK DURHAM CATHEDRAL, 
Will be made by the Dean and Chapter, 
On VnSiDN'EBDAYt the 28th day of Septemb«r next. 
The Trial (if Candidates selected mil take place at t?ie timet and manner to hejlxei bif 
the Dean and Chester. 
All applications and Testimonials must be sent in, addressed to Mr. Eowabd 
PcBLE, Chapter Clerk and Registrar to the Dean and Chapter of Durham, at his 
Office in the College, Durham, by whom further infurm*tion M to th« office will be 
given, on or before Wednesdayi tbl Tth day ofB^ptembir ntJtt* 
Durham, aial July, 16M» 



Digitized by 



Google 



Aug. 6, 1864.] 



THE MUSICAL WORLD. 



5<>9 



BEREPORD MUSICAL FESTIVAL, in the 
. Cathborai. and Sbibb Hall, Aagnst 30th and 31st, September Ist and 2nd. 
e. Tnrjnia, Mesdame^ LniMBits-SHKBBiNaTON, Wbiss and Saimtoh-Dolbt ; 
Messrs. Sms Rbbvbs, Momtbm Smitb. Samtlbt and Wsua Programmes forwarded 
on aj^Iioation to the Condnotor and Hon. Sec., Mr. G. Townahend Smith, The Close, 



on ^Plioat 
Hererord. 



THE MODERN HABPIST: 

A NBir WOBK FOR THE HASP BY MR. APTOMMAS. 
(TobePuUUhedbyauUer^Uon), 
CORBim:—Introdtiotlon— Ancient and Modem Harp-Mosic—Resonrces— Analysis 
of Passages— Modalation— Fingering— Tuning— Peculiar Effects— Stringing— The 
Harp Ck>ntrasted — Classical Mnsic — Style — Touch — Expression — Pedals — The 
Damper— Chromatic GombinatioDS— Memorising— Playing in PabUo— Teaching— 
Technical Terms—and Selections from the Gnat Masters, te.,'ftc 

Price of Bubscription, ONS GUINEA. 
Issued by Hie Author, 67 King Street, Soho, W. 

In the Press, 

AliliEOBETTO QSAZIOSO, 

FOR THE PIAKOFORTE, 

Dedicated to Miss Jessie Bichmond; 
CoxFOSBD BT CHABLES FOWLER. 
London : Duxoah Davuon * Co. 244 Regent Street, 

In the Press, 

THE liANOASHIBE WITCHES 

POLKA MAZURKA, 

FOR THE PIANOFORTE, 

CoMFOSBD BT CHARLES FOWLER, 

London: Ddioaii Datxscw A Co., 944 Regent Street, W, 

In the Press, 

SONATA, 

No. I,ft>rthe 

PIANOFOJEtTE AND VIOLIN, 

SBDIOATSD fO 

HEB IMPERIAL HIGHNESS PRINCESS WILLIAM OF BADEN; 

OOXPOBSD BT CHARLES FOWLER. 

London : DmroAa Dayisoh St Co., 244 Regent Street, W. 

HASTMAN'S WALTZ. 



M 



Ascher's celebrated Romance, "Alice, where art thou ?" 

As performed at the Lord Lieatenant*s Solrtiei, the Hortlcnltaral Show, the DnUin 
Caitle Balls, Ac., by the Band of the lOth Hussars, under the direction of the Anthor, 

HERR ERNEST HARTMAN. 

Price 4s. 

London: Duhoav Dayisoh A Co., 244 Regent Street i and of all Moslcsellers In 
Town and Country. 

ARIE D'ANNETTA'S DANOE MUSIO 

Characteristically Illnstrated. «. d. 

** The Lily of the Thames Quadrille," with comet accompaniment ... ... 4 o 

"'. 8 

•* BeantKhl Spirit Waltz/ dedicated to Mons. Louis Julllen !.'! 4 

London: Duhcav Dayuoh St Co., 344 Regent Street W. 

Jnst published, price 4s., 
Played everywhere and always enoored, 

"WAVEBIiEY," 

FANTASIA ON SCOTCH AIRS, 

FOB THE FIANOFOBTE. 

Composed by EMILE BEROER. 

London : Dukoah Davison * Co., 244 Regent Street, W., 

Wliere may be obtained the above Composer's popular Morcnau de Concert, 
*'Les Echos de Londres,** price 4s. 



Just published, price 3s^ 

"LILLY'S LOVE/ 

BALLAD, 

BY 

MBa ENEAS MACDGXTXTEIiL. 
London! DOHOAV Datuoh A Oo.| au Regent SftAt, W» 



KUHE'S 



LUCIA DI LAIMERMOOB. 

Brilliant FaniaBia on Donizetti's Oper^. 4s. 

LUCREZIA BORGIA. 

Brilliant Fantasia on Donizetti's Opera. 4s. 

LA FAVORITA. 

Brilliant Fanttwda on Donizetti's Opera. 4s. 



THE 



BLUE BELLS OF SCOTLAOT). 

Brilliant Transcription. Price 4s. 

SYDNEY SMITH'S 



MARCHE DES TAMBOURS. 

Morceau Militaire. Price 4s. 

REVE ANGEIQUE. 

Berceuse. Price 4s. 

THE SPINNING WHEEL 

Spinnlied. i^ce 4s. 

LES HUGUENOTS. 

Orand Fantasia on Meyerbeer's Opera. 4s. 



LONDONi 

ASHDOWN AND PARRY, 

18, HANOVER SQUABS, W» 



Digitized by 



Google 



510 



THE MUSICAL WOELD. 



[Aug. 6, 1864. 



GOUNOD'S NEW OPERA, 

"MIRELLA," 

PERFOBMED WITH IMMENSE SUCCESS AT 

HEB MAJESTY'S THEATRE. 

OPINIONS OF THE PRESS. 

"The muicof MinOa if m goodM that of Faml; perhapf,in lome retpeets, 
better.**— /ta(^ ITetn. 

** M. Oonood hM giren to the world another genaine and charming work.**— 7%< 
7%uu$. 

** The mosie otJ^rOia wiU aa rarely make Iti way with the pablio aa that of 
/'oittl.**— Aondord. 

** A capital opera ; no living man ooold write anything for the stage comparable to 

•* We have to thank Mr. Mapleton for giving ns an opportunity of heating the last 
work of one who oer ainly new Ii the greatest living operatic composer.**— Safarctoir 



THE PRINCIPAL VOCAL PIECES. 

1.— THS OFSSnNG CHOBTJS. 
This exqnialte snbjeet (•< Facciah CAaoLi ") may be had as a song, as a duel, as a 
chorus, and for the pianoforte, by Brinley Riclurds and Nordroann. The following 
quotations firom the press refer to this melody :— ** There is nothing in modem opqra 
to exceed it in fkwhnees and Sonthem oharaoter.**— ^McncRiffl. " Nothing more 
fresh or melodloos has ever been imagined than this lovely inspiration, a worthy 
pendant to the Valse in Fau$l,*'—Daay Tdegraph. ** Beantifally simple and tender.** 

2.-TH1D SAVOYABD MEIiODY. 

This simple and beantiftil melody is performed by the orchestra. It is, however, 
pnbHshed with English words, " FAa pbom hui MomrrAnra,** and in Italian, " An 
nasTATi oa su;** and for the pianoforte by Brinley Richards and Nordmann. 

8.— THE SHEFHEBD*S SONG. 
•* Fauoa Pastorbl,** snng by Ifdlle. Yolpini. •* A delidons little air.**— 7%< Tinui, 
** Exceedingly charming.**— Zloay TeUffrixfh. **A delieions meIody.**-n&itartiay 

4.-MT>TiTiTn. TITIIBirS* SONG. 
** The most popular is the bravnra aria, ** Kox mdta il Cori.** ** Kore than the 
rival in onr esttmation to the Jewel Song in Fautt^ as being a purer strain of 
melody .**— /fltaiidarcl. 

fi.-MDIiIiB. THEBEIiIirS SONG. 
■*La sTAGion aukiva, o Bella,'* encored every night ** This will be in every- 
body's mouth, and it is certainly the most catching melody In the opera.**— jflteAirctair 
Rtvuw, ** An exquisite little song.**— i^offy Tdegraph, 

flL-SIGB^OB GIUGIiINrS BONG. 
•*Au! SB D>aian mn.** "A lovely song.**— jSMimtoy Rttiew, **A delicious 
•avatlna.**— Jfcmcn^ Adtertiitr, 

7.-MB. BANTLET'S BONG. 

■* Si L*aiu» >i 80X Hiaura.** A bold and vigorous strain.**— ^noikfordL 

a— THE DUETS. 

1. " Cbassox di maoau,*' sung by Mdlle. TItlens and Signer Olugllnl. ** One of 

the most captivating things In the opera.**— 5t0itfay Tlma. ** Likely to become as 

popular as anything in Fatai,~-SiandtHrd, 2. ** Ah .' pajila akcob,** snng hy lidlle. 

Volpini and Mdlle. Tltiens. 

The Complete Opera, In Italian or French, 168. For Pianoforte, lOs. 



PIANOFORTE ARRANaEMENTS. 

THE OVEBTUBE— Solo and Duet. 
** Beemi to be a string of popular melodies of the South of France.**— Z>al^ News. 
•• Pretty, light, and essentially pastoral.**— TAs JSmtt. •* A beautiAU composition.** 

•^Ad/MrHw, • 

THE AIBS. 
By W. H. Calloott, in Three Books, Solos and Duets. 6s. and «s. each. 



PIANOFORTE PIECES. 

Kuhe*s Fantasia, Mirella 4 

ICadame Onry's Fantasia 6 

Roeellen's Souvenirs do Mirella ( a Selections of Airs) ...*. 4 

Nordmann's Bouquet de Melodies A 

Brinley Richards^ Chour de Magnanarelles (the opening Chorus) 3 

Brinley Richards* Savoyard Melody 4 

Ketterer*s Fantasia, transcription (a very brlilant piece) 4 o 

Lysberg*s Mhrella Esntasia 4 o 

Oanz's Reminiscences of Mirella 4 

Forbes* Fantssia „ 5 

Coote's Mirella Qnadrillsa 4 

Coote's MlrelU Waltzes 4 

Victor ColIine*s Mirella Valse ^ 4 

BOOSEY & Co., 28 HoUes Street, W. 



JUST PUBLISHED. 



GRAND 

CONCERTANTE 
DUET 



FOR 



2 Pianofortes 



f 



ON THEMES 



FEOM 



GOUNOD'S OPERA, 

FAUST, 



BY 



G. A. OSBORNE. 



Price 8s. 



OH^I^IPEXjXi <Sc CO., 

60 17EW BOND STBEET. 



Printed by niapiMOii, Rut. ud Fnrro*, at No. 13, Wiiutoy Stmt, Oxford Strnt, In Uw ParUt of Kurltbono. In the Coon^ of MlddlMn. 



Digitized by 



Google 



"^.-v. 





'*ThB WOBIH of AbT AFPBAB8 HOST SMIHSIIT Dl MUSIG, 8INCS IT BBQUISB8 HO MATEBIAL| KO BUBJECT-SCiLTTSB, WHOSB SFFECT 
MUST BB DBDUCTBD! IT 18 WHOLLY FOBM AST> POWKR, AMD IT RAIBB8 ASD JOfVOBLES WHATBYEB IT BXPHmBB.**— (?^. 



SUBSCBIFTIOII', FBEB B7 POST, 208. FEB ANJNUM 

Payable in advanoe by Cash or Post-Offloe Order to DUNCAK DAVISON & CO^ 244» Begent Street London, W. 

ISegiBtered far Trarumiuion Abroad,] 



Vol: 42— No. 33. 



SATURDAY, AUGUST 13, 1864. 



r-.{Sg:g2S;sr 




HEB MAJESTY'S THEATBE. 



TH E LAST NIG HT- 
CHEAP PBIOES. 

TITIENS, OROSSI, SANTLEY, B08SI, GIUGLINL «FAU8T> 



Nonoc^In oonsequence of all available spaoe having been disposed of on Than- 
day ereninfc. and in reply to the nnmeroos applications, the Director has consented 
to give the entire opera of " FAUST,** in Ilea et the combined entertainment an- 
Donnced for this Evening (Saturday). 



THIS EVENING, (SATURDAY), August 18th, 
LAST NIGHT OF THli: SEASON, 
will be repeated Gounod's celebrated Opera, 

"FAUST." 



Doors open at Half-past Seven ; oomioenoe at Eight precisely, terminating in time 
for the Night Trains to the Environs. 

Notice.^The usual Restrictions to Evening Dress will not be enforced. 

Pbicbs:— Gallery, 8s.; Pit, 58.; Dross Circle, Ts. ; Upper Circle, 5s.; Orchestra 
Stalls, 128. 6d. 

Box-office of the Theatre open daily, from Ten till Seven, where places may be 
secured. 

Tickets also procurable, on the Evenings of Performance, at the Special Offices, 
open at the Entrances of the Pit and Boxes. 



HER MAJESTY'S THEATRE.— Notiob.— The Di- 
rector begs to annoniroe that in consequence of the nightly overflow he has 
caused the PIT to be considerably ENLARGED, in order to afford Increased ac- 
commodation to the visitors to that part of the Theatre. 



M 



R. ALFRED MELLOFS CONCERTS EVERY 

EVENING, at ISioht, Rotal Italixx Opeua Housk, Covm GABOxy. 
MDLLE. CARLOTTA PATTI, MDLLE. MARIE KREBS ME. LEVT, 
'^ MR. CARRODUS, and ALT BEN SOUALLE. 

Band of One Hundred performers. 
On Thvbsdat next, Aug. 18, a CLASSICAL NIGHT. 
On FUDAT, MR. ALFRED MELLON'S GLEE UNION. 
On Satdboat, A VOLUNTEER NIGHT. 

Conductor— Mb. Alfbbd Mblloh. 
Admission .... One Shilling. 

pOYAL ENGLISH OPERA, Covent Garden.— The 

Xv Nobility, Shareholders, and the public are respoctfhlly ioformed that THE 
OPERA COMPANY (Limited), will commence their First Season on the second 



Monday in October next 



By Order, MARTIN CAWOOD, SecreUry. 



HEREFORD MUSICAL FESTIVAL, in the 
Cathbdbal and Sribb Hall, August 30th and Slst, September 1st and 2nd. 
I. TiBTJBVs, Mesdames Lbmmbbs-Shbrbimoton, Wbiss and Saivton-Dolbt ; 
Messrs. Sixs Rbbvbs, Moktbm Smith, Sahtlbt and Weiss. Programmes forwarded 
on application to the Conductor and Hon. Sec., Mr. G. Townshend Smith, The Close, 
Hereford. 

nONSERVATORY OP MUSIC AT COLOGNE; 

\J under the direction of Mr. Fkbdiwajo) Hillbr Beginning of the new Semester : 
4th October. To fbrther informations : Secretary of the Conservatory (Frank- 

gB88e39). 

To PROFESSORS AND AMATEURS OF MUSIC. 
Authors* Works Engraved and Printed on moderate terms by F. Bowoher, 
9, Little Marlborough Street, Regent Street, W. 



M' 



,|/, R. GEORGE DOLBY begs to announce that he is 

IilL making arrangements for a Tour in the Provinces with the foUowing dl»- 
tinguishedArtUts:::- 

VOCALISTS: 
Madame GBISI 

AHD 

Madame SAINTON-DOLBY. 



MJPi PATBT 

A3XD 

Biffoor MABIO. 

VIOLIN: 
M. SAINTON. 



ACCOMPANYIST: 
Herr MBYBB I<I7TZ. 

The Tour will commence about the middle of September and terminate in 
December. 

Applications respecting Engagements to be made to Mr. Geobob Dolbt, Egyptian 
Hall, Piccadilly, London. 

R. SIMS REEVES will sing " THE MESSAGE," 

composed for him by Blumbstbal, at the Hereford Festival, on Wednesday 
Evening, August 31. 

R.. WILLIAM CHARLES LEVEY (Compoeer of 

Fanchate)^ having completely recovered firom his recent indisposition, begs to 
announce that he Is now ready to resume liis duties as Professor of the Pianoforte. 
Address— 8 Cecil Street, Strand. 

ISS ROSE HERSEE will sing "THE KNIGHT 

AND THE MAIDEN** (Words by H. Hbbsbb. Esq.), composed by Emlb 
Bbbobb, at the York Festival, Sept. 7th and 8th, and at the Glasgow Ciiy Hall, Sept. 
1 7 and 24. , 

MISS JULIA ELTON will sing Randegger's admired 
Cradle Song, "PEACEFULLY SLUMBER,*" and the duet (with Miss Robb 
Hbbsbb) "OH, GLORIOUS AGE OP CHIVALRY** from Howard Glover's 
popular Operetta of Once too Often, at the Cliy Hall Concerts, Glasgow, Septemlier 
17, 24, and O ctober 1. 

RS. CAMPBELL BLACK, Vocaliat (Pupil of Dr. 

Fbamois Robinson, Vicar Choral of the Cathedral of Christ's Church and St. 
Patrick's, in the (3ity of Dublin), sings In Italian, German and French. She sings 
also all the popular English, Scotch, and Irish Melodies, and has carefhlly studied 
Sacred Music. Mrs. Campbbll Black accompanies herself on the Harp, Pianoforte 
and Guitar. All communications respecting eugaffcmonts to sing at Concerts, &c.* 
to be addressed to her at T Well Walk, Hamstead, N.W. 



MADAME LEMMENS SHERRINGTON, Mr. W. 
H. CuMXiNOS and Mb. Santlbt, will sing the trio, " I NAVIG ANTI " (The 
Mariners), composed by A. Randegger, at the Birmingham Festival. 

MADAME SAINTON DOLBY, will sing HE»»r 
Smabt's popuUr song, " THE LADY OP THE LEA,** at the Birmingham 
and Hereford Festlvals.- 



MADLLE. LOUISE VAN NOORDEN (Soprano). 
Communications respecting engagements in Town and Country to be 
addressed to 115 Great Russell Street, Bloom>biry Square. 



DURHAM CATHBDBAIi. 



THE 



APPOINTMENT OF A MINOR CAN^W 

TO THB 

VACANT PLACE IN DURHAM CATHEDRAL, 

Will be made by the Dean and Chapter, 

On 'WBDNBSBAT, the 28th day of 8«ptemb«r next. 

The Trial qfCandidaieiMleeUdwaitakt place at thi timu and nummr to Ufixid Inf 

the Dean and Chapter. 

Ail spplications and Testimonials must be sent in, addressed to Mr. Bdwabo 

Pbklb, Chaptjsr Clerk and Registrar to the Dean and Chapter of Durham, at his 

Office in the College. Durham, by whom fhrther fufbrmation affd ib« offloe will be 

given, on or before Wednesday, the 7th day of September next. 



51S 



THE MUSICAL WORLD. 



[Aug. 13} 1864. 



TABAJrTBLIiA, by WAIiTXB MAGFABBlOr. 

nr^HIS popular Morcean for the Pianoforte, played with 

L loaii dtotlngntohiid ra«o«is hy tlM Omnpowr at bit Ckwieeiti at the Huwrtr 
■qtm Boomiv 1« poblidMd, prioe to., 17 

DuMua Datoov A Co^ 844 Btfant Btiwt, W. 

IntlitPMi, 
TO be Fobliih0d by 8abaerlptioii« 

4HA88 in B flat, for Soprano, Alto, Tenor and Base, 
■olo, with Chom. CompoMd and dtdtetM hy permlniaB to Hli Inpnlftl 
ty DOH Pabo IL, Emp«rarof Bnsll, 

By WELLINOTOK GUERNSEY. 

To Stibteribtrtt U,; Scm-JMicribm^ Y«. €tf. 

LoodoB : DoaoAV Datimw a Co., S44 Regent Street* W. 

AD ELINA PAT TL 
"DI aiOJA INSOLITA,^' 

Waltm mg tqr Mdlle. AdeUu P»tU wUh Dbtlngutohed 1 

Conpoeedfcy MAURICE STRAK08GH. 

Price 3e. 

With ft Portndt of Mdlle. AdeUne Pfttii 

htmOw I DoyoAV Datisov A Co., S44 Regent Street. 

*«f>I GIOJA mSOUTA** 

1e ftlfo TnMcrfbed ft>r the Piftiwforte by 

B. ANDREWS. 

Price ak 

I Dmraiv DATttOv A Co., M4, Regent Street, W. 



OABL OTTA 
"I WOULD 



PATTI. 

WARBLER" 



HEAR YOU, 
(L'nsignnolo^The NightlngaleX 

Song by MdUe. Carlottn Patti with dlittognUbed snooeM. 

Compoeed by E. KUZIO. 

Price 4e. 

With ft Portrait of Mdlle. Carlotta PattL 

London : Dmroiv Datibov t Co., 944 Regent Street, W. 

Jmt PabUebed, price 3i., 

''MY HEABTS IN THE HIOHLANDS." 

0* Meln Ben ist Id Hochland.*') 

COMrOMD BT 

AIiBXAXTDBE JEtEICHABDT, 

Compoeer of ** Thoa art to near and yet so far.** 
London : DoaoAV Datison a Co., 344 Regent Street, W. 

Jut Published, 

« HABK, THE BEIJJS ABE BINOINa/' 

HEW SONG 

hbkby'^smabt. 

The Woideby W. H. BELLAMY, Es<|. 
^^panion to his celebrated •• LADY OF THE LEA.** 
Price at. 
! Doioas Datbov MCo^iu Regent Street W. 



Jott pnblished, price Si., 

"HOPE ALWAY,^' 

8ONQ FOR A MEZZO-SOPRANO VOICE. 

Written by MIKKIE, 

Compoeed by EMANUEL AGUILAR. 

London : Doioav Datbov a Co., 844 Regent St reet, W 

Now Ready, 

pRIZE POEMS receiving the 100 Gnmeas <^ered in 

jr the AdrertieemeBti, "Ho! roa a Shakspbabb,** and awarded hy Msyn. 
Webster, J. Stirling Coyne, Andrew Halllday, George Rose, and Thomas 8. Stoart. 
. — ...T « . • lof QaeenEliabethandtheQaeeneflksaty. 



IllBStnted with Lithograph Portraits c 



esaty. 



Qoeenl 
Can be tied obatb at all the best Drapers in the Kingdom, or forwarded, on rMcTat 
of stamped addrees to Dat a Sons, Lithographers to the Qneen, PnbUsbers, liseolo^ 
Inn Fields, London. 

OGLER'S "MARCH of the DANISH GUARDS," 

for the Pianoforte, price3s. " The Danish soktlers are being led totattloto 
the exciting strains of this fine MarelL** 

London: Published hy Duboam Davisob a Co., %U Regent Strset, W. 
THS VOI03D AND BISQISa, by ADQZiFO nSBABL 

THE new Edition of this celebrated Work on ''Thi 
FoBXATtOB ABO COLTXrATIOB OV TBB YOtOB FOB SlBOIBO " IS pobllsbed, piiM 

lis., by 

DuvoAB Datisob a Co., %U Regent Sixeet, W. 

Jost Pnbllshed, price 6s. 

^UO in A for THE PIANOFORTE AND VIOLIN. 

Co m posed by 
JAMX8 LBA STnOODaB. 
London: Ddboak DAnMHtand Ca, 944^ Regent I 



D' 



^ In the Frees, 

«THB OCEAN QUBBN/' 

SONG, 

Sang by MISS ANNIE BARTON 

At the Concerts of TTbb Glbb abd OrBBA Ubmbi 

Words by a H. Wood, Bsa.« 

MUSIC BY BENNETT OILBEftT. 

London : Doboab Datisob a Co., 244 Regent Street, W. 



''HABY DEAB," 

8IM8 REEVES'S NEW SONQ. 

hy HOWARD GLOVER, and enthnslasttoally enoored at St Jbbms's 
Hall, is pnblished, price as., by 

DoBOAB Datisob a Co., 344 Regent Street, W. 



jBft pnbllshed, priee 48., 

" VOOLI AN A," 

SCasurlca da Ck>noert, pour Flano. 

DadM h wn ami Montienr EDOUARD, DB PARIS, 
Pab 

WILHELM QANZ 

London « Doboab Datooh a Co., 344 Regent Street, W. 
Jost pablished, price 3s., ^ 

"L'AMOUB," 

B^EBIE FOUR LE PIANOFORTE. 

Pab 

FBEPSRIC BOSCOTITCH. 

Londosr Du«04^ DAntoir a Co., 944 Regtst Stmt| W. 



In the Press, 

''WHEBE IS HE;" 

SONQ, 

Composed by RALPH WILKINSON. 

London 1 Ddmab Datisob a Co., 344 Regent Street, W. 

In the Press, 

"WHITHER AWAY." 

SONG, 

Composed by GEORGE B. ALLEN. 

•Londoni Duboab Datibob and Co., 344 Regent Stanet, W. 

InthePtess, 

MARY, 

SONG. 
COMTOSBD BT JOHN JACKSON. 
Duboab Datisob a CO., 3U Regent street, W. 



In the Frees, 

THE ROSEBUD, 

MELODY FOB THE PIANOFORTE, 

Dadletfted to Miss Catberine Matilda Blaekbnni; 
CoxPossD BT CHARLES FOWLER 
Duboab Datisob a Co., 2a Regent Street, W. 



JB 



In the Press, 

VOITDBAIS 



BTBB. 

ROMANCE, 
AVEC ACCOMPAGNEMSNT DB 

HARPE, 

PAROLES DU CUEVALIER DB CHATELAIN, 
MusiQUE Di CHABLES OBERTHtTR. 

Op. 190. 

London: Doboab Datiiov a Co., 344 Regent Stnei, W. 



Digitized by 



Google 



Aug. 13, 1864.] 



THE MUSICAL WORLD. 



518 



HER MAJESTY'S THEATRE. 

(Tinus^AtigutiB.) 

The eltia nights, at redaced charges of admissiOQ, are— to judge hy 
the large audiences they bring — ^remuneiatiye. They deserve success, 
if only because the performances are shorn of none of the attractions 
which distinguish them daring the regular season. Signor Arditi, 
the excellent conductor, takes just as much trouUe to maintain the 
reputation of his band and chorus ; and the principal singers— with the 
exception of two or three, the term of whose engagements has expired 
— ^remain at their posts. The glorious soprano of MdUe. Tie^ens is 
heard (night after night) In one or other of her most ikmous parts ; 
while Signor GiugUni— " the silver-voiced tenor," as he was christened 
after his first appearance in London (1857), Mr. Santley, at present 
the first of operatic barvtone basses, and Madame Trebelli, the best of 
stage contraltos, are seldom absent. Thus the representations are as 
artistically complete as could be wished. 

The operas have been Oberon, Mirella, Fautt^ II Trovaiore, and 
Luerezia Borgia, Weber's Oberon — ^with Mr. Benedict's masterly- 
accompanied recitatives and well-selected additions — ^was the work 
with which the ** cheap nights " began so successfully last year; and 
it was, therefore, judicious to recur to it on the same occasion now. 
The general exeeuiioa could hardly have been improved ; but the 
miafi-en-teine is better even than before. An entirely new scene — ^the 
scene of the rocks, the ocean, and the storm— furnished by the master- 
hand of Mr. Telbin, imparts additional and picturesque interest to the 
most stirring incidents of the opera. The song of the Mermaid, 
warbled so (marmio^ly by Madame Volpini, and the magnificent aeena, 
familiarly known m English as "Ocean, thou might;^ monster," 
which Mdlle. Tietjens— an incomparable Reiza, both in a histrionic and 
musical sense— declaims and sings as no other Reiza has ever declaimed 
and sung before, are now illustrated by a series of pictoral illusions 
befitting the ethereal beauty of the music. The rocks are true rocks ; 
the clouds are true clouds ; the subsiding of the storm, the setting 
sun, the moon, and the early stars bear a legitimate resemblance to the 
natural phenomena which they are intended to suggest. When 
Oberon was first revived no time could be spared for these small 
matters ; but now that they are accomplished, the fairy opera of Weber 
has the greater chance of remaining a highly attractive feature in the 
repertory. The cast of Oberon differs in several important particulars 
from that of last year. It seemed hardly probable that a worthy 
substitute should be found for Madame Alboni in the part of Fatima, 
but that worthy substitute lias actually been found in Madame 
Trebelli^ who sings the two delicious airs, " A lonely Arab maid " and 
" Oh Araby, dear Araby !" (we prefer Mr. Planch^'s original English 
titles), and the not less lovely duet with Reiza, ^ Ah, happy maid,*' as 
well as Ifadame Alboni herself. To sing them better were impossible. 
Signor Oardoni, though possessing neither the dramatic fire nor the 
physical force which Mr. Sims Reeves brought to the music of Sir 
Huon, more than satisfies every one by his thoroughly poetical reading 
of the part ; and even in the trying seena, *< Oh 'tis a fflorious sight,*' 
siogs with a spirit and animation not to be denied. Mdlle. Grossi*s 
rich contralto tones are favorably h^rd in the music of Puck — ^in 
which character she replaces Madame Trebelli as Madame Volpini 
replaces Miss Bose Hersee in that of the Syren. Signor Allessandro 
Bettini, M. Gassier, and Mr. Santley retain the parts of Oberon, 
Babekan, and Sherasmin, which it wotud be impossible to confide to 
more efficient keeping. The romantic and brilliant overture, and all 
the orohestral accompaniments, are nobly played by the band which 
Signor Arditi directs so well and which so well deserves a competent 
director. The fairy chomsea-^mong Weber^s happiest inspirations — 
and Uie finsles, for the greater part, leave nothing to desire ; while the 
most prominent concerted piece — the justly celebrated quartet, 
•<Over the dark blue waters" (for Reiza, Fatima, Sir Huon, and 
Sherasmin)— is irreproachably given by Mdlle. Tietjens, Madame 
Trebelli, Signor Gardoni, and Mr. Santley. Altogether the reproduc- 
tion of Oberon is a credit to Her Majesty's Theatre. 

M. Gounod's MireUle (or MireUa) is slowly and surely making way. 
Built upon a subject rather lyrical than dramatic, its truth of expression, 
and consequently its claim to sympathy, must be found in the music, 
which every additional hearing renders not only more familiar but 
more attractive. Such charming pastoral tunes — as brief as charming 
— have rarely been composed; so exquisite a musicar idyll, on the 
whole, as ranlv imaginea and completed. Had M. Gounod possessed 
the "hnffue AaZems *'-^the power of development— which enabled 
Mozart to give birth to " Voi che sapete " and Rossini to the *' Willow 
Song " in Otdlo, he would doubtless be entitled to rank higher than 
he does as an absolute melodist ; but, on the other hand, he would not 
be what he really is— the most gifled and intellectual representative of 
the existing French school. In short, he would not be M. Gounod, 
whereby the musical art would have lost a peculiarly graceful and 
peculiarly national idiosyncrasy. The French genius is essentially 
epigzammatic; and M. Gounod, in his way— notwithstanding his 



psychological leaning towards Meyerbeer, the most edectio, musical 
genius of his time, who could no less readily have identified himself 
with Italy^ or with Germany, had it met his views, than he identified 
himself with France— is as thoroughly French as Boieldieu, the Franch 
Mozart, or Auber, the French Bossini. M. Gounod, indeed, is more 
French than M^hul, the most earnest— and (we do not say beoauee) the 
least French of all French composers. MireUle follows exactly the 
same principles as Faust; and, though founded upon a subject so 
different in all respects--as different as the purely idyllic can be from 
the puiiely dramatic— it is, in our opinion, quite as genuine, and, or 
we are much mistaken, will, in the Ions; run, prove qmte as successful. 
The two hearings of this genial and beautiful opera— so effectively 
put upon the stage, with the chief personages so admirably represented 
by Mdlle. Tie^ens, Madame Trebelli, Mdlle. Reboux, Signor Giuglini, 
M. Junca, M. Gassier, and Mr. Santley, and the orchestral and daoral 
parts, as important in their way as the solos, trained to such perfection 
under the presiding influence of Signor Arditi— have been perhaps 
more interesting than any other incidents connected with ** the sup- 
plementary season.*' 

Of the still absorMng Fauett and the eternal Jl Trooaiore (given on 
Saturday nighty nothing need be said. The reproduction of Donizetti's 
Lucrexia Borgia^ however— which drew an immense audience — was 
remarkable on more than one account. The Luerezia of Mdlle. 
Tietjens is one of the grandest assumptions of that admirable dramatic 
singer ; the Maffeo Oraini of Madame Trebelli, with the never-tiring 
brmditi — ** II segreto per esser felice " — is the nearest to Alboni's 
of any in our time ; while Signor Giuglini sings the music of Gennaro 
with a grace and sweetness not easy to surpass. But most interesting 
of all on the present occasion was the Dujre Alfonso of Mr. Santley 
— ^which, as a first performance of a vexy arduous and important char- 
acter, can scarcely oe over-extoUed. Mr. Santley's improvement as an 
actor has of late elicited frequent notice ; and we were by no means sur- 
prised that it should be exhibited under an exceptionally strong light, 
m such a character as that of Lucrezia's treacherous and revenffeful 
husband. But, further than this, for the honor of our excellent 
English barytone, it deserves to be recorded that the music has never 
been sung so uniformly well as by Mr. Santley since Tamburini, in his 
prime, first performed the part of Alfonso in England. The " aria 
tttntrada,** as it is called, aithouffh the Duk* Mm already appeared in a 
gondola ( Prokaue) at the intenaew between Luerezia and Gennaro— 
was a superb display of energetic vocalization, meriting all the applause 
it obtained ; while the duet with Luerezia, in the next act, and the 
famous trio, during which Gennaro unconsciously drinks from the 
poisoned cup, were as effective from a dramatic point of view as in a 
vocal sense they were refined. 

The programme of the present week (the last) comprises Lueia di 
Ijammermoar (to-night) ; Luerezia Borgia to-morrow ; Fauet^ Thursday, 
and an opera, not yet named, for Saturday, when the theatre will close. 



MR. ALFRED MELLON'S CONCERTS. 
THE OPENING NIGHT. ^^ 

( Timee-^Aug. 9.) 
No sooner are the doors of Covent Garden Theatre closed upon the 
Italian operatic singers than they are opened wide again to admit lir. 
Alfred Mellon, who this year— like the last and the year preceding— 
announces a series of Promenade Concerts for the recreation of London 
and its visitors in the summer months. For such lovers of muiio 
as are unable to take a trip to the Continent, or a tour in the Lakes or 
Highlands, or even to get a month of seaside bathing, these entertain- 
ments are a real boon ; and now that a general belief prevails in their 
uniform excellence, they have every chance of becoming a permanent 
institutioo. The house on Monday night, both on the stage and in 
the 'i auditorium," presented lust the -same appearance as last vear ; 
and the continuance of Mr. Edward Murray, so long experienced and 
so universally popular, at the head of his peculiar department, is a 
guarantee that nothing wiU be overlooked that can possibly conduce to 
the comfort and convenience of the public. The orchestra, on the 
colossal scale of previous years, is, as might have been anticipated, 
effective in every department. A test of its quality was offered at the 
very outset, the first piece in the programme being the magnificent 
overture to Leonora^ the third of the four which Beethoven composed 
for FiddiOy and the one he himself preferred before any of the others. 
Again, in Mr. Mellon's own dashing overture called Marguerite 
(written, it may be presumed, from its theatrical character) for some 
piece bearing that title) ; then in the superb festive March from M. 
Gounod's opera, La Beine de Saba; and, lastly, in Auber's ridi and 
sprightly prelude to his Chinese opera, Le Oheoal de Breme^ the 
admirable efficiency of the troop of mstmmentalists was thoroughly 
established. Most interesting of all the purely orchestral performances, 
however, for those who take pleasure in watching the progress of 
music in this coontiy, was a selection from the MS. sympbooy of Mr^ 



Digitized by V^riOOQlC 



5U 



THE MtJSlCAL WORLD. 



[Aug, 13, 1864. 



John Francis Bamett, which was received with such diatingpshed 
&vor this season at one of the concerts of the Musical Society of 
London. The selection included the two middle movements— an<ton& 
and Bcherzo — i^yed so carefully and well as 1o make us regret to lose 
BO good an opportunity of hearing the entire work. Mr. Bamett, 
however, like other young aspirants, must advance by degrees ; and it 
was better for him to get a portion of his clever symphony jjerformed 
than to have it laid on the shelf untU one of those opportunities occurs 
which, in behalf of siichambitious endeavors, are unfortunately very rare. 
The rest of the concert was composed of miscellaneous materials, 
mostly of the ad eaptandum sort. The strength of the orchestral 
•oloists was exhibited in a well-made quadrille by Mr. Coote, founded 
on some of the most captivating themes of M. Gounod's charming 
opera of Mireille ; and still more prominently in the so-called ** selection*' 
(which ought rightly to be denominated oUa podrida) from Verdi's H 
Trovatore, It is enough to state that Mr. R. S/ Pratten was flute, BI. 
Barret oboe, Mr. Lazarus clarionet, Mr. J. Winterbottom bassoon, Mr. 
H. Young piccolo, Mr. C. Harper horn, Mr. W. Winterbottom trom- 
bone, Mr. Hughes ophicleide, and Mr. Lev^ comet-it -pistons. All 
these eentleman, it need scarcely be said, are acknowleaged masters 
of their instruments. Then we had solos, altogether independent of 
quadrilles and fantasias. The most important of these was Herr 
Ernst's splendid farUasia upon the March and " Willow Song " in 
Bossini's OtellOt which stands at the very head of classical bravura 
ftteces — chastely, nobly, and at the same brilliantly executed by Mr. 
Carrodus (Herr Molique's best pupil), the 3*oun^est and bidding fair to 
become the best of on r recognised £ nglish solo violinists . This fine per- 
formance was enthasiastically applauded, and the performer called for 
at the conclusion. The pianoforte solo was the fantasia upon Lucrezia 
Borgia, recently spoken of in a notice of Signor Ciabatta's concert at 
St. James's Hall. The performer, too. was the same — namely, Mdlle. 
Marie Rrebs, who if, as stj^ted, only 12 years of age, is'indeed a 
prodigy. Such unfailing mechanism is too seldom attained ; and it is 
only to be regretted that it should have been Qomparatively thrown 
away upon so prolix, lengthy, and uninteresting a piece. JCxecution 
like that of Mdlle. Kreba, however, would excite admiration under any 
circumstances, and the unanimous applause she elicited was most 
legiiimately earned. No doubt Mr. Mellon will speedily bring for- 
ward Mdlle. Erebs (who, we believe, is engaged for a series of perfor- 
niaucex) in something better calculated not only to excite the many 
but conciliate the few. Next we had a solo.spbti an instrument entitled 
the *• Turcophone " (evidently one of the numerous Sax-lubic family), 
upon airs from the Sonnambula^ executed (in Oriental costume) b}' a 
gentleman bearing the name of Ali Ben Sou -alle-— formerly, if we are 
not mistaken, a member of the late M. Jullien's famous band — so 
much to the gratification of the audience that they forced him to 
repeat the last movement. lastly, Mr. Levy gave his vivacious 
'• Whiriwind polka," upon a comet-li-pistons said to have been made 
expre«uily for him by the well- known Antoine Courtois — which, as Mr. 
Levy has recently been performing in Paris with success, is probable 
enough. Mr. Levy was received with the accustomed warmth, and 
his piece being encored, he substituted the ** Last Rose of Summer" 
— a melody never unwelooroe, whether from voice or from instrument. 
The singer was Mdlle. Carlotta Patii, whose extraordinary and 
wholly exceptional feats of vocalisation — ^in the bolero from Let Vdpre» 
Siefiiennu (which Verdi composed for Sophie Cruvelli), in. the famuiar 
polaeea fh>m / FuriUmi, and m the never-tiring variations, by Benedict, 
on L§ Oarnaval de Vtniae — absolutely transported her hearers^ They 
applauded and recalled her every 'time with an enthusiasm out of 
bounds, and would fitin have heard each of her pieces twice over. 
The fair cantatriet, nevertheless, would only consent to sing again after 
tiie Oarnaval, the ** encore " awarded to which there was no politely 
lesiflting. So Madlle. Patti came back to the orchestra and gave^— not 
the Camaval, bu( the Scotch ballad, " Comin* through the rye," with 
a quaint-and sly humor which excited the mirth of the audience just 
as her more elaborate efforts had excited their astonidiment. 

At the end of the first part the National Anthem was played ; and 
at the termination of the concert (which concluded with the late 
Mr. Bache's spirited galop, entitled the Orchestral Union) there was 
a general call for Mr. Mellot). The house was full, the promenade 
especially being crowded. 

Baths of Lucca.— (i?Vo»i a Corremondent), — The concert of Mr. 
Walter Backe took jplaoe last week. Ttie programme was varied and 
well chosen, ^e coneerticia wns ably assisted by Signer Papini (a 
most promising young violinist), in Beethoven's Daet in £ flat. Some 
Moroeaux of the modem school followed, which gave great pleasure, 
particularly a ballad of Choj>in's which received great and well-merited 
ajiplauM. Signer Giuseppe Ducci presided at the pianoforte. 

Mb. feBAMK HoMBBfthjT well-known Professor, has completed an opera 
to a Ubratto by Mr. Jo]hn Oxenford, which ** audits " tells us we shall 
bave a chance of hearing during the forthcoming campaign of tlie 
Opera company. 



ROBERT SCHUMANN IN LEIPSIC AND CLARA 
WIECK.* 

(^(hiUinued from page 500.) 

The following year, 1834, is calibd by 'Schumann himself **the 
moBt remarkable year of hia life ;^^ it was, indeed, a most eventful 
one for him. In the foreground stands the establishment of the 
Neue Zeitschnft /Ur Musik^ concerning which he speaks as follows 
in the preface to his Collected Works published in 1854 : *^ At the 
end of 83, a number of rather young musicians used to meet 
every evening, as if by accident, in the first place for social inter- 
course but no less for the interchange of ideas on art, which for 
them was the meat and drink of life. It cannot be afl^med that 
the state of musical matters in Crermany at iJiat period was a very 
satisfactory one. Rossini still reigned supreme upon the stage, and 
o»the piano almost exclusively Herz and Hiinten. And yet not 
many years had elapsed since Beethoven, C. M. von Weber, and 
Franz Schubert had lived among us. It is true that MendelsBohn's 
star was in the ascendant, and wonderful things were heard of a 
Pole named Chopin — but it was not till afterwards that these two 
exerted any permanent influence. One day, the hot-headed young 
disciples of art suddenly said to themselves : Let us not look idly 
on ; let us set about improving things, and causing the poetry A 
art to be once more honored. This was the origin of a Ntwt 
Zeitschnft ftir Musik.'' 

With regard to the tendency of the publication, Schumann ex- 
pressed himself very clearly in its columns on several occasionfi. 
^* Our line of opinion was settled off-hand. It is simple and as 
follows : We were to remind people as emphatically as we. could 
of the olden time and its worlm, and to call attention to the fact 
how only at such a pure source new art-beauties could be strength- 
ened ; we were thus to oppose as inartistic the most recent period, 
because all its efforts tended only to the increase of material 
virtuosity ; and lastly we were to assist in hastening to bring about 
a new and poetic period. ** Further on he says : ^^ The etevation 
of Grerman taste by Oerman art, whether l^ a reference to the 
great old models, or by fostering young men of talent — such an 
elevation may now be regarded aa the goal of our efforts. The 
red thread which spins forth this idea nught, certainly, be found 
in the history of the ^ Davidsbilndler,^ an association oi which the 
members, though coming forward in a rather fantastic fashion, 
were recogmsea less by any external mark of distinction than by 
inward similarity. They will, also, endeavour in the future, to 
erect a dam against mediocrity, by word as well as by deed. If 
this was formerly done in an impetuous manner, let people place in 
the other scale the warm enthusiasm with which all that wasreallj 
talented and really artistic was on every occasion distinguished. 
We do not write for the purpose of making tradesmen rich ; we 
write for the purpose of doing nonor to art." 

It may be said that, in the Neue Zeitschrifl fitr Afusiky theriung 
generation waged war against that which had outlived itself; 
romanticism and geniality were opposed to pedantry and 

Sigtailism. Viewed in a polemical light, the enterprise notfesseda 
egree of importance not to be denim, and consequently created 
among the public that sensation which it deseryed. The 
Zeitschrift performed in the domain of music^ a part oomnktelx 
similar to that played in the domain of literature by Rnge^s 
Jahrbucher^ which had sprung into existence a few yean 
previously. While the Jahrbacher cut off the pigtail of the old 
literary periodicals, Schumann^s journal — ^to name only one of the 
publications which were its artistic antipodes— directea its attach 
against the no less bepigtailed criticisms of the AUgemeiM Mud- 
halische Zeitung, 

This paper appeared for the first time on the 3rd October, 179S. 
It was published by Breitkopf and Hartel, Ijdpsic, and that 
estimable gentleman, Friedrich Eochlitz, was the editor from ita 
first establishment to 1827. It cannot be denied that the paper, 
one of the oldest, nay for a long time the sole periodical, of the 
kind in Germany, could boast of having enjoyed a period of great 
prosperity. It was conducted by RocUitz with a vast amount d 
technical knowledge and warm enthusiasm for our classical com- 
posers, and its editor's opinion, intelligent and moderate aa it 
always appeared to be, was, during a long series of yeare, regarded 

♦ From a new work entitled: Zur Oesekichte det Theaters tmd dir 
Mutik m Leipzig, by Dr. EmU Kne3chke. (F. Fleischer, Leipnc) 



Digitized by V^riOOQlC 



Aug. 13, 1864.] 



THE MUSICAL WORLD. 



515 



as an authority in the world of art. But the worthy gentleman 
had arrived at a yery advanced age. He retired, therSore, from 
the editorship, and Grottfried WUhelm Fink (author of many 
historical and theoretical works on art, and subsequently Lector 
publicum at the University) took his place. Despite his various 
good qualities in other respects, it must be said of Herr Fink, that 
he was attached far too narrow-mindedly to the Past, and that, 
even if he possessed a proper appreciation of modem times, he had 
not, at any rate, the love and unprejudiced opinion suited to them. 
The fiery youths, boiling over with enthusiasm, were, perhaps, 
offensive, in life as in art, to older gentlemen, who had become 
cooler and more cautious — ^hence the calm reserve, or the pedantic 
carping and airs of superiority of the latter towards the former, 
ana hence, too, on the other hand, the bold and defiant front 
shown by the younger combatants, who not unreasonably felt 
affronted, and continually kept hammering away on the justice of 
new ideas and new views. 

The editors and principal contributors to the Neiie Zeitsckrift 
jUr Muiik were,* from the commencement, besides Schumann and 
Wieck, Ludwig Schunke, Julius Knorr, and Carl Banck. The 
first of these three, a son of Gottfried Schunke, the universally 
celebrated French horn player of his day, was bom at Cassel, on 
the 2lst December, 1810. When only in his sixth year, he had 
pianoforte lessons from his father, and played in public as a child. 
When lie was eleven, he made his first professional trip to 
Darmstadt, Hanover, Leipeic, etc., and his playing met with 
unanimous approbation. This was the case in a still higher de- 

See, on his making a second journey, which he did, in 1824, to 
unich, Vienna, etc. In 1828, his father took him to Paris, 
where he remained till 1830, still seeking, and finding, improve- 
ment, from Kalkbrenner in pianoforte playing, and m>m Reicha 
in composition. After staying a year and a half in Stuttgardt, 
whither, he had proceeded on leaving Paris, he went to Vienna, 
where he edited several works, gave some most successful con- 
certs, and remained till 1833. He then went to Leipsic, and 
formed a friendship of the dosest nature with Schumann, in con- 
junction with whom he founded the Neue Zeitschri/l far Musik. 
Unfortunately, however, he died of consumption as far back as 
the 7th December, 1834. In him was prematurely lost an amiable 
man of more than ordinary talent.- Julius Knorr was bom in 
Leipsic itself, on th^ 22nd September, 1807, where he attended 
the Nioolaischule, and afterwaras studied theology. In 18^27, he 
applied himself entirely to music, having, however, previously 
attained, under Wilhehn Neudeck, considerable proficiency on the 
piano. He afterwards appeared most successfully in public as a 
pianist, and it wasj by the way, reserved for him, at the concert 
of the 27th October. 1831, to be the first to execute a work by 
Chopin in the Grewandhaus. He wrote, also, several theoretical 
works, and, as we have already said, had a share in editing the 
Neue Zeitachrijt fur Musik, In 1862, he died in our town, gt^tly 
esteemed as a pianoforte teacher. — ^With regard, lastly, to Carl 
Banck, he was bom on the 27th May, 1811, in Magdeburg, and 
played, from his sixth year, the piano, to which he afterwards 
added the organ, and theoretical studies. In the middle of 1827, 
he went to Berlin, where he had the benefit of lessons from Ber- 
nard Klein. He enjoyed, also, the guidance and counsels of the 
worthy old Zelter, as well as of Ludwig Berger. A journey to 
Italy, in company with his poetical friend, Alexander bimon, 
matured Ids lirst work : the Liederkreis atu ItaUen. After this 
he lived, for many years again, actively productive, in his native 
town, till he proceeded, in 1834, to Leipsic, his principal object 
being to pubfish several of his Compositions. But he, too, very 
soon became mixed up in the matters for which Schumann and 
his confederates in art interested themselves. He took an active 
part in the editorship of the new paper, till he went, in 1840, to 
Dresden, where he has fixed his permanent residence, writing all 
the theatrical and musical criticisms in the Dresdner Journal Of 
his later works, we may mention more especially his music to the 
poems of Claus Groth and Lenau. 

This is the place to speak of the idea— exactly agreeing with the 
foundation of the paper, and appertaining to Schumann-— of the 
' ^ Davidsbiindlerscliaf t.^' He himself says concerning the latter, in 
the pr^aoe already cited, to his Collected Works : ^* And here I 
must mention an association which was more than 'secret, for it 
existed only in the head of its founder, namely, the asBOciatioQ o{ 



the *■ Davidsbiindler.* In order to give utterance to various views 
on art, it appeared not unsuitable to invent artistic chanu^ters op- 
posed to each other. Of these, Florestan and £usebius were tne 
most important ones, while Master Raro stood as a medium between 
them. The ^ Davidsbtindlerschaft ^ went throngh the paper like a red 
line, connecting, in a humorous way, * trath with fiction.* So writes 
Schumann. The name of the association, which, as we have 
already said, existed only as an idea, is, of course, an allusion to 
the Biblical history of the defeat of the Philistines by David. 
Florestan and Eusebius were Schumann himself und(^ two differ- 
ent aspects. The former represented the vigorous and passionate* 
the latter, on the other hand, the wild and dreamy side of his 
disposition. Raro was intended for Friedrich Wieck. Under thQ ) 
accompanying forma of Serpentipus and Jonathan, Banck and 
Schunke were meant. As far back as. 1836, Schumann wrote 
very happily to Heinrich Dorn as follows: — ^^ Florestan and 
Eusebius are my double nature, which I, like Raro, would fain 
blend into a man." We all know that the id«k of the ^* Davids- 
biindlerschaft" is reflected in many of our friend's compositions 
dating from this period, as, for instance, is the Carnival^ in the 
separate inscriptions: ^^ Florestan," *^ Eusebius," etc., and the 
concluding march of the ^^DavidsbUndler** against the* '* Philis- 
tines,'* as well as in the ^^ Pianoforte Sonata, dedicated to Clara, 
by Florestan and Eusebius." 

Everyone knows who this Clara was: the daughter of- his 
teacher and friend, Friedrich Wieck, and afterwanls his wife. 
It is trae that in 1834, Schumann was on terms of close frendihip 
with a young lady, Ernestine von Fricker of Asch. She had come 
in the April of that year to reside with Wieck in Leipsic, for the 
purpose of perfecting herself, under his euidanco, on the piano. 
"It was there," says Wasielewsky, "that Robert became ac- 
quainted with her, directly after her arrival. He quickly con- 
ceived a passionate admiration for her, which was f uUv returned, 
though it did not end in a lasting connection, as Schumann, 
acconiing to his own confessions, had for a time intended it should. 
If we can believe the description of those who knew Ernestine, 
she was neither particularly handsome, nor unusually gifted intel- 
lectually. It appears, indeed, that Schumann was attracted simply 
by the bloom of youth and the power exerted bj material charms, 
and that it was only the poet in him that behoved her endowed 
with those qualities which we are always so fond of pre-supposing 
in the object of our affection, though they might not exist in the 
slighest degree." The connection Mtween the two was dissolved 
in a most friendly manner. Some years later, namely, in January. 
1836, our friend's heart was filled with a second and profound 
passion for a truly poetical and spiritually feminine nature, his 
future wife, Clara Wieck. 

(To be conXinued.) 



SHAKESPEARE IN HIS RELATION TO MUSIC. 

A Leeturt Miv^rtd on lh$ 23rd April, 1864, btfor4 tht " BtrHMT Tonkwuatr- r^rtte. 
By EMIL NAUMANN.* 
{Continued from Pag* 601.) 
Faktaff says of the lean Justice of the Peace, Shallow : ** Tbd 
case of a treble Jututhoy was a mansion for him, a court.'* (Here 
we have a glimpse of Shakespeare's jpossessing a particular know- 
ledge of separate instmments.) On uiotner occasion, Falstaff 
says : " 'Sbloodv I am as melancholy as a gib cat, or a lugg«) 
bear.— '/Vines Hen. Or an old lion; or a lover's lute.— ^a(r. 
Yea, or the drone of a Lincobshire bagpipe."— This is a pnoof 
that Shakespeare did not entertain less repugnance than any of os 
for the music played at fairs or ground upon organs, and of which 
I, at least, feel such a horror, ^ng and music play a wonderfully 
spirited part in that scene of Twelfth Night where Sir Toby, Sir 
Andrew, and the Clown, in their cups, horrify ^dl ears. ^^ Sir To, 
Shall we raise the night-owl in a catch that will draw three souls 
out of one weaver? Shall we do that?-^S»r And. Ah' vou love 
me, let's do it ; I am a dog at a catch." And further on : 
" Malvolio. My masters, are you mad? or what are you? Have 
you no wit, manners, nor honesty, but to gabble like tinkers at 
this time of night ? Do ye make an ale house of my lady's house 
that ye squeak out your coziers' catches without any mitigation or 
remorse of voice ! Is there no respect of place, persons, nor time 

* TraniUted eipresdy for the MxjsiC4i< Wobld, by J. V. BBiDancur. 

Digitized by vriOOQlC 



516 



THE MUSICAL WORLD. 



[Aug. 13, 1864. 



in yon?— 5tr 7o. We did keep time, sir, in our oatchee. Sneck 
up." — But Shakespeare has also assigned an elevated position to 
music in this same piece of Twelfth Nioht, Never, perhaps, has 
the close affinity ol music with everything in the shape of love 
and amorous mdancholy been more touchingly depicted than when 
the Duke says to his Musicians : 

^ If miuic be the food of bve, play on ; 
Give me exoees of it : that, nirfeiting, 
The appetite may aicken, and lo die. — 
That strain again ; it had a dying fall : 
0| it came o'er my ear like the sweet Soath, 
That breathes upon a bank of violets, 
Stealing and giving odour.*' 
Of: 

" Give me some musio 

that piece of song, 

That old and antique song we heard last night ; 
Methong^t it did reUeve my passion much, 
More tiun light airs and recollected terms 
Of these most brisk and giddy-paced times." 

Music plays an exceedingly important part in Cfymbeline, ^e 
loutish Ciot^ says to the ]£isicians who are about to serenade the 
fair Imogene : *^ Come on, tune : if you can penetrate her with 

your fingering, so; First a ver^ excellent concerted 

thing ; after, a wonderful sweet air, with^adnurable rich words to 
it, and then let her consider." Thu is followed by tJie charming 



"Haik! hark! the lark at Heaven's gate tings," 
which Franz Schubert set to music. Cloten then continues : *^ So, 
get you gone ; if this penetrate, I will consider your music the 
better ; if it do not, it is a vice in her ears, which horse-hairs and 
cat-guts, nor the voice of unpaved eunuch to boot can never 
amend.** Fidde's death is announced by solemn music from the 
cave of Belarius. Subsequently, the two royal youths propose to 
sing a requiem for the beautiful departed one. 
« AaviajLous^And let us, Polydore, though now our voices 

Have got the mannish crack, sing him to the ground. 
GuinxBivs— I cannot sing ; I'll weep and worn it with thee : 
For notes of sorrow, out of tunb, are worse 
< Than priests and fknes thai lie.** 
The roirits that appear to Posthumus are, also, announced 
with ^^ Solemn Music,^* and take part in a song.— In Lear, 
Cordelia has her father awakened — uter she has found him again 
—with gentle sounds, because the Physician has so ordered, in order 
to 

« Core this great breach in his abused nature 1" 

and to '^ wind up " *^ the untuned and janing senses." In OtheUof 
Doademona breathes forth her anxious jnreeentimentB in the ^' Song 
of the Wilbw," which her mother^s maid sang when her brer left 
ber. 

*< An old thing 'twas, but it expressed her fortune, 

And she died sinj^g it : that song^ to-night, 

Will not go from my mind." 

In Macbeth, the three soenea of Hie witdies ave accompanied with 
singing and dancing. The eight kings who pass in the vision 
before Macbeth, are made bv l^akespeare to appear to the sound 
of " Hautboys." By this, he evidently wishes to imply that all 
he desires is the soft and spiritual sound of wooden wind instru- 
ments. It is, by the wajr, very remarkable how Shakespeare 
characterises the various situations in his works by his sunple 
directions as to the instruments. Thus, at the banquet given by 
Wdsey to the King and the beautiful Anna Boleyne, and at which 
joking, love, and tenderness pky so important a part, there is 
again a stage direction for the employment of '* hautboys.*' For 
grand actions of state, on the contrary, for processions, and so 
forth, as well as for the solemn entries of generals and luncs, we 
r^;ularly have ^* trumpets," or *^ a flourish." In Hamlet, Polonius 
says to Aeynaldo, whom he sends to his son 

'* And let him ply his music." 
Tune lightens up the touching madness of Ophelia, and it is 
scarcely possible to conceive anything more touching than the 
description ol her death in the stream : 

* ^ Her clothes spread iHde ; 
And, mermaid-like, awhile tkey bore her up : 
Which time she rhtintiwi snatches of old tones • 



As one incapable of her own distress, 

Or like a creature native and indued 

Unto that element : but long it could not be, 

Till that her garments, heavy with their drink. 

Pulled the poor wretch from her melodious lay 

To muddy death.*' 

The manner too is significant in which music is mentioned in the 

Taming of the Shrew : — 

^* HoBTKNSio— But, wrangling pedant, this is 

The patroness of heavenly harmony : 
Then give me leave to have prerogative ; 
And when in music we have spent an hoar. 
Your lecture shall have leisure for as much. 

** LuoxNTio— Preposterous ass ! that never read so fiur 

To know the canae why musio was ordained 1 
Was it not to refresh the mind of man, 
After his studies or his usual pain? 
Then give me leave to read philosophy, 
And, while I pause, serve in your harmony.** 
In Much ado about Nothing, Benedidc says, while Balthaar is 
playing, ^^ Now, Divine air ! how is his soul ravished I Is it not 
strange that sheep's guts should hale souls out of men*s bodies? 
Well, a horn for any money, when all's done." And when the 
fool has sung, and b«en overwhelmed with praise by the othen, 
-Benedick suddenly exclaims, as we ourselveB should sometimes 
like to do in the society of amateurs: *^An he had been a 
dog that i^ould have howled thus, they would have hanged him!" 
—In As You Like It, where song succeeds song, the eccentric 
Jacques says to Amiens, when the latter has miished singing, 
^^ Afore, more, I pr^y thee, more. — Ami, It will make you melan- 
choly, Monsieur Jacques.— /acg. I thank it. More, I pr^y thee, 
more. I can suck melancholy out of a song, as a weasel sucks 
eggs. More, I pr^y thee, more.*' On another occasion, this same 
Jacqes observes : *•*' 1 have neiilier the scholastic mdanch^, which 
is emulation, nor the musiciau*s, which is fantssticaL" The sing- 
ing Page in the same piece says : ^' Shall we clap into it roundly, 
without hawking, or spitting, tnr saying we are hoarse ; which are 
the only prologues to a bad voice?"— We will allude merdy in the 
most cursory manner to A Midsummer NighVs Dream, and iti 
fury dances, which MendelsBohn so re-poetised, in a manner as 
gentle as it wss cleverly musical ; to the Wint^s Tale^ and the 
songs of the rogue, Autolyculs, the Shepherd^s dances, and the 
awiucening into life, accompanied with music, of the wonderful 
statue of Hermione ; as weU as to the varied effects of music in 
The Tempest, of which effects Shakespeare himself makes the most 
appropriate remark that can be made, when Caliban OTclaiins : — 
^ The isle is fbll of ninses, 
Sounds, and sweet airs, that give delight and hurt not. 
Sometimes a thousand twaugliog instruments 
Will hum about mine esrs, imd sometimes voices, 
' That if I then had waked after kmg deep, 
Would midce me sleep again.** 

Lastly, I cannot suppress something Shakspeaxe sayi aboat 
us musicians, though it is not over-flattering, for it proves, at any 
rate, that the great poet knew people like us. In the First Pait 
of Henry IV,, Hotspur, wishing to excuse the fickle and change- 
able Glendower, says to his wife : 

^ And 'tis no marrel he's so humorous, 

By'r Lady, he's a good musician." 

To which Lady Percy replies : '^ Then should yon be nothing but 
musical, for you are altogether governed by humours.'* 

But this .must suffice. We should fill a book if we continued ss 
we have begun. So much, I am bold enough to hope, has already 
become clear to you all, namely, that as regards the innermost 
tones of the heart, a jxrofound intelligence and appreciation of the 
effects and of the significance of music, or, finally, most undoubted 
musical knowledge, and the practical attainments belonging to it, 
no other poet is to be compared with Shakespeare. This is the 
more important, because in Shakespeare^s time music was in a very 
backwazd state ever^here, especiiuly in England, and was limited 
to spheres very foreign to the great mass <n the public, or existed 
onfy in national songs. To this must be added that the EngUdi 
are obe of the most unmusical, and most musically-unproductive 
nations in the world. 

(^To be continued,) 



Digitized by 



Google 



Aug. 18, 1864.] 



THE MUSICAL WORLD. 



517 



MUSIC AT NEW YOEK. 

• New Tobk, July 25, 1864. 

The arrangementB' for the oomiog opera season ace rendered 
Tcnr dnbious by the finftncial condition of the country, and the 
hign price of gold, in which circulating medimn f ore^pa artists 
propeny demand to be paid. Max Maretzek will not yiut Europe 
this summer, remaining at his pleasant country seat at Staten 
Island. He informs me, however, that his engagements already 
decided include, for tragic prima donna, Carozzi-Zuochi, a mature 
and experienced lyric-artist, better known in Borne and Florraoe 
than anywhere else ; Brambilla, a daughter, it is said, of the 
celebrated contralto; Maasamiliano, a tenor not at all known 
here, but witli a good reputation in South America ; Bellini, an 
admirable baritone who sang here last season ; Frida de Gebele, 
a contralto resident in this city, who has never yet appeared on 
the stage; and Miss Kellogg to sing in Faust — for she is M« 
recognised Margherita in this country, as Adelina Patti appears 
to be in England. 

An y.ngliah Opera Company, including Madame Borchard, as 
soprano, Uastle, tenor, and Campbell, oaritone, is performing, 
wmi fair success, at the Olympic llieatre. Balfe's Hose of 
CastUU has been produced this week, for the first time in 
America, and was receiTed with considerable acceptation. Castle 
sings the ^'Muleteer^s Song " very well, but has a great deal of 
teouble in snapping his whip — an accomplishment in which Harris 
son (when he sang the opera with Louisa Pyne) was certainly 
yery expert. 

Maooleni has gone to Mexico with his Opera company, for the 
delectation of the Court of the Emperor^MaTimllian. 

There is an ntter dearth of concerts, or other mnsioal attrioti0ns 
here at present ; but it is very probable that the coming ^^ fall " 
seMon will be musically brilliant. There was '* a sound of revehry 
by night " on the very eve of Waterkw. Tbovatob. 



MUSIC AT TUMUT.* 
The seventh concert of oar Harmonic Society was given at Jones' 
Auembly Boom, on Tuesday evening. The room, mdependont of 
members and their fkiends, was tolerably well filled, and the nnmbsr of 
tickets taken at the pablio entrance, in the &oe of the unfounded 
nimottrs, is a proof that the efforts of our amateurs to afford an i^gree- 
able entertainment to the people, without sending the money out of 
the distriot^ are appreciated. The performers wereMrs. and the Misses 
Ijarge, Masters H. and O. Head, Messrs. Edmund Body, McOntcheon, 
Holmes and Elworthy; the conductor, Mr. Alpen. The concert 
opened with an instrumental selection from the works of the ponnlar 
composer Sydney Smith, which was followed by Locke's muac to 
JH^adhi In Balfe's song, •* The Heart bowed down," though lome* 
what out of tune, Mr. McGutcheon was eneond. Sydn^ Smith's very 
gnceful and sparkling piece entitled The JEoUan Harp was played in a 
masterly style by Mr. Alpen. *• The Singing Lesson" was well song 
fay Miss H. Large and Mr. Alpen. " Good News tern Home," with 
refrain (Christy's Minstrel's), Was well received, and ** Sweet Spirit 
hear my Prayer," by Mrs. Large, listened to with breathless silence. 
The trM, '* 'fhis magic wove scarf," from The Mountam S^ph, en- 
trusted to Miss H. Large, Messrs. Elworthy and Alpen, terminated the 
first part of the concert. The second part opened with a brilliant doet 




Mr. Alpen sang *' The Gambler's wife." To vary the programme, a 
eomie song was introduced by Mr. Edmund Body—" YiUikins and his 



^ isong ^ - , , . 

Dinah ** in ehsraoter— which, as may be coiyeotured, kept the room in a 
continual titter, especially the juveniles, who were evidentlv delighted 
with the singer's " make up." In response to the *< encore ^' Mr. Body 
reappeared and gave a purtine warning to " All voung men wot's in 
love." "Beautiful Star" (with nfram), by Miss Large, Messrs. 
Elworthy, and Alpen, pleassd the audience* much, and so did the 
pianoforte solo by Mr. Alpen. " The Elfin call," by Mrs. and Miss H. 
I^Ke, and the " Gipsy's chorus " from H l^cvatore, by the gentlemen, 
was very well sung. The last piece was the duet, " Good night.** in 
which Miss Large and Mr. Alpen acquitted themselves exceedin|^y 
well. The National Anthem then followed, and the audience 
dispersed charmed with the evening's entertainment. 

TatnTE.— Licke, the composer, died here on the 22nd of July, 
Aged 61. ^ 



* Abridfsd ttm the The Wymward Timee (New Seqth WslBa)^ 



A VOLUME OF MUSIC BELONGING TO MOZABT. 

The Grand Duchess Hel6ne of Russia, who has been i 
up to within the last few days at Carlsbad, has fo 
from that place a very valuable present to the Mozarteum at 
Salzburg. It appears that Herr von Dessauer, of Vienna, found, 
in the neighbourhood of Carlsbad, a volume of old music, with the 
heading in French : ** This book belongs to Marianne Mbiart, 
1759." The first few pages contain pianoforte exercises, written 
by Mozart's father, but towards the end of the book there are some 
ten or twelve pages, in the hand of Wolfgang Amadeus Moiart 
himself. The^r date from the years 1762, 1763, and comprise fivB 
compositions hitherto unknown, namely : 1. Allegro, U major, 
composed in Brussels, 14th October, 1763 : 2. Menuette D major, 
composed the SOth November, 1763, in Paris ; 3. Air, F major, 
composed 16th July, 1762 ; 4. Menuette Sketch, composed 11th 
May, 1762 ; and, lastly, 5 — ^which seems to be the movement of a 
study or sonata, of the same period. This composition, which is 
nearly all in demi-semi-quavers, is- taken even more rapidly than 
it would otherwise be on account of the time (allegro vivace). 
As the Grand Duchess savs in her letter she presents the book to 
the Mozarteum, because she woidd not take so costly a relic of the 
composer away with her out of the country of his birth. — ^It is a 
remarkable fact that the book contains, among other thingSi the 
original of the first movement of the Sonata for Pianoforte and 
Violin published in Paris as Op. 1, and dedicated to Mad. Victoin 
of France. . 



STILL HABPING ON THE HABP. 
7b the EUtor qfihe Musioal Wobld. 

Sxa,— The personal opinions of a self-tanght player respecting a 
school in wmch he avowedly never studied, cannot weigh with 
opinions certified by acknowledged authorities. Without a school 
what is art, and without education what is an artist? I deny that 
your correspondeni is an auriharit^ in the existing school of harp-|i]ay« 
ing, to which my remarks exclusively apply : and when I compare 
his ideas of playing with those I have been taught to follow by eTsmple 
and precept, I feel I am right in so judging: douUy so, as no remark 
of mine has been, or can be refuted in its integrity by your correspon- 
dent. There must indeed be something beyond mere difisrenoe of 
opinion in one who cannot construe a master like Bochsa, who, botii 
verbally and illuslratively has so clearly expounded his views. It is 
the especial exodlence of Boohsa's school that the harpist learns how 
to execute with firsedom and ease. When your correspondent asserts 
that the harp cannot always be supported upon the right shoulder, I 
think that a few good lessons upon that point would teach him not 
only tiiat it «m, and ehmtU do so, bat that it is indispeheMe to ensure 
a good perfcsrmanoe. Imagine the violiA In the hands of a vioUnlst, 
foUly pUdi^ to the back qf the neck 0/ the ptMer ! The sliding of the 
harp to the arm (which your correspondent auows), is, in my opinion, 
equally as ludicrous. In a word. Sir, there is suoh incongruity, mm inoli 
erroneous views taken by your correspondent as regards Erard's modem 
harp, and such a cottfutum between tne exututq school and his pecnUar 
notions of harp-playing, that it is idle to dwell upon the suljeot. 
Whatever his views are, they never will be accepted solely upon his 
MTioiM) assertions, but, as others are, by experience and its results. 
There is mors ridicule than reasoning in we rest ef his qnotatloni^ the 
proper import of which he entirely misunderstands, and the appUoation 
of which no right minded person would dream oi adopting. It is my 
firm conviction, that if my remarks were wrong, he would long ere 
this have proved them to be so. But he has not, a &ct whichleads 
me to thixik that a passing attraction to publicity for what he terms 
his modem innovations, was his principal idea in prlntinff them, though 
'< stay//* for the benefit of harpists I Your oorrespoo£nt's emphatfo 
*' wrcnff* caused me to break a silenoe I originally intended after rssd- 
ing his first attack ; and purely in true love for my instrument I wrote 
to defend it, as I shall ever do. Trafh in art as in everything is what 
'Is sought after : and I have humbly tried, and still try to seek it In 
doing so, I do not, however, hurl low ^'thoseltses," neither do I resort 
to degrading *« personalitiea" " Avaltsis," comparisons, and weighing 
of opinions, with strong reverence for education, has been my course. 
How I have succeeded let time prove. Not wishing to encroach farther 
upon your valuable space, I beg to thsnkyou heartily, Mr. Editor, for 
having kindly inserted my remarks, and now drop the snbieot with 
your correspondent. I am, Sir, your's obediently, John GHXSBiaa, 
Professor and Member & A. of Music, and principal 

Avguet 11(A, 1864. Harpist at Her Mijesty's Theatre. 

[We recommend oar ooRespandents to go to Harper^ Fsm. 
Dl9mwr PiiBBS. Ed.] 



Digitized by 



Google 



518 



THE MUSICAL WORLD. 



[Ang. 13, 1864. 



MONDAY POPULAR CONCERTS. 



OMS ETmDBXD AXTD FIVTT-SXVIDZrFH CONGEST. 



THE SEVENTH SEASOH 

OF TBI 

mo:nday popular concerts 

WILL OOMMIHOB 

eabijT in novembeb. 



KOTICES. 

To Advertibers. — Ihe Office of The Musical World is at 
Messrs. Duncan Davison k Co*s., 244 Regent Street, comer 
of Little Argyll Street (First Floor). Advertisements received 
as late as eleven o'clock A.H., on Fridays — but not later. Pay' 
TMnt on delivery. 

To Publishers and Composers — Music for Review must he for- 
warded to the Editor, care o/Messrs. Duncan Davison & Co., 
2^^ Regent Street. 

To Concert Givers.— iVb Benefit-Concert, or Musical Perfoi-m- 
ance^ except of general interest, unless previously Advertised, can 
be reported in Ihe Musical World. 

TO CORRESPONDENTS. 
H. I. NEID2IEUKI. — ^Nezt week. 

A SuBSCBiBEB OF Ten Teabs Stakdinq. — ^Will our correspondent 
allow 118 to puUiah that part of his letter which is critic^ ? 



LONDON: SATURDAY, AUGUST 13, 1864. 



FATHER SCHMIDT'S ORGAN AT ST. PAUL'S. 
1^ the Editor of the Mdsioal Wobld. 

SIR, — The old organ at the cathedral church of St. Paul* was 
built by a German of the name of Schmidt; or, ^ we 
poronounce it in English, Smith. The history of this man not 
being sufficiently known, I will just preface my description bt the 
organ with a brief account of him, as I shall have occasion in 
future perhaps to mention him again. 

An ordinance paased in the House of Lords, dated January 
4th; 1644, establishing a new form of divine worship, in which 
no music was allowed but plain psalm singing, it was thought 
necessary for the promotion of true religion that no organs should 
be suffered to remain in the churches ;— that choral books should 
be torn; — painted glass windows broken; — sepulchral brass 
inscriptions defaced; and in short that the cathedral service 
should be totally abolished. In consequence of this ordinance, 
coQegutte and parochial churches were stripped of their organs 
and ornaments: some of the instruments were sold to private 
persona, idio preserved them ; some were totally, and others but 
partially, destroyed ; some were taken away by the clergy in order 
to prevent their being destroyed, and some few were suffered to 
remain: among this number was the one in old St. Paul's 
Cathedral, built by William Beton, organ builder to King Henry 
the Eighth. The great fire happening in 1666 destroyed, among 
other churches, the old cathedral of St. Paul's, the organ perishing' 
with it. After t^e churches began to be rebuilt, and organs 
wanted for them, no organ builders except DaUans of London, 
Looeemore of Exeter, Thamar of Peterborough, -and Preston of 
York, could be found ; and these not being sufficient to supply 
the immediate wants of the cathedral and pariah churches with 
organs, it was thought expedient to invite foreign builders of 



^ Now set aside for the fine instrument built hy Messrs. Hill for the 
Paooptioon, and. which now gipes and grins at oiur great non-gothic church 
for a suitable frame. 



known abilities to settle in this country; and the premiums 
offered on this occasion brought over two celebrated workmen,— 
Schmidt and Harris, the former from Germany, the latter from 
France. Schmidt brought with him his nephews, Gerard and 
Bernard, as assistants ; and to distinguish him from these, as well 
as to express the respect due to his abiHties; which placed him at 
the head of his profession, he was called Father Schkidt. The 
first organ Father Schmidt was engaged to build in this country 
was for the royal chapel White Hall ; which, from its being pat 
hastily together, did not give that entire satisfaction to those who 
were appointed to judge of its excellence.* It was from this 
failure that he never after would agree to build an organ upon a 
short notice, or deliver it in a state of less perfection than he 
wished. 

About the latter end of King Charles the Second's reign, the 
masters and benchers of the Temple determined upon having an 
organ erected in their church, and received proposals from both 
Schmidt and Harris, which were backed by the recommendation 
of so many powerful friends, and celebrated organists, that they 
were unable to determine, among themselves, which to employ. 
They therefore told the candidates, if each of them would erect 
an organ in different parts of the church, they would retain that 
which should be declared to deserve the preference : to which both 
of the candidates agreed ; and in about nine months each had an 
instrument ready for trial. Dr. Blow and the famous Heniy 
Purcell performed on Schmidt's organ ; and Mr. LuUy, organist to 
Queen Catherine, performed on Harris's. — ^They continued vieing 
with each other for near a twelvemonth; and at length the 
decision was left to the lord chief justice Jeffrey, who was of the 
society; and he terminated the controversy in favor of Father 
Schmidt. Harris's organ was taken away, and the reed stops were 
put into an organ soon after erected in St. Andrew's Church, 
Holborn, where they are still in existence ; and the rest of the 
work went towards completing an organ building for Christ 
Church, Dublin. — ^The Hon. Roger North, in his memoirs of music, 
says, the competition between Schmidt and Harris was carried on 
with such violence by the friends on both sides, that '^ they were 
just not ruined." And in the night preceding the last trial, the 
friends of Harris cut the bellows of Schmidt's organ in such a 
manner, that when the time for playing came, no wind could be 
conveyed to the wind chest. 

In consequence of the reputation which Father Schmidt had 
acquired, by building the Temple organ, he was made choice of to 
build an instrument for St. Paul's Cathedral, then erecting. A 
place was accordingly fitted up for him, in the cathedral, to do the 
work in, but it was a long time before he could proceed with it, 
owing to a contention between Sir Christopher Wren and the 
Dean and Chapter. — Sir Christopher Wren wished the organ to 
be placed on one side of the choir, as it was in the old cathedral, 
that the whole extent and beauty of the building might be seen 
at one view : the Dean, on the contrary, wished to have it at the 
west end of the choir ; and Sir Christopher, after xising every 
effort and argument to gain his point, was at last obliged to yield. 
Schmidt, acc(nding to his instructions, began the organ ; and when 
the pipes were finished, found that the case was not spacious 
enough to contain them all : and Sir Christopher,- tender of his 
architectural proportions, would not consent to let the case be en- 
larged to receive them, declaring the beauty of the building to be 

ahready spoiled by the ^box of whistles. Three of the 

stops were in consequence obliged to be kept out ; viz. a baasoon, 
a clarion, and another stop, of minor consequence, which were 
kept in the cathedral for several years after ; Schmidt hoping he 

I * This organ was melted down in 1814, and a new inside put in the old 
i case Igr £Uiot. 



Digitized by 



Google 



Aug. 13, 1864.] 



THE MUSICAL WOKLD. 



519 



might get them in at some future period : but he died a few yean 
'before Sir Christopher Wren. 

After all this contention, the architect, sorely against his will, 
was obliged to make an addition to the case. He not only had 
been niggardly in regard to the depth of it, where another foot 
would have been of no consequence whatever, but also in the 
height ; for when Schmidt came to put in the large open diapason 
pipes, in the two side flats, they appeared through the top nearly 
a foot in length ; and spoiled the appearance entirely. — Schmidt 
now entertained hopes of having a new case ; but Sir Christopher, 
who before would not suffer any ornaments on the top, was now 
obliged to add several feet ; or else alter the case : which vexed 
him exceedingly. These ornaments consisted of angels, with 
trumpets, standing at the side of a small altar. The color of the 
wood that these were made of bdng lighter than the organ case, 
the addition was soon discoverable. 

Having given a brief account of the builder, I now come to 
qpeak of the organ itself. The organ consisted of 27 stops ; it 
had three rows of keys, and two octaves of pedals for the great 
organ. The compass of the great Organ was from C below CC, 
to C in alt ; but no double CCC sharp. 



Dispotltlon of the Stops. 

OBBA9 ObOIV. 

1, Opep DtepaBoo, front pipes 69 

3. Open DtopasoD, beok pipes 60 

3. Stop Diapasop 60 

4. PriDclpal.... 60 

ft. Twelfth 60 

6. FlfteeAth 60 

1. Tleroe 60 

«. Bloek Flttte 60 

6. KMon 60 

10. Miztore. 8 ranks 180 

11. Sezquialtra, 4 ranks 940 

12. Trampet 60 

13. Cornet, 6 ranks to C 120 

Total of Pipes 1140 

CBom OUAIL 
The eompess is from FF to C In alt ; 
tat BO FF or GG sharp. 

1. Stop Diapason 64 

J. Flute 64 

3. Prineipal 64 



4. Twelfth 64 

6. FMleenth 64 

6. Miztore, three ranks 162 

7. Cremona ....M 64 

8. Vozhanaane 64 

Total of Pipes 640 

BWBLL. 

The compass is from 
to C in alt. 



1. Open Diapason 3T 

2. Stop Diapason 37 

3. Principal 37 

4. Cornet, three ranks in 

6. Trumpet 37 

6. Hautboy 37 

Total of Pipes SB6 

Choir Organ 640 

Great Organ 1140 

Total of Pipes in the whole Organ 1076 



In speaking of the excellencies of this organ, I shall first notice 
the diapasons in the great organ, which have always been esteemed 
the iinest that Schmidt ever made. Those at the Temple wck 
very fine in bass, but fell off exceedingly in the treble ; those at 
St. Paul's did not, but were regular and uniform in the quality of 
tone throughout. I cannot say whether the richness, beauty, and 
smoothness of the treble was more enchanting than the fine, full, 
and sonorous tones of the baas. I am speaking of the three dia- 
pasons when used together. The effect of them with pedal bas8e^ 
(the right hand engaged with the melody in the treble, the left 
accompanying on the swell), was beautiful, and showed the dia- 
pasons off to the utmost advantage. The style best calculated foi 
the diapasons was adagio^ legati^ and cantabile movements, which 
had the richest effects imaginable. Three or four notes, or a chord 
held down in the baas on these diapasons, had all the effect oi 
thunder at a distance ; and when comparing these diapasons witl 
any other that Schmidt ever made, or even Harris, or Schreider. 
Schmidt's principal man, who built the organ at Westminstei 
Abbey ; or even Green, that they fell far short in respect to tht 
quality as well as body of tone. The rest of the stops in the great 
ofrgan blended finely together, and when the basses were doubled by 
thepedak, the power of the chorus was very great. Schmidt seems 
to have excelled in the diapason or foundation stops; Harris princi- 
pally in the reed stops: and it must be acknowledged that the 
reed work made by Harris was far superior to any ever made by 
Schmidt; but yet his organs, independent of the reed work, were 
always thin, tiiey wanted more body. Harria seems to have been 



sensible of the superiority of Schmidt's diapasons, for at the last 
trial of the Temple organ, he challenged him to make, not dia- 
pason, but reed stops, which Schmidt accepted, and carried it 
against Harris, although it was the general opinion that the reed 
stops made by Harris far excelled those made by Schmidt 

The choir organ at St. Paul's was not in any respect inferior to 
the great organ. The stop diapason was certainly the finest of 
the kind ever heard ; and the body of tone in the Iraas far superior 
to the one in the full organ. It was a fine stop for accompanying 
the voice in solo. The flute mixed beautifully with it. lliere 
was something particularly rich in the quality of tone of the 
principal, which I have never observed in any other organ ; and 
when used with the two former stops, it made a fine bold choir 
organ. The twelfth*and fifteenth added made a good chorus, but 
being seldom used, were generally out of tune. The Mixture, 
Cremona, and Yoxhumane were never used, and the stops in con- 
sequence were wedged up. The swell, a later invention, was not 
made by Schmidt ; it was originally built by Craug, its first in- 
ventor. If an organ had three rows of keys formerly, the third 
was called ^Hhe echo,*' and ' consisted in general of four or five 
stops, fastened up in a box without any opening, seldom extending 
below middle C. The invention of the swell was a wonderful im- 
provement in the art of organ-building, as the finest effect can be 
produced by its judicious use. If the swell is of good compass, 
and swells well in tune, the player can throw in so much colouring 
and shading, that it is almost impossible !to tire the ear, especially 
if he be dexterous at the pedals, as he can then play the baas with 
his feet, while his hands are engaged alternately at each set of 
keys. The first swell made after its invention was. for this organ, 
and turned out somewhat like the first organ Schmidt built after 
his arrival in this country — not very good. It was always con- 
siderably fiatter than the other part of the organ, and did not ap- 
pear to be of the same temperament, neither did it stand well in 
tune. The diapason and principal mixed well together, but the 
reed stops did not resemble what they were called. The trumpet 
resembled the hautboy, the hautboy the cremona, but they were 
not nearly powerful enough for the buildiug. The swell at St. 
Clement Danes, and many others built by Crang were far superior. 
Fhe organ at St. Paul's imderwent a repair about fifty-nine yean 
igo, at which time every note in the organ was transposed. It is 
a remarkable circumstance that all Schmidt's organs were 'a quar- 
ter, and some even half a tone above pitch. This used to be so 
^verely felt by the wind instruments at the performance of the 
Sons of the Clergy, that they could not get near the pitch of the 
)rgan; in consequence of which it was agreed upon, that the 
>rgan should be altered to concert pitch by transposing the pipes, 
io that the CCC became DDD, and so on all through the organ, 
rhe double CCC was an entire new note, and by no means good ; 
the diapason was of wood, which was soon discoverable after touch- 
ing the other notes. 

Those who remembered the organ in its original state, would 
lever say it was bettered by the repair it underwent. It 
bad four pair of bellows eight feet by four ; which, from ' 
iome defect in them, caused at times a sad shaking thropgh- 
)ut the whole instrument; especially when the basses were 
ioubled by the pedals. This was very unpleasant, and might 
jasUy have been remedied, in the hands of a skilful manipulator. 
The touch of the great organ was rather too light, at least in the 
bass, as the palates would not close time enough to admit of very 
quick playing. The pedals to the great organ being short were ol 
very little use. I beard this frequently complained of by foreigners, 
who pkyed upon the instrument, but could not manage them after 
the German style. The organ case (to the top of the ornaments) 
Stood near 30 feet high : from the bottom ^of the buikling it waa 



Digitized by V^riOOQlC 



520 



THE MUSICAL WORLD. 



[Aug. 13, 1864, 



Aboat46feet. It was 18 feet wide, and 8 feet deep. Thecarving 
about the case was very handsome ; this was executed by Gibbons, 
whose decorations eiUbeUished every part of the choir. The organ 
was opened, with divine service, on the thanksgiving for the Peace 
of Ryswiok, Dec. 2, 1697 ; though the trihedral was not entirely 
finished tiU 1715. 

: Albertus Byrne was organist at the time when the old cathedral 
was burnt. Jeremiah Clark was appointed almoner and master of 
the children of the choir, 1693 ; and in 1695 was likewise ap- 
pointed organist of the cathedral. Clark had the honor of 
opening the new organ. He was likewise joint organist of the 
King's chapel. His compositions were simple but not remarkable. 
He died in July, 1707, and was succeeded by Mr. Brind, who died 
in 1718, and was succeeded by his scholar, Maurice Green, after- 
wards Dr. Green. The anthems of Green are among the best of 
the English cathedral school. He died, 1755 ; and was succeeded 
by Mr. Jones, organist of the Temple and the Charter-house, who 
appeared not to have been worthy of the situation, for he was 
incapable of doing the duty for a length of time after the appoint- 
ment : and as he could not play from score, he solaced himself by 
arranging the anthems in two lines. The same book was long in 
use at the cathedral. Jones dded in 1796, and was succeeded by 
Mr. Thomas Attwood (Mozart's pupil), to whom succeeded the 
present able organist and composer, Mr. John Gobs. 

DlSHLET PeTEBS. 

o 

HER MAJESTY'S THEATRE. " 
On Saturday // Trovatore was nerformed. On Monday, Lucia 
di Lammermoor^ with Mr. Santle^ (first time) as Enrico— as 
brilliant and thoroughly well-meritea _ success as his Alfonso. 
' Never throughout the season has Mdlle. Tietjens sung more splen- 
didly or created greater enthusiasm than on this occasion.. Signer 
Giuglini,' as Edg^ffdo, also sang in his best manner — and what this 
is need not be urged. On Tuesday Lucrezia Borsfia was repeated, 
Mdlle. Grossi taking the part of Maffeo Orsini, vice MdUe. 
IVebelli. There cannot be two opinions about the rich quality of 
Mdlle. Grofid's voice. Moreover, she is young ; and in short the 
highest hopes may be entertained of het avenir. On Thursday 
the sempiternal and sempitemally welcome Faust, To-night, a 
miscellaneous performance, comprising selections from the Hu- 
guenots^ Faust tmd Marta, will bring the season to an end. 

BUTCHEB BaKEB BuTCHEB. 



CRYSTAL PALACE. 
A Grand CJoncert was given on Wednesday, in the Great Han- 
del Orchestra, by the principal singers, band and chorus of Her 
Majesty's Theatre, aided by the Crystal Palace orchestra, imder 
the direction of Signer Aiditi. As the charge for admission was 
at the minimum price of one shilling, there was an immense con- 
course. The programme comprised, in the first part, a selection 
from Faust, including the Introduction and chorus *^ Su, du bore;" 
aria of Mephistopheles, *^ Dio, dell' or," by Signer Bossi ; romanza 
of Siebel, ^* La paralte d'amor," by Mdlle. Grossi ; aria of Faust 
^* Salve dimora," by Signer Giuglini ; aria des bijoux for Mar- 

gierite, by Mdlle. Tietjens ; terzetto, *' Che fate qui," by Signers 
iuglini, Bossi and Mr. Santley; and the Soldiers' Mar(£ by 
the band and chorus. Almost every piece was received with en- 
thusiasm. The second part was miscellaneous, and seemed to touch 
the sympathies of the nearers even more than ^ the music of M. 
Gounod's opera. Mdlle. Tietjens created a perfect furor in ^^ The 
last rose of summer," which she sang with exquisite voice, exquisite 
feeling and exquisite taste, and, being compelled to smg again, gave 
*^I1 Bacio" in place of the Irish melody. Signer Giuglini, too, obtained 
an uproarious encore in Balfe's ''When other lips " ("Tu m'ami "), 
and substituted ''La donna e mobile"; and Mr. Santl^ was 
furiouly biased in Arditi's " Stirrup Cup," which, like a dutiful 
singer, he repeated. Mdlle. Groesi gave the brindisi from Xu- 
crezia Borgia. Signers Bettini and Bossi sang the duet from the 
ItaUana in Algeria "Se inclinassi a prender moglie"; and the 
quartet "Un di si ben," from Bigoletto^ was given by MdUes, 
Sinico and Groesi, Signers Bettim and Bead, In addition, the 
hand played the overture to Zampa, 



PARIS. 

QFrom our own (hrrespondent.) 

Most of the Italian song-birds who have recently been charming 
the audiences of the London Operas have flown to Paris, either to 
remain here, or en route for a remote destination. Among the 
arrivals I may mention Madame Miolan Carvalho, Mdlles. Marie 
Battu and Brunetti, Signer and Madame Tagliafico, and M. Fanre. 
Madame Carvalho is bound for Dieppe, Mdlle. Battu for Baden. 
M. Faure, who was announced to make his rentree at the Opte in 
the Huouenots, actually appeared in the second act of GuiUaum 
Tell^ which was given, as lever de rideau to the ballet, Nimda, 
No work has sufrared more strange indignitieB at the hands of 
manaflers than the immortal opera of Roadni I M. Fanze must 
have felt anything but complimented ; and how Bossini felt— if 
indeed he troubl^ himself about it — ^I leave you to guees. The 
new tenor, M. Mor^, is '* no go " — at least he was by no means 
good as the hero of Robert le Diable. He was better certainly in 
tibe Favorita, having less exacting music to sing. Talking of 
tenors, I read in a Viennese paner, which I do not bdieve, that 
a new smger has debuted at tne Opera as Eleazar in the Juive^ 
who in voice and art is superior to all living tenors. The charac- 
ter of Eleazar, it is said, was never before sung or acted. The new 
tenor, whose name is Ferenczy, is, I venture to predict, another 
Wachtel. 

A brother of Signor Gardoni, Lieutenant of the Navy and 
Chevalier gI the Legion of Honor, has been recently mairied to a 
sister of Madame Italo Gardoni, the daughter of Tamburini. Two 
sisters and two brothen. 

M. Fk>tow has just completed a new opefa at Vienna, having 
for its title Nalda, the libretto from the pen of M. de Saint 
(xeorges. It will be produced at the Italian Opera of St 
Petersburgh in the course of next season. The composer of 
Martha and StradeUa is an especial favorite in the Capital of the 
Snows. I hardly think, neverthelefls, that, after the fate of 
StradeUa^ the director of the Covent Garden Opera will be over 
anxious to try a new work of M. Fbtow ; even with the aid of 
Herr Wachtel. 

A Carlsbad Journal eives the following bit of infomiation :— 
"The Grand-Duchess has sent to the Mozart Institufion, at 
Salsburg, a very precious gift. An old manuscript album was 
recently found in the suburbs of Vielma, having the following 
words written in French on the first sheet.—' Ce Uvre appartieHt a 
Marie-Anne Mozart^ 1750.' The first leaves of the aUtnm com- 
prise exercises for the pianoforte written in the hand of Mozart*8 
father, and the last twelve contain peoes in the writing of the 
great composer himself, and bear date 1762 and 1763. Five of 
these compositions were previously unknown, namely, an Allcjgro 
in C major, two pages, composed at Brussels on the lith of 
October, 1768 ; two Minuets in D major, composed at Parii 
November the 80th, 1768 ; an Aria in F major, composed on the 
16th July, 1762 ; Minuet, eomposed May 11th of the same year; 
and a study of the same date." 

The concerts at the Champs-Elyste oontinne to draw lam 
crowds. Indeed, the performanoea' are worth hearing, and the 
promenade under the traes is very enticing. M. Eugtoe Provost 
has an admirable band and excellent <^orus under his direction, and 
is a. very clever conductor. Rossini's "Carita" is just now a 
special feature in the programmes, and is played three or four 
times a week with immense success. The solo players are ezcdlent. 
En attendant the opening of the Italian Opera and the Opera- 
Comique, the lovers of ffood music may gratify their tastes at the 
entertainments mrovided in the Champs-Elys^. 

Paris, Hotel Bis, Aug. 10. Montague Shoot. 



The Philharhonic Society.— The Members of the Philhar- 
monic Society at their last annual general meeting voted a 
handsome present of Plate to their Conductor, Profeaaor Stemdale 
Beimett,- as a Memento of the first performance of his new 
Symphony (in G minor) composed expressly for their concerts, and 
produced at the last concert of the 52nd season — June 27, 1864. 

New English Opera Company.— It is not yet settled that the 
first opera produted by this new company is to be Mr. J. L. 
Hatton's Val^ o/Andorre, 



Digitized by 



Google 



Aug. 18, 1864.] 



THE MUSICAL WOBLD. 



521 





On returning to Yob quarters, Mr. Ap*Mutton*8 first. notion was 
to addraBB a letter of thanks to Dr. Shoe. Mr. Ap'Mutton^s 
•eooud notion was to add a postseriptum. This was to inform Dr. 
Shoe that he (Mr. Ap'M.) had won a considerabte sum on the 
Bogwood Cup. Also that, at the ezpresB desire of what Mr. John 
Ella might term *^ the yegetative, rain seeming likely to set 
in, he (Mr. Ap*M.)' wish^ him (Dr. Shoe) to take adyantage 
of the humectous aspect of the skies and enjoy a holiday in 
yn^ ^Vinl rifth- Mr. Ap'M.^8 third notion was to order tea and 
toast But Mrs. and the Misses Ap'M. were at the Opera, Mr. 
Mapleson having, with courteous precipitation, taken the hint pat 
out in Muttoniana (page 458) imd sent Mias Fleece a box for 
MireUa, His (Mr. Ap'M.'s) tlurd notion, therefore, could not be 
biooght to plajr. Mr. Ap*M.'s next notion Qds fourth notion) was 
to put on dresnng gown, smoking-cap, and sUppers, light his pipe, 
ana await return of the beloyed ones (Mrs. Ap'M. always takes 
tea at bed-time), oyer Lumley's Befniniseences of the Opera. 
Opening the yolume, at page 274, Mr. Ap'M. read, with some 
sarporjae, that the part of Cherubino — ^in the Nozze di Figaro of 
his (Mr. Ap'M.'s) late and genial friend, Wolffi;ang Mozart — 
*^ requires a contfiuto^ not a soprano.^^ Mr. Ap'M.'s fifth notion 
was, thffli, to put off gown and cap, lay down book, and repair 
to Club. His (Mr. Ap'Mutton's) fifth notion w||s yirtoally realised. 
Mr. Ap'M. called a o , that is, ordered his pill-box, and re- 
paired to the I O U Club (limited to non-liquidators) — ^Repu- 
diation Terrace. Tliere he passed an agreeable, if somewhat 
hilarious, eyening, with those dioice spirits, Messrs. Table, Grogg, 
and Moist. All three being in high |;lee at Mr. Ap'M's reapparition 
among them, communicated their ideas on things in g^end, and 
declared to propose some question or questions to tiiis or next 
week's Muttoniana. On returning to the King uid Beard, Mr. 
Ap'M. found, on the table, some cold tea (which he did not 
want), but no toast. Also he soon had oracular proof that Mrs. 
Ap'M. had retired to rest. He (Mr. Ap'M.), therefore, anxious 
(for more reasons than one) not to rouse the lamb* from her 
filunbets, retired to his Sanettan. There he began a chapter in the 
AmphiihetUrum .£temm Providentim Divino-Magicum Chnstiano- 
Pkysicum nee non Astrologo-CathoUcum adversus veteres PhUo- 
iophoi, Aiheos^ Epicureos^ Peripateticos et Stoicos^-of Julius CsBsar 
Yaninus. That chapter contamed a reply to the Ftjlh Argument — 
oyer which, at the passage, '^ Dans causam damni^ damnum feciMe 
dicitur,'' he (Mr. Ap'M.) fell asleep. So that he (Mr. Ap.M.) did 
not embrace his family until breakfast-hour the next morning. 
Miss Fleece liked Mirella — especially the song of Ourrias, the 
bull-subduer. Mias Fleece had cast more thim one sheep's eye 
at Mr. Santley. Thia song of the bull-subduer upset her, and 
cansed her to ejaculate (to the surprise of Mr. Ap'Shanks, in the 
next box — with tiie Editor of Boosev's Musical and Dramatic Re- 
^Uw) — '* Oh, the dear ! — he should be called a lamb-subduer ! " 
It afterwards came to the knowledge of Mr. Ap'M. that, on 

the yery same night of his (Mr. Ap'M.'s) debauc that is, 

friendly confabulation with Mr. Table and the rest, at the I O U 
Club (limited to non-liquidators)— Mr. Table had also been to the 
Opera, to see MireUle. Why he (Mr. Table) did not communicate 
the fact to him (Mr. Ap'M.), he (Mr. Ap'M.) is at a grevious loss 
to comprehend. To judge from the subjoined acrostic, forwarded, 
according to promise, to Mr. Ap'M.'s quarters, Mr. Table must 
haye been struck with the physbgnomy of the conductor : — 

To Lxnoi Abdhi. 

Liked M thou art, respect and gntitnde 

Uphold thee, thon noble brother ; all that's good 

Inspires thee ; — thon art all a man, in son!, in heart. 

Giving to mnsic its sweetest, fondest^ highest flight in art, 

I so respect for nrbanitj in all things tme, 

A faithfil nnswenring friendship keeps all with you. 

Reposes on the mind where it has kindly shown 

Desired esteem, the longer felt all the better known. 

I hare fonnd thee eyer all a musidan e'er could be, 

The friend to aU, especially to me ; 

Inscribe my testimony of what all friendly courtesy secures, 

And all thro' life consider me yours truly, S. T. Table. 



* Qy.— Uoneas ?— Dishlkt Pjethm. 



The peculiarity of rhythm, the irregularity of quantities dis- 
tinguishing each line from its fellows, and tiie appearance of a 
wholly inc&pendent line — ^which not only makes the spelling of the 
respected conductor's tree-name, Arditia (as it were Latinising 
it), but, except that it* is indispensable to complete the sense, might 
be regarded as superfluous — ^induce Mr. Ap'M. to beUeve that the 
foregoine acrostic must haye been psychdogically generated by 
Mr. TaMe while at table, and physdcaUy put on paper as soon as he 
(Mr. Table) reached his lodeings, and before he (Mr. Table) had 
swallowed tiie physic prescribed for him by Dr. Bile. Mr. Ap'M. 
ahao greaUy admires tnat cou^et in which is set forth what are the 
conditions that make a musician all a musician can be : — 

** IJiave found thee ever all a musician iefwiM he, 
The friend to aU, especiaUy to me" 

Mr. Ap'M. beUeyes that his (Mr. Ap'M.'s) Muttoniana makes 
him (Mr. Ap'M.) ^*a friend to aU." Moreoyer, he has a sly 
leaning towurds Mr. Table. Is Mr. Ap'M., therefore, and on 
that account, *^ aU a musician e'er could be ? " He (Mr. Ap'M.) 
is of such opinion. Neyertheless Mr. Ap'M. has reckonea nine 
" all's " in Ml. T.'s poem, in oyerhawfing which (the " all's "—Mr. 
Ap'M. rarely condescends to pun) he (Mr. Ap. M.) has (as Dr. 
Shoe would giye it) impinged them all in italics. 

A prose commnnication from Mr. Table, beginning — '* The fol- 
lowing little incident, &c.," — being strictly persoiuil, is striotiy 
inadzmssable in Mr. Ap'M.'s columns. He (Mr. Ap'M.) has 
therefore transmitted it to Dr. Quentin Quack, who will metamor- 
phose it (in parable). 

DocTOBS IN What? 

Sib, — ObBcrring among your contributors and friends the names of 
Dr. Shoe, Dr. Pidding, Dr. Beard, Dr, Wind, Dr. Sting, Dr. Bile, 
Pr. Quack and other gentlemen claiming the same honorary title, 
may I make so hold as to enquire if aU these gentlemen are Doctors 
in Music, or if any or some of them daim their honors from dirinity or 
Bcien(\e ? Another question will not, I trust, he deemed impertinent. 
It is whether Sir Caper O'Corhy helones to the well known O'Corby 
family of Tully Corby Castie, County Monoghan ? My father was an 
intiniate friend of Sir Michael O'Corby, the old head of a fiimily who 
died suddenly at a sponging house in Dublin — 1848. I imagine Sir 
Caper must be his nephew, as Sir Michael died childless. 

Your humUe admirer, Vjuioant Gbeen, Jun. 

7!^ Bnelosuret Eoughton le Spring, 

^'The old head of a family who died at a spungin^; house,' 
&c.,— Mr. Ap'M. impinges in a query. He would sugc^est the 
head of an old family, instead of ** the old head of a minily.^* 
Moreoyer, was it (Mr. Ap'M. would fain inquire) the "old 
head" that died at the ''house," or the ''family"? The "old 
head of the family '' is eridently not on the young shoulders of 
Verdant Green Junior, who must be green to an extent of yerdure 
incomparably unlinuted, if he supposes Mr. Ap'M. capable of 
prying into the secrets of his yaluea contributors. Perhaps Mr. 
y . 6. is a collector of income-tax ; in which case Mr. Ap'M. may 
as well inform him (Mr. Y. G.) that all the learned Doctors he 
(Mr. v. G.) has nameci, being members of the I O U club (limited to 
non-liquidators), are income-less, and therefore without his (V.G.'s) 
control. Dr. Wind has frequentiy assured Mr. Ap'Mutton that 
though he (Dr. Wind, not Mr. Ap'M.) spends hiabitually fiye 
times as much as he gains, he (Dr. W ind) is frequentiy at a loss 
to raise the wind. 

On second thoughts, Mr. Ap'M. refrains from transmitting Mr. 
Table's anecdote to Dr. Quack, for metamorphosis, and has meta- 
morphosed it himself (in parable) : — 

When one of Pompey's sold asked leave of absence from an 
approaching battie, to enable him to attend an expected feast (a more 
profitable engagement), Pompey inquired — '* Had you been in Cassar's 
army do you think he would haye granted your request ?" The retort 
was — ** CsBsar is feared, while you are respscUd, by the soldiers ; and 
were I under CsBsar's command I should not ask for such a &vour." 
It was highly creditable to Pompey, and the best testimony that could 
be given as to his efficiency as a commander, that a common soldier 
thus frankly addressed him, without the slightest'idea of flattery. 

S. T. Table. 

Mr. Table does not say, after all, whether Pompey let the soldier 
cut tiie battle and enjoy the fdast — ^which in Mr. Ap'M.'s opinion 
shears the anecdote ox an essential portion of its significance. 

Will Mr. Ap'Mutton inform Mr. Purple Powis in what writing 



Digitized by V^riOOQlC 



522 



THE MUSICAL WORLD. 



[Aug. 13, 1864. 



occurs a passage setting out thus : — " So blieb Sehiller ttpuehen Himmd 
utui Erde in der LufUehwd>en^ und in dieser Sckwtbe h&ngi naeh ihm unaere 
ganie diamatische DichekunsL" 

"Mr, Purple Powis is informed herewith that the passage is 
from Richard Wagner's very singular treatise entitled Oper uitd 
DranMy in the chapter entitled Das Schavspiel und das Wesen der 
dramatischen Dichtkunst. Wagner makes Schiller and Goethe 
bend to his purpose, as he does Mozart and Beethoven, to whose 
abst^ract musical merits he, neyertheless, bears witness with sach 
futile reluctance and emasculate f requencnr. Mr. Ap*M. had him- 
self noted the passage, in his (Mr. Ap^ATs) Commonplace. 

A letter from Zamiels Owl, Esq., merits the dignity of insertion 
in the full Muttonian type. At the same time Mr. Ap*M. 
requests his readers not to confound the interstitiary annotations 
in prose by Mr. Owl, with his (Mr. Ap'M.'s), as that might peraun- 
ter vex Mr, Owl, and would assuredly annoy Mr. Ap'M. 



Dear Doctor Shoe. — I am pleased with your Rabelaisian 
humour. You are a shoe whose sole is in the right place. If you 
hurt any corns, they are certainly not your own. I would show 
my affectionate familiarity Jby calling you ^^ Old Shoe," but I do 
not know your age. May you endure for ever ! lliere is nothing 
like leather, at least your leather. I am unaware who polishes 
you, but one must get up very early to polish you off. After 
these remarks, I send you an epigram on the unfortunate 'Otten- 
tots, whom you licked so admirably well last week. 
Says 'Otten— " Big Mayhew, 
My Artow will pay you." 
Says Mayhew — '* Sniall 'Otten, 
Your Arrow is rotten." 
Mind, the Mayhew in question is not the gracious and excellent 
Horace, who is, I opine, one of your pet contributors. I dare 
say that Horace would say — 

"The -4mwis what 

Rude folks designate Rot, 
But it shows a fool's Bolt 
Can be yery soon shot.*' 
Or he might do it (as cookery-books say) ^^ another way" — 
thus:— 

•* Little *Otten's bad Arrow 

Is destined to shiver, 
And so Little 'Otten's 
Himself iu a quitter" 
One could go on, but when the eminent and merciless Dr. Shoe 
tfikes the whip in hand, the services of interlopers are not requured. 
For which reason I have the honor to subscribe myself, yours 
affectionately (but respectfully), Zamiels Owl. 

OufUibtiry, Mopingtcn. 



That ^* one could go on " is also the opinion of Mr. Ap^Mutton, 
who, with deference to Dr. Shoe (respectfully), takes a shot : — 
There was a young squib called The Arrow^ 
Whose field of observance was narrow ; 
It shot at old Punch, 
Who (while taking his lunch) 
Blandly smiled at this aimless young Arrow, 
And in Cockney dialect (Mr. Ap'Mutton perpends) he might 
Bay:— 

There was a young paper, The narrow^ 
Whose writins hour feelins did 'arrow ; 
But we mustn't be 'ard 
On its principal bard. 
Who, it's clear, wasn't brought up at 'Arrow. 
And again, in pure vernacular, (Mr. Ap'Mutton perpends) he 
might Bing : — 

There was a young psper, The Arrow, 
Whose editors lived in a barrow, 
But all in a muck, 
For this old wooden truck 
With back numbers was filled of TVie Arrow, 
And again, in scarcely less familiar strophe : — 
There was a young paper, The Arrow, 
Who for " sixpence ' let out bones and marrow ; 
But such marrow-bones 
' Bein' no better than stones, 
Kot a *^ nzpence " was boned by this Arrow, 



Much more of the sort CMr, Ap'M. perpends) he might fbut will 
not) say, it not being in Lis gravity thus to disport himself. Mr. 
Ap^Mutton would, at the same time, remind Mr. Owl that, though 
thejiumor of his (Mr. Ap'M.^s) friend. Shoe, may be comparable 
with that of Kabelais, Mr. Ap'M.'s- humor may not, his (Mr. 
Ap'M.'8) humor being incomparable. Monsieur Kabelais himself 
(aa he declared to Mr. Ap'M., at the Court of Henri II.) tried to 
imitate it (Mr. Ap'M.'s humor), but finding it inimitable, 
described it as such. 

Place ▲ L'Emperkub! 

MoN CHER Ap'Mutton, — Tu te rappelles (n'est ce pas? — tu voib, je 
contrefais ta manie paranth^tique) — tu te rappelles 1a fameuz jour des 
Chartistes ? Oui— j'entends d'ici ta r^plique affirmative. Toi, Balfe, 
et moi mdme (tu te rappelles?), nous etions tous les trols ** sworn 
special constables.*' Eh bien ! je me souviens et de ta personne (si 
embonpoint), et de ton visage (si joufflu), et de ton esprit (si petilisUnt, 
etincellant — soleillant plutdt, si'je dois fabriquer un mot); je m'en 
souviens, et j'en raffole. " Ce cher Ap'Mutton !" (me dis-je, int6rien* 
rement) '*Ce cher Ap'Mutton !— II y coosentira." Bon; my conaentinis; 
et maintenant je vais t'ezpliquer de quoi il s'agit. Jii ecrit (der- 
ni^rement) a mon assez consider^ Mar^chal Vaillant (Ministre de ma 
Maison ct des Beaux Arts) une letlre tant soit peu signifiante. Je 
Tai fait inserer dans le Moniteur (de matin et de soir), et mon ^ros ami 
Boniface 1* a fait ciiculer dans les autres feuilles. Mais je desire faire 
cToire d tout le monde que cette leltre n'e^t pa^ ce que vous autres fdant 
votre patois " Cockney**) vous appelez un ." hoax '* •• Or*'— me suis-je dit 
— •• dans ce MUt il taut iii'addresi*er i mon viel ami et ♦• fellow special/* 
Ap'Mutton (Vivier m'a de m6me conseill^}. Veuilles done, mon cbto*, 
me faire la grace de tronver dans votre *' world-wide circulated" 
MuUoniana un petit coin it mon avantage. Cv:\k iaivant tu obligeras 
(je reprends le tu-toi) Vaillant, inflniment et ton ami de tout coeur 
et ik tout jamais. NAFOUDoar. 

Vichy — ce 7 AotU, 

P. S.— Je t' attnds (naturellement) i Compi^gne, dans I'automne. 
Vivier sera de nous ; 'aussi V^ly Pacha, Lamartiue, et Abdel Kader. 
Ne m* hitrignes pas, je t'en prie. — N. 

Mr. Ap^Mutton (blushinglyj obeys what he cannot (with the 
staunchest loyalty to his own Queen) regard as other than a com- 
mand. He will {dso obey the second command, and join the 
Chasse at Compi^gne — providing Dr. Shoe will again consent 
to act again as his (Mr. Ap'M^s.) temporary bubstitute. 

Vichy, U SI JuiUet, 1864. 

Mon cher mar^chal, je viens vous £aiire {uirt d'une reflexion qui m*est 
survenue pendant le rejios dont je jouis ici. Deux grands et&hlisse- 
ments doivent dtre reconstruits & Paris, avec une destinaiioii bien 
diff^rente: I'op^ra et Thotel-Dieu. Le premier est d^i oommenc^; 
le second ne Test pas encore. Quoique ex^cutd.^, TOp^ra aux fraia de 
TEtat, THotel-Dieu aux frais des hobpices et de la Ville de Paris, tous 
deux lie seront pas moins pour la capitale des monuments remarquables ; 
mais comme lis r^pondent k des int^rdts tr^s diffiSrentsi, je ne voudiais 
pas que Van surtout pardt plus prot6g6 que l*autre. Lea d^pensea de 
TAraddmie Imp^rialu de Musique d^passeront malheureusemeni lea 
pr^vifiions, et il &ut dviter le reproche d 'avoir employ^ des millioni 
pour un theatre, quand la premiere pierre de I'hdpital le.plua populaire 
de Paiis n'a pas encore ^t^ pos^e. Engagez done, je vous prie, le 
Prefet do la Seine k faire commencer bientdt les travaux de PUdtel- 
Dieu, et veuillez faire diiiger ceux de rO|)^ra de mani&re k ne les 
terminer qu'en nrdme temps. Cctte conibinaisou, je le reconnaia, n*a 
aucun avantage pratique ; niaiii, au point de vue moral, j'attache un 
grand prix d, ce que le monument ct>n(«cr(i au plahdr ne s'el^ve pas 
avant Tasile de la souflfrance. Recevez, mon cher marechal, l*a88(u ranee 
de ma sincere amiti^. N'ArOLEOK. 

Mr. Ap'Mutton is more than gratified at being the means of 
affording increased publicity to the wise benevolence and keen pro- 
vision of his Imperial and magnanimous friend — to whose decrees, 
be it understood, his (Mr. Ap^M^s.) column (or columns) is (or 
are), though previously occluded, henceforward patulous. 
To OwAiN Ap'Mutton, Esq. 

HoNUBD ZuB, — It wor a mercy you win the match at aU agen the 
Kidbury eleven, seen there wor sich a sumniat of biea. If so be you 
nmst bowl fierce, when next you plays take my advies and do what Arry 
Ansom did for our team, when yfe playd our great match agen the 
Muddleshire Pukes, — put on two long 8to]« and a bucket o* water. 
The bucket may be non-purfessional and object to ; but Koimty em- 
pires are easy made right \vi* coaxing and strong yale. Axing pardin, 
but I tliinks as how there be a slite mistake in your count of the 
match in your colm. If I understands correct, you bould right thru 
in boath innins. I ax pardin, but if that be so, how did ee manige to 
itump Marlin Spike, Eskwire ? Your servant to command, 
Wichetboume, AnU, Lvks Tbouble (x-bowler to the Ckkk-Omtfy C C 



Digitized by V^riOOQlC 



Aug. 13, 1864.] 



THE MUSICAL WORLD. 



523 



Mr. Luke Trouble should be sent to St. Luke*s. If he (Mr. 
Trouble^ has not witnessed Mr. Ap'Mutton's game, he (Mr. 
lYouble) would wiser hold his (Mr. Trouble's) tongue. It was 
hardly worth Mr. Trouble's trouble to address Mr. Ap'Mutton in 
unorthographic guise, and so little to the ^^ point.*' Mr. T.^s letter is 
no " catch," though written (possibly, Mr. Ap^M. conceives) over 
the " bowl," to the duU chirp of the ** cricket." Mr. Ap'M. truste 
that Mr. T^uble was not troubled on his way home with "bata;" 
and that he had no occasion — ^being, like Tam o'Shanter, (ask 
Howard Glover), pursued by (the) phantoms (of his inebriate 
fancy)--to "ba(w)ll" out for help. Mr. Ap'M. in his gravity, 
owns it is "wickft(t)d" thus to "play" upon words—'* a field" 
which 18 not, was not, and shall not be his (Mr. Ap'M's.) ; but in 
this instance he (Mr. Ap'M.) is hardly '' wide^' of the mark 
Enough, moreover, that he (Mr. Ap'M.) will *' long stop" before 
adventuring another (pun). He ^Mr. Ap'M.) is fairly **run out'' 
— it might even be said, off his (Mr. Ap'M's.) ''stumps." 

JSinff and Beard, Black Chapel, Aug, 12. 

♦♦♦ Mr. Ap'M. is compelled to decline the lyrical offering of Sir 
Inga Patam, Bart. ("I sing a pore ould minsthrel"), and the 
prose tale of Fish not Ft tend, by Mr. Pitt P. Pill, author of The 
Far-spreadiHg King and The Three Colored Powers, Mr. Ap'M. is 
aorry, but he (Mr. Ap'M.) has no alternatives. Also he declines 
(having no alternatives) Lines by a Lubber; Buckingham's Bile 
(a sketch) ; Why T. Adder was apprehended for assailing Beadles ; 
and The Lay of the Licensed Victualler, 
o 

The BiBUINOHAH OllCHESTBAt &0., FOR THE FESTIVAL OF 1864 : — 

First VioliM — Mewrs. Sainton and Blagrove iPrineipaU\ Messrs. Amor, 
Beljemann, Burnett, Carrodus, Cleiiienti, V. Collin?, Dando, Day, 
Goffrie, Gunoisfl, Hall, H. W. Hill, Howard, Jacquin, Krcutzer, 
Loadea, Love, PoUitzer, Rieff, Seymour, Streather, Thirlwall, Tourei, 
Thomas, T. Watson, and Zerbinl Second Violint— Mr, Willy 
IPrindpat), Menra. Bort, Bradley, Buels, Davis, Egerton, Folkeis C. 
urievhach, Hayward, Humphrlea, Jonen, Kelly, Lejetine, McEenzie, 
Marshall, xfewsham, Nicholson, Ralph, Saltzmano^ Schuiidt^ Shargool, 
Simmons, Synyer, Tonmenr, 8. R. Webb, and Wllkins. Vioku— 
Mr. Doyle (Frineipal), Measn. R. Blagrove, Boileau, Glanvill, Hann, 
W. H. Hann, Hill, Roberts, Start^ Thomas, Thompson, Trust, Venua, 
Vogel, Wand, W. H. Webb, Weatlake, and T. Westrop. Violoncellos 
—Mr. Collins {FrineipaT), Messrs. Aylward, G. Calkin, H. Chipp, 
Daubert, Guess, Hancock, E. Howell, Ould, Paque, Pettit, R. Reed, 
W. Reed, Scbroeder, Shephard, Testar, and Waite. Double Bastes — 
Mr. Howell (Frinc^al), Messrs. Campanile, CasteUi, Kdgar, Flower, 
Griffiths, A. Howell, Lewis, Moreton, Mount, Pratten, I^vnolds. 
Busaell, Severn, Vaudrelaii, White, and Winterboitom. Flutes- 
Messrs. Pratten, De Folly, NicholfK>n, and Tilley. 06oM->Messrs. 
Barrett^ Nicholson, Horton, and Malsch. Clarionets — Messrs. Lazarus, 
Haycock, Godfrey, and Rozbee. Basto(ms — Messrs. Hutchins, Ander- 
son, Chisholm, and A. Smith. TViiin/iete— Messrs. Harper, and Irwin, 
i/onw— Messrs. C. Harper, Mann, Catchpole, and J. Standen. Trom- 
hoMs — Messrs. Hawkes, Antoine, and Winterbottom. Ophideide — Mr. 
Hughes. Serpents — Messrs. Jepp, and Standen. Double Z>rtim«— Mr. 
Chipp. Side Drum and Triangli — Mr. Seymour. Bass Drum — Mr. 
Hoiton. Harp — Mr. Trupt. The Librariani are Messrs. Horton, 
and Peck. The principal ^ijigers are Mdlle. Tletjens, Mad. Ruders- 
dorff, Mad. Lemroens Sherrington, and Mdlle. Adelina Patti (sopranos) ; 
Madame Sainton Dolby and Miss Palmer (contralto^; Mr. Sims 
Reeves, Mr. W. H. Cummings, and Signer Mario (tenors); Mr. 
Santley and Mr. Weiss ^basses.) Solo Fianoforts — Madame Arabella 
Goddard; Solo Violin — M. Sainton; Organist^Mr, Stimpson; and 
Conductor Mr. Costa. A mudcal phalanx, and no mistake ! 

St. David's Cathedral. — There is every prospect now that 
restoration of this ancient cathedral, which has been in dilapidated 
state for many score years, will be at once proceeded with. Meeting 
of Restoration Building Committee has been held, at which four 
tenders were submitted for carrying out four divisions of work, total 
bein^ as follows :— G. Pollard, 18,990Z. ; Hood and Son, 15,813/. ; T. 
Williams, 16,639Z. ; James and Price, 17,884/. Committee accepted 
tender of G. Pollard, and determined that first division, comprising 
lower part of tower and choir, and fourth division, compritdn^^ dry areas 
and drains, should be first completed before commencing other two 
divisions. This will involve expenditure of 8,978/., and it was 
reported at meeting that subscriptions already promised amounted to 
8 809/. St. David's is mother church of Wales^ and restoration is 
looked upon with general fiivor throughout principality. 

C IPnff jll^nrt. 



A HUNDRED YEARS OF THE BERLIN THEATRE.* 

Of all the archives which have been ransacked of late years, few 
have yielded a more profitable return than those of the Berlin Theatre. 
The author of this volume was for a long time Secretary to the In- 
tendancy of the Prussian stage, and his leisure has been employed 
in compiling a sort of history of managers, actors, authors, and 
pieces, from 1740 to 1840, as 'well as in selecting correspondence 
which bears on these topics, and which has survived time, fire, and 
autograph collectors. This body of letters gives the book its value. 
Theatrical histories are generally interesting so far as they are not 
merely theatrical histories. We glance hastily over the record of 
events, the statements of the effect produced by forffotten pieces, 
with the evidence of forgotten witnesses, and we halt only when some 
familiar name conies up for a moment, or when a classic play is presented 
to us in the strange garb of a new performance. In this chronicle 
of Hofrath Teichniann's we are struck by casual gleams of Lcssing 
and Goethe, Schiller and Mozart. But the excellent compiler is too 
dry and matter-of-fact to trust himself beyond bare enumeration, 
even with such names as these; and he does not resort to the for- 
lorn hope of some who have preceded him, of filling up the frequent 
pause with extravagant anecdote. His especial htTO is IfSand, mana- 
ger of the theatre in Berlin from 1796 to 181d ; and this period— 
which brought the chief plays of Schiller on the Berlin stage, 
and which deals with poets of every description from Goethe down to 
Kotzebue— is the most fruitful section in the volume. Of earlier times 
we hear very little, and of later times we have little worth hearing. 
Frederic the Great is too French in his dramatic tastes to find favour 
wiUi a patriotic Prussian in any sphere but that of politics, and during 
his reign the German theatre had a hard struggle to subsist against 
the King's French stage. Frederic's love of the French drama had, 
as was natural, communicated itself to the public, and the native drama 
languished accordingly. DObbelin, who was afterwards manager of 
the German theatre, complained to Lessing that Jack-pudding had 
full and undisputed possession, and Lessing promised to erect a monu- 
ment to D^^bbeUn if he would purge the stage of the monstrosity. 
Lessing's wish was gratified for the time, but it is curious to see 
the natural tendency of the German Theatre to subside into Jack- 
pudding whenever French infiuence predominates. During the two 
years of French rule in Prussia, the stage, which had shortly before 
been at the ver}" hieight of its fame, fell back to a succession of 
Harlequins, to the profound disgust of the worthy chronicler. One 
anecdote is given of Frederick the Great which scarcely accords 
with the picture, also from a sineer's point of view, of Consuclo, One 
of the Berlin singers had married a violinist against Frederick's wish, 
and was ill-treated by her husband. The vioUuist was a tad character, 
and his wife's ** unfortunate passion for him " led her to nm away 
with him from Berlin. The Prussian Ambassador in Dresden stopned 
her, and sent to Frederick for orders, but Frederick replied, *' Let 
her go ; a woman is like a pointer, the more you beat her the taster 
she clings to you." 

During the latter years of Frederick the Great, and immediately 
after his death, the German theatre begins to be worthy of its name. 
Frederick's French troupe was regularly dissolved during his wars, and 
was not reconstituted after the Bavarian War of Succesaon. In the 
meantime, a heavy blow against French taste had been dealt by Lea- 
sing in his Bamburgisehs Dramaturgic. Lessing's own plays, and the 
early works of Goethe and Schiller, began to attract attention, and the 
classical period of Germany was dawning. The minds of tae Berlin 
public had not been so thoroughly depraved by Moli^re and Bacine as 
patriotic critics are tempted to assert, and as Frederick's own taste had 
oeen warped when he gave vent to his fiimous condenmation of Shake- 
speare and Goethe's Gdtz von Berlichingsn, " Disgusting platitudes" 
was the phrase with which Frederick dismissed the first work of 
Goethe, but the Ein^*8 sentence was instantly reversed by the play- 
goers among his subjects. Gdts was performed for the first time in 
1774, Hofrath Teichman tells us, and the success of the piece was 
enormous. The playbill of the day describes the new play m quaint 
language, as *' manufactured with diligence by a learned and acute 
author on a system which is quite peculiar, and at present quite un- 
common. The piece is said to be, as people call it, in the style of 
Shakespeare. We might have scrupled to put such a work on the 
stage, but have yielded to the desire of several friends, and have 
taken as much pains in the production as time and space permitted. 
And to please the honoured public, we have devoted as much money 
as was necessarv to the decorations and dresses wliich were customary at 
the time." The author's name does not appear on the playbill, and the 
first newspaper that professed to give his name, spoke of a Dr. GOde in 
Frankfort. But the success of the jnece soon brought the real name 

* Johann Valentin Teichnumn's Literarischer Nachlass, Heransgegeben 
von Fnmz Dmgelstedt Stuttgart : Cotta. 



Digitized by 



Google 



524 



THE MUSICAL WORLD. 



[Aug. 13, 186*4. 



forward ; and we find Leasing attributing some other tragedy to 
Goethe, and, being told that he was mistaken, exclaiming, ** So much 
the better I In that case Goethe is not the only one who can write 
such pieces.'* The time was approaching when the Berlin public 
found that many others could write pieces more to its taste. The 
RMers took instant and complete possession of the stage ; nothing 
would stsAd by the side of it ; even Lessing*s Nathan dtr Weue was 
only played four time to the Rdbhera twenty, though the two pieces 
were novelties alike. Lessing's Minna von Bamhdtn had such a suc- 
cess that it saved the manager from ruin and a desnairing flight. His 
J/ifs Sara Sanson, which now ranks as his lowest drama, was surpris- 
ingly popular, while his Emilia' GaloUi appeared only nine times in as 
many years. Of Goethe's later works, the NalHrilehe Tochter was only 
given three times in a whole year, and then vanished from the repertoire, 
bchiller, on the other hand, went on increasing in popularity, and the 
success of WUhelm Tell^ in which he culminated, gave him no cause to 
regret the early fame of his Sobbera. 

These scanty notices of the older time are more amply filled up 
when we come to the management of Iffland. His correspondence 
with all the chief poets of the age, the classical works he produced, 
and his own reputation as an actor, bring in a crowd of fresh 
dements, and the Berlin theatre is in a sudden whirl of managerial 
activity. Iffland finds time to write long letters to Schiller, pleading 
the dangers of giving a piece like the Camp of WalUnatein in a mili- 
tary capital like Berlin, and a military king as the first of the spectators, 
or suggesting historical pla3's taken (torn German annals of the time 
of the Reformation as more popular than Greek and Roman pieces, or 
begging for preliminary sketches of scenery and action, that he 
mav be able to set his painters at work. He writes to irritable poets 
and authors, excusing himself for not accepting their plays. Tieck 
writes one or two plaintive letters because he is sure that some charac- 
ter is meant for him, and the manager smoothes him down. Kotzebue 
is excessively offended at the r^ection of his Joan of Monifaucon, and 
says he should have thought there was room for it in a place where 
Zattberfidtes, Pieeohminis and such things were represented. Iffland 
replies with di>;nity and politeness in a letter of four and a-half 
octavo pages. It is* true that the post in Germany was so slow that 
the persecution of business letters could not be as severe as 'it is in 
London. Return of post between Berlin and Weimar, places which are 
six hours distant by railway, seems to have implied two or three weeks. 
A letter dated Berlin the 26th of November, arrived in Weimar on the 
6th of December ; but we presume that this was an unusual delay, 
as it is especially noticed in a postscript. With six posts a day, as 
Sydney Smith expresses it, leiUgrB of four pages octavo are impos- 
sible, and the most irritable author that ever furnished a title-page 
to the elder Disraeli must forego the satisfaction of being convinced 
by a manager. To judge from the samples before us, Iffland *s 
plan must have been ofiectual. Even Kotzebue was propitiated. And, 
after all, Kotzebue had very little to complain of. In the list of 
pieces given, his name recurs more frequentlv than any other, except 
that of Iffland himself, and the rate at which he was paid places 
him constantly above SchiUer. Maria Stuart, the Maid of OrleoMy 
and the Bride of Meesina were bought from the author at £16 and 
£17 each, a sum less than what Kotzebue got for many of his plays — 
even less than what was paid to librettists for the book of an open. 
Wallenttein and WUhebn Tell were better— £60 each. We find Goethe 
asking £90 for the complete theatrical copyright of Borneo and Juliet^ 
while Schlegel gets only £10 for his adaptation of Hamlet, The 
lownees of these prices seems to have been a sore subject with 
Iffland. *' But what can I do ? " he asks in a letter to Schiller, in 
which he exposes all his managerial difficulties: " the Court gives us 
very little ; we mut>t play every day, we must make a certain receipt 
every day ; pieces in verse take twice as long to learn as other pieces, 
and they don't suit the great public ; our painting-room costs so much 
a day to heat during the winter ; if your genius should lead you to a 

genius of the same effect on the public as the Maid of OrleaM, we 
lould gladly double the honorarium" 

The stinginess of the Court is a great subject of comi>laint. But it 
speaks well for the taste of the pnbuc that the plays which the mana- 
ger was most ready to offer, and which allowed him to double the 
author's profit, were those which posterity has associated with the 
name of Schiller. A public competent to appreciate and support such 
a play as Wilhelm TeU scarcely needs to have a national theatre kept 
up for it bv the Court. We see pretty clearly from this, as fi:t>m so 
many similar experiments, what a dramatist must do if he wants the 
•* plauBoris auliea macentis," whom Horace prescribed as not the least 
Inducement to the poet. It is not . sufficient to be a classic in your 
own estimation and write dramas on admirable models, because cultivated 
minds have approved the one, and the public ought to appreciate the 
other. This may be very wdl so long as you have a Court to support 
you, and can rely on the verdict of those who are too orthodox to 
yawn, and whose tonguea have been moulded by tradition or ^etiquette 



till they have forgotten how to hiss. Bat, if yon want the genend 
public, you must not lecture it on what it ought to admire, bat you must 
make it admire. Iffland and Schiller might well be confident in the 
taste of a public which had begun by being frenzied for Odts and the 
Sgbberst which had expected Mozart's Don Juan with greater eager- 
ness than any other opera, which had gone to see Gluck*s Iphigenia 
with the firm intention of laughing at the strange spectacle of a 
tragedy with German singers, and had remained to applaud, and wMch 
had then risen with the nse of its national literature till it welcomed 
Schiller's later pieces with the same enUiusiasm which had greeted his 
first and most extravagant productions. That the Court, with iJl the 
stinginess laid to its charge, was aware of the necessity of consulting 
the public taste, may be seen from the conditions imposed on one of 
the earlier managers, who is especially enjoined not to give orders for 
free entrance to any of the creoltors of the theatre, or to any persons 
in authority, but only ** to those learned men and acute critics whose 
advice may ^be beneficial to his theatre." But it is only to long as 
the public taste is pure that the poet can rely upon it, and when the 
&lling off comes, as it is almost certain to come, there is no more hope 
for the drama. Is it better, under such circumstances, to keep an 
empty theatre, at the expense of a Court, for the sake of g^vanizing 
the muse, as is done in some of the capitals of Germany, or to yield to 
the tide, and confess that the stream is setting in in another direction? 
As Secretary to the management of Berlin, Hofrath Teichmann seems 
to have taken the latter course. In his book, he is too firmly rooted 
to the traditions of the golden age to confess his own weakness. 



FISH AT THE CONCERTS. 
Mb. Alfeed Mellom'b CoircEBTa. 

The first •• Classical Night," given on Thursday, was devoted to 
Mozart, the first part of the programe comprising the overtore to 
Idomeiieo; Concerto for the clarinet; Pianoforte Sonata in F major; 
the aria ** Gli angui d' inferno," from the 11 Flauto Magico ; and sym- 
phony in E flat. Mr. Lazarus played the clarinet part in the Con- 
certo for that instrument, and Mdlle. Krebs performed the pianoforte 
sonata. How Mr. Lazarus played the Clarinet Concerto need not be 
told. The composer himself would have pronounced it incomparable. 
Mdlle. Krebs found a wider scope for her talent in the sonata, than in 
the fitntasia on which she had been expending her means the three 
previous evenings. Of course the grasp of mind and balance of senti- 
ment, which in master-hands seems almost to convert an instrumental 
performance into a realization, are wanting in the .young lady — ^who, 
by the way, is not so young as she is proclaimed — and the force, too, 
and energy which constitutes power are not to be found in her. But 
everything else is present in Mdlle. Kreb's playing. A facility surpassed 
by few, a light and graceful touch, and great delicacy, almost refine- 
ment, of expression. The youthful pianist made a great sensation in 
the sonata, and retired from the platform amid a perfect storm of 
applause. The song from the Flauto Magieo was entrusted to Mdlle. 
Carlotta Patti, who sang it as few living singen could, and was cheered 
to the echo. The audience roared for an encore, but Mdlle. Fatti only 
bowed. We must leave our readen to imagine how the magnificent 
band, nnder Mr.. Alfred Mellon's direction, played the overture to 
Idommeo and the E flat symphony. 

As regards the second part it is enough to say that it was miseel- 
laneous, that the operatic selection was ** La Favorita," the soloists 
being Messn. Hill (violin), G. Collins (violoncello). Barret (oboe). 
Levy {cornet), and Hughes (ophecleide) ; that Mdlle. Ou-lotta Fatti 
sang tne Carnaval de Venise, and being encored, gave " Comin' thro' 
the rye " ; that Mr. Levy's solo was the waltz from Fauet ; that the 
Grand March from La Beine de Saba (a really grand march) was re- 
peated ; that Ali Ben Son-Alle again played his Sannambula fmntaunm. on 
nis new instrument ; and that the new quadrille from Mirella oondnded 
the concert. 

Last night the feature of the concert was the performance of several 
glees and part-songs by Mr. Alfred Mellon's Glee Union. 

To-night there will be a ** Volunteer Night," the meaning of which 
we do not precisely undentaod. The expression is obscure, unlees Mr. 
Mellon intends that both he and his artists perform their parts 
gratuitously, and admit the public free. Covextby Fisn. 



New Yobk. — July 9. — {From a Oorretpondent). — The month of June 
in the metropolis has been almost totally devoid of musical demon- 
strations. Only two concerts of any importance have been given — 
one at the Academy of Music on the evening of the 14th, and another 
at Niblo's Saloon on the following night. At the former the united 
choira'of the Methodist Episcot^d Churches, comprising nearly 300 
vocal and instrumental performers, gave a number of choruaes from 
the principal oratorios, interspersed with solos and duets, all for the 
benefit of a Sunday School Union ; and at the latter, tendered aa a 



Digitized by V^riOOQlC 



Aug. 18, 1864.] 



THE MUSICAL WOBLD. 



525 



benefit to the widow of Lieateoant Boudinot, killed daring the balUea 
of the Wilderness, Madame de Lussan, Mdlle. Morensi, the oontialtOt 
Bignor MorelU, the barytone, and other artists volunteered their 
services. Lieutenant Boudinot, before he went to the wars, was a 
musician, and connected with the Academy of Music in New York. 
An open company has been formed by Mr. Max Strakosch, to give 
operas like l)on Fasqtiole and Jl ^orMsre*— works which do not 
necessitate a chorus— in the Northern States and Ganadas. The 
troupe has an American prima donna in Miss Adelaide Phillips, while 
Signor Brignoli is the tenor, Signor Susini the basso, and Signor 
Mancusi the baritone. The company began operations at Portland, 
but were not successful there, the people of that city apparently 

Eeferring negro minstrelsy. Thence* they went to Quebec and 
ontreal. Mr. Max Maretzek is about to try his fortunes with the 
Emperor Maximilian in Mexico, for which city he has engaged in 
Europe an entirel^f new company of singers, and intends giving opera 
with them under imperial patronage. He will return to New York 
during next winter. In the meantime, Mazzoleni, Biachi, and Sulzer 
will leave for Mexico^ Mr. Maretzek is to produce next season, in ite 
place of Miss Suker, a new contralto, a resident of New York, who 
has never yet appeared on the stace. She is singing at present in the 
choir of a Roman Catholic church in this city, and will make her 
operatic debut as the Qipsy in the Trwatare, 



* Our New York correspondeiit must sorely have mistaken the Barbien 
fat some other opera. The Barbiere without a chorus would in reality be 
Hamlet without the Prince of Denmark.— Ed. if. W. 



AunoED Mblloh's Cosckiits.— «Mr. Mellon's concerts should be the 
very &iest musical 'entertainments in existence. No concert of less 
than superlative excellence should tempt the unwary lounger in the 
delieioua eventide into the gas^laden atmosphere of a theatre on a hot 
August day. No amateur who, in the cold and dreary winter nights, 
can warm his starved imagination, and stimulate his impoverished brain 
with the masterpieces of music, should venture within a conceri»room 
during the dog days, with the vain hope of reviving faded pleasure. 
For all who have an opportunity of breathing the fresh sea breeze, 
and of emoying the luxurious and profitable idleness of a country life, 
it ii a &iy to gratify their desires. But in this overgrown city of 
three million inhabitanta there are many weary, helpless, town-ridden 
wretches to whom all such health-giving pleasures are denied ; and 
Uiere are many who prefer hearing Beethoven*8 " sensations on first 
reviritiog the country,^' splendidly described in his Pastoral Symphony, 
to testing their own feelings on the subject. To all these Mr. Mel- 
lon's concerts will be a great boon. But the concerts should be of re- 
markable excellence, wd they should be the best of their kind. — 
Iknl^ Telegraph. 

BiABHSBUBT LiTXBABT I nbtitut* . — A coucert was given, under the 
direction of Mr. George Tedder, at Myddelton Hall on Friday evening, 
the 6th inst., by the above institution, which attracted a large audi- 
ence. The vocalists were Miss Rebecca Isaacs, Miss Lotti EUerie, 
Miss Leffler, Mr. George Tedder, Mr. Carl Turner, and Mr. Leonard 
Walker ; the instrumentalists Mr. Emile Berger (pianoforte), and Mr. 
V. GolUns (violin). Among the pieces that made the greatest 
impression were a new song by Mr. George Tedder "Her boy so 
brave and fair," suns by Miss Rebecca Isaacs, '* Maggie's Secret " by 
Miss Lefi9er (encored), a new song by Mr. Henry Fase, " Yes, loving 
hearts," sung with expression by Mr. George Tedder, Mendelssohn's 
•* I'm a roamer " well given by Mr. Leonard Walker, and Rossini's 
** Largo al factotum,** by the same gentleman, in so spirited a manner 
that the audience encored it. Miss Lotti Ellerie made a fitvoraUe 
impression in Venzano's popular waits, and Mr. Emile Berger a decided 
'• mt " in his new fantasia on Scotch airs entitled 1faoer/y,^which was 
loudly encored, but not repeated. Mr. Emile Berger also aooompanied 
the vocal music on the i^anoforte. 



THE MODEBN HABPI8T: 

A HIW WORK FOR THB HARP BT MR. APTOHMAS. 

(ToUPvi^HAeib^afaeeHtaim), 



Dwnper— Chromatlo Combinations— MemorUing-^Playliiff in PabUo^Ttselilof— 
TMlinioal Temif-Huid Selections from ths Qnat Mstten, Ac., 4fcG. 

Price of Subscription, OHE GUINSA. 

Twnod by the Author, SV King Street^ 8obQ» W. 



GOUNOD'S NEW OPEEA, 

"MIRELLA," 

PERFORMED WITH IMMENSE SUCCESS AT 

HEB MAJESTY'S THEATEE. 

OPINIONS OF THE PRESS. 
*'The mnslo of JtfircSa !• u good u that bf Frntt; perh^[», In lome rctpMtt^ 
better.**— Z>a«^ Nem. 
** M. Oonnod hai given to the world ftaother fenniBO and charming work.**— >nk« 

** The mnslo of JtfSrtf to will u rardy make Its way with the pablie as that of 
rauur-^SUMdmrd. * -- 

** A capital opera ; no liying man could write anything for the stage comparable to 
W^ASh/eneevm. 

** We hare to thank H r. Hapleson for giving os an opportunity of hearing the last 
work of one who oer ainly new is the greatest living operatic composer.**—- iSttftnteif 
Reoiew. 

THE PRINCIPAL VOCAL PIECES. 

1.-THX OFZOriKO OHOBUS. 

This exqnistte subject (** FAoaiM Caboli **) may be had as a song, as a duet, as a 
ehoms, and for the pianoforte, by Brlnley Rionardi and Nordmann. The following 
quotations from the press refer to this melody : — ^" There Is nothing in modem opera 
to exceed it in freshness and Southern character.**— JtikerMnmi '* Nothing more 
fresh or melodious has ever been Imagined than this lovely Inspiration, a worthy 
pendant to the Valse In Fatutr—DaUv TOegriV^ *' BeautUblly simple and tender.^ 

-^DaUyNetu. 

2.-TH1D BAVOYABD KBZiODT. 

This simple and beantlAd melody is perfi)rmed by the orchestra. It Is, howSTsr, 
published with English words, ** Fin paoM his UouvTAim,** and in Italian, ** As 
DiSTATi OB su {** and for the pianoforte by Brlnley Richards and Nordmann. 

8.— THS BHXiFHKBD'B BONG'. 
*« FnJOB Parohkl,** sung by Mdlle. Yolplni. «• A delicious llttte air.**— 9^ Timet, 
"Exceedingly charming.**— i>aa|r lUfl^rvgA. **A delicious melody.**— Arfuriaif 

4.-MDIiIi]B. TITI3SNS* BONO. 

" The most popular is the bramra aria, " Nov mnri u. Ooaa.** ** More than the 
riral in our esnmatloa to the Jewel Song In Fautt, as being a purer strain of 
melody .**— iStoiidard. 

6.-1CDI.I.I]. tbubbdiiTB song. 

**La srAowm AaanrA, o Bella,** encored every night. **This will be in every- 
body*s mouth, and it is certainly the most catching melody in the opers.**— AtfHntoy 
Mew. «< An exquisite Uttle song.**— Daily fWe^rovA. 

&-8IONOB OIUOIiIirrB BONO. 
«*Ab! SB D*PBBQBt MiBx.** "A loToIy song.**-N8MHrday Reviete, ••A delloloas 
eavatina.**— Jronria^ AdeerHser, 

7.-MB. BANTIilirZ*8 BONO. 

** Si L*ablbb b sob Rboibb.** A bold and yigoroua stratn.**— AflMNrordL 

&— THE DUBTS. 

1. ** Cbabsob bb m aoau,*> snng by Mdlle. TlUens and Signor Ofuglini. ** One of 
the most captivating thfaigs in the open.**— <9wk(ay Timet, ** Likely to become as 
popuUr as anything hi Faud^-^Otaitdmrd. 2. ** Ah ! pabla aboob,** snng by Mdlle. 
Volpinl and Mdlle. Tittens. 

The Gompleta Opera, In Italian or Frencbj 188. For Planolbrte, lOs. 



PIANOFORTE ARRANGEMENTS. 

TH3D OVXBTUBX— Bole and Duet. 
** Seems to be a string of popular melodies of the South of Frsnce.**-^Z)ailtf ifswi. 
• Pretty; light, and essentlaUy pastoral.**— 27k« Timm. •• A beautlAU composition.** 

' * THter, 

THB AIBS. 

By W. H. Calloott, In Three Books, Solos and Doats. 5s. and 6S. each. 



PIANOFORTE 

Kah*1 Futula, IflnlU _. 



PIECES. 



Madame Ovry*s Fantasia 

RoseUen*s Souvenln de Mirella ( a Selections of A)n) 

Mordmann*s Bouquet de Melodies 

Brlnley Richards' Cboeur de Magnanarelles (the opening Chorus) . 

Brlnley Richards* Savoyard Melody 

Ketterer*s Fsntasla, transcription (a very briUant piece) 

Ly8berg>MirelU^tasU 

Qaoi*s Reminiscences of Mir^ iia. 

Forbes* Fsntasia • „ 

Coote*S MirelU QnadrUles .....V.'.'..'.'."""*."!."".*! 

Goote's MlrelU Walties 

Victor Conine's Mirella Valse 



\ B00SB7 ft Co., 28 HoUes Street, W. 

Digitized by V^riOOQlC 



674 



THE MUSICAL WORLD. 



[Sept 8, 186i 



KXJHE'S 

LUCIA DI LAMMERMOOR. 

Brilliant Faniasia on Donizetti's Opera. 4b. 

LUCREZIA BORGIA. 

Brilliant Fantasia on Donizetti's Opera. 4s. 

LA FAVORITA. 

Brilliant Fantasia on Donizetti's Opera. 4s. 



JUST PUBLISHED. 



» • _ 



THE 



BLUE BELLS OF SCOTLAND. 

Brilliant Transcription. Price 4s. 

SYDNEY SMITH'S 



MARCHE DES TAMBOURS. 

Morceau Militaire. Price 4s. 

REVE AlfG^QUE. 

Berceuse. Price 4s. 

THE SPMING WHEEL 

Spinnlied. Price 4s. 

LES HUGUENOTS. 

Grand Fantasia on Meyerbeer's Opera. 4s. 



GRAND 

CONCERTANTE 



DUET 



>^ 



FOB 



2 Pianofortes, 



ON THEMES 



noH 



LONDON: 
ASHDOWN AND PARRY, 

18, HANOVER SQUARE, W. 



GOUNOD'S OPERA, 

FAUST, 



BY 



G. A. OSBORNE. 

Price 8s. 




r-.«^H»»».^^Kgyy.^,^^^^ 



^ Digitized by 



Google 




miml 




*Thm woBfiH OF Art appkabs most simnarr zv Muno, aoroB it bbquibbb ho kjltbbzal, vo ■nBjBOTricATTBB, whose xmor 

VUIT SB DBDUOXmo: IT If WHOIXT FOBX ASD POWKE^ AMD IT BAlttS AHD EBVOBLBSi WHATKYBB XT BSFEBSaBS.**— C^MAtf. 



SnBBCBIFnOITy.FBBB BT POST, SOs. FBB AEOTUM 

Fayable in advaaoe by Caah or Post-OfEloe Order to DXnsrCAZT PAVIBON ft CO^ M4^ Begent Btreet» Iiondoiit W. 

[Regi&tmdfoT Tranmiukn Abroad,'] 



Vol. 42— No. 42. 



SATURDAY, OCTOBER 15, 1864. 



r«o.{jigsssr* 



MB. 
GRAND 



HOWABD GIiOVEB'S 

SBCOKD 

MUSICAL FESTIVAL, 

AT TBI 

TH3SATBXS BOYAU DBUBT IiAlTBy 

THIS PAY, 

SATURDAY, Octobeb 15th, 1864, 

COKMBVOWO AT TWO O^CLOOK PBBOIULT. 

GRAND VOLUNTEER CONCERT, 

Under the immedUte patronage of 

VISCOUNT BANBIiAOH, 

Colonel Commanding the 8oath Mlddleiez Yolonteen. ' 

M I L ITARY B AND. 

Artltti already engaged :— 

mil LOUISA PYNE and Hiu SUSAN PYNB. 

Mdlle. LIEBHARDT. 

(By kind permission ofM. Jnlllen.) 

Hdme. FLORBNCE LANCIA. Mdme. LOIJISA YININQ. 

Mdme. LAURA BAXTER and Miss BANKS. 

Misi PALMER. Mdm& HENRIE. MdUe. DI ROSSI. 

Mdlle. ELYIRA BEHRENS. Mdme. MARCHBBI. 

Mdme. 8EDLATZEK. Miss FLORENCE db COURCY. 

Mrs. HABRIBTTE LBS. Mies LEFFLER. 

Mist STABBAGH and Mdme. HELEN PERCY. 

Miss A0NE8 ROHAN. 

(Fmm Milan — her flrst appearance In Bnglabd.) 

Miia FANNY ARMYTAGE, and MUs EMILY 80LDENB, 

(Pnpll of Mr. Howard Glover.) 

Mr. BLLTOT GALER. Mr. RENWICK. 

Signer MARCHE8I. Mr. ELLMORE. Signer DODONOF.I 

' Mr. LEONARD WALKER, and 

Mr. LEWIS XHOMAS. 

Solo YloUn, Mr. HENRY BLAGROYE. 

Ylolonoello, Mr. CHARLES HARPER, Jon. 

Tmmpet, Mr. T. HARPER. Comet Mr. LBYY. 

Pianoforte, Herr FRITS HARTYIGSON, 

(From Copenhagen, Pianist to H.R.H. the Princess of Wales and Her M^fetty the 

Qoeen of Denmark), and 

MdUe. MARIOT DE BBAUYOISIN. 



THB LONDON OHOBAIi XTNION, SOO VoiOM, 
• Wnj* mre nrutiL Pabt Sohgs. 
Condootor .- Mr. YERRBKEB. 

Scenes firom Donizetti*i 
'^DAUGHTER OF THE REQIMENT," 
Misi LOUISA PYNE. Coumus, Miss SUSXn PYNB. 

Mn. HOWABD FAUIi 

Will give, for the flrst time in London, her 
LIYING PHOTOGRAPH OF THE ILLUSTRIOUS GENERAL GARIBALDI, 
And Sing, in appropriate Costnme, the funons Hymn, ** To Rom on to Diatb.** 



Condnctors— Mr. BmriDior, Signer Abditi, Mr. Frakk Mou, Mr. Ldcdsit Slopkb, 
Mr. BiiLC BiBOKn, Mr. W. H Mostgombrt, and Mr. Howabd Gloitm. 

Pric es Stalls, 6s. Dress Circle, 4sl First Circle, 3s. Upper Circle and Pit, 2s. 
Galleries (containing seats for several hundred people), Ist, Is. 2nd, 6d. 

Tickets and places to be had at the Box Office of the Theatre from 10 te 6 daily, 
and at Messrs. Duncan Davison's, 244, Regent Street 



BBADFOBD (YOBKSHIBJES) 

SATURDAY NIGHT ENTERTAINMENTS, 

ST. QEOBGE'8 HALL. BRADFORD. 

THE DiREOTORt are prepared to negotiaie witli Artists of 
respeotaUllty, whose talents are calculated to afford amusement and initmo- 
tiuntoalarge 
Ai •• 

«M7i 



jL respecmDiucy, wnose xaients are caicuiatea to anom i 
tiun to a Urge and appreciating audience. 
Applications from Touring Parties, with full particulars, 
• taJ7,Mr.aOwriiB,BrM9ind,TorluUre,wiUrMeiTeev( 



, addressed to the Seore- 
every attention. 



ROYAL ENGLISH OPERA, 

OOVBNT GABDEK, 

OPERA COMPANY. LIMITED. 
On MONDAY next, OCTOBER 17, wiU be performed Auber's celebrated Opera, 

MASANIELLO, 
Elvira, Madame Parepa : FeneUa, Mdlla Rosa Girand (from the Aeademielmperl^ 
Paris); Alphonso, Mr. H. Bond; Pletro, Mr. Weiss ; Borella, Mr. Aynsley Cooks 
Lorenso, Mr. C. Lyall ; Selva, Mr. B. Dnssek ; and Masanlello, Mr. Charlea AdanM 
(from the Royal Opera, Berlin, his second appearance in England). 

Conductor, Mr. Alpbsd Mbllov. 
The Incidental Divertissement will be supported by MdllesL Duehatean and Bonflmti, 
and Messrs. H. and F. PayncL . 

Private Boxes from 10s. 6d. upwards ; Stalls, 7s.; Dress Circle, 5s.; Upper BoiM, 4s.; 

Amphitheatre Stalls, Ss. and 2s. ; Pit, 2s. 6d. ; GaUery, Is. 

No charge for booking places. Commence at 8 every evening. 



JULLIE N'S CONC ERTS. 
HEB MAJESTY'S THEATBE. 

ENQAQEME NT OF MR . SANTLEY. 

POBITIVIiBY THB IiAST TWO NIGHTS. 

M. JULLIEN hat the honour to announce that his BENEFIT will take place on 
TuKSDAT, which will be poaittvely the Last Niqbt of the Season. 

,,rv/^.*Ta«o J Mdllb. LIBBHAET. 

YOCALISTS \ Mb. SANTLEY. 

PIANISTE Mdllb. MARIOT DB BEAUYOISIK. 

YIOLIN M. LOTTO. 

CoxDuotOB H. JULLIEN. 



THB DANISH KATIOKAIi VOCAIiISTB 

THE BAND OF THE DANISH GUARDS 

Admission, One Shilling. 

M. JULLIEN'B BAIj D'OPEBA. 

HER MAJESTY'S THEATRE. 
WBDNBSDAY, OCTOBBE 19th. DOORS OPEN AT 9.30. P.M. 

DandDg eommtnce at 10. Supper at L Caniaces ordered at 6. 

BALL TICKETS, 108. 6d. 



BTBINCa- QUABTBTTB. 
A FiBST-BATB QUARTETTE PARTY is wanted for 

XJl Four Weeks hi Sootlan* Letters, giving names and stating terms, may be 
addressed to X, care of Mr. l}% Moan, 101 Buchanan Street, Glasgow. 

MISS FANNT ARMTTAGE 

WUl Shig THIS DAY at 
Mr. HOWABD QIi OVBB'S OOHOBBT. 

MISS FANNT ARMTTAGE 
ILL Sing the Soprano part in the "MOUNT OF 

, » OLIVES," and "HYMN OF PRAISE," at SHEFFIELD, October 28, 
and at ICr. Thubnam's Cobobbt, Reigate, October 31st 

ISS BANKS and Madame LAURA BAXTER wiU 

Sing the Duet ft^m the popular Operetta of One* too Qftm** OH GLORIOUS 
OFCHIYALRY," at Mr. Howabd Olovbb's Concert at Drury Lane Theatre 
this day. 

"A TR. FRANK ELLMOR^J wiU sing " ALICE, WHERE 

JV| ART THOU r " at Mr. Howabo (H.ova'k Qbasd Cokjim Tsj» Dat, an^ 
M the Plmlioo Instttutton, October 21, 



w 



Digitized by 



Google 



656 



THE MUSICAL WOELD, 



[October 15, 1864 



ftrtisU 



FBOHSETAPIS COITCEBTB. 
^HB. STRAND MU8ICK HALL wiU OPEN on 

MONDAY, October Itth, with % oomimny composed of the following eminent 
-..istef^-Vooftllsti: Mdlle. Bon Wllki, of the ConBeryatoire Boyftle de MaMqae, 
Bnusels, and of the principal Concerts of Belglam, Holland, Germany, France, Ac.; 
ICdlle. Fanny MoUdoff, Prima Soprano of the princioal Coacerte of France, Germany, 
Pmnia, Belgium, Ac. ; MdJle. Carlotta Mayer, of the principal Concerts of«France, 
Belgium, Germany, Ac. Instrumentalists— Violin, Signor Qiovannl Adelmann, prin- 
cipal Tiolinlst at the Conserratoire de Milan ; Cornet-a-Piston, M. Dnhem, professor 
at the Conservatoire Royale at Brussels ; Pianoforte, M. Tito MatUI, pianist to his 
Majesty the King of Italy. 

ORCHESTRA. 
First Ylolin. — Principal, Horr Strebinger; Messrs. Mackenzie, ^J. Bnisell, C. 

Greesleach, J. Marsh, A. Haynes. 

Beoond TiollB.->Prinoipal, Mr. J. Newsham; M«nrs. Ounnis, J. Marshall, T. Portar. 

Violins Principal.— Mr. H. Bmyden; Mr. Thompson. 

Yloloaoallcs.— Principal and Solo, Mr. W. F. Reed; Mr. Sohroeder. 

Contra Bassi.— Principal, Mr. W. Castell ; Mr. Vernon PerdvaL 

Flutes.— Principal and Solo, Mr. A. Wells ; Mr. J. Edwards. 

Oboes.— Principal and Solo, Mr. C. Eogle; Mr. A. Lane. 

Olarionettes.— Principal and Solo, Mr. G. Tyler; Mr. J. Tyler. 

Bssfoons.— Principal and Solo, Mr. W. B. Wooten ; Mr. B. Andenon. 

Horns.— Principal, Mr. W. Handley ; Mr. J. TItley. 

Coraeti.— Principal and Solo, Mr. A. Bonlconrt; Messrs. J. Davis, R. H. Stratford. 

Trombones.— Alto, Mr. F. Kendall. Tenor, Mr. R. Rochester. BaMO, Mr. J. Marii. 

Euphoniom.— Signor A. Jannotta. Tympany.— Mr. T. S. Clilpp. 

Qrotse Casse.— Mr. F. Buxton. Side Drum, Triangle, Ac —Mr. C. Thompson. 

Harp.— Mr. Stratford. Musical Director.— Mr. F. Kingsbury. 

Private boxes, 10s. ed. ; box stalls, as. «d. i balcony and stalls, 9s. $ area. Is. 
Box office, IT, Wellington Street. 



STRAND MUSIOK BALL,— TWO-GUINEA 
SEASON TICKETS.-^ LIMITED NUMBER OF ANNUAL TICKETS, 
oonferring the privilege of entree to the Private Inauguration this Evening, (Saturday) 
the 16th inst., to be had at the Box-office, 17, WelUngton Street. 



WILLIE PAPE, of Alabama, visits Dumfries, Castle 
Douglas, Kirkcudbright, Dundee, Aberdeen. Glasgow, Edhibnrgh, Penrith, 
Liverpool, Lltohfleld, Leamington, Banbury, Lynn, Sandringham, Norwich, Pen- 
sance, Truro, Plymouth, Torquay, Exeter, Sidmauth, up to 15th November, he then 
visits Beltest, Armagh, Dublin, Ac. For engagemMU, please address 9 Soho SQuiai, 
London, W. 



TVirKS. CAMPBELL BLACK, VocaUst (Pupil of Dr. 

JJlL Fbavcis BoBDisoii, Vicar Choral of the Cathedral of Christ's Church and St. 
Patrick's, in the City of Dublin), sings in Italian, German and French. She sings 
also all the popular English, Scotch, and Irish Melodies, and has carefiillv studied 
Sacred Music. Mrs. Cajcpbsll Black accompanies herself on the Harp, Pianoforte 
and Guitar. All communications respecting engagements to sing at Concsrts, Ac., 
to bs addressed to her at f Well Walk, Hamstead, N. W. 



8olr«esf 



TRS. JOHN HOLMAN ANDREWS begs to inform 

her Friends and Pupils that she has returned to town for the season. Her 

B Ibr the practiee of Vocal Concerted Music will commence as usual In November 

at her residence, SO, Bedford' Square. 



"THE BRIDE OF DUNKERRONi" 

A DBAMAtIC CANTATA. 
The Vexie by FBXDXBIGK IBJf OGR. 

COMFOSpO BT 

HENRY SMART. 



Prodnosd at fhs BlrmlDgham Festtval with tiie most briUlaat* 

by the Press to be a masterpiece of the English SdiooL 

CoMpM PianoforU and Vocal Scon, handumeljf bound, Friet 18f . 

BONOS, OTJB^S, fto., Printed t^pMiitolr. s. 4. 

The iUI moon Is beaming. Tenor Aria ... S f 

The Sea rules all. Song, Bass or Baritone ^ ... S • 

Our home shall be OB this bright Isle. Soprano Aria ... S • 

Here may we dwell. Duet, Soprano and Tenor ^ ... a • 

Hark ! those spirit voices. Duet, Soprano and Tenor ... ... ^^ ... 4 

Hail to thee, child of the earth. Trio for two Soprani and Cootralto. Arranged 

IWka the Chorus of *'SeamaldeDS'* ... s a 

Intormexzo (Instrumental). Arranged as a Pianoforte Duet ... ... ... • • 

31k« CTkcrol aatf OfxAsiAvri (SirWtt^ ^arfff art all PaAUiM^ 
SodtHin ca nuNbrafs fsnus. 

M 9TZI.BB k Co., 35 to 38 Qrwt karlboroaf h Street, UanUm, tT. 



ItiTADAME PAREPA begs to annonnce her change of 

JV| residence, and requests that all communications may now be add r essed to 
lier at IT Gloucester Crescent, Hyde Park, W. 

MADAME RUDERSDORFP will return to Town for 
the Season, on the conclusion of her engagemente in Itely, the end of 
ler. Cemmunications for engsgemeots, fta, to be addressed to her at 16 
WelHngton Road, St. John's Wood, N.W. 

MISS HELEN HOGARTH (Mrs. Richard Ronby), 
begi to inform her friends and pupUs that she has returned to town for the 
season.~lO, Gloucester Cresent, RegenVs Park, K.W. 



B. 8IMS REEVES wiU sing ''THE MESSAGE/' 

composed by M. BLOMnmAL, at Mr. Hiiui's Covosnr, at Manchester, 



MR. HANDEL GEAR, Professor of Singing in Italian, 
German, and English, begs to inform his Friends and Pupils that he hss 
setumed to town tat the season. 32, Upper Seymour Street, Portman Square, W. 



a ERR WILHELM GANZ begs to inform his Friends 
and Pupils that he has returned to Town for the Season. 16 Queen Anne 
t. Cavendish Square. 



a ERR LIDEL begs to inform his Friends and Pupils 
that he has returned to Town for the Season. Address— • Osnaborgh Tenaoe, 
it's Park, N.W. 



T^TR. W. B. HARRISON begs toi 

JXL PnpUitbat ha has ntunsd to Town for th 



inform bis Friends and 

ths Season. 84 Bsgent dreos, 



PUBLICATION OF THE FULL SCORE 

<'THE BB|DE OF DUNKBBBON," 

Br HENRY SMART. 

In order that this admirable oompositloa may be ttioroughly anwesiatad bj BIndaMts 
and Amateun of Mosio, it is In oontemiriatlon to pnbUsh the nu Oou— ly 8«^ 
serlptlon. Mames should be sent In to the Publishers at once. 

Prio% to SuUeriba^ lU ; to JtSw-AfUcrOsn, SU. 
Mbklbe a Co., 86 to 38 OfMt MJarlborrach Btraek, London, W. 



MONS. J. IiBMMElTS' 
ECOLE D'ORQUE 

BAS^E 

SUB LI PLAIN. CHAHT BOMAIII 

GoDplste, ISL 

Soon A Co.. 15T and 159 Recent Street; 



ONE Y 6 A R, 

(A YlLLifll Tau), 
Composed by Mm. JOHN MACFABBBN, and snnf with ImmflDM i 
MISS BANKS. 

Prioe as. ed. 
FoBTitt A Kuro, 323 Befent Stnei 

It seems ss If to me slb< I 



The rooks are oawlng In the elms, 

As on the very day. 
That sunny momieff , mother dear, 

When Lucy rent away % 
And April's pleesant gleams hare oome^ 

And Aprlrs gentle rain ; 
Presh leares are on the vine, bnt when 

Will Lucy oome s^ain f 
The spring is as it used to be. 

And all must be the same, 
And yet I miss the fseling now 

That always with it same. 



The sweetness of the year ; 
As if I oould be glad no more^ 

How Lucy Is not hen. 
A ygsr— it seems bnt jtatai ^ s y. 

When In thla very door 
Ton stood; and she eaaa imni 

To say good-bye onee mora ; 
I hear voor sob— your pactin^ k 

The last Ibnd words yon said; 
Ahl little dkl«etkia£.Hiaa7« 

A^ Liwy would be dead ! 



ERINLEY RIOHARDS'8 SlTTDENT'S PRACTICE, 
used at the Boyal Academy of Muslo, In 36 Nos.,Sb. to M- sachi or somnlgls 
M Yelums, bound in oloth, £1, 4aw— N.B. A ThMnatle Index gialia aad poit ikwa 

BRINLEY RICHARDS'S CLASSICAL MANKT, 
used at the Boyal Academy of Mnsio. In St Kos., 9s. fd. to T& eaeh, or mam^ 
plete in Three Yols., each bound Da oloth, £1, lis. M. X.B. A ThsBsafle IndM 
gratis and post fbsa. 

T5RINLEY RICHARDS— " IN SEARCH OP THE 

Vj PBIMBOSE." Song. By W. T. WnionoH. Transedhad Ar PIam br «te 
Composer of «* God Bless the Prince of Wales.** 3i. 

"DRINLEY RICHARDS. — NEW PIANO MUSIC 

JD The Hardy Norseman, as.; the Bells of Ahsrdovny, Ss. id. ; DMA^aa.: BM 

Me Discourse, 3s. ; National Airs, 3s. ; Qod bless the Prince of Walnvia & Dwft» Ok 

London : Bobbrt Cocu * Co., New Burlington Street, W. ; aU MnsiiissHia 

pOBERT COCKS <fc CO/S TRICHORD PIANETli! 

Xv in Walnut or Bosewood, moet petftct In touch end powectnl la Toaa, J3k 
Drawings gratis and post free. 

6 New Burlington Straet, London, W. 



Just published, price 3s.. 

"WHITHER AWAY.'» 

BONO, 
Composed by GEORGE B. ALLEN. 
DimoAV DATaoii * Co., SM] Bspst MrHl. If. 



Digitized by 



Google 



October 15, 1864.] 



THE MUSICAL WORLD. 



657 



ANTONIO SALIERL 
iConUnutdfrom Pope 642.) 

While enjoying the suocesB of his Grotto of TroJ^otdus^ Salieri 
had another canae of high aatisf action in the reception which iJie 
printed acore x>f Les Danaides met with . from the musical world, 
and its renewed succesa in Paria. C. F. Cramer wrote him, from 
Kiel, that *^ he Feoognized throoffhout the aoore the harmoniona 
and feeling oompoaer of the EncbantreBB Armida, but at the same 
time one who waa aUe with as rapid and unfaltering a flight to 
rise above his own peculiar st^le and follow the path of Gluck, as 
the true and worthy heir of his mantle.** Bailli du-BouUet wrote 
him from Paris, that the Danaides had again been put upon the 
stage, was listened to with delight, and applauded to the echo ; 
that the splendid success of its first course was nothing to the 
present, and one heard but a universal cry of " What a magnifi- 
cent Opera r* and, at the same time he besought Salieri to iMorm 
Gluck that his Alceste roused a higher enthusiasm with each 
repetition. 

When Salieri returned from his first Parisian visit, he brought 
with him, as we have seen, two texts which the Academy of Music 
had entrusted to him for composition : Tarare^ by Beaumarchais, 
and £es Horaces^ after Comeille, by Guillard. The former, after 
oaieful examination, he sent back to its author, with remarks and 
request for certain changes. Bailli du-BouUet, in a letter to 
Salieri, at this time, says : 

'* Ye«terday I called on Beaumarchais; he has received your two 
letters, is oaptivated with them, finds them ftill of sense and geoias, 
and is folly determined to meet your wishes. He told me that these 
letters had greatly increased the respect which he feels for you, and 
strengthened the opinion even which he already held of your genius 
and merits.V 

Beaumarchais, having revised his text, sent it back, and SaUeri 
devoted to it and La Horaces the hours, which his duties as first 
Chapehnaster of the Italian Opera left him free, as he says in his 
own notes : 

" Con araruHmtno piaeere, ptrchk U ffenen raainaU> [il tola veramenU 
ritpeUdbiU) a Pari^ viene, ginm'almente parkmdo, sempre meglio ueguHo e 
piu guttato che itUrove" Q* With the greatest pleasure, because the 
rational form of music (the only one really respectable), generally 
speaking, is always better executed and more thoroughly enjoyed in 
Paris than anywhere else.'*} 

Joseph in V'ienna enjoyed the light Opera Buffa, and it was 
cheap. Maria Antoinette enjoyed the grand spectacle, and her 
huaband qpent immense snms upon it. Joseph was economical ; 
Louis prcffuse. Joseph died amid the muversal tears of his 
people. Louis and his wife lost their heads amidst the universal 
curses of theirs. At all events that lavishness of expense gave 
Salieri the opportunity of exerting his talents and genius in a 
hiffher field tnan Vienna opened to him since the death of Maria 
iferesa. 

fC •( In the spring of 1786," says Mosel, and no means is at hand for 
determining the date more exactly (which one would be glad to have 
predsdy fixisd, because of its bearing upon the 'Moaart and Figaro 
q[iiestioDV ** Salieri was invited to being these two operas as soon as pos- 
sible to Fans. Obtaining leave of absence from Joseph, he made his 
pveparatioDS for the Journey at once. Before his departure he took a 
a«naer leave of Qluck, to whom he was mainly indebted for the ikme 
and profit to 'which he was going ; for with all his talents it is very 
doubtful if, without Gluok's recommendation, he would ever have 
reaehed the honors which had already crowned him, and were awaiting 
him in Fnmoe. Olnck, whose mother tonsue was 'Czesch,' or 
Bohemian, expressed himself with some difficulty in German, and still 
more so in Italian and French ; and this was increased in his last years 
by the effect of his partial pandytio condition. He was apt to mix the 
three languages together in his conversation, and his parting words to 
his favorite protege ran as follows : — 

**Ainii — mon eher ami — lei parte domaniper Parigi — Je vout twhaite — 
di eucre un bon voyage — Sie gehen in sine Stadt, wo man icbdttet — die 
frenuUn Konetler — e let ei farh onore — ica xweifie nieJUf* and, embracing 
him, he added, * c» seriva, mate bien aouventJ 

(But^ ray dear friend, you are eoiug away to Paris to-morrow, I wish 
yon — pleasant journey from my heart — yoa are going to a city where 
Ihey ralue—foreign artists— and you will do yourself honor-^I have 
no doubt;* and embracing him, added; 'write to me, and very 
often •).*• 

l^oteworthy is it, adds Mosel, that ^Salieri has recorded these 



words— he who was himself in the habit in oonvenation of ^mixing 
the same three languages in like manner. 

The first produced of his two works in Paris was Les Horaces^ 
which was most favorably received by singers and orchestra at the 
rehearsals, and at the j!erf ormance was-^damned I As the score 
(according to Mosel, I know nothing about it) shows so many 
beauties as to place the work among the finest of its class for 
melody, novelty of forms, beauty of the accompaniment, and 
adaptation to the sentiments of the text, the failure of Les Horaces 
et les Curiaces must have been owing to extraneous circtunstances ; 
and a concatenation of odd and nnlucky acddents did actually 
occur sufficient to produce the effect, with the volatile, jest loving 
Parisian audience. Salieri was advised to entrust the important 
part of the high priest to a young man of noble person and a 
powerful resonant voice, but who had hitherto only sune minor 
parts. As a preventiye against singing false he was in tne habit 
of practising his parts at home at a pianoforte toned half a tone 
above the orchestra. 

At the rehearsals he had sung exceedingly well ; but at the per- 
formance, on reaching the recitative, *' XjO l^enat rassemble sous ces 
vofites saci^es," which closes the first act, notwithstanding the pre- 
ceding ritornel of the orchestra, he struck in half a tone too high, 
as he had used himself to do at home. The act thus far had been 
a success, but this musioil effect had been too much for the audi- 
ence, and A burst of laughter greeted the singer from all parts d 
the house. The poor fellow lost his self-command, and, though he 
found his pitch, sang the long scene through with an unoertaitt 
voice, the result being that the curtain fell upon a cold audience. 
Tlxe effect upon Salieri, who sat with certain mends in a box (the 
composer not bdng allowed in this theatre to conduct his own 
work), may be imagined. They hoped, however, that the other 
two acts would be likened to more attentively, and that the opera 
might end with the applause with which it had in fact begun. 
During the progress of the second act the parterre became stiller 
and more attentive. Salieri was again of good oourage. The 
scene of the finale is the field in which the Horatii and the Cuiiatii 
are to meet in mortal combat ; and upon their appearance the 
people, who knew of the friendlv relations between the families, in 
theur surprise at seebg them thus opposed to each other, were to 
shout, «^ Les Horaces ! Les Curiaoes r Salieri had thought it best 
to have these words delivered without accompaniment, and ad 
libitum. But at the moment one of the chorus singers, whether 
by mistake or for the sake of the joke, who knows ?, dwelt upon 
the syllable *^ Cu " (queue) in such a manner as to raise a laugh, 
destroy the iUusion, and cause the curtain to fall upon an unsym- 
pathizmg audience. 

The uiird act passed off without ffaininff npon the feelings of 
the audience, and the exhibition of the historical fact of the 
murder of his sister bv the only survivor of the three Haraoes, 
l»rou^ht out strong marxs of disapproval. 

Of course all was corrected for the next performance— the high 
priest sang in tune, the chorist shortened his ** Cu,*' and the sister 
committed snidde— but the opera was discredited, and alter three 
or four performances was withdrawn. 

•* The result of a theatrical performance,'* says SaUeri, oommentinff 
upon his ill success in this case, ** notwithstanding all the merit a wois 
may possess, is never to be known beforehand ; but still, it cannot be 
a matter of indiffecsnce to an author, unless he be a prosumptoous 
fod." 

Besides the misfortunes, which had attended tiie fiist per- 
formance of this work, various imperfections in the text bad 
doubtless their effect upon its success ; to Salieri and his music it 
would be unjust to attribute its failure. 

Salieri was soon comforted for this piece of ill fortune ; and he 
soon forgot it, except when the Cu-riaces came to mind as a curious 
and laughable jest played by chance at his expense. He was 
more tmm comforted, he was triumphant, for Beaumarchais* 
Tarartr, with his music, was an almost unexampled success. I 
have not been able, out of the authorities at hand, to fix the 
date of the unsuccessful work; but Tarare '*was given," says 
Mosel, *^soon after its fall," and the first production of this was 
on June 8, 1787. This is PoisoVs date, as well as that giyen in 
Beaumarchais* works. Mosel ffives June 7. 

That the two works were given with but a very short interval 
between, is the idea conveyed by Mosel here, but can hardly be 



Digitized by 



Google 



658 



THE MUSICAL WORLD. 



[October 15, 1864. 



reoonoiled to what has previously been said of the composer^s depar- 
ture from Yienna in the spring of the preceding year. It is a 
point of little importance exc^t in its bearing upon the discuFfiion 
of the relations between Saneri and Mozart previously given. 
Grerb^ dates Les Horaces et Us Curiaces^ 1786. Poisot does not 
mention it ; but his work is only a sketch of Parisian musical 
histoiy, and his list of operas contains only the succeeaful ones. 
In this list he gives the following dates of works performed at this 
time in the Grand Opera : — 

1786. August 29. La Toison d'or, text, Desriaux; music, 
Vogel. 

1787. February 1. Oedipe h CoUme, text, Guillard; music, 
Sacchini. 

1787. June 8. Tarare^ text, Beaumarchais ; music,^ Salieri. 

lliere seems no room for doubt that Mosel's ** soon after ^' must 
be taken cum grano^ and that Les Horaces was produced in the 
autumn of 1786 ; else where could the performers have found time 
for its study and rehearsal? Or may it possibly have even pre- 
ceeded the Toison d'orf 

" An analysLB of the beauties of Tar are" says Mosel, " would fill a 
book ; in general it most be eaid that the judgment, genius, fire, the 
never-iailing tnipport of the action through the music, the interludes 
to 'perfectly depicting every various senument of the recitatiyes, the 
perfect characterization of the persons of the drama, the truth of ex- 
pression in all the vocal music, and the joininpr all these parts into one 
perfect whole, raises this opera to an enduring model of its class." 
•' Should it strike any one as strange, that in the French opera the 
number of cayatinas is so large, while that of the airs is so small, let 
him understand," continues Mosel, " that the French (at least on the 
grand stage of their National Operas demand not a * concert of which 
the drama is a pretext,' as the Aoed Amand so happily says, but a 
mudcal drama ; hence no more music than serves to increase the 
beauty of the poem, enhance the effect of the acting, and strengthen 
the impression of the whole ; g^^nd airs are permitted only where their 
introduction will not retard the rapid progress of the action, nor jar 
with the feeling of the moment, but rather intensify it. Hence they 
require no vocal ifirtuotos for the performance of these works, but actors 
sk^ed in declamatory song; and mark the difference between the 
French and Italian opera singers by calling the former AcUurs chan- 
tatUSt the latter CharUeurs,** 

It must not be forgotten that Moad wrote forty years ago, and 
that his remarks would hardly apply to the Grand Op4ra of Paris 
since that period. 

At the close oi the triumphant first performance of Tarare^ both 
poet and composer were called for by tne audience. Beaumarchais 
excused himself on the ground that he was but a dilettant in 
poetoy; but two of the leading singers led Salieri forward to 
receive the most gratifying proofis of the general satisfaction. 
(7b i^e Continued.) 



JOHANK SEBASXm BACH. 

From the ** Hew American JBnejfclppcedia" 

Johann Sebastan, in some respects, the greatest musician that has 
lived, was the third and youngest son of J. Ambrosius, bom at 
Eisenach, March 21, 1685, one month after the biith of Handel, at 
Halle, died at Leipsic, Jmy 28, 1760. At a very early age he lost 
his mother, and had hardly reached hia lOth year when his father 
died alsa The little orphan was then placed under the care of his 
brother, J. Christoph, at Ohrdruff, with whom he continued his 
musical studies and began the practice of keyed instruments — the 
harpsichord and organ. The lessons of his brother soon ceased to 
interest him, and he begged the use of a manuscript in Christoph's 
possession containing compositions for the harpsichord by Frohberger, 
Kerl, Pachelbed, the most noted organists of that day, but this was 
refused him. The door of the case in which this book was kept was of 
lattice-work, through which little Bach's hand would pass, and, as it 
was not bound, he was able to roll it np and draw it out. On bright 
moonlight nights, he would take it to his room and copy from it, and 
thus in the course of six months, he had it in his own hand. It was 
hardly finished, however, when his brother accidentally discovered it, 
and took it away. The act seemed harsh, but doubtless the teacher 
knew best how to direct the studies of so young a pupil. The boy's 
pupilage in Ohrdruft was short, being ended by the early death of 
Christoph. In Europe—in England as well as on the continent — ^in 
our day as well as m the days of Bach — there is a resource for such 
boys in the choirs of cathedrals, ecclesiastical schools, and richly en- 
dowed ohurohes. English, Italian, and Qezman mnsical history gives 



us the name of many a celebrated composer who in youth was a choris- 
ter. Bafih found a place as treble singer in such a dioir at LoneDberg, 
not many miles from Hamburg, remaining there until bis voice 
changed, with the best advantages of excellent school and the best 
musical instruction, and in receipt of a small stipend, yet suffideDt for 
his boyish necessities. His enthusiasm for the organ, and his zeal for 
music in other forms and styles, at this period, are sufficiently attetted 
by his foot journeys to Hamburg to hear Reinke, the great organist, 
and to Zelle to listen to the French band in the service of the prince. 
With the change in his voice came the loss of his place and the neces- 
sity of entering upon a new field. Like Handel, he had studied the 
violin — with success, as his remarkable compositions prove and it was 
now his resource. At the age of 18, therefore, he journeyed to Wcunar, 
and entered the service of the court there as violinist. His Ittsure 
hours were still devoted to the organ, to counterpoint, and composition, 
and in less than two years, though hardly 20 years of age, he was 
called to Amstadt to fill the place of organist, probably in the church 
where his father's uncle Heinrich had so long officiated. The three 
years spent in Arnstadt were years of most devoted study, and during 
that time he developed those powers which afterwards placed him 
above all rivalry. Beside the labour which he devoted to the working 
out of his own conceptions, he let nothing escape him whidi appeared 
firom the pens of Bruhns, Beinke, and Buxtehude. He was so charmed 
with the works of the hist named that he went to Lubeek to hear hia 
plav, and prolonged his visit to a stay of three months, merely to listen 
to him in the church, for his acquaintance he did not make. In 1707 
he accepted a call to Mulhausen, and the following year retnnwd to 
Weimar, in the capacity of court organist. Encouraged by the ooo- 
tinual applause of the court he exerted himself to the utmoel^ and his 
principal compositions for the organ date during the seven yean of his 
services there. In 1714 he gave up his position as organist, and 
accepted the place of concert-master to the Duke, with the additioBid 
duty of composing and conducting the vocal music of the ducal diapeL 
Here, doubtless, began the enormous list of works in every form of 
sacred music, which, mostly in manuscript, are preserved in the 
musical libraries of Berlin, Leipsic, and other eities. Here» too, he 
had constant practice in writing orchestral works and insbnmenlal 
chamber music, and fitted himself for a larger sta^ of aotion. la 
1714, Marchand, then at the head of French organist^ appeared in 
Dresden, and charmed Augustus so greatly by his skill as to receive an 
offer of a veiy large salary to enter his service. Volumier, also a 
Frenchman, the concert-master of the King— whether jealous for the 
honour of his own nation or that in which ne had cast his lot cannol 
now be determined— invited Bach to the capital to a trial of eikill with 
Marchand. The Saxon accepted the invitation, and through the 
kindness of Volumier had an opportunity of hearing his rival. Whh 
the knowledge and consent of Augustus, Bach sent his challenge to the 
French artist, which was accepted. At the time fixed, Bach appeared 
at the house of the minister where the contest was to take plaoe. The 
King and company waited long, but Marchand came not^ At length 
came news that he had left the city early that day by extra poet. The 
greatness of the German organist, however, more than made cood the 
the loss. Bach returned to Weimar, but soon after accepted the office 
of EapeUmeister to the Court at Eothen, where he remained, com- 
posing for and directing the orchestra, until 1728, when the dtf 
authorities of Ldpsic elected him to the position of musical directcff 
and cantor of the Thomas School. During the six yean at Kothen, he 
had not neglected his fiivorite instrument. Obtaining leave ofabaeiMe, 
he again visited Hamburg to see the aged Beinke, who had now neaiiy 
completed his century, while there, he gave a performance upon ths 
organ of the Catherine Church in presence of the dty magistcates and 
the principal citizens, extemporizing for more than two honzain sac^ a 
manner, that the aged Bemke, who had listened with deligfated 
attention, exclaimed at the close, *' I thought this art had oompletely 
died out; but I see it still lives in you.*^ At the age of 88 thca« 
Bach, rich in all that study of theory, hearing the best models of liii 
age and country, practice as member and leader of orchestras, and 
constant exercise in composition for church and concert room ooaJd 
give him, entered upon the calm, quiet life of succeeding years, and 
devoted himself to teaching and to the working out of his lofly coa- 
ceptions of the musical art. Twenty-seven years he thus lived ai^ 
laboured, surrounded by his pupils and his large family of sous, eoa- 
posing music, sacred and secular, in all the forms then known, except 
the opera and dramatic oratorio, and leaving as the firuits id these 
years, a mass of compositions, which for number, variety and exed- 
lence, form, perhaps, the most astonishing monument of musifial 
genius and learning. Mozart and Handel alone can at all come is 
competition with him in this regard. Of the few works horn bis pes, 
which appeared in his lifetime, most are said to have been eogravrd 
upon copper by himself, with the assistance of his son Friedemaas. 
and this hbour, added to hia others so numerous, finaUv cost him hk 
sight. A few years hiter, at the age of 62, an attack of apopicxj 



Digitized by 



Google 



October 15, 1864.] 



THE MUSICAL WOELD, 



659 



earried bim to the tomb. He wm twice married, and of the firaits of 
those marriages he left ten 00ns ; all of them fine mosidans: several 
of them amonff the ▼err first of that great period in the history of the 
art, in which Mozart, Haydn and Gmck, were the chief ornaments. 
This great musician had no cause to complain of a want of due appre- 
ciation, either as organist or composer, veir soon after his establish- 
ment in Leipsio, the Duke of Weissenfels conferred the title of 
Kapellmeister, with the emdumenta oi the office, without requiring 
his perbonal attendance at court, and in 1736, Augustus Saxony 
created him " Royal Polish and Saxon electoral court composer." In 
1747, he was persuaded to acc^ an invitation firom Frederick II., King 
of Prusria, to visit Berlin and Potsdam. Notice was given to the King 
of his arrival in the latter dty just as a private concert in the palace 
was to begin. •* Gentlemen," said Frederick, "old Bach has come T 
The dd organist was instantly sent for, and without affording him time 
to change his dress, he was brought to the palace. The King had 
several of Silbermann*s piano-fortes in various apartments— one may 
still be seen there— and to these in succession Bach was taken and called 
upon to try their powers. At length the King gave him a theme for a 
fugue, which was so coined out as to afford him the highest gratification, 
and he immediately afterwards demanded an extemporaneous fu^ue in 
six parta. Bach thought a moment, and selecting the theme, worked it 
up, to the astonishment not only of the King, but of the several distin- 
guished musicians present. Upon his return to Leipdc he wrote out 
tne Itigue, added to it another, in three parts, and a rictfrnrr, also, in six, 
both upon the same theme, together with other specimens of his 
powers, and published them with the title of *< A Musical Offering." 
The only works by Bach, published during his life, are exercises for the 
harpeicblord, in three parts, which appeared at intervals ; an air with 
thirty variations ; six choral preludes m three parts for the organ ; varia- 
tions in canon upon the choral Von Eimmd hoeh and the '* Musical 
Offering." The rest of his works left in manuscript have come out 
one by one, or still remain unprinted. The sixth volume in folio, of his 
oomnlete works, has just appeared in Leipsic, edited by the Bach society. 
Our limits forbid any attempt ^ give a catidogue of these works — they 
amount to many hundreds in, number. Among them are found five 
complete sets of vooJ pieces for the church for all the Sundays and 
festivals of the year; a great collection of oratorios, masses, magnificats, 
aanctus, pieces for birth, wedding and funeral occiftsions, and not a few 
eomic compositions ; 5 *' pasrionB,** so called, compositions to which the 
aooounts of the suffering and death of Christ, as given by the evange- 
lists, furnish the text; more than a hundred sacred cantatas are 
preserved in the library of the Thomas school alone. ** The Well- 
tempered Clavier," a coUection of forty-eight preludes and forty-eight 
ftiguee, is known to every student of the piano-forte, as remarkable in 
its adaption to the purpose of enabling the performer to conquer the 
difficulties of that instrument. His works for organ, harpsichord, 
orchestra, and every solo instrument in use a centunr since, are as 
numerous and effective as his vocal compositions, and begin aaaln to 
form a part of the programme in the principal concerts of Central 
Burope. As a virtuoso upon keyed instruments. Bach seems to have 
anticipated the wonderful effects produced in our own days by Thalbere 
and even Liszt. In his own age he was in this regard— as has been said 
of Shakespeare as a poet— so &r above all others, as to have no second. 
The fingering invented by Bach was the basis of his son Emanuel's 
work UDon the piano-forte, which opened a new era for the instrument, 
and led, through Mozart and Clementi, the way to the extraordinary 
perfection exhibited by the virtuosos of our own time. To it he was 
compelled by his own works, for, as he himself said, *< he had often 
been compelled to study long at nisht how to play the compositions 
which he had written during the day.** Perhaps the most striking 
points in Bach's compositions are the marvelous inventions they exhibit 
juid their extraordinary grandeur, power, and science. Mozart, when 
near the end of Ufe, came to Leipsic, atler having exhausted all the 
eonrces of musical learning of Bome, Milan, Vienna, and Paris, heard 
the Thomas school bo3rs sing a motet of Bach. His attention was 
caught : '* Ah," he exclaimed, " here is that firom which one may still 
learn somethinsf 1" Bach's works occupy some such ground in art, as 
do the works of our noble old English prose writers in literature ; they 
require study to be comprehended and felt in their greatness. Here 
&nd there the forms of expression have become antiquated ; at first 
xnnch seems obscure, which afterwards stands out prominent for beauty ; 
Imt study is rewarded finally by leading him who perseveres to treasures 
of original thought, there and only there to be found. 



Kaiue8.^-A new theatre is in course of erection. It is to be called 
ttae Teatro Donizetti, although the entertainments will consist of fkrces 
And vaudevilles, and not operas. 

Fu)BSR0B.— The Teatro Pkgliano was to open at the beginning of 
itae month with Saffo, in which the sisters Marchisio were to sustain 
Ibe prindpal obaracten. 



THE FIRST REPRESENTATION 

OF 

DER FREISCHVETZ IN BERLIN.* 

Under Iffland*B managemeni^ the Berlin stage bad passed through 
ita period of artistically-or|^c collective efforts ; under BrUhl, it 
entered upon the period of its greatest brilliancy, but, also, of the 
commencement of those Mosaic virtuoso-perf ormanoes under which 
the German theatre is still suffering at the present time. 

BrtUil was a gentleman in the noblest acceptation of the word ; 
straightforward and full of enthusiasm for art, the cultivation of 
the latter bemg hereditary in his family, which had reckoned the 
amiable Naumann among its most intimate friends. Briihl* himself 
had trod the boards as Palitophron. Even when a young employe 
in the Woods and Forests, and a favorite of the Duchess Amalie 
of Weimar; enjo^g the acquaintance of all the heroes of the 
great German period ; subsequently more a friend than a servant 
of the admirable Queen Louisa, wbo, in addition to his agreeable 
and winning natural qualities, valued in him his glowing hatred of 
Napoleon, a hatred which had excited him to take arms against 
that mighty potentate; nourished and sustained by the noblest 
spirit of German intellectual pre-eminence, and of German daring, 
his soul was fiUed with love and admiration for bis natiye country. 
His heart had become the most Grerman that ever^beat beneath the 
star worn by a count. 

Distinguished by gentlemanly bearing and winning amiability, 
bemdes possessing a knowledge almost beyond that proper to a 
mere dilettante in theatrical matters, he appeared — as the new In- 
tendant was not to be a professional man — ^the beau ideal of an 
aristocratic theatrical manager. With his predilection for 
costume, scenery, and music, he made the first his hobby, and 
operatic magnificence lus great study. In the shape of aversion 
ior everythmg foreign, his hatred for Napoleon extended to the 
whole art, as well as to everything else, belonging to other 
countries, and — ^though he bad at one time laborad for the 
re-establishment of Italian opera^-<»LU8ed him, as Intendant, to 
become the enthusiastic patron of German music. 

On his assumption of office, he had received from Hardenberg 
the impmally grand and curt order: *^Let me have the best 
theatre in Gtormany, and then tell me what it costs !'* On being 
appointed he had raised to the dignity of a fixed principle the idea 
that, to a great d^pree, the fate of art, both for his contemporaries 
and for after-generations, was placed in the hands of the director 
of such an establishment as th&t which he managed, and that to 
excite his contemporaries into enthusiasm for art was the highest 
object of his office. 

Under such auspices, it cannot be a matter of wonder that, with 
Brtihl^s active management, the Berlin stage soon rose to be an 
institution distinguianed for a degree of splendour, of which no 
one had previoudy dreamt ; an institution, which, thanks to its 
eroecially German , tendency, struck healthy root among a people, 
who had just gone through a struggle for life or death with the 
foreigner, and for whom aught foreign had become synonymous 
with Re-action, in so far as the cosmopolitan essence of Grerman 
lore for art had not assimilated to itself the peculiar beauties of 
f oreiffu creations. People listened with delight to Boiddieu and 
Rossini, but it would have been impossible to give the operas of 
those masters in Italian or French. Mozart's works ; Gluck's 
Alceste^ Armide^ and Iphigenie ; Beethoven's Fidelio ; Hoffmann's 
Undine; Meyerbeer's Emma von Roxburgh; Spohr's Jessonda; 
Chenibini's Deux JownUes^ and Ahendrages; Boildieu's Dame 
Blanche^ together with the operas of Spontini and Rossini, 
followed each other in a series of magnificent performances, while 
the Theatre Roytd re-echoed with the best dramas of Goethe, 
Shakespeare, Calderon, Moreto, Werner, Kleist, Hiiwald, Milliner, 
Schiller, Oelenscfalager, and even Terence and rlautus. 

Ludwig Devrient, the Milder.f Herr and Mad. Wolff, the War- 
nitaky-Seidler, the Rog^-Holtei, the Schulz-Kilitschky, Edward 

* From the Biographie C, M, v. Weber*a. 
f I have been oblieed to render the German " die " by ** the " instead of 
** Had." or *^Madlle.'^^ in this instance and some others further on, because 
I do not know whether the ladies mentioned were married or single. This 
mode of designating fair artists is, however, one which has nothmg to recom- 
mend it, and one which I should never employ, unless absolutely compelled to 
do so, as at present— Thx Tbakblatob. 



Digitized by 



Google 



660 



THE MUSICAL WORLD. 



[October 15, 18M« 



Deyrient, Bader, Srilget, Utudmann, aad the THIIinami, were 
engaged, and, with the ladies and gentlemen ahreadj belonging to 
the company, formed an afisembly of artifite sach aa the hi^ry of 
the Bta^e can seldom show. But, though BrUhl was, in his way, 
one of the noblest of the noble as &r as regarded his intentions, it 
cannot be denied that he labored under a weakness wU ch militated 
against his efficiency aaa manager. This was the error, common 
to all enthusiasts, of ^' shooting too high,** of firing over the mark 1 
When he had a good object in view, it easily happened that, with 
the carelessness df a nobleman, he did not scrupuloualy weigh the 
means for its attainment ; that he acted with more quickness than 
deliberation; with more noblemindedness than wiadom. In the 
year 1819, a wear was built in the stream, previously flowing 
cahnly along, of Briihl*s specifically German syistem of management. 
This weir tiartly diverted the stream from its original channel, and 
partly weakened the strength of its current. As far back as 1817, 
king Friedrich Wilhelm heA become acquainted in Paris with the 
composer of Die Veatalin^ Gasparo Spontini, and been fascinated 
with the impression produced by his heroic works, which, desmte 
aP their inmianent yalue, nay move, without detracting from tnat 
yalue, afford an opportunity for the disjslay of liiat gorgeous stage 
system of processious, large masses, brilliancy and spfendour, as 
well as of tne art of the corps de baUety to all of whioi the Kmg, 
otherwise so simple in his tastes, was immoderately attadted. He 
had endeavoureo, at the time, but in vain to secure the services of 
the celebrated composer for Berlin. At a subsequent period, 
Spontini, moved bv disagreeable manifestations on^the part of the 
Parisian public of their dissatisfaction with his inactivity,' was 
more disposed to listen to the wishes id the King, and, in the year 
1819, was prevailed upon to accept the poet of Intendant General 
ol Music at the Court of Berlin, a post created expressly for him, 
with emoluments unprecedentedly high. 

He arrived at Berlin in 1810. Of a reserved, serious, and al- 
most gloomy character ; endowed with incredible pride, and weU- 
concealed though profound contempt for artistic me in Germany ; 
entertaining a strong leaning towards the adoption of violent and 
decisive measures, Spontini was a man with a genius poaseesing in 
itself elements, which, under other circumstances, would have 
made him a good general. A dear and sharp insight into the 
weaknesses of institutions, men, and affairs, enabled him to hit 
upon plans mostly well calculated for their management, and he 
would never have been an Italian of that rooch, had not a dose of 
the philosophy emanating from the sage' of the Rudllian gardens 
'guided him <^ priori as to the means for the attainment of those 
plans. He would, however, have been a more formidable opponent, 
had not the powerful passion of pride obtained such a mastery 
over his mind, as completely to blind him, and make him rashly 
break through his best laid schemes. 

• » • • • 

Spontini had opened with skill his campaign in Berlin. By a 
public- admiration of his efforts, and assiduous attendance at the 
Singacademie and the Liedertafd, he had so won the heart of 
Zelter, that coarse and heavy dictator in the domain of Berlin 
diUttanti-itm, that Zdter wrote to Goethe: *^ Spontini has got 
the whole mumcal region under him, and, perhaps, not unjustly." 
He pacified his coUeagnes by a proposition for forming a com- 
mittee of composers, under tne lunesidency of B. A. Weber, the 
said oommittee to have the deciding vote in all musical matters. 
It was through and with them alone he said that he would work. 
Lastly he won over the honest Ludwig Berger, and Klein, the 
stem advocate of style, by publid^ expressing the most sterling 
and upright intentions. He convinced the critics of his capa- 
bilities and good will by listening to and approving their views 
with extraoTClinary politeness. One of the oeet among them, 
wrote, after the first time of Spontini's directing an opera : ^* It 
would appear that the Feast of Pentecost fell on the 28th in Berlin, 
for it spoke to us with tongues of fire." The strongest predilections 
of the SLing were completely satisfied by the heroic proportions 
and the theatrical splendour of the first opera — ^the master's 
own Cortez — ^which Spontini got up and conducted, while, thanks 
to the power exerted Dy a work given with unparalleled magnifi- 
cence, and glowing with exotic tone-colouring, as well as to the 
tempest of sound produced by the orchestra, which was increased 
by a half, the public found itself confounded, both as regards its 
sight and hearing, and honoured where it was compelled to wonder. 



His lamiMar demon iqteedily threw into confanos, howerer, the 
triumphal procession which had started so well. Actuated by 
immooierate arroeanoe, and misunderstanding his positioo, he 
thought he could refuse obedience to Hetr vou BrtthI, the Intea- 
dant, concentrate his energies exdusivdy upon his own worio, 
and, wearing out the members of the company, presume mptm 
the patience of the public, by playing those woiks uninter- 
ruptedly. He demanded tJiat the press should be watched, 
as far as criticisms on his woriu were concerned, and that 
he should be allowed to communicate directly with the King, 
besides asking for several other preposterous fprivileges. iSe 
just King was compelled to administer reproom to nina, aad 
the Intendant to employ in his intercourse with him all the sbict 
forms of official life; the public began to hate him, and the 
old mistrust of the ^^ favourite of taction** sprang up again 
with redoubled force among them. This reached its dimaz, and 
was even manifested by open opposition on the part of the patriotic 
portion of the public, to which nearlv all the very best and really 
well educated inhabitants of Berlin odonged, when, after liaving 
had a long series of Roesini^s opextut and his own performed, he 
made the Md attempt to give Italian operas in the Italian lan- 
guage itself. 

For the first time during fourteen years, the idiom ol Italy was 
heard from the Berlin stage on the 12th February, 1821, the opera 
being Boadni^s Taneredi^ the performance of which was fapiilitated 
by the assistance of the Borgondio, then on a professional tour. 

This decided proceeding obliged the different pazties to doae vp 
their ranks as much as possiUe, causing individuak to dbwp the 
mask, and combat dther for the resuscitation of Italian open, 
which had perished at a period of national shame, when it repre- 
sented the idea of an invasion of foreign intellect, or for the 
dominion of German music, German thought, Grerman lanfoage, 
and the independent devdopment of German art. On t£e oqp 
side were seen the Court, the majority of the aristocracy, and, in a 
word, all those persons who at all times had been opposed to everr 
national movement, strengthened by a number ol clever nasii, oata 
as £. T. A. Hoffmann, Euhn, J. P. Schmidt, &c., who were 
induced to embrace the side they did embrace part^ faj a nd 
partiality for Italian art, and partiy by other reasons ; wbile, oo 
the other side, were ranged tlie professors and stndenta of the 
University, of the Academies, and of the Musical Sodetiea, as mfl 
as all those, and there were many such at Berlin, whose hearts beat 
wholly and soldy for German art. In number and inteOigenoe, 
the Italian was very small compared to the German Pttrty* but, 
despite of this fact, nearlv equal to it by position and influence. 

At this period, precisely at the critical moment of the excite- 
ment, when so much depended upon the suocess or ^ure of evciy 
move, the old champion of national German music B. A. Weber, 
cUed, iuB decease taking pkioe on the 28rd March^ and, almost 
simultaneoudy, the dever and fariliant ^eral of the cppQate 
party commenced the campaign by advancmg agaioBt the GermaD 
host, now left without a leader, with a magnificent iorae in the 
shape of his Olympia. Could not the great succeai that« as w«b 
evident beforehand, would be achieved by Olympia^ aa opera on 
which were expended aU the resources of theatrical magnificence, 
of puffery, ana of really great talent, be met by twice as great a 
success achieved by a German work, the question of tiie saperiority 
of productive power in Italian dramatic composers, with the hiero» 
Roiesini and Spontini at their head, over that of German mnaiciaBS, 
who for a quarter of a century had (with the exception of Fidtlv) 
produced nothing but second and third rate compodtioM^ woiiki 
be decided for a kmg time to come. 

Under these circumstances, the approaching prodoctMD of Ikr 
FreischUtz on the Berlin stage was invested with far more ^an the 
usual importance attached to the first performance of a good opera. 
even supposing the latter had emanated frcnn a more celebrated 
composer than Weber yet was. Its appearance was awaited Ir^ the 
Grerman party with anxiety and hope simultaneoudy. tVith 
anxiety, because Weber's previous operas had achieved only a half 
success, and the influence of a man like Spontini waa not to be 
counteracted by merely moderate triumphs; with hope, becaosp 
Weber's compositions of the last dght years had been so fuE of 
most striking dramatic spi^t, that people were justified in expect- 
ing that, now he had again turned his attention to tiie stase, he 
wouki giro the world something which, if not daBical, wow, a( 



Digitized by 



Google 



October 15, 1864.] 



THE MUSICAL WORLD. 



661 



any rate, prove excitmg and oyerpowering, and exerciae a deckiye 
infloenoe on the public mind, llie partisans of the sentiments of 
the Court, and of the celebrated master at the head ol all matters 
relating to muaio for the stage in Frossia, persons at whose service 
was a large and inflnential portion of the press, ridiculed the hopes 
entertained by the lovers of German music, who, under the influence 
of their opponents' sarcastic smiles, formed themsdyes into a 
mcve and more serried phalanx. 

[Tq be continued,) 



DSB5IEB HOT. 

(To (he JSdUor qf the MusioiL Would.) 

Ihua 8n,— In my last remarks upop the position of ihe hands in 
nlaying the harp, I omitted to mention what might with advantage be 
DTOtught under conBideration by way of throwing additional light upon 
the sutjeot. The evils attending the ^ vertical ** position (that is, the 
one In which the fingem are posed vertically upon the string^, were 
there stated to be, the ^impossibility of elevating the thumb, and the 
eooseqaent obstruction to the passing the other fingers under it; 
secondly, the impediment offered to the tip of the finger properi^ tak- 
ing the string; and lastly, a crampness occasioned by the efiort to 
assume such a position. I would now allude to the common habit of 
ToUk^ iM§ hcaidit especially when they are engaged among passages 
eKteniUng over two or three octaves. In starting a scale oonsistiDg of 
several pun aseending, for instance, it is found impossible to preserve 
the iawiableness of this ** vertical " position further than the first lour 
notes^faiecanse the fingers must be shiiled in order to give the necessary 
rouhdness to the hand, which alone will admit of their passing under 
it. The ever x^Beorriog change, then, which takes place between these 
altemalnig attitudes, accounts for the rolling. But let the *' horizontal 
position/' as I now call it (that is, the position by which a horizontal 
line may be drawn along the first finder as the hand lies upon the 
strings), let that, I say, be adopted, and it will be seen at once that an 
easy aceess must be gained to the notes above the thumb, without 
causing the least departure from the original form of the hand. All 
that would be necessary when *<the palm of the hand faces the string'* 
(as I advocated in my last) is simply to close the hand a little, and the 
other ftagers wiU lie rignt under the thumb, ready to enter into the 
upper re^on of the strings. 

Other illuatcatious or the painful impediment to free manipulation 
by this wrong position might be supplied if time and space could be 
spared. The reader, in listening to the harp, may have remembered 
observing that the impetus by which the'striDgs were put in motion 
proceeded from the arm and not firom the wrist. This could not be 
otherwise while the muscular newer located nuide the hand was in this 
way coidraeted, so' that the finders were positively prevented from 
eocerting their force upon the stnngs. 

Penmt me to correct a fiUse impression which may have arisen from 
an imperfect manner of expressing myself in my last letter upon the 
subject of the ** Position of^the body at the Harp." Whatever mean- 
ing was there conveyed by the words, I now aesbe to state, that I 
DiBALSOW the oUding of the harp from the ehouidef to the arm; and 
moreover all my arguments were employed for the purpose of showing 
it to be an error peculiar to the olcL school, the instruction-books of 
which were quoted to prove the f^t. The gliding of the harp was 
only a hidLcrons consequence following the directions for supporting, 
found in the authority already quoted, and the substance of which was, 
that ** the instrument should be sometimes rested upon the shoulder, 
and at other times firom the shoulder to the elbow.'* (By the way, the 
word *• couch*' in the same letter should have been " combe "). 

And as this is to be Mon dernier mot^ I will say a word upon the fUtfle 
eflfort which has been made to refute my arguments. It has accom- 
plished one thing, and that is, made it apparent to every impartial 
reader that no conclusive satis&ctory reply could be broueht forward 
to the stubborn fiusts contained in my letters. For example, the only 
Answers given to the question of the lack of space under the neck, and 
of the iooonvenience connected with the extra pedal was, that the 
sight foot and right hand possess capabDities equal to the emergency. 
Id addition to this, it was argued that while the comparative incapacity 
of the left hand was a quuification for its employment among the 
ccenor and more distantly placed bass notes, the superior stren^^h of 
-^le right hand was a reason for its being placed upon the finer strings, 
"whidi are distinguished for their weakness and delicacy I The truth 
is, Sir, this lame attempt to upset my theory was nothing more than 
jui effiislon fraught with statements calculated to injure my reputation, 
lajpon this principle of '* coming to blows when words have fidled.*' 

Not the least amusing part was the endeavor to make capital of my 
t>«ing *' self-taught" On this bead, of what real value are precedents 



without the exercise of reason ? No doubt, when the capacity to form 
a theory or school was wanting, knowledge had to be taken on trust ; 
but now-a-days the personal opinions of a professor will not be tolerated 
as material with which to supply proof. And I desire that no one 
should regard my assertions in the light of authority so long as my 
principles cannot be defended by substantial evidence. But by what is 
it that truth in everything has been most successfully developed? By 
schooling ? History says. No ; but by the unrelaxing perseverance and 
tenacity of purpose manifested in the << self-made/' or " self-taught 
men." It is by natural gifU, seconded with the energies of a deter- 
mined will, that the obstacles connected with the pursuit of truth have 
been overcome. I rejoice then, if the honor shall be conferred upon 
me of being numbered among the men who, perhaps with but a 
moderate amount of intellectual capacity, but marked by power of con- 
centration — without social or educational advantages whatever, have 
batUed with adverse fortune, till at last success crowned their efforts. 
I will intrude no further upon your patience but just to say, that what- 
ever has been overlooked in past aiscussions which was essential in 
elucidating my school of harp-playing will be found in the new work 
(*• Modern Hairpist ") which I am preparing for the press. With many 
thanks for the space you have given to my humble scribblings, 

I remain yours very truly, Aftouxas. 



"VERY LIKE A WHALE." 

It is a well known fact that, for aome time past, professiona 
men have been endeavouring to invent a composing machine 
that is to sav : a machine which should enable a composer to jot 
down in visible characters the musical thoughts to which he gives 
utterance by means of the piano. All previous attempts to effect 
this had failed, but now it appears that Herr J. F. Endres, of 
Mayence, who has long been settled as a pianist and composer in 
Paris — ^where he is, also, director of the German " liedertafel "— 
has succeeded in inventing a machine not only carrying out the 
objects hitherto aimed at, but calculated to effect things of whioh 
it 18 impossible to forsee the result. This machine, the inward 
organisation of which is still a secret, may be adapted, with very 
little trouble, and at small cost, to any new or old keyed instru- 
ment, such as the organ, piano, etc., without the slightest injury 
to the same. Though, too, it is reckoned for any number of 
octaves, it is also so small in compass that it can be completely 
concealed under or behind the instrument. Leaving out of tlie 
question the mechanism inside, the visible process outside consists 
in inserting at one end of the machine an endless strip of paper, 
about two inches broad, which conies out at the other end with 
red lines ruled on it, and the notes, etc., printed thereon in black.* 
The machine re-produoes every note sounded by the keys, be the 
notes on or between the lines, not only marking their position, as 
c, (f, e, and so on, but their value as conveyed by the usual chaiao- 
tera ; that is : it prints off the notes as demi-semi-quavers, semi- 
quavers, crotchets, and semibreves; it shows whether they are 
dotted or not ; marks the pauses ; the forte and the piatio ; points 
out where ^e employment of the pedal commences and where it 
leaves off ; and, in a word, re-produces the music so completely, 
that very little is left for the pen to do afterwards. Following 
every wish of the player as willingly as his fingers, the 
mechanism works in } or } time (and every other time may be 
reduced to tbese), and proceeds quickly or slowly at pleasure. 
But it does even more : it immediately ^transpoees any piece 
of music from one key to another. While, however, it enables a 
composer instantaneously to preserve his musical thoughts and 
fancies by means of the usual notation, it also gives us toe power 
of immemately taking a copy of overy piece of music ; of writing 
out from the score the separate parts of instrumental compositions ; 
and of exercising a control over learners by showing whether they 
play correctly (for it marks every fault), and whether they have 
repeated certain passages so and so many times; thanks to this 
invention a deaf person may see what he has played ; the master 
give his pupil a lesson, without being close to him, and so forth. 
If this new machine can reiJly do all, which, to jnd^ by the ex- 
periments already made, there is hardly any doubt it can do, it 
will certainly occasion a revolution in the world of music. — Kreuz 
Zeitung, 

I * [P^^ '^ strongly suggestive of the celebrated American machine for 
traosforming a live h(%, at the ^ortest possible notiee, iato poric sausages 
and blacking-bmshes.] — En. if» W* 



Digitized by 



Google 



662 



THE MUSICAL WORLD. 



[October 15, 1864. 



NOTICES. 

To As>YVBnBVRS.^The Office of The Musical Wobld is at 
Messrs. Duncan Davison & Co^s., 244 Begeni Street, comer 
of Little Argyll Street (First Floor)i Advertisements received 
as late as eleven o' Clock a.m., on Fridays — hut not later. Pay- 
ment on delivery. 

To PuBLiSHEBS AND COMPOSERS — Mustc for Review must he /br- 
warded to the Editor, care o/Mss8R8. Duncan Davison & Co., 
244 Begent Street. 

To Concert Givers. — No Benejit- Concert, or Musical Perform" 
ance, except of aeneral interest, unless previously Advertised, can 
he reported in liiE Musical World. 

TO CORRESPONDENTS. 

Burus (Salisbury^. — Henry Dodwell wrote a treatise on the lawfnlneBe 
of iDBtromentai Moaio m Holy Offices. Macaolay, in his History of 
England (vol. viii. p. 461} thus speaks of him : — '* He defended the 
use of instrumental musio in publio worship on the ground that the 
notes of the organ had a power to counteract the influence of 
devils on the spinal marrow of human beings." 

C. D. D.— The book enquired for was brought out at D'Almaine and 
Co.'s more than twenty years since. We believe it is out of print. 

Essex. — Mr. Owain Ap'Mutton, so tenderly enquired after by our 
correspondent, is at present on the Continent, and, as we hope, will 
return to England this week, or the week following. 

Yabxous Cobbesfomdents. — ^We have had numerous letters from corres- 
pondents, enquiring as to the whereabouts of Mr. Owain Ap* Mutton, 
and desiring to know when the "Muttoniana Column" will be 
resumed. We beg to inform all enquirers that Mr. Ap' Mutton is at 
this moment somewhere on the Continent ; th&t in all likelihood he 
win return to London this day ; and that, should he return to London 
this day, it is more than probable that the *' Muttoniana Column" 
wiU be continued next week. 



i,\n 



LONDON: SATURDAY, OCTOBER 15, 1864. 



THE '* Royal Engliah Opera " (Limited) opens its first season 
this evening at Covent Garden Theatre with MasanieUo, a 
French opera, and on Tuesday gives, for its second essay, Mariha, 
a work by a Russian composer. Although, from an art point of 
viaw, this may not be complimentary to the country at large, nor 
apparently encouraging to our native musicians, the Company may 
be defended on the ground that, like the Academie Imperiale de 
Musique and de Danse of Fans, it intends to be cosmopolitan in 
principle,' and purports opening its doors to talent from whatever 
source it may come. However, it would have looked ^better had 
the Company not rendered their title subject to be called a mis- 
nomer on the very threshold of | the undertaking. Much, indeed, 
win be pardoned them for inaugurating the season with MasanieUo, 
perhaps the most popular foreign opera ever produced on the Eng- 
lish stage. A good deal of the success of the performance will 
depend on the new tenor, Mr. Adams, who, according to all we 
hear, is likely to make his way with the pubHc. This is all we will 
venture to affirm at present. MasanieUo is an exceedingly trying 
part, in which, if a tenor succeeds, he immediately passes the 
Rubicon of popular favor. Another new tenor, Mr. Herbert 
Bond, makes his debut in Alphonso. Of this gentleman we know 
nothing. Elvira will be sustained by Madame Parepa, and Pietro 
by Mr. Weiss. These parts could ;,hardly have been entrusted to 
the hands of more competent artists. Moreover, a new mime in 
the person of Mdlle Rose Guiraud, makes her first appeannce as 
the dumb girl, Fenella ; so that, in reality, taking into account that 
Auber*s great work will be presented with all the grand scenic 
effects, brilliant and varied costumes, and perfection of mise-en- 
scene, which afforded such general satisfaction throughout the past 
Italian season, a very striking performance may be anticipated. 
But, of course, as we said before, a great deal will {depend on the 
new tenor. 



On Tuesday nezt]M. Flotow's Martha is anBOiUioed, iritk 
Madame Lenunens Sherrington as the Lady Henrietta, Madame 
Fanny Huddart as Nancy, Mr. Henry Haigh as Lionel, Mr. 
Alberto Lawrence as Plunkett, and Mr. Henry Coni as Lord 
Tnstram. 

M. G. A. Macfarren^s new Opera, entitled HehtUyn, is adfor- 
tised for Tuesday, October the 25th, with Mesdamfls Lemmeu 
Sherrington and Parepa, Messrs. Henry Haigh, Alberto Lawreoss 
and Henry Conri in the principal parts. The *^ Open Gonpuj" 
also ' promises new works by Messrs. J. L. Hatta, Goonod, 
Benedict, Henry 'Leslie, Frederick Clay, and F^kim Jhni, 
in addition to which, ** works by composers of celebrity and othen 
less known to fame, will be brought out as caoaastsnosB pmuL" 
What we are to unders|»nd by all this we shall no doubt ibd ofnt 
by and bye ; in the meantime it must be acknowledged thittlM 
new ** Royal English Opera" makes a very fair show at the out- 
set, and that, with the band, chorus, [and ballet corps d 
the Royal Italian Opera, and Mr. 'Alfred Mellon as conductor, it 
is entitled to the highest consideration from the pubtic at large. 



MUSIC is both body and soul, like man who ddigbls in it 
As to the body, it is beauty in the sphere of soond, or mM 
heauty. But in this very word beauty is implied a sool, a monl 
end and meaning of some sort, a something which makes it of 
interest to the inner life of man, which relates it to oar vom^k 
and real self.— -This beauty, like all other, results from the 
marriage of a spuitual fact with a material form, from the ra- 
dering external and an object of sense what lives in esKooe only 
in the souL Here the material part, which is measnted soand, 
is the embodiment and sensible representative, as well si the 
reacting cause, of that which we call impulse, sentiment of 
feeling, the spring of all our action and expression. In a irord, it 
is the language of the Heart Not an arbitrmry and oonvenlioDil 
representative, as a spoken or written wotd is; but a sating 
invariable correspondence. 

Speech, so far as it is distinct from music, sustains the mat 
relation to the Head. Speech is the language of idess, the 
communicator of thought, the Mercury of the intellectual OlymFn 
enthroned in each of us. But behind all thought there is some- 
thing deeper and much nearer life. Thought is paasive, inrofau- 
tary, cold, varying with what it falls u^n, like light, a mcR or 
less clear-sighted guide to us, but not a prompting energ7, and 
surely not our very essence, not the source either of any single ict 
or of that whole complex course and habit of action whidi ve dQ 
our character. Thought has no impulse in itself, no more tbu 
the lungs have. Out of the heart are the lasues of life. Its krm 
its sentiments, its passions, its prompting impulses, its irnntibk 
attractions, its warm desires and aspirations : — ^these sn » 
masters of the intellect, if not its law ; these people ^ Uinl 
consciousness with thoughts innumerable ; these, though iowA* 
tary in one sense, are yet the principle of Will in us, and are the 
spring of all activity, and of all thought too, mnce thej in ^^ 
strike out the light they see to act by. 

The special moments and phases of this active principle we eili 
emotions. And Music, which we hold to be its natural lasgoig^ 
has for its very root and first principle, and is actuslly ^^^^^ 
motion. Sound is generated by motion; Bhythm is messoi^ 
motion ; and this is what distinguishes Music from every othff 
Art of expression. Painting, Sculpture, Architectoxe, Poetry too. 
and Prose are all quiescent ; they address us in still contempl^tioB 
But music is all motion, and it is nothing else. And so is i^ 
effects; it does not rest that we may contemplate it» but it Ira^ 
us away with it ; our very first intimatian of its presence » "** 
we are moved by it; its thrilling finger preneB down some secret 



Digitized by 



Google 



October 15, 1864.] 



TBfE MtrsiCAt WORtfi. 



^6^ 



Spring within tui, and instantly the soul is on its feet with an 
emotion. Painting and Sculptnre give you the idea of an emotion 
without directly moving you. And if speech can raise or quell a 
passion, it is because there is kneaded into all speech a certain 
leaven of the divine fire called music. The same words and 
sentences convey new impreBsions with every honest change of 
tone and modulation in the speaker's voice ; and when he rises to 
anything like eloquence, do you not feel beneath all his articulate 
utterances a certain buoyant rhythmical substratum of pure tone, 
on which hia words ride, as the ship rides on the ocean, borrowing 
its chief eloquence from that? Take out the consonants, which 
break up his speech, and the vowels' flow on musically. How often 
will the murmur of a devout prayer overcome a remote hearer 
with more of a religious feeling than auy apprehension of the 
distinct words could, if he stood nearer I 

Music is a universal language, subtly penetrating all the walls 
of time and space. It is no more local than the mathematics, 
which are its impersonal Reason, just as Sound is its body, and 
Feeling or Passion is its soul. The passions of the human heart 
are radically alike, and answer to the same tones everywhere and 
always, exeepi as they may be undeveloped. And music even has 
power to develope them like an experience of life ; it can convey a 
foretaste of moods and states of feding yet in reserve for the soul, 
of loves which never yet have met the object formed to call them 
out. A musical composition is the best expression of its author's 
inmost life. No persons in all history are so intimately known 
and felt to those that live away from them or after them as are 
Handel, Mozart, Beethoven, Weber, Schubert, Bellini and otheis 
to those who enter into the spirit of their musical works. For 
they have each bequeathed the very wine of his peculiar life in 
^ this form, sparkling still the same as often as it is opened to the 
air. The sounds may effervesce in each performance, but they 
may be woke to life^ again at any time : so it is with the passions 
and emotions which first dictated the melodious creations. Hence 
it is that great composers have almost no biography except their 
music. Theirs is a life of deep interior sentimexrt, of ever active 
passion and affection, of far-reaching aspiration, rather than of 
ideas or of events ; theirs is the wisdom of love ; their belief is 
faith, the felt creed of the heart ; and they dwell in the peculiar 
element of that, in the wondrous tone- world, communicating all 
the strongest, swiftest, and most delicate pulsations of their 
feelings to the ready vibrations of wood, or metal, or string, which 
propagate themsehres through the equally ready vibrations of the 
abr and of every other medium, till they reach the chambers of the 
ear, and set in motion chords more sensitive, that vibrate on the 
nervous boundary between matter and the soul, and there what 
was tnhratum becomes soundy and the hearer has caught the spirit 
of the composer. 

Yes, the whole soul of a Beethoven thrills through your soul 
when you have actually heard one of those great symphonies! 
There is no other communion of so intimate a nature possible as 
that which operates through music. Intimate and yet most 
mystical ; intimacy not profaned by outward contact of famili- 
arity; but a meeting and communing of the ideal one with 
another, which never grows familiar. Why is it, but because in 
sentiment the tendency always is to unity, while thought for ever 
separates and differentiates ? Feeling communicates by sympathy 
or fellow-feeling the earth round. And music is its common 
language, which admits no dialects, and means the same in Europe 
and America. Light corresponds to thought, and light is changed 
and colored by every medium fiirough which it shoots, by every 
surface which reflects it. Sound, or, which is the same thing, 
measured motiim or vibration, corresponds to Feeling; and its 
vibrations are passed on through every medium unchanged, except 



as they grow fainter. light is volatile, but sound is constant ; so 
it is wh6n you compare thought with feeling, which last comes 
more from the centre where all souls are one. 

Music is religious and prophetic. She is the real Sybil, chanting 
evermore of Unity. Over wild, waste oceans of dis(X>rd floats her 
silvery voice, the harbinger of love and hope. Every genuine 
strain of muaic is a sertoe prayer, or bold, inspired demand to be 
united with all at the Heart of all things. 



PARIS. 



{From our own Corrt^pondent), 
1 threatened you and your readers last week with a detailed ac- 
coxmt of M. Mermet's new opera, Roland h RoncevauXy produced 
at the Op4ra in^great state, on the 8rd instant. On reconsider- 
ation, I think it better' not to keep my word, as I am of opinion 
that the new opera is not worth so much pains. The artistio his- 
tory of M. Mermet is sufficiency curious. Some eighteen years 
ago an opera in three 'acts, called David, words by MM. Alexandre 
^umet and F^cien' David, music by M. Mermet, was performed 
at the Yersailles theatre, and, thanks to the talents and exertions 
of Madame Stoltz, who sustained the principal character and took 
a great interest in the young composer, was very favorably received. 
A few years before David was produced M. Mermet wrote, in con- 
junction with M. Carmouche, an opera entitled La Banniere du 
Boi. From that time M. Mermet preserved a most religious 
sUenoe, either because he had lost all confidence in himself, or that 
he could not get his ojperas accepted. I am informed that Roland 
a Roncevaiufi was wntten fifteen years ago, and that during all 
that period M. Mermet and his friends have been thundering at the 
doors of the Ojp^ra and the Opte-Comique. If so, it is time that 
he should obtain access. And yet his fate is not harder than many • 
of your £nglish|compoeers, and of renown, too, who have been kept 
out of the Royal English Opera by the popularitv of two Irish 
composers, Messrs. Bidfe and Wallace. It is to be hoped that the 
new ^^ Limited ^* Company will not limit their composers after the 
fashion of the late joint-managers. Miss Louisa Pyne and Mr. 
Harns(». But to return to M. Mermet. 

I told you last week how much curiosity and interest had been 
created about the new work. M. Mermet has hosts of friends. 1 
told you, too, what kind of success it had achieved and the part 
the ^peror had taken in the display by sending for the oomposei* 
to his box at the end of the third act, and complimenting him on 
the reception his opera had met with. There was, nevertheless, a 
diversity of oninions as to the merits of the music, and the Parisian 
aristarchs haa been by no means enthusiastic in its praise. Nearly 
all agree that there is scarcely a trace of originality in the music, 
and that it is anvthing but tuneful. The martial strains are by 
far the most striking parts of the score, and on this account the 
third act is incomparably the best, some of the morceaux being 
exciting and inspiriting to a degree. ^ 

M. Mermet has been his own poet on the present occasion, and 
this attempt to secure the double laurel-cro^'n — ^which had never 
before been aimed at by any of the great composers — ^has met with 
the severest strictures at the han<u of some of the judges. It 
appears to me afr if the libretto was no disgrace to the ^^ partition/' 
and to my thinking M. Mermet shows to greater adwitaf;e as a 
poet than as a musician. Roland h Roncevanx is only deficient as 
an opera-book because the female characters are not made suffici- 
ently prominent ; but this is a fault in AfasanieUo, Mose in Egitto, 
and GuiUaume TelL 1 shall not give you the story of the opera at 
any length. It is founded on a legend of the Paladin Roland , nephew 
of Charlemagne. When the curtain goes up the young and beau- 
tiful ahdtelaine Aide is about to be betrothed to Count Ganelon, 
whom, in place of loving, she hates and despises. She loves Roland, 
whom she has never seen, for the splendour of his fame, and when 
he arrives at the castle near the Pyrenees, where the ceremony war 
being celebrated, preceding the great Emperor, who was bound 
against the infidels at Sanigossa, no wonder that her love is in- 
flamed and that she takes an early occasion to inform the hero of 
the ardour of her affection; |and no wonder that the mighty 
Paladin himself, under the circumstances, should have vailed his 
lids to the ground, acknowledged the omnipotence of master Cupid, 
and broken the o*th sworn to his sword Durandal of never yieloing 



Digitized by 



Google 



664 



THE MUSICAL WOBLD. 



[October 15, 18B4. 



his heart to woman. When the army arrives at SaragoeBa and the 
treaty of peace is concluded, Ganelon, now fired with jealousy, 
conspires with the- Emir to way-lay Roland in a defile, the yalley 
of Ronceyaux, which is accordingly done and the hero sacrificed. 
The Elmperar arrives only in time to see his nephew expiring, but 
it is some consolation that he has killed Ganelon, the traitor, before 
he received his own 4eath wound. This brief sketch, or rather 
outline, may afford some idea of the pomp and circumstance upon 
wMch the plot is founded. 

The execution of the music was far from irreproachable, and 
indeed not one of the smgers made anything like a hit. M. 
Gueymard looked big enough for any Paladin, and stormed his 
loudest in vain to create any interest for his part. M. Cazaux, as the 
traitor Ganelon, and M. Warot, as the henisman^ had not arduous 
chatacten aangned them. The couplets, however, sung by the last 
named in thethiid act, produced a ^»od effect. Madame Gueymard 
appeared as the chdtelaine, Madlle.De Maesen as Saida, the Emir's 
daughter, and M. Belval as the Archbishop Turpin, perhaps the 
best sustained character in the opera. Indeed M. Belval, with his 
great httsht and imposing figure, looked admirable as the Arch- 
bishop, while the depth and volume of his voice was favorable to 
the gravity of the part. Having, as I think, given your readers 
Boffiaent mfonnation about M. Mermet!s moderate work, I shall 
proceed to matters of more interest. ^ 

The distribution of the principal parts in the A/ricaine have 
been settled definitively up to the present time. It is as follows : 
— Vasoo da Gama, M. Naudin ; Don Pedro (Grand Amiral), M. 
Belval ; Kelasko, M. Faure ; Le Grand Inqmsiteur, M. Aubin ; 
Don Alyar, M. Warot ; Selica (Beine de Madagascar), Mdlle. 
Marie Sax ; Inte, Mdlle. Marie Battu. All I know about the book 
is, that the scene in tJbe first two acts lies at Lisbon — the first act 
taking place in the Hall of the Grand Council and the second in 
the prison where Vasco da Gama is incarcerated ; in the third act 
on board a vessel at sea ; and in the last two acts in Africa. After 
all there is a deficiency in the score of the Africaine. Meyerbeer 
had not written the ballet music when he died. Indeed, according 
to his usual custom, he put off composing the dances until the 
rehearsals had commenced. It was proposed^wherefore, the 
Parisian Gods only know — ^that the task of supplying this want — 
the ballet was to have played an important part in the Africame — 
should be entrusted to M. Saint-L^n, but M. F^tis put his direct 
veto thereupon, and suggested that two of the principal choruses 
should be adapted to a divertissement ; which means nothing more 
than that the oallerineB should dance to the singinff of the chorus. 
This, of course, was not what M^erbeer intended, but anything 
was preferable to interpolating music by another composer, or rather 
by no composer, and Meyerb^'s music should no more be meddled 
with than any sacred relic bequeathed by saintship or genius to 
posterity. M. F^tis holds out the flattering hope that the 
Africaine may be ready for production early in IVUrch. In London 
M. F^tis could have it ready by December. They manage these 
things very differently in Paris. 

Madame Marie Gennetier debuted on Wednesday (yesterday 
week) at the Op^ra-Comique, in the Songe (Tune NuU cTeti of 
Ambroise Thomas, and had a great success. I do not remember 
this lady, who, it appears, came out at the Op^ra some years ago 
as Mdlle. Prety, as a chanteuae leg^re* She is now an aooomplished 
artist, with a vdce of unusual brilliancy, great facility and extent, 
while her aeting is full of intelligence. I was so surprised and im- 
pressed that I shall not venture to say any more about Madame 
Gennetier, fearing that I should have to swallow my own wcffds. 
A burnt child droads the fire. 

Mdlle. Adelina Patti has appeared at the Italiens in the 
S<mnambula^ with M. Naudin as Elviro and Signer Antonucci as 
Bodolfo. I will not say what nearly all the jouraahsta say-^-and 
will go on saying for twenty years, if the singer keeps the stage so 
long — that her voice has gamed in strength and sweetness and that 
she sings better than last year. This style of criticism was tried 
on Signer Gardoni, until Signer Gardoni laughed at himself. 
Moreover, if Mdlle. Patti improves so much every year, there must 
have been room for improvement, and what becomes of the critic^s 
eulogy when she first appeared. All I know is that Mdlle. Patti 
charmed me infinitely by her earnest and most natural actisff, and 
that her singing — ^not to say it jHrofanely — was divine. Signcnr 
Frasohini has appeared in Xucta, with Madame de k Grange as 



Lucy, Signer Zacchi as Henry Ashton and Signer AntoDQoei u 
Baimond. liario is positively engaged, but will so to Madrid fint 
^r three months, llie subscribers to the Italian opera in tfw 
Spanish capital cried out so lustily for the great tenor that M. 
^(agier had not the heart to refuse. Now, I am inclined to think 
the non-engagement of Mario up to the present time was but s rm 
of ihe director, in order that he might gain more credit from the 
subscribers who,' he well knew, would naturally wish for the 
greatest living master of song and, in some respects, of acting. 

The Gazette des Etrangers informs me that a gnnd dinner ma 
given 1^ Rossini, on the 24th of last month, at his villa, in honor 
of M. F^tis. There were present Doctor and Madame Connean, 
MM. Mocquard and Caraia, Prince Joseph Poniatbwski, &c, &c. 
Auber was invited but was prevented from attending by 
indisposilion. There was a concert in the evening, and the 
members ik the Italian Comnussion who were entnisbed totrmmit 
to BoBsini the medal struck in his honor at Florenoe, on the 
occasion of the fdtes at Pesaro, were present. 

PariSy Oct. 13. MONTAOUE ShooT. 

MILAir. 
(From our mm CcrretpimdmL) 

The Autumn season of' the Begio Theatre *< Canobblias" 
commenced on September 14th with Pediotti's opera habdk 
DAragona^ but with little success. On the first evening the 
theatre was crowded b^ an audience evidently disposed to fliTethe 
work a friendly reception, and in fact, the composer was caQed out 
ten, or a dozen times ; but I must account for this by the 
presence of a numerous body ci his friends, who on the fiitt night 
mustered in strong force, as on the suooeeding ereningi, the 
thermometer of enthusiasm went down most sensibly, ms^nf me 
feel -the want of another opera more suited to the means d the 
company engaged, and more grateful to the ears of the amytoiy. 
The artists did what they could with most ungrateful parts, to 
give the slightest effect to which singers should have lungs of iroo 
and throats of bronae, inasmuch as throughout the entire score the 
musio is written for the extreme limits of every Toioe. 

In the (plot of the opera there are all the dementi of the oU 
romantic school, for instance, the country, the mooJai, the 
monastery, the procession, the oath, the dagger, the prison, the 
flight, the surprise, the moonlight, and the catastrophe; hot 
common sense and logic can nowhere be traced. The opera '% 
written in a prologue and two acts, and was ocmpoasd sxprady 
fcNT the theatre '* vittorio £manuele'* at Turin ei^t yesBianoe; 
and there it was lauded to the skies, had a long run, and ns 
afterwards played at the smaller theatres in Turin with mnoh 
success ; but there is a great difference between the musical tsste d 
the ^' Turinese " and the '' Milanese ** public, for Kere an ocen to 
pass muster must contain something more than shouting and noiie. 
The Pereeveranxa^ the prindpal paper in Milan, in ^waking ef 
the new opera says, — ^* we have on many occasions had topniR 
Pedrotti! for his talent and devoted paauon for hia *rL and htic 
always placed him among the few — the very few — ^who wiB maintain 
the honor of Italian music by his taste and the solid quality of hii 
scoring; and in his comic operas we have always fomid hin 
pi^uante, original, full of joyous freshness and with almndanl in- 
spiration. It was natural to expect much from the cu mp oser vho 
has written Fiorina and Tutti in Maechera in the oomk style, and 
the grand opera of Mazeppa^ but we were grievously disappointed, 
and the reception that Isabetta D^Aragona has met with here mmt 
convince both author and composer how many myriads of notes 
have been thrown to the winds. However, we must bear in nund 
that this opera was written some years since, before the giaad 
revekition of Fatut had been made ; periiaps thai it would heirt 
been supportable ; but now, certainly not." 

The most worthy features of the opera are the overture— whid 
by the way is magnificently scored — and a quartette at ^e end of 
the prolojg;ue, but which was so noisily sung by all the artists, that 
its beauties were destroyed. The baritone shouts for vengeuc^ 
the tenor for mercy, and the monk,, who should utter words of 
peace, shouts louder than the others. There is a great want ol 
originality observable throughout the opera, and I am sure it can 
never become popular with tiie Milanese public. 

The opera was played for seven nights onlv. On the third ni^t 
the baritone, Signer Cotagni, was to ill too sing; on the fifthnight 



Digitized by 



Google 



Ootober 15, 1864.] 



THE MUSICAL WOBLD. 



665 



the tenor, Signer Antoni, was knocked up, and no wonder, with 
mono written bo high. On both these occasions (as they have 
only a single companr o£ artists) the theatre was dbaed, cuod for 
the remadning two nights another tenor was found to supply Signer 
Antoni^s place. It seems to us a disgrace to the management — 
who reoeiye from Govemment annually 300,000 francs ^£12,000) 
— ^tliat they should open a RoyiJ Theatre for a season with a single 
company of artists, so that when any one singer falls ifl, the 
theatre must be closed. This was the case in the Spring season, 
and the theatre remained closed upwards of ten nights on account 
of the indisposition of the tenor. 

The Werther of Signer Gentili is in active rehearsal, and will 
be R>eedily produced, but in the meantime, as Isabella D^Aragona 
woud not draw, the management have brought out the weU-wom 
TVamato, which, with Signoca Elyira Demi as the heroine, has 
drawn large audiences ; but on the second nisht of its representation 
it was pmonned minus the music of we baritone, who was 
indisposed, another example* of the evil effects of a theatre with a 
sinffle company. 

At the Carcano Donizetti's Gemma di Vergy has taken place of 
Boherto il Diavoloy but, not making any success, was withdrawn 
after three representations, and the theatre is now closed for 
repairs. It is, nowever, announced to re-open in November with 
Verdi*s BcMo in Masckira and Lucia di Lammermoor, for which 
the following company are eneaged : — ^Tenor and soprano. Signer 
and Signora Ponti dell' Ami, contralto, Madame Lemaire, and 
baritone, Signor Baraldi. Signora Siebs is re-engaged at this 
theatrs for &e carnival season as the prima donna aasoluta. At 
the Teatro Re we have Italian comedies, &o., under the direction 
of Signor Ernesto Bossi, the young and celebrated actor. The 
theatre is nightly crowded. Among other pieces, Ruy Blas^ II 
Padre Prodigo, and an Italian version of Shakspeare*s Hamlet have 
been produced. At the Teatro Radegonda we have the " Ghost,*' 
and at the Theatres Foesati, Stadara, Commenda, and the new 
theatre Be, sensation pieces after the ^^ Victoria " style. Abgus. 

TuRDT.— The theatre Vittorio Emanuele opened with Bellini's 
Pirata^ which made a terrible >!a«co. Since then // Trwatore 
has been produced witii Mdlfe. La^rua as Leonora, Signor 
Zacometti as Manrico, and Signor Cima as II Conte di Luna, 
and has created a perfect furor. Yerdi's BaUo in Matchera has 
also been produced, with Madame Falmieri as Amalia, and pleased 
greatly. 

Legbqrn. — ^The theatre Goldoni commenced its season on the 
3nd instant with Narma, supported by Madame Bonzi, as the 
DruidesB, Mdlle. Clara Barnett as Adalgisa, and Signor Belardi as 
Pbllio, making an immense success. 

Mb. Aouilar's first performance of Pianoforte Music this 
•eason takes place at his residence this day. 

Mdlle. Victoibe Balfe. — ^The marriage of Mdlle. Victoire, 
youngest daughter of M. W. Balfe, Esq., to Don Josd Bernardino 
Fernandez de Velasco, Duke de Frias, was celebrated at the chapel 
of the Spanish embassy.by the Very Rev Dr. Heam, on Wednesday. 
After a dejeuner at the house of the bride's father, the duke and 
duchess left for Combe Bank, Sevenoaks, Kent, en route to the 
Continent. 

M. Julliem's Concerts. — These very admirable entertainments 
continue to attract crowded audiences nightly to Her Majesty's 
Theatre ; but M. Jullien does not therefore abide by his old pro- 
grammes nor cease to procure other attractions. A ^^ Mendelssohn 
Night" has been given with eminent success, and Mr. Santley, 
recently engaged, has been singing some popular songs with the 
greatest possible effect. Mdlle. liebhardt, M. Lotto and Mdlle. 
Siariot de Beauvoisin vary their pieces continuaUy, the instru- 
mental pesfdrmances, such as symphonies, overtures, grand 
selections, as well as the dance music, also undergoing frequent 
change. Only the Danish Band continues to perform the Danish 
fantasia, ** Dan^e Toner," which they introduced the first night of 
their appearance, and the Danish National vocalists still sing the 
National song ^^ £t Bondebryllup " and sing and dance the Jutland 
National song and dance. Ine season will be brought to a 
termination on Tuesday with M. JuUien's Benefit, and on Wed- 
nesday a grand Bal d'Opera will take place. 



WENZEL GAEHRICH.* 

The above artist, who had bng been pensioned, died in Berlin 
on the 16th September last. 

He was bom on the 16th September, 1794, at Cersowits, in 
Bohemia, a country in which, as we all know, music is very much 
cultivated. In his seventh year he had a violin given him. The 
schoolmaster of the place, who was at the same time organist, 
chanter, and professor of music, taij^ht him the notes and musicai 

X, and explained the scales. In a few months, the boy was 
ed to play the second violin in the' band. In his ninth year 
he was the first of the first violins. By his own unaided appUoa- 
tion, he learned other instrummts, also, such as the .flute, the 
clarionet, the horn, and (with the help of a small chair) the double 
bass. Without understanding aught of the theory of composition, 
he composed, moreover, dances, which were played, imd to which 
people danced. His scholastic studies suffered a great deal from 
Ids application to music. In his nineteenth year, he went to 
Ldpeic, where he began to study law. But it was music which 
was destined to support him, in consequence of his being the son 
of parents witiiout means. When he was sufficiently advanced to 
undergo his examination as Candidatus Juris^ the mon^ was 
wanting to pay the necessary costs, and a place in the Leipeic 
orchestra being offered him at the time, he accepted it. In the 
year 1826, he entered the Royal Capelle, Berlin, and, in 1846, was 
promoted to be the director of the ballet music. He composed 
several quartets, symphonies, and cantatas ; two operas, not known 
to the public ; songs and quartets for male voices, as well as the 
following grand and small ballets, all represented at the Royid 
Opera-house, Berlin : Die Seerduber (3 acts) ; Don Quixote 
(2 acts) ; Die Liebesinsel (2 acts) ; Der TUrldscke Arzt (\ act) 
'Der Dorfschneider (1 act) ; Paul und Virginia (1 act) ; Harkkin, 
Zauherpritsche (1 act) ; Aladin, oder die' Wunderlampe (3 acts) ^ 
and Harlehins Weihnachts Abendtheuer (3 acts). 

Heb Majestt'8 Theatbe. — A short series of performances of 
Italian Opera, with Mdlle. Tietjens, Mdlle. Groesi, Signor 
Gardoni, Signor Bossi, and Mr. Santley, as principal vocalists, is 
announced to be given at this theatre, to commence on Monday 
week. Directly the Italian performances are concluded the 
*^ Royal English Opera," under the direction of Miss Louisa Pyne 
and Mr. W. Harrison, commences operations. 

Mb. Ralph Wilkinson, of the Opera di Camera^ who has been 
confined to his bed with a severe attack of gastric fever, and whose; 
condition was at ope time such as to excite grave apprehensions, is 
proceeding slowly, though, we are happy to say, surely, towards 
recovery. 

Crtstal Palaob. — The first of The Winter Concerts took place on 
Satarday last, and was numerously attended. The performance o( 
Beethoven*8 Symphony in C minor was highly satisfactory. Tho 
" Brisk Dance/' from the Cantata of Keidlworth, composed by Mr. 
Sullivan, was effectively rendered and much approved. There was » 
new overture by Ambrose Thomas, the instrumentation of which, in 
some parts, was exceedingly brilliant. In the vocal performancer. 
Mdlle. Leibhart created quite a furor with the favourite **Cuckoi' 
Song." which received an encore. Great credit is also due to Madam 
Veiuli, who sang ''Non piu Mesta" with much brilliancy and 
finish, and was unanimously recalled. The concert was held in the 
enclosed department, which has been refitted and much improved 
The orchcftra presented a very pretty appearance, being tastefully 
arrange4 with ferns, etc., interspersed wilh statuary. 

Hac&xst. — The announcement of " An Evening at the Pianoforte *' 
by Mrs. John Mac&rren attracted a large audience to the Manor 
Booms, Hackney, on Wednesday last, who exhibited a manifest 
appreciation and unqualified enjoyment of the admirable programme 
provided for their entertainmeut. The accomplished pianist gave 
with her accustomed brilliancy and artistic expression, a selection from 
the pianoforte works of Bach, Beethoven, Hummel, Gounod, Thalberg^ 
&c., and was rapturously applauded throughout the evening ; but 
more particularly after her execution of a fantasia of Prudent, and 
Brissac's caprice <* The Babbling Brook." Miss Marian Walsh con- 
tributed four . vocal pieces, and sang with- much effect Mrs. John 
Macfarren's ballad " One Tear," and a Scotch song, in which she met 
with the compliment of an encore. 

* From the Nwe Berliner Mutik Zeitung, 



Digitized by 



Google 



666 



THE MUSICAL WORLD. 



[October 15,1864. 



The Bboadwood and Collabd Voluiiteebs. — A match of unasual 
interest took place at Wormwood Scrabs od Saturday last, between the 
No. 8 (Broad wood) Company Queen's (Westminster) Rifle Volunteers, 
and the No. 6 (GoUard) Company of the 20th (North West) 
Middlesex Rifles. The companies consist exclusively of the employees 
of the celebrated pianoforte makers, John Broadwood and Sons and 
Collard and Collard respectively. Each company has not only a high 
reputation for shooting, but we believe the Broadwood company has 
never sustained a defeat. These circumstances gave special import- 
ance to the match, and attracted many hundreds of spectators to the 
Scrubs. Each company was represented by 12 men, the ranges were 
200, 600, and 600 yards, 5 shots at each, and the targets and scoring 
those of Wimbledon, 1864. At the 200 yard range the Broadwood 
company gained 8 marks over their opponents, increased their lead to 
17 marks at 600 yards, and at the first round at '600 yards were 19 
marks a-head. Fortune then turned, and the Collard company 
gradually reduced^ the lead till at the end of the 4th round, at 600 
yards, the two companies were an exact tie. The excitement now 
became intense, and each shot was eagerly watched by the partisans of 
both sides. The last and decisive round probably displayed the best 
shooting of the day, and at its termination a tremendous cheer 
announced the victory of the Broadwood company, which thus added 
another laurel to its weU earned &me. The scores are given below. 
After the match the competitors and their friends adjourned to the 
Rifle Pavilion, and partook of a substantial hot supper, literally pro- 
vided by Captain Rose, of the Broadwood company, who was in the 
chair and supported by Ensign Black as vice-chairman. After drinking 
the usual loyal toasts, and success to the volunteer movement, the 
company broke up :-*- 

TbB * BbOAOWOOD ' COMFAVT. 

Total 
200 Yards. 800 Yardi. 000 Yards. Harks. 

Ensign Black 15 12 8 86 

Sergeant Anderson 12 11 8 81 

Sergeant Walmesley 12 18 2 27 

Private R. Heath 12 12 10 34 

Private Dyke 14 8 12 84 

Private Parkinson 16 14 2 82 

Private Buist 18 10 12 85 

Private Cook 12 10 11 88 

Private J. Thomas 15 16 10 41 

Private M. Baxter 12 10 8 80 

Private S. Thomas 12 9 6 27 

Private Henderson 11 14 6 81 

Total 890 

The * Collard ' Oompamt. 

Total 
SOO Yaids. 800 Yards. 600 ^Tards. If arks. 

Ensign Osbom 18 16 9 88 

Sergeant Gamett 12 14 10 86 

Private Page 13 7 8 28 

Private Chamberlain 14 6 11 30 

Corporal Sootten* 12 18 26 

Lance-Corporal Rendell ... 11 14 18 89 

Private Hembrow 17 6 12 84 

Private Clongh 12 14 12 38 

Private Kersey 14 12 9 85 

Private Gurr 12 11 * 6 29 

Private W. Bustard 14 9 10 -83 

Sergeant Williams 11 6 8 25 

Total 390 

Deduct 3 

Total 387 



DuBLiK. — The usual weekly concert at the Dublin Exhibition was 
given on Friday night, October 7, and notwithstanding the very great 
attraction of the Italian Opera at the Theatre Ro^'al, the building was 
crowded. The principal feature of the concert was Madame £llen 
Williams Revile's singing of the cavatina, " Robert toi que j'aime," — 
which she rendered with remarkably fine effect, calling forth the 
warmest applause of the numerous audience. Madame Keville also 
sang ** The fiarp that once " with pathos and expression. At its con- 
clusion an encore was called for by the audience, when she substituted 
** Rich and rare," which she gave with equally fine effect. — Freeman's 
Jcurnalf Octobers, 

Msxioo. — The first opera given by the Italian company was Jl 
l^ovatore, the i^incipal singers being Madame Mario-(Mli. Madlle 
BuUeri MazEoli£i| and Ottaviani, all cf whom were loudly applauded. 



LivEBPooL. — The eighth subscription concert of the Philharmooie 
Society took place last night, the performances indoding Bossim'a 
Stabat Mater and a miscellaneous selection. Of the Stabat Meter u a 
whole the performance was fully equal, if not superior, to those of 
recent years, and the apparently ^asy, but prsctically difficult, "Eia 
Mater" was sung much better in tune than we have heard it oo 
previous occaaions, and the splendid finale with its elabonte scoring, 
both for voices and instruments, was delivered with a most oommeDd. 
able degree of roundness and steadiness. Mdlle. Titiens wag periupe 
never in better voice, and singing as she invariably does to the very 
best of her abilities, the result was, as may be imagined, abeolate 
perfection. Such was the effect of the ** Inflammatus " that, Dotwith- 
standing the obvious impropriety of encoring music of such a character, 
it was enthusiastically recalled (?}, and of course repeated. Mdlle. 
Orossi, who took the contralto part, was successful in the duet "Qui 
est Homo," and the air *' Fac ut portem ;" but in the less arduous 
part she undertook in the two quatuors, owing to a want of Imovledge 
of the music^ she was not nearly so accurate as could have been desir^ 
but as a whole her singing was very nice. Signor Qardoni, as might 
have been expected, was much too weak for his work, and although 
the great air " Cujus animam " was transposed to suit his voice, it wu 
not an entire success. In the concerted music he was heard to do 
better advahtage, being occasionally even out of tune. Mr. Santlej 
sang the bass music very well indeed, as may be imagined, and foood 
the part not so low for him as might have been thought: indeed, he 
came out vrith his bottom F very roundly, and his tempo was very 
sound in the air " Pro peccatis." Of the orchestral and cluwat feataiei 
ot the performance we have already spdken fitvorably. A little more 
unanimity as to pronunciation would have been desirable, as it wai 
evidently not clearly understood whether the Latin was to have the 
English or, as customary, the Italian accent. This was very apparent 
in the trying unison of the ** Eia Mater.'* Though the McoDd part 
contained music rather of a nopular than a classical character, there 
were at least three pieces suited to the place and the occaiioD. The 
first of these, Haydn*s symphony in D, was well received ; the second, 
**The B^nedic:ion of the Poniardsi" from the ITti^ucfiote, went well; 
and the third, the rondo fVom Cenerentolaj "Non piu mesta," song bv 
MdUe. Qrossi, helped to give a stamp of superiority to a second part, 
disfigured by such trumpery (?) as *'La donna e mobile" and 
" Parigi o cara," the former rang by Signor Gardoni, and the lattei 
only tolerably executed by the same singer, in concert with Mdlle. 
Sinico, a lady who had previously made her debut in " Ah, fon e Ini." 
This lady is not, we £aDcy, destined to beoome a great singer; the, 
nevertheless, sang with considerable taste and power the air and 
recitative. A new song by Benedict, taken from his opera (?) Ridiard 
Ooeur de Lion^ which is a very fine worlc, was superbly sung by Mdlle. 
Titiens ; and Mr. Santley gave the popular ** Stirrup Cop." which 
was encored. The chorus sang a four-part song, ** Autumn," by Mr. 
J. L. Hatton ; and a rather pretty overture to XaoaHUa^ by MarliaQi, 
brought the concert to a dose. Mr. Hermann conducted as usoal, but 
the band, though steady in some places^ was the reverse in otherk 
The brass was, nowever, very well behaved, and was not too ohtousive 
in the fortes. — Liverpool Daily Courier , Oct 12. 

Dublin. — {From our own CorreewmderU.y^Oxa limited opera leuoo 
came to a close on Saturday night, Fidelia being performed for the 
benefit of Mdlle. Tietjens. Altliough the opera is not very popolar 
here, the house was crowded to excess. Mdlle. Tietjens was all that 
could be desired, her matchless histrionic and vocal powers beinj 
tested to the utmost in the difficult part of Leonora, so well suited to 
the pec#iar bent of her genius. At the end of the first act she wit 
caUed before the curtain, and received quite an ovation, bouquets being 
thrown to her untU the queen of the l3rric tragedy was almost tar- 
rounded by them. Mr. Santley's grand voice and admirable sissipg o^ 
the difficult music of Pizarro elicited ffeneral applause, and^Mff 
Qardoni, as Florestan— notwithstanding his vocal deficiency— sang the 
music with taste and feeling. Mdlle. Sinico and Mr. Swiil evidently 
had but short notice of their share in the opera, for it was quits ap> 
parent that they knew very little about the music. This was especi- 
ally noticeable in the concerted parts, destroying to a certain extent 
the effects which the great master's work never fiuU to produce. At the 
conclusion of the opera Mdlle. Tietjens was again loudly called for, 
and on coming forward was received with uproarious cheers and other 
depionstratious from all parts of the house ; my noisy friends, the 
olympians, being more vehement than ever. And thus ends our few 
nights of pleasure, called, through courtesy, the opera leaNO, 
by yours, Pil Poacio. 

Munich. — According to report, the direction of ihe Conservatory rf 
Music is to be confided to Herr Richard Wagner, whose FUt^^ 
Hollander is announced to be performed in a few days.— Herr Engelken, 
formerly manager of the Stadttheater at Ulm, has been appoiDt«<^ 
manager of the new natioDal theatre here. 



Digitized by 



Google 



October 15, 1864.] 



THE MUSICAL WORLD. 



66T 



BsMAtTux Baoh. — *< J. 8. Bach," says a modern writer, in a volume 
of lectures on musical histoiy, " was beyond all question a great and 
original genius, one of those men bom but at rare intervals, and reared 
only in particular conditions of the world. On the other hand, it is 
impossible to denv that his music is deficient in some element necessary 
to make it intelUgihle, and therefore acceptable to the unlearned 
liearer." Without undertaking to enter into a disquisition on the 
propriety or the reverse of this observation, we may safely adroit that 
the &ot of the infrequent performance in public of such an Oratorio aa 
the OrotH Pauiom Muaik, is in some sort a proof of the correctness of 
the assertion as to its inappreciability by the masses ; but on th^ other 
hand, even a quarter of a century ago, there were writers bold enough 
to contend for the entire performance of the Passions Musik, and strong 
in the belief, that in course of time (though still waiting for many a 
long year), Sebastian Bach would be generally appreciated and admired. 
The Orom Fa$nont Mutik iMtuiah], according to the Oospel of St. 
Matthew, ia an Oratorio in the primitive sense of the term, being in 
ita form essentially dramatic : it describes the last days of our Saviour 
on this earth, and is interspersed with chorales performing the same 
office as the chorus in the Greek Tragedy. " One of these," says a 
clever but eccentric writer (in a valuable periodical many years extinct), 
is " of more worth than the whole of such an effeminate and whining 
production as Spohr's Cruet/Scion, which had been so extravagantly 
Depndsed by certain critics, and which has not the merit of novelty to 
recommend it. The double chorus in B minor, at the beginning of the 
Passiona Musik, is, both in d^gn and execution, the grandest, the 
most productive of sublime And holy feeling of any we are acquainted 
with. The choruses throughout the work are all equally fine m their 
several styles, the ad lib. and accompanied recitatives are magnificent 
both in expression and modulation ; and the airs possessing all the 
beauties which we have attempted to describe, are worthy of equal 
praise." M. Fetis, in his Biographu UniveraeUe, considers the Paaioru 
Mtuik one of the vastest musical conceptions that has ever seen the light. 
It is impossible to observe, without the most lively admiration, the 
introduction (in E minor) in the fiigued style, wher» two four-part 
choirs and two orchestras unite in movements of a complicated and 
highly scientifio form, with both elegance and facility ; while a third 
choir of soprano voices announce a subject in the shape of a chorale in 
unison, of a simple and noble species. The dramatic and uncommon 
manner, in which Bach has contrived to employ the choir as an inter- 
locutor is not the least worthy of remark. The recitatives possess rare 
beauty and declamatory force; the melodies have. a kind of affecting 
melancholy, fnll, at the same time, of novelties and boldness. To 
conclude, the instrumentation offers combinations of such variety 
as to prove that Bach had in this work better grasped the 
resources of the various instruments than any other composer. 
Aa regards the performance or popularity of the works of Bach 
generafiy, Uie progress made in the last quarter of a century would 
seem to be disoouragingly slow. They are still " exotics," and their 
appreciation is yet confined to a circle limited even now, although 
larger than in former times, and consisting of individuaLs of superior 
musical taste and acquirements. The Pamoiu Mtuik was last performed 
at St. James's Hall, by the Bach Society, on the 24th May, 1862. It 
had only been performed once before in London, in 1858. Why should 
the musical public remain content with one performance, in four years, 
of the BubUmest musical work, with few exceptions, that can possibly 
be heard? 

Tn LATS Maa. Wood {Ladt William Lxmrox). — **Mrs. Wood 
was the most eminent cantatnce that ever appeared on the English stage " 
—says Mr. Fry of the NetrTork DaUy IVtJime— "She was, up to nearly 
the time when Von Weber was known in London, some thirty-five or 
forty years w>, chiefly occupied with concert-singing and parts in the 
little muac^dramaa that passed by the name of operas. Her success 
in Jkr FfeuehutM^ along with Mr. Braham, was followed by an invita- 
tion to the illustrious composer to vidt England and write an opera for 
Dmry Lane. He came and occupied himself with some eighteen 
months* prdiminary studies, and produced Ohercn^ and then died, and 
received the honors of a distinguished funeral in London. The opera 
of Oberon did not prove a success, however, even with Mrs. Wood, and 
notwithstanding the fine music. The overture alone is worth more 
t^ian some operas. The fault lay in the poor libretto— words unfitted 
for music, and scenes of supernatural rubbish, instead of direct dealings 
with the humorous passiona. Mrs. Wood, at that time, was in the 
fulness of her musical power, and was gifted with a physique and a 
volume of voice not second to Grisi. She came to this country some- 
where about thirty-four or- five. The impression made was not equal 
at first to the expectations formed of her exalted reputation. The 
fault was not hers, but arose from the feeblenesi or inefficiency of the 
dramatic situations. It wan not till Mrs. Wood appeared in a wretched 
translation of the Sonnambuia that her supremacy was felt. (Qy*) Her 
level singing waa not of the first ocder; ner enunciation of worda was 



not distinct in the tamer passages, which, however, was often a gain 
considering the trash verbally she had to deal with ; but in the cham* 
ber scene, where extreme passion, and a very heroic one of despair are 
needed, attended with profuse action and gesticulation, she was probably 
never equalled. We have never seen any one to compare with her. 
The present generation does not know what La Sonnimbula musico- 
dramatically is on the stage. (! I) On her third visit to this country, 
Mrs. Wood plaved Norma, m 1842, in Philadelphia. It waa especially 
translated for her, and waa the first sumptuously illustrated drama, 
musical or otherwise, ever put on the stage in this country. She had 
immense success in it, but circumstances called her back to Europe 
suddenly, and she never appeared in it in New York. In the flaming 
wrath and denunciations of the Druidess, she was on a pUne with 
Madame Grisi (I), and the mite e^tteimt of the American performance 
contrasted so magnificently with the poverties of the Italtena at Paris 
that some traveUers who had seen Mra. Wood in thia country were 
sorely disappointed with the opera abroad. Here the stage setting waa 
aa miniature painting ; there it waa a daub. Mr. Joseph Wood waa a 
very fine tenor (p and his retirement from the stage left a hiatna much 
to be regretted.** 

MADKXD.^-The season at the Teatro Rossini closed with a brilliant 
performance of Fau9tt in which Madame Spezia, Tamberlik, and 
Aldighieri were greatly applauded. 

Wabsaw.— There is to be an Italian Opera Company here, xmder 
the direction of Signer Merelli. Madame TrebelU and her husband 
are already engaged. 

New York. — The present season of the German Operatic Company 
(manager, Herr Grover, and conductor, Herr AnschUta) opened with 
M. Gounod's Fauti, 

Casskl. — F61icien David*s new opera, Lalla Bookh, has been 
produced, but met with only a tuecis d'ettime, 

Bbusssls. — The German operatic company in this capital have been 
doing excellently. Ihn Juan proved a great success. 

Hakovxb.-— The subscription, started some considerable time since^ 
for the purpose of erecting a memorial to Heinrich Marschner, is 
getting on but slowly. It is not very edifying, says a writer in a 
Berlin paper, to reflect that for such k composer the total of the contri- 
butions from the Germans at home as well as those all over the world, 
amounts to no more than three thouaand five hundred thalers, and 
that there is not much chance of any additions being made to thia 
sum. Notwithstanding this state of affairs, the committee have pro- 
ceeded to carry out their plans. A passage has just been cut through 
a street close to ^e Theatre. This has placed at the disposal of the com- 
mittee a site well adapted for the propc«ed memorial, and, as the artists 
who will execute the latter give their services for nothing, there is 
every probability that the project will be successfully carried out, 
despite the insignificant amount of the contributiona 

—— - .— — -. ■ . 11. i. .1 ... ^^^— ^— ^— — ^-^— ^-. 



DR. STOLBEBG'S VOICE LOZENGE, 

For invigorating and enriching the voicei and removing aifeotions of 
the throat, 

TTAS maintained its high character for a quarter of a 

XX ovnturr ; and the flattering tectlmoniala reoelved firom Oris!, Peraiabi, 
LabUohe ; and many of the Clergy and Statesmen ftilly ettablUh Its great rirtnes. 
No Vocalist or pabllo speaker shoald be without it. To be obtained of all 
Wholetale and Betall Chemists in the United Kingdom. 

IMPORTANT STOCK OF 
MESSBS. LAMBOBN GOGE, HUTGHINGS, ft Go. 

(Ljltb Lbadxb axd Cock), 
MuBio PubliBhers, New Bond Street. 

MESSRS. PUTTICK and SIMPSON, Auctioneers ^f 
Music and Literary Property, will sell by Anetion at their House, 47, 
Leicester Square, W.C. (West SIdo). early in November, the highly important 
stock of Messrs. Lamborm Cock, Hotchimos, A Co. (who are dissolving partnership), 
consisting of about 35,000 engraved music plates of copyright worlcs of the most 
popular modern composers; editions of the worlis of ttie great masters, newly and 
specially arranged ; songs, pianoforte music, an extensive assemblage of popular 
works adapted for tuition, and miscellaneous music of all Idnda. Further particulars 
will be announced. 

•«* Sales of Music and Instruments monthly during the season, commencing la 
November. Consignments, large or small, can be received at any time. 

Just published, price Ss., 

MARY, 

BONO. 

COMFOOED BT JOHN JACKSON. 

Iiondon : Dwkoam Drrmm * Co, M« Bsfsnt Strsst, W. 



Digitized by 



Google 



684 



THE MUSICAL WORLD. 



[October 22, 1864. 



twenty-four times with the same aj>plau8e, and would be kept on 
the stage until Easter. Ranquit-Lieutard informed him that fans 
and snuff-bozes ^^ a la Tarare ^ were for sale in the shops, and 
that 4,500 livTOB, his share in the loofitB of the opera, were ahready 
on deposit for him. 

(To he Continued.) 

Death or Ma. Fbbdxbiok Bdokubt.— Boston papen'announoe the 
death of Backlev, the well known vioUififlt and oompoter. He was 
the leader of the popular troop known as Buckley's Serenaders, 
whose place of entertaiDment Id Bummer Street was one of the 
institutions of Boston. The Oomnurcial BuUeiin, in recording his 
death, says: — " Mr. Buckley was an admirable performer on the nolin, 
and a musical composer of no mean ability, some of his songs having 
attained a wide-spread popularity. He was appreciated by the public, 
and esteemed l^ a large circle of friends in private life, by whom his 
loss will be sincerely regretted/' 

I^XAVOFOBTB Musio.— The changes in musical science wliich the 
jdano-forte has been instrumental m effecting are so considerable, that 
the sources of that influence for change it may not be uninteresting to 
consider. The music of the best composers for the Hsrpsichord and 
Spinet was generally what is called polyphonic — ^more fugal in its 
character than it was either brilliant or I^/aio. Sustained notes were 
not obtainable, and as a consequence the writers for the Harpsichord 
made use of movements requiring neatness of executioo, and presenting 
a great number of notes arranged m a mode more scientific ana elaborate 
tium we now find in music for the piano-forte. — StQl, this kind of 
music, (often very difficult to execute, and some, highly to be admired), 
with all its beauties lacked e:q>reuion. We look in vain for this quality 
In the works of the great Scarlatti, Boseiuffrave, Paradies, the Bachs, 
Alberti, Martini and others. Neatness of execution and agility of 
finger were then the qualities most required by the composer and most 
applauded in the executant. Although the results of the early efforts of 
Inano-forte inventors afford little delight to us of the present day, the 
instrument when new must have presented a gzateful contrast to the 
Harpsichord of the period ; and the pedal, the discovery of which soon 
followed that of the piano-forte, was an im}>ortant improvement, influenc- 
ing greatly the style of the music that quickly became fashionable. To 
use the pedal in playing the polyphonic or fu^ed music of the ancient 
style would necessarily be productive of confusion ; besides, the object of 
the invention was to obtain esepretnon^ which is seldom required or indeed 
expected in the execution of a fUgue, any more than it is in a Courant, 
a Saraband or Giga, and the other quaint old movements of a Harpsi- 
chord Sonata. In his op. 85, Steibelt alludes to the pedals as a novel 
invention; and desiring *<moTe variety on the Pianoforte, found it 
necessary to make use of the pedals, by which alone the tones can be 
united," but he adds, *'it requires to use them with care, without 
which in going from one chord to another discord and confusion would 
result," Indeed at the present day the misuse of the pedal is one of 
the most fruitful sources of dovenly and &ulty execution on the part 
of learners, and cannot be too carefblly guarded against. The Piano- 
forte, as its volume of tone was improved by successive efforts in the 
manufacture, and as some power of sustaining the sound was obtained 
for it, led the way to the adoption of a style more brilliant^ more 
impassioned and less fugal in manner than the music it grsotally 
superceded. In the 16th and ■ 17th centuries musical skill seems to 
have been very general, and this perh^is may be accounted for by the 
&ct that keyed instruments were scarce, and stringed instruments 
(viols they were then termed), were in very general use. After the 
adoption of the Harpsichord and Its suoesssor the Pianoforte the 
<* Chest of viols" began to be overlooked, and gradually to fall into 
disusei With the neglect of these, it is easy to perceive that there was 
taken away one sreat incentive to a musical education. The Harpsi- 
chord or Pianomrte would satisfy the musical propensities of most 
people ; while one performer could afford the entertainment sought in 
the quartett or tno of the instruments of the Violin £uni]y. The 
powers of expression of which the Pianoforte was now susceptible 
were soon tested by such works as the JDidom of Clementi ; the 
Elegy of Dussek; and other sonatas designed to portray the passions, 
and to excite sympNithy in the mind of the hearer by the power of 
the " harmony painting." It is in this that the Pianoforte under 
the hands of a great performer is, and ever will be, unrivalled. In 
short, in taking a retroiroective survey bf what has been effected 
in the art, we shall find, that since the period at which the Piano- 
forte was working its way into public estimation, there has been 
no further radical change in the general characteristics and descrip- 
tion, of the compositions for the instrument ; and that we may stul 
refer to the works of the old masters as containing most of the fine 
qualities which have distinguished the styles of the numerous and 
talented professors — who have performed and written during the 
former hslf of the nineteenth century. 



Lisbon. — The success of Madame Volpini in the TtpnitUa snrpssied 
even that she obtained in EigoleUo, The local journals were nnaniaiooi 
in their praises of the fair artist's Gilda and Violetta. 

LiVKBPooL. — The papers here describe the farewell benefit of Hia 
Milly F^^mer, which took place at the Boyal Amphitheatre, on 
Monday, as presenting a scene of extraordinary enthusiasm. The 
benSfieuiir^f who played Parthenia (^Inaomar), and Paul {Pd of tht 
PettieoatiY and also spoke an original address hi verse, was vehemently 
applauded and recalled at the end of every act, the stage being fie- 
quently strewn with bouquets. The house was densely crowded, 
hundreds being unable to obtain admiision, and the whole prooeediogs 
were a good augury of Miss Palmer's career in the metropolis, where 
she will shortly make her ddbiU. 

Ma. HowABD Giiovsa's Festivals. — The second concert was given 
on Saturday afternoon, and attracted a. very crowded audience. Aa 
there were no less than forty-four vocal and instrumental fnarena set 
down for performance all that is possible is to note a few of the most 
salient features of the concert. Among the principal vocalists were 
Madame Florence Lancia, whose rendering of ** Bel rajp^ " aroused 
hearty applause as did also her brilliant execution ofBoscowitch's 
<< Nightingale;" Miss Banks, who sang "Tell me, my heart," with 
unassuming grace ; Miss Louisa Pyne, who sang as sweetly as ever 
** The Power of Love." and, in coiuunction with Miss Susan Pyne, 

Sive the duet from the Crown Diamondi ; Miss Emily Soldene (Mr. 
lover's clever pupil), who confirmed the fkvorable impcesnon the hsd 
produced at the first concert in the grand air ** Ah ! <piel glomo," from 
Semiramide, and in Loder's song "There's no music like a drum;" 
Miss Palmer, who declaimed **The Minstrel Boy" with so much 
energy as to elicit an encore ; Miss Florence De Courcy, whose fine 
soprano voice was heard to eminent ^vantage in Leonora's air " 
Mio Fernando" (Xa Favorita) ; Mr. Elliott Qaler, who was applauded 
to the echo "Eily Mavoumeen;" and Mrs. Howard Paol, whose 
delivery of the hvmn " To Rome or to Death," in the chaneter of 
Qaribaldi, raised the audience to enthusiasm. Among the inslmmen- 
talists who appeared especial mention must be made of lierr Hartvigsoo, 
pianist to the Queen of Denmark, who was heard for the first time in 
England. He played Lizt's Hungarian fantssia and displayed con- 
siderable executive powers, creating a very &vorable impreasion. 

MABYPoaT. — Master Willie Pape gave a pianoforte recital in the 
Music hall, under the patronage of J. P. Senhouse, Esq., before a Isrge 
and &shionable audience. This entertainment, as might have been 
anticipated, proved a treat to all lovers of pianoforte music, and 
even those of a less highly cultivated musical taste could not but be 
both charmed and astonished at the brilliant execution and faultless 
memory of the youthful pianist. What, however, seems most 
wonderful, is, that one so young should be endowed with such appre- 
ciation of the compoitition of mature minds ; and that such taste and 
feeling should pervade all he plays. Indeed with regard to music, it 
may be said of him as formerly of a great poet, " he touches notfiing 
but he adorns it." Since we last heard Master Pape he has added 
many pieces to his repertoire, of which we noticed Mr. Benedict's 
"Where the Bee sucks," a composition of fairylike lightness and 
brilliancy, played as if the " Dainty Ariel " had herself inspir«d the 

Srformer. It is impossible to particularize all, suffice it to say, that 
sndelssohn's sparkling <*Bondo Oapricioso," Thalberg's "Mose in 
Egitto" and ** Home sweet home," and Prudent's " Luda," all com- 
positions of great difficulty, ^were played by him, so as equally to 
astonish and delight the audience, and to elicit their heartiest appliuise. 
The Prince of Wales Grand March, composed by the <• Yonn? 
Tlialbeig" himself, is a masterly production, which proves beyond 
doubt, that he possesses creative talent of no mean order. During the 
last six months Master Pape has resided in London, and has frequently 
had the honor of appearing before the Prince and Princess of Walest, 
and other members of the Boyal Family. He is now commencing his 
second provincial tour, and we are confident that from the impreision 
he left on his last visit to the provinces he will meet with a hearty 
reception wherever he goes.. — {maryport Jbuma^.) 

MaiiBonaHK. — The Haymarket Theatre at Melbourne has lately 
undergone thorough renovatioa Lady Don has been playing there to 
crowded houses. 

DR. STOLBEBa'S VOICE LOZENGE, 

For invisoratlng and enriching the voioe, and remoTing afflietlons 
the throat, 
AS maintained its high character for a quarter of a 



otntunr; and thsflfttterlog testimonials received ttom Odsi, PersSanl 
ebe : sod many of the Clergy and Statesmen fUlv sstabUsb Its fnat vtitoea, 
Ko Yooalist or pabllo speaker thonld be without It. To be obtalssd of aL 
Wh^esalo saditstaU Chemists in the United lUngdom. 



Digitized by 



October 22, 1864.] 



THE MUSICAL WORLD. 



685 



TASAJTTEIiXiA, by WAIiTlIB MAOFABBBN. 
n^HIS popnkr Morceau for the Pianoforte, played with 

X *aoh dJstSngiiltlMd raooeM by the Compoier st Ui Gonoerts at the Hanorer 
SquAre Boomi, ii pabUihed, prtoe 4i., by 

Dmraiv DAjmom A Go., SM Sagait Street, W. 

f II ■ - ■ 

<<MABT DBAB,^» 

8IM8 REEVES'S NEW SONO. 

CompoMd by HOWABD OLOYBB, and eathnslMUoally oDOored at St. Jamee'i 
Hall, Is pabUihed, prioe »., by 

Dmtoiv Datuov A Co., 344 Befent Street, W. 
Just published, prioe 16b., 

SONATA, 

Ko. I, fi>r ^ 

FIANOFOBTE AND VIOUN (in Score), 

DIDIOAXII) TO 

HEB IMPEBIAL HIOHNESS PRINCESS WILLIAM OF BADEN i 

CoKPoeio BT CHARLES FOWLEB. 

London : Duxoav Datisoh A Co., 244 Begent Street, W. 



D' 



Jnst Pabllshed, price 6s. 

,U0 in A for THE PIANOFORTE AND VIOLIN, 



Composed by 

JAMZSS IiBA SUMMBBS. 

London: Dovoav DAvnov and Ca, 244, Begent Street, W. 



MABIE D'ANNETTA'S DANCE MUSIC 
Charaoterlslloally Illnstrated. s. d. 

** The Lily of the Thames QnadrlUe/* with comet aooompaniment ... ... 4 e 

*«What Next Qnadrillee ** (Bobln's Last), with ooraet acoomoaniment 
** The Spirit Bapptng Polka,** dedicated to all spirit-rappers' mediums 
•• The Llewellyn Walts," dedicated to Mr. Baokwell, B. M. 3rd B. W. M. 
•* BeaatiftU Spirit Walts,** dedioated to Mons. Lonls Jallien 

London : Duxcah Datibov A Co., 344 Begent Street W. 



.. 4 

3 

3 

4 



Niw AKD BsTiasD Edriov. Prioe 12s., 

THE VOICE AND SINGING. 

(The formation and CultiTation of the Yoke for Singing). 

BY ADOIiFO FEBBABL 

•■ The great and deserved soooees of this work has brooght it, in no long time, to a 
second edition, careftillf revised, and enriched with a nmnber of additional exercises, 
which greatly Increase its v^lae.**— /{ItiKratei Ntm, 

London ; DnroAv Datuoh A Co., 344, Begent Street, W. 
Jnst published, prioe 4s., 

JE VOUDBAIS ETBE, 

ROMANCE, 
AVEC ACCOMPAaNEMBNT DB 

H ARPE, 

PABOLES DU CHEVALIEB DE CHATELAIN, 
MuaiQUK DS CHARLES OBERTHOB. 

Op. 190. 
London : DuiCAs DAnsov A Co., 3^ Begent Street, W, 



Just published, prioe 4s.» 

" VOGLI AN A," 

Maaturka de Conoert» pour' Piftn^ 

Dedifte h son ami Mbnsieor EDOUABD, DE PABI9, 

PAB 

WILHELM QANZ 

London : Duboax Dvaxsov A Co., 344 Begent Street, W. 



Jnst Published, 

<< HAKK, THE BELIiS ABE BINaiNa," 

NEW SONO 

BT 

HBITBT SITABT. 

The Words by W. H. BELLAMT, Esq. 
CompAQlon to his oelebrated <• L AD7 OF THE LEA.** 

Prioe 3s. 
London : DmraAK DkVBonJt Co^ Mi B^gwit BtrMl W. 



NEW MD POPULAE 

V OCAL MUSI C, 

EMM SMART. 



8. D. 



The sailor b05r^S mother. Song. Frederic Enoch 2 6 

The first nightingale. Song. . Frederic Enoch 2 6 
The star among the flowers. 

Song Frederic Enoch 2 6 

The swallow came again in 

spring. Vocal Dnet . Frederic Enoch 2 6 

The fisherman's welcome. Song y. w. EUis 2 6 



WILHELM &AIZ. 

Singi birdlei sing * • Zeila 

Sung with immeDse saceeas by Maoamb Pibefa. 



30 



J. L. lATTOlir. 

The old brown Bible- Song. B. S. Montgomery 2 6 

The elf of the rose- Song . B.S.Montgomery 2 6 

The cross of oak. Song . B. S. Montgomery 2 6 



CHARLES SALAimr. 

As I did walk one summer's 

day- Song . . . Anon, 17th century 3 
Sung by Miss Labcxellbs. 

Tamo d'amor dolcissimo. Bomanza . .26 

Composed expressly for MadamkPabbpa. 



BOYTOI SMITH. 

Fallen is thy thronCi O Israeli 

Sacred song . . . ' Thomas Moore 

Bird of the wilderness. 

Song . . . . The Ettrick Shepherd 2 6 

Merry bird! Merry bird! Frederic Enoch 2 6 



26 



SCOTSOlSr GIARK. 

Those bright eyeSa Ballad* . . Henry Hersee 2 6 
Sung with great saooess by Miss Boss Hjuskk. 



J. W. CHERRT. 

The sister'is return* Vocal duet . 
Elfin revels- Vocal duet . . . . 
Hark ! there's music stealing. Vocal duet 
Silentlyi silently over the sea. Vocal duet 



30 
30 
26 
30 



LONDON: 

I ASHDOWN & PAERY, 18, HANOVER SQUARE. 



Digitized by 



Google 



703 



THE MUSICAL WOELD. 



[October 29, 186i 



JUST PUBLISHED, 

BOOSET AND CO.'S 

NATIONAIi EDITION 

OF 

WITH PIAHOPORTE ACCOMPANIMEBTS. 

NEWLY REVISED AND CORBECTED. 

UNIFOBM WITH BOOSET * OO.'S EDITION OF THE OLEES OF SIB HENBT BISHOP* 

Price One Penny each Glee; or in Five Puts, One BhUling e^ch; or in 

(Hie Yolnme, lumdsomeiy bound in crimson doth, lettered, gilt 

edges, price 68. Od. 



PART 1 

1 Hark ! the carfiw'f golemn aoand 
a Hark ! the lark at heaven*! gate eiogt 
8 The Bed Grow Knight 

4 Come lire with me, and he my lore . 

5 The May FI7 ... 
e Bee oar«oan with tethered apny • 

7 The Erl King . . , . . 

8 B7 CeUa^i Arhonr .... 

9 Bail I ■millng mom . • . • 

10 Blow, blow, thou winter wind . 

11 Peace to to the aoole of the heroei . 
13 Five times by the taper'i Ught . 

p;art a 

13 In the lonely vale of ftreams' • • ' 

14 Te spotted snakes .... 
16 Ii^om Oheron In flilry land • 

15 Are the white hoars for ever fled f • 
IT Thy voioe, O Harmony . 

18 My dear mistress had a heart . 

19 Ton gentlemen of England 

20 The bells of Saint Miobael's Tower^ ' 

21 With sighs, sweet rose . 

92 Forgive, blest shade . » 

23 Who oomes so darkf 

24 Fair Flora decks .... 



T. Attwood. 

Dr. Cookei 
Dr. Calloott. 

S. Webbe. 
Dr. Calloott. 
;Sir J. Stephenson. 
Dr. Calloott. 
W. Horsley. 
R. Bpoffroth. 
Stevens. 
Dr. Calloott. 

8. Storaoe. 



PART 

as GOb idle boy 

as Te shepherds* teU me . • . 

27 How merrily we live • . . 

28 The clond-eapt towers 

29 To all yon ladies now on land . 
SO Here's a health to all good buses 
81 How sweet! howft'esh! . 

32 As it ftU npon a day . • . • 

33 Come, boonteous May 

34 Qoeen of the silver bow * . 

35 Lordly gallants 

88 As now the shades of eve . 



Dr. CaUoott 
R. J. S. Stevens. 
R. J. 8. Stevens. 

8. Webbe. 
IR. Spoflbrth. 
Dr. Calloott 
W. Knyvett. 
Dr. Calloott. 
Dr. Calloott. 
Dr. Calloott. 
Danby. 



Dr. Callcott. 

^. Mazzfngfai. 

'. M.Este. 

R. J. 8. Stevens. 

Dr. CaUoott. 



8. Paxton. 

Lord Momlngton. 

R. Spofforth. 

. J. Hindis. 

Dr. Calloott. 

Dr. Cooke. 



R. J. 8. Stevens. 

Dr. Cooke. 

S. Webbei 

8. Webber 
. R. Spoflbrth. 
. Dr. Calloott. 
R. J. 8. Stevens. 
Lord Momlngton. 
. Dr. CaUoott. 
R. J. 8. Stevens. 

J. Danby. 



PART 4. 

87 Sigh no more, ladies .... 

88 How sleep the brave .... 
a» When winds breathe soft • 

80 Swiftly ftom the monntatn's brow 
«1 Marked yon her eye of heavenly bine f 
#2 Queen of the VaUey .... 
03 Crabbed age and Youth 

44 bird of eve! 

46 When time was entwining . 

45 When the toil of day is ov 

47 When Sappho turned the raptured strain 

48 Disoord, dire stater 

PART 6. 

49 Desolate Is the dweUing of Moma .... Dr. CaUoott 
SellMF^siHM Dr. Calloott. 

81 Olorlons AppoUo .' 8. Webbe. 

82 Awake, JBoUan Lyre ! J. Danby. 

88 SinoeOntlsawyoor flMM Thomas Ford. 

64 Breathe soft, ye winds Paxton. 

66 O happy fliir Shield. 

66 It was a Friar of Orders Grey .... Dr. Calloott. 

67 Here in oool grot Lord Momlngton. 

67 When shall we three meet again ? . . . . M. P. King. 

89 Lightly tread John Scotland. 

80 Life's bumper Wainwrlght. 



LONDON : BOOSEY & CO., H0LLE8 STREET. 



NEW AND POPULAR 

V OCAL MUSI C, 

EMM SMART. 

WORDS BT I. D. 

The sailor boy's mother. Song. Frederic Enocli 2 6 
The first nightingale. Song. . Frederic Enoch 2 6 

The star among the flowers. 

Song. . . . . . Frederic Enoch 2 6 

The swallow came again in 

spring. Vocal Duet . Frederic Enoch 2 6 

The fisherman's welcome. Song Y.w. Ellis 2 6 



WILHEMC GrAJSZ. 

Sing, birdie, sing . Zeila 3 

Sung with immense suocess by Madams Pabepi. 



J. L lATTOir. 

The old brown Bible. Song. B.S.Montgomery 2 6 
The elf of the rose- Song . B. S. Montgomery 2 6 
The cross of OBk. Song . B. S. Montgomery 2 6 



CHAELES SAIAMAI. 

As I did walk one summer's 

day. Song . . . Anon, 17tli century 3 
Sang by Miss Lascelias. 

T'amo d'amor dolcissimo. Romanza . .26 

Ck)mposed expressly for Madame Pabkpa. 



BOTTOlir SMITH. 

Fallen is thy throne, Israel, 

Sacred song . . Thomas Moore 2 6 

Bird of the wilderness. 

Song .... Tlie Ettrick Shepherd 26 
Merry bird! Merry bird! Frederic Enoch 2 6 

SOOTSOlir CLARK.' 

Those bright eyes. Ballad . . Henry Hersee 2 6 
Sung with great success by Miss Boss Hmbrkk. 



J. ¥. CIERRT. 

The sister's return. Vocal duet 3 

Elfin revels. Vocal duet 3 

Hark! there's music stealing. Vocal duet. . 2 6 
Silently, silently over the sea. Vocal duet . 3 

IiONDOIT: 

ASHDOWN & PAERY, 18, HANOVER SQUARE. 



Printed by BBa9U90v,RATr, and FnroH, at No. 13, Wiosley Street Oxfivd Street, in the Parish of liarylehone. In the Cooilj of lOddlsSBV. 
PvbilShed by WnxUM DoKUi DatiboVi at ilf 0fflee» 344 Segent 8trcet.->i5to^irroay October 29, 1884. 



Digitized by 



Google 






"Ta« woBTB or Abt AFnAss uon XMnrBHT n Muaio, idiob it bbquibxi mo Mxrauh, mo bubjmoisiuttmb, wboo n^nor 
Mvar BB dxduotkd: ip n whoijlt iobh amp powmb, amd it Binst amd kmmobuhi wbatiyvs it vxvwum. — ww#, 

BUBSCBIFTZON, FB3BB BY POST, 20& FBB AJBIMUM 

Paijable in advanoe by Oash or Post-OfOoe Order to DXTKOAN DAVISON ft 0O.»M4i» Boffent Streat. London, W. 

IBeffidsnd fi>r TroHmisium Abroad,] 



Vol. 42— N . 44. 



SATURDAY, OCTOBER 29, 1864. 



r««{as2Sr*' 



HBB MAJE STY^S THEATBE. 
MDLLE. TI TIENS IN FIDELIO. 

THIS EVENING (SATUBDAY), Ootobeb 29, 
Will be perlbniMd Beetbom's Operm, 

••FIDELIO." 

nomtea, BUpAt'0im«a ; Pinrro, Mr. Saxtlr f Eoooo, Blgnor Botn s 

U Hinlstio, Slffnor Qaumokh Mwoellliia, MdUe. Smoo; and Leonora, MdUe.Tmna. 

Ooodoalor— SiGiOB ABDITL 



10 M« Aiviroiw. 

FuOH.— GaUenr, 9i. ; Pft» 5i. ; Drew Circle, U. ;Upper Circle, M. ; Ordieetra 
Btellt, lae. ed. : PriTate Boxee (to bold Fonr), flrom Half-a-Golnea npwarde. 

Nonoi.— Tbe neoal reetriotiou to Erenlng Dreu will not be enfturoed. 
"*AspUoatloBi for Boxes, Stalls, and Places to be made at the Box-offloe of tbe 
Tbsltre,wUolrisi>pea daUy.ftom Ten till Fire. Tickets also procorable on the 
evenings of perfiitfmtaod attlle tpeolal offices open at the entrance of the Pit and 
Grand Tier, 

8PBCIAL NOTICB. 
These PerfbrmanaeB oaanet on any aoconnt be extended beyond Situboat, the 6th 
of Norember, the Lessee and Director havinff granted the use of Her Majesty's Theatre 
for "English** Opera for a short period until the re-opening of tbe Thei^ for the 
regular Opera Season of 1886^ 



MB. W. HARRISON begs to annonnoe that HER 
MAJESTY'S THEATRE wUl be Opened, under his direction, on Mohdat, 
7th, 1884, for the Winter Season. Full particulars will be shortly announced. 

TT is respectfally annoonced that the following eminent 

J. Artists will make a PBOyiNGIAL CONCERT TOUR during the months of 
January and February next :— 

Madame FIOBINTIB^I, 

Prima Donna Assoluta of the Lioio Theatre, Baroelcna, 

AID 

JCBdemoiaeUe IiIEBHABT, 

gammer Sangerin und Prima Donna der K. K. Hofoper, in Vleum, Mid Her 

Mi^esty*s Thsatre. 



All 



PRDfO-TENORB: 
Sicnor AJCBONITTI. 

CONTRA.BASSO : 

Signor BOTTISINI. 

CORNET-A-PISTON : 

M. IiXVI. 

PIANOFORTE. 

Slanor BOMANO. 

to be addrened to Mr. SHvrAED, 4, Coburg Place, Bayswater Road, W. 



BRADFORD (YORKSHIRE) 

SATURDAY NIGHT ENTERTAINMENTS, 

ST. GEORGE'S HALL, BRADFORD. 

I HE Directors are prepared to negotiate with Artists of 
respectability, whose talents are calculated to ailbrd diusement and inttruc- 
to a large and ai^redating audience. 
Applications from Touring Parties, with full particulars, addressed to the Secre- 
tary, Mr. C. Olutibb, Bradford, Yorkshire, will receire every attention. 



MAD. D'ESTE FINLAYSON, 
Prom Mr. German Beed*a *< Opera di Oamara,** 

WflliL be prepared to accept engagements for English 
^ ^ _0pera, Orslorio, Concert, Dimian. AU eommunicatioiu to be addiWMd— 
PsiOiy BomihU J«lui'i Wood. 



ROYAL ENGLISH OPERA, 
OOVBNT QARDBN, 

(OPERA OOMPANY. LIMITED.) 

On MONDAY, TUESDAY and WEDNESDAY n«t,wiU be performed Anber's 
celebrated Opera, 

KASANIBIiIiO. 

Prindpal charaotsn Inr Madame Pabva and Mdlle. Rosa Ookaud, Meam. Wins, 

H. BoxD, A. Cook, C. Ltaxx, B. Dusskk and Charles AoAiis. 

Conductor, Mr. Altbbd Muxov. 

The ineideatal DiTcrtissements will be supported by MdUes. Duohatiad 

and BowAsn, Messrs. H. and F. PAnra. 

Acting Manager, Mr. J. Russill. 

otMighL ffo ehmvi /or Booking Plaeet, 



S' 



PRODUCTION OF •* HBL VELLYN.** 

On THURSDAY next. Nor. S, will be produoed with^New Scenery, Costumes, and 

Appointments, a New Grand Opera (the Music by O. A. Maclhrren s 

the Libretto by J. Oxenford), enttUed 

HELVELLTN. 

Hannah, Madame LufMCss-SESumfaTOV: Martin, Mr. Hnmr Haioh; Luke, Mr. 
Almbsto LAwaiHoa ; Old Steenie, Mr. H. Cokbi ; and Mabel, Madame Paeipa. 

. The Opera produoed under the Direction of Mr. Auousnm HAamis 

TRAND MU8I0K HALL.— PROMENADE CON- 

CERTS EVERY EVENING, with a ftiU Band of Forty Performers. 
CoHDnoTOB,— Ma. F. KINGSBURY. 
FeeoKifc,— Mdlbs. Wojes, MounorF, and Matbb. 

Jiutnmuin to Wrfi, — Violin, Sio. OiorAnn AnaucAnr: Comet, M. Duhkx: Piano - 
fbrte, M. Matth, Pianist to His Majesty the King of Italy. 

Admission, is. ; Prlrate Boxes, lOs. 6d. ; Stalls, 2s. Commence at Eight. 

STRAND MUSIOK HALL.-MU8ICK at Eight o'clock. 
COMIC at Ten o'dook. EVERY NIGHT THE GREAT VANCE at 
LF-FAST TEN. 

HR. BRINLET RICHARDS 

E6S to announce that he has REMOVED from Tor- 

rington Street, and requeats all Letters to be addressed to his Residence, 
No. ft ST. MARY ABB0TT*8 TERRACE, KENSINGTON, W. 

TTTILLIE PAPE, of Alabama, visits Dumfries, Castle 

V Y Douglas, Kirkcudbright, Dundee, Aberdeen, Glasgow, Edinburgh, Penrith, 
Llyerpool, Litchfield, Leamington, Banbory, Lynn. Sanrtringham, Norwich, Pen- 
nnce, Truro, Plymouth, Torquay, Exeter, SIdmonth, up to lAth November, lie then 
Tisits Belihst, Armagh, Dublin, Ac. For engagements* please address 9 Sobo Squabs, 
London, W. 

R8. CAMPBELL BLACK, Vocalist (PupU of Dr. 

FaAMon RoBonov, Vicar Choral of the Cathedral of Christ's Church and St. 
6k*s, in the City of Dublin), sings In Italian, German and French. She sings 
also all the popular English, Scotch, and Irish Melodies, and has careftdly studied 
Sacred Music. Mrs. Gampbbll Black accompanies herself on the Harp, Pianoforte 
and Guitar. All communications respecting engagements to sing at Conoerts, Ac., 
to be addressed to her at f Well Walk, Hamstead, N.W. 

lyrADAME HELEN PERCY (Contralto) and Miss 

JXL Florivcb na Couaor (Soprano), will be In the North to fhllil engagements 
after December 17th, and will be happy to arrange tor Gonoerti or Oratorios en 
rottls. Address—ftS, Richmond Road, Bayswater, W. 



B 



M 

Jama 



ISS ROSE HERSEE will smg "The Knight and 

, TEM MAinBH,** compoaed by Emilb Bbbobb, at HalUhx, Norember Tth { St. 

imes's Hall, Norember tth ; Leicester, November Mth ; and Walworth, Nor. 29th. 

riSS FLORENCE DE COURCY will sing Henry 

L Smabx'b new song, *' Habk ! Tea Bbllb Ann RiHono ** (Companion to the 
f of theLea), atMr.HowBcd Glorer'k oonoert at Dmry Lane l%Mtre,THIS 



Digitized by 



Google 



704 



THE MUSICAL WOELD. 



[November 5, 1864. 



cvo. OAMPBELL BLAOK, VocaKBt (PupU of Dr- 

VftAMit RoBWWK, Vioar Choral of thi Cathadial of ChrUt^Church and St. 
k'«, in the City of Dublia), liogs in Italian, German and ^»«»?!!; , "he iingj 
ili^aU tie popular^glUh, ScStd^nd Irieh Mjlodie.. and hg. ejr^^ 
Baerwi Mnelo. Mrs. Campmll Black aocompaniee herwlf on toe Har p, Flano iwte 
and Guitar. All oommunioatlone r««peeUn«r eDga«ements to ting at Cooowti, •o.. 
to be addreesed to her at f Well Wallc, Bamataad, N.W. _^____ 



nook's, in 



M 

wiUo 



R8. J. HOLMAN ANDREWS begs to inform her 

frimdf nnd pupils that her Soir^ tot the practice of ▼<>J»l»?<>J*j; «"*«• 
conunenoe on Thnnday, November if th at her reeldenoe, 60. Bedford Square. 



MISS ROSE HERSEE wUl sing " The Knight anb 
nnMAinnvroompoeed by Bmili Bnonn, aft HalUkj:.NoT«mber Itbi B4 
■*• TT^ i, November 9th t Leioeiter, November 28Ui ; and Walworth, Not. Mth- 



riSS FLORENCE DE OOUROY (Soprano) and 

MADAME HELEN PERCY (Contralto) will be in the North after Decern- 

*, for a fe* weeki, ftalflUIng en^igetienta. ' AppHcattone'ooijbeming Ooooert 

or Oratorio engagementt en rmtU, to be addressed, V, Sutherland Place, Bayswator, 



'XlfB.. FRANK ELMORE will sing "Thou art so Near 

m. AMD TOT io Fm" (R^ohardt). "Are they meant but to deceive me- 
Obelohardt), " Si to aavaU " (Balfe), and *• Alice where art Then " ( Awher). at the 
foUowinff places :—LiTnpooL, November 9th; Lancaster, November lOth; AtM, 
Kovnmber llUn and Olasocw, November 12th and 19th. 



M 

ttonsi 



R. WILBY COOPER begs to inform his friends and 

Ihe-Maskal Poblio that he has letnmed to Town, and that all Commnnlca- 

respecting Concerts, Oratorios, Ac., should bear his new address, 68, Richmond 

Bead, Westbonme Grove, W. 



MR. EMILE BERGER will . play his new Scotch 
flmtasia "WAvnLnT** and romance ■'SiLvn Ripplbb,** at Livkbpool, 
nber Mh; Liroisfru, November 10th; Atb, November llth{ and Olu&ow, 
HorsmberUChaadlMb. 



M 



R. DEAOON begs to annonnoe that he has returned 

to Town for the Season. 10, Wimpole Street, CaYcndish Square. 



SIGNOR ALBERTO RANDEGGER will return from 
Italy the second week In Norember. Letten to bo addreised to 31, OrdbanI 
Street, Portman, Square, W. 



TTERR LUDWIG STRAUS begs to announce that he 

XX l^M arrived in London, and intends staying for a fov months. All Com- 
mnScattona to be addressed to his RealdMioe, 86, OsJdey Square N.W. 



The highly important Stook of Sngraved Mnslo Plates with 
Oopyrights of Meiars. Oook, Hatohingi, db Ck>. 

-yESSRS. PUTTICK AND SIMPSON, Auctioneers 

JjLL of Music and Literary Property, will sell by Anotion at their House, 47, 
Leioe<tar Square. W.C. (West Side), on Monday, November 14th, and four following 
days, the very Important stock of about 30,000 Engraved Music Plates with copy- 
rights, of Messrs. Lambom Cock, Hutehiogs, and Co. (formerly Leader and Cock), 
Qt New Bond Street, who are dissolving partnership^ comprising the works of the 
most popular composers, vocal and Instrumental ; extensive wries of works suitable 
for tnitloB { the important original works and arrangements of Proibssor Sterndale 
Bennett; editions of the works of dassioal masters specially arranged for the 
pnUiahers; eompositions and arrangemente of Jules Benedict, W. H. Calloott, F. 
homer, Brinlev Richards, Kuhe, Karl Vogel, ^John Bamett, M. W. Balfe, W. V. 
Wallace, and other popular composers. 
The MisceUaneons po rtion of the stock will be lold in December. 



[ESSRS. PUTTIOK AND SIMPSON wiU sell by 

L Auction at their House, 4Y, Leicester Square, in November, a collection of 

Mlscellaneons Music, and many important Mnsloal Instruments, Including numerous 
Pianofortes by eminent modem makers. 
•«• Consignments for this sale can be received np to the 12th instant. 



M' 

Mtoeell 



Price 3d. ; by Pott, 4d. 

THfe OHOIR AND MUSICAL RECORD for Novem- 
ber oontaino :— Notloes of Cbonl FsitiYnls^ Rovlovs» and the Musical News of 
the Month, with 

FOUR PAOKB OF MUSIC. 

•« o happy be who Uveth,'* a Part Song of the Sixteenth Century, adapted by E. F. 
RiMBAvur, LL.D. 

BAteHfti/OM am eommma at <my tknt. 

•«• Notlco.--On Dnonnu lor wiU be pnbUshed a DOUBLE CHRISTMAS 
NUMBER, oontidning EIGHT PAGES of leasonable Music, ftc. Price 6d. 

MmLis A (3o., 96 to 88 Gnat Marlborough Street, W., and of all Book and 
Music-sellers. 



TiruSICAL PRESENTS for PIANO, 4c — Hdly 

lYI, Family, 128.; Adoration, 12s. ; Holy Monnt, 12s. t Messiah, 10s., Oa. Cd.,iKl 
as. 6d. ; the Creation, l5s., 4s. Od., and 3s. t Israel, los., 4s. fld., and 8s. 6d. ; Bar. 
lington Album, 16s. ; Callcott^s Beauties of Beethoven, lOs. Od. ; Biinley Richards' 
Classical Pianist, 2 vols, each 81s. Od.; Brinley Rlelyards* Students' Praetici, Mt. ; 
Metronome, with bell, 42». ; without bell, 20s. List of 400 volnmeo gimtis aad fort 

6. F. WEST*d J&RUSALEM the GOLDEN, and twelve other Pieces for Fisao, 
carefolly fingered, each 2s. Od. 

London : Robbut Coces M Co., New Burlington Street, W. ; all MaskssIleiiL 



ONE YEAR, 

(A YlLLAOB Talb), 
Compooed by Mbs. JOHN MACFAERBN, and snng with I 
XI88 BANKS. 
' Price 2s. Od. 

FloerBa A Kara, 238 Regent etrset 



n i» 



^ 



LJust Published, Price Two ShUUngs, 

INTS TO PERFORMERSr ON MUSICAL 

INSTRUMENTS. PUyed by the touch of the hand, by Leo Kerbusch. To 
of Messrs. AuoaxBa 4 Co., 80, Newgate Street, City. 



Thorookr an cawing in the elms, 

As on the very day. 
That sunny morning, iMthsr dsor. 

When Lucy went away ; 
And April's pleasant gleanis 1 

And Aprirs gentle rain; 
Frrah leaves are on the viae» bat when 

Will Lucy come again f 



The spriDg Is as it used to be. 
And all must be the samei 

And yet I miss the foeling now 
Tnat always with it came. 



It MR 



t soiBB as If tv nOiii nado 
' nieiveeUMioftlioyeari 
As If I aonli be glad ao aior% 

Now Lucy is not bum. 
A yeai'-H aeona bat veatarday. 

When In this very door 
Ton stoodt aad she eame ram 
^Fo say good-bye oooe more ; 
I hear your sob— year parting Us 

The last fond words yon aaU ; 
Ah! little dUwatUak-^oneycsf 

And Lucy wonU be dead! 



Just publiehed, price 8s.. 

"WHITHER AWA Y." 

soKg, 
Compooed hy G£OBGE B. ALLEN. 
Dmnux Datibov * Co., HO Regent Stroat, W. 

Just pubUehed, price 3s., 

MARY, 

SONG. 
COMFOOKD BT JOHN JAOKSON. 
DoaoAV DAViBoa * Co., Ui Regent Sfrsok, W. 



Jost published, price as.,. 

"HOPE ALWAY," 

SONQ FOR A MEZZO-SOPRANO VOICE. 

Written by MINNIE, 
Composed by EMANUEL AGUILAR. 
• London : Doboav Davisov A Co., 244 Regent Street^ W. 

HABTMAlir*S WAIjTZ on Aaoher*a celebrated Bomanfie, 

"ALICE, WHERE ART THOU?" 

As Performed at the Lord Lieutenant's SoirOes, the Horticultural Show, tbs DqIiQb 
Castle Balls, Ac., by the Band of the lOth Hussars, under thedlrectioa of Uie Aatbur, 

HERR ERNEST HARTMAN. 

Arranged/w (hi Pirnqfortt, 

Price 4s. 

ondon: DmoAs Davxbov A Co., 944 Regent Street; and of all MusieseUin ta 

Town and Country. 

Just published, price 8s., 

«THE OCEAN QUEEN/' 

SONQ, 

Sung by MISS ANNIE BARTON 

At the Concerts of Tbb Glbb amo Okba Uauwi 

Worda by O. H. Wood, IBaq,^ 

MUSIC BY BENNETT GILBERT. 

London : DuxoAs Davisov A Co., M4 Regent Street, W. 

Just Published, price 3s., 

''WHEEE IS HE;*' 

SONQ, 

Compooed hy RALPH WILKINSON. 

LoadOB t DovoAv Daviboh * Co., 244 Regent Street, W. 



Just publiiliedv price 8s., 

THE ROSEBUD, 

MSLODT FOE THE PIANOrOBTS, 

Bodifiated to ICifts Cothorine MstUda Blsddmm; 
CoMTCOSD BT CHARLES FOWLER 
; DmOAJilUvi80«*Co.,t44RogfatBliool,W. 



Digitized by 



Google 



November 5, 1864.] 



THE MUSICAL WORLD. 



705 



BBATB OT KB. J'OHIT IilSBOH. 

Baddenly there is a great blank among na, and the shadow of 
a great darkness. One of oar dearest and most delightful com- 
panions, one whom not only we, but also all whose eyes will rest 
apon these columns, mast think of as in some sort a cherished 
friend, is taken from as. John Leech, known to the public as the 
most kindly and the most grsceful of humourists, known to his 
own circle for a peculiar gentleness and refinement of character 
that at first sight seemed as it were in opposition to the robustness 
of his judgment, and therefore took many by surprise, died on 
Saturday evening at 7 o'clock. The death of Garrick was said to 
have eclipsed the gaiety of nations, and the death of Mr. Leech 
will touch many more hearts, both of this and other nations, than 
(farrick ever reached. Although he looked strong, he had been 
long a sufferer, and complained of sleeplessness; his incessant brain- 
work indacing a pecaliar irritability with which most persons have 
a tendency to jest rather than sympathise. He was much affected 
by noise, and literally driven from his house in Brunswick- 
square by street musicians. He hoped to get peace at Kensington, 
especially as he shut them out by the device of double windows ; 
but he had no peace, and, in addition to the torment of the organs, 
he came to be afflicted at early daws by the hammer of some small 
mechanic. His friends made light of it, and tried to jest with him. 
" You may laugh," he would say, " but I assure you it will kill 
me." He was so unwell that during this last summer he was 
obliged to go abroad, and forbidden to indulge in his &vourite 
exercise of riding on horseback. He returned better in the autumn, 
but still strangely susceptible to noise, and only a fortnight ago spoke 
with more than his usual earnestness, with something even of 
passionate entreaty in his tones, about the suffering which the 
street organs save him, and about the small sympathy he received 
iVom people who have to work their brains in a mere routine. At 
last his sufferings have come to an end, and, if any of his friends 
were inclined to treat them as imaginary, they will now be con- 
vinced. It is not a vear since he stood in tears by the grave of 
Thackeray, and now his friends will follow Aim, too, to his long 
home. Thackeray and he were school-fellows, workers together in 
Punch; both had something even of womanly gentleness inter- 
mingled with the strength of their characters;^ and both were in 
their styles of workine classical. 

Although Mr. Leech lived to be 47 years of age, the record of 
his life is short and simple. He was bom in London in 1817, and 
educated at the Charterhouse. He left school to study medicine, and 
had made considerable progress in that direction before he discovered 
what was his true path m life. His maiden sketch in Punch, entitled 
** Foreign AfiGiirs," appeared in the first week of August, 1841, and 
thencerorward the history of his life is to be seen week by week in 
the pages of that popular periodical. No doubt, he was otherwise 
engage. He illustrated almanacs and novels, books of travel and 
poems. A Christmas time without two dozen sketches by Leech, 
rull of the most mceful and delicate humour, wcHild be a Christ- 
mas without holly and misletoe, dandng and good cheer. He 
always took great pains as Christmas drew nigh, and year by year 
seemed to surpass himself in delicacies of touch, and charm of 
humour. But it was through the weekly pages of Punch, &r 
more than through the yearly almanac, that Mr. Leech was known 
to the public ; and his life is* there reflected. He goes to France 
and draws a French scene ; to Scotland and draws a Scotch one. 
Then his experiences of our social life — his pictures of balls, dinner 
parties, mess-rooms, bachelors' .chambers, Rotten-row, gardens, 
parks, streets, watering-places, shooting parties, hunting-fields, 
boating, fishing, and we know not what else, make up such a 
history of his time as to the future historian will be invaluable. 
The fashion of the day, the passion of the hour, is reflected on his 
page as in a photograph. And while we have thus in his aflcetohes 
a curiously coinplute history of certain phases of this Victorian era, 
we have also in them a picture and a chrouicle of the artist's own 
life. Anyone, without knowing Mr. Leech personally, can detect 
ill tfiese sketches the work of a keen^sighted, heartv sort of man, 
healthy and broad in his sympathies, full of fun, but still more 
charmed with grace, and sensitive to beauty, fond of children, fond 
of dwelling on all youthful beauty, fond of beautiful dogs and 
horses, but above all things fond of truth and nature. 

We have said that he was classical in his style of working. One 
cannot well spsak of the ridiculous as classical ; and much of Mr. 
Leech's work concerned the ridiculous. But in him the sense of 
the grotesque and the love of satire was never allowed to interfere 
with, much leas to over-ride, his attraction to whatever was beauti- 
ful and true. There never was a caricaturist so little of a carica- 
turist ; one who could present genuine nature on so many different 



sides, and at the same time to have so quick an eye for whatever is 
lovely, fie drew with equal ease a fine lady and a cfoaring- 
sweeper; on the same page he would bewitch the reader of FmaM 
with the prettiest of Uttle maidens, and provoke him with the 
vulgarest of upstarts. And he was- always seeing and drawing 
something new. Suddenly we should be astonished with a sea- 
piece, in which the billows were rendered with wonderftil skill. 
Or we had mountain scenery, or a glade in a wood, or ploaafaed 
fields, or standing com. He never was still. When we wonoered 
what should come next, we had some rare sky, some ewiens cffeot 
of li^ht. And all this display of scenery was the mere background 
to views in which men, and women, and children were the ohief 
objects of interest. All seemed to flow from his pencil so easily 
that people scarcely understood how hard he worked. H^ must 
have worked very hard to produce so much variety in oonstaot 
succession week alter week for more than 20 years. He died, too, 
in harness, working to the last, and working, indeed, beyond his 
strength. With characteristic generosity he made unusual exer- 
tions m aid of relatives, and his labours were latterly more severe 
than they need have been if he had had only to think of himself 
and his household. These anxieties and exertions have at length 
struck him down — and who is there to fill his place ? A g(wd, 
great man, of fine and rare genius, has gone from among us, and we 
shall not know how much he was jk> us until we discover by his 
loss that nature does not often produce such artiste as John Leech. 
Sir Edwin Landseer has said that there is scarcely a sketeh of Mi. 
Leech's which is ndt worthy to be framed and hung on our walls. 
Other artists are equally strong in its praise. No man envied 
him. The public at laige think more of the human interest that 
belongs to his drawings and the amusement which may ^ derived 
(torn them. But over and above this, they have qualities which, 
notwithstanding the lowness of the material employed, will here- 
after confer on Leech's sketches a very higli renown as works of 
art. 



ENGLISH OPEEA ASSOCLiTION (LTMITED). 

(OOaTEHrORABT oFRnom.) 
The << English Opera Association (Limited) " has at length beeun 
its first season. The windinff-up of a company formed a little while 
since for a like purpose and the many dlfflculties which were known 
to beset the managers of the present enterprise had given rise to not 
unreasonable doubts as to whether the promises made in recent 
announcements could be fulfilled. ITpon this day week, however, the 
doors of the great theatre in Covent Garden were actually opened for 
a first performance. The opera was MoianieOo ; and the piece was 
repeated on three succeeding evenings, Martha being announced for 
the latter end of this week. The start thus made by the new company 
may, on the whol/3, be deseribed as promising. If the staple of its 
performances is to consist of opeca^as good as MasanUUo, and !f other 
pieces are to be played and sung as this has been this week, the 
musical public cannot fail to become good clients of the management. 
And the adhesion of the musical public is, as a rule, sure to be followed 
by the patronage of more miscellaneous pleasure-seekers. The world 
of theatrical speculations may have its full share of feuds and jealousies. 
An age which has made <* competition " its chief idol cannot elpect 
to be an age of peace; the company will therefore not expect the 
most cordial welcome from all quarters. But ite managers may be 
quite sure that an endeavor to do honestly and thoroughly the work 
of establishing a vernacular lyric drama will be right hearuly supported 
by the thousands of the English middle classes who love good maeio. 
The musical public cannot be accused of being illiberal or intolerant. 
They know that the business of theatrical management is one involv- 
ing great and exceptional difficulties; and for these thev ifte ready 
to make allowance. They are so fkr from being hard judges or 
difficult to please that it mav be almost said that tney err rather on 
the other side. Any one who recalls the circumstances under which 
previous undertakings of this kind have been begun, carried on and 
ended, can scarcely help wondering, not at the f^ure, but at the 
success of these undertakings. We need not go far hack, for instance, 
to recall the case of an Opera supporting itself for some seasons 
virtually upon the merits of one singer and a ^ood band. To hear 
that one admirable artist^ whose every note delights eveiy listener, 
one had to tolerate the intolerable in other departments. The 
inference to be drawn from such a case as that is, surely, how much must 
people enjoy good music if, for the sake of it, they will endure to hear 
so much bad. But it would be an unkindly and not a very profitable 
task to pass in review the long series of past &iiures. The new 
company need not, so far as we can see, find m those fiiilures much 
cause for discouragement. It may console itself by remembering (a 
company may, perhaps, have a memory, though it cannot, apparently, 
have a cooscienoe) that, in moat of the ichemei in question, nowever 



Digitized by 



Google 



706 



THE MUSICAL WORLD. 



[November 5, 1864. 



good the intontions of the promoten, there were deficiencies and ikulti 
too ghoing to make pennaneni flocoeia poaiible. Bat for this consider- 
ation the presunption would lie, it must be confessed, terribly against 
the sucoeM of the present scheme. By some inscrutable &tality It has 
somehow happened that every operatic speculation, from the days of 
Handel to Uiose of Gye, has been a loss to its promoters. Men 
oonTcrsant with the histor}' of these things assert that the success of 
the present energetic director of the Royal Italian Opera is the first 
well-asoertained exception to this rule ; and this exception will not, 
we fear, give much ground of hope to our new company ; for every 
one knows that there are special circumstances surrounding Italian 
opera which take it out of the category of all like undertakings. It is 
not the love of music alone that supports Italian oi>era ; it is fashion 
that pays the larger share of its cost; and this motive is every day 
gathering fresh force with the increasing luxury and wealth of the 
age. The real hope for English opera lies in the fact that the people 
yimo enjoy music now make up a verv large multitude, and that this 
multitude have never yet had the thing offered them in its integrity. 
That they are willing to pay for it no one doubts. If the new associa- 
tion works out its scheme with spirit and honesty, success roust come, 
though it may not come immediately. To work out its scheme, 
however, it must have a definite poli<nr, and pursue that policy 
unfliDchingly ; and it must address itself fearlessly to the reform of a 
number of abuses small and great, the toleration of which has had 
much to do with the failure of former enterprises. We need not here 
enter on a discussion of the difiBcult questions referred to. For tl^ 
moment we have little else to do than;to say welcome to the new under- 
taking, and to report, in a few words, the manner of its inauguration. 

The choioe of JfasameZto and ifaWAa as the two opening pieces is 
understood to have been partly due to certain obstacles which 
pievented a work by a native composer f)rom being adequately 
^hearsed. But we are not sony to notice thus early that the 
managers intend to give the more libersl and, as it seems to us, the 
more sensible interpretation to the phrase " English opera." If the 
right poU<7 be to play the best music^ whatever the nationality of the 
composer, the production of the masteipiece of the most brilliant of 
living musicians was not a bad beginning; and perliaps the old- 
English subject of Flotow's most popoSiar opera was a sufficient reason 
for the choice of that as a sec(md piece. — Seader — Oct, 22. 

By way of commencing our notice of the campaijps of the rival 
houses, at both of which opera in Englidi will be performed till opera 
in Italian shall ** set in," we could not do better than transcribe the 
able Article on the subject, which appeared in the Timet a few days 
ago. Able we may wdl think it, seeing that in its retrospect of the 
busy period of thirty years, since the appearances of JSTourjahad and 
The koufUttin Sylph, and The Siege of EochelU, and AmUu, and The 
Cripeife Warmng, were held to promise the creation of a national opera, 
competent to cope with anything Italian, German or French, the very 
tone of arffument and comment is used which during a large portion of 
that period we were solitary in using ; and in which might be found 
our reason for holding back from the chorus of unmixed gratulation with 
which every new home effort was received and accepted. Considering 
what the musical activity of this country has been since the year 
1834; considering the amount of real talent indicated in it, our 
theatres should have had some more genuine result to show than they 
have obtained. If all the praise without interruption or alloy which 
has been lavished on every work put forward by a countryman, since 
the Society of British Musicians was founded, has come to so little, is 
there no lesson to be learnt from the fiust? Is no light thrown on the 
mischief of indiscriminate encouragement? We have seen one play 
played out in the downftill and ruin of that management of our Italian 
Opera, which was all but exclusively supported by the press as no 
management in our recollection has been ; — it seems as if we were 
witnessing the end of another, in the beginning of fi«sh undertakings 
<Mi the old principles which, Inr common consent, have been owned to 
contain within themselves the seeds of faOure. At all events, we 
cannot but consider that the start is not a prudent one which, after 
months of committees sitting and paragraphs penned and rumors 
flying from east to west, has been made by bringing out a pair of 
translatioDS of works as hackneyed as Maeanidlo and Martha ; — the 
reason given for the step beine that the superb and lavish scenery, 
dresses and properties were ready at hand under the agreement which 
the Limited Liability Company is understood to have entered into 
with Mr. Gye. That such an accidental circumstance should have 
stood for a niling consideration speaks poorly, we submit, for the pros- 
perity or policy of the management, — ^for the expectations entertained 
as to the success of the new works and artists to be brought forward 
under its ansinces. Of course, with regard to the former, we must 
wait to form a judgment. The company of singers assembled, headed 
by a pair of well-known vocalists no less accoropnshed than Mesdames 
Lemmens-Sherrington and Farepa, can demand no deliberate review at 
our bAD^s for the moment, save such i^s h^ beep called for by the 



appearance of that much-talked-of person, a new teno^— «t a tame 
^en stage tenors are not over-plenteous. 

For an average tenor singer tne part of Masaniello is an arduosu one 
to appear in, having been written for an exceptional voice (Noarrit'e), 
and requiring vivacity, delicacy, and force m combination. For ao 
actor of any experience it offers fewer difficulties ; provided he is bright^ 
and ready, and unaffected, he can hardly fail to make a good 
impression in it. Mr. Adams is at ease on the stage. His presence is 
agreeable, if not striking. He has sufficient voice for anv theatre, and 
for almost any part, demanding something less than the **efaest C" 
which has tempted so many a singer to his ruin. His tone ia irf* 
agreeable quality when not forced, — when it is he is oat of tones. 
Now^-da^'s, it would seem as if the ftble of ** the Frog and the Ox " 
was the lesson more steadily impressed on any singer than any eelfeggieu 
Neglecting the power whidh style, accent, and distinctnesa of ddivcxy 
can impart to the phrase, too many contemporary artists spoil half 
the music allotted to them, and forfeit the whole of their natiinl 
charm and individuality by *' crying aloud** to an extravagant extent. 
That Mr. Adams is not dear of this defect the martial duett in the 
second act sufficiently showed : that unlesa he can cure himself of tft» 
he will sink, not rise, in public fiivor, he may rest assured. He apestka 
well— too well, we are sony to say, for the wretched l^gUsh wovda 
with which the managers of tlie new company have tlMaght fit to 
replace the text of Mr. Kenney, who was a dramatist and a gentlemaa. 
The «* Limited Liability Maeamellor gains in serious interai* and 
common sense in proportion as no one hears what the Liberator of 
Naples and the excellent Elvira (Madame Parepa is ^e beat hecouio 
we remember) have to utter. The orchestra is good» and spiritedlj 
conducted by Mr. Mellon : ^ the cuts " in the score being thoao made 
— for once injudidously— by Mr. Costa. The chorus, when we heard 
it, was less well in tune than a'Covent Garden chorus should be at the 
beginning of the season. Madame Lemmens-Sherrington appears to 
great advantage in Martha, The theatre is fairly well attended. 
Belveilyn, by Messrs. Oxenford and Maciarren, is aonoonoed as to oome 
next week ; we fear at some disadvantage, since no one must expect, 
on this occasion, the luxuries of scenic arrangement^ in which Kr. Oye 
has, of late, outdone even the musical theatres of Paris. We 



but think it a false move to have exposed the first national work pto- 
duced to inevitable comparison with its two predeceesors, in points 
which the public has been trained to regard as important^ — Athauevm 
^Oet, 29. 



ROYAL ENGLISH OPERA. 

(rifiKS— JVbe.4.) 

The new company has at length fiiirly established its position by the 
successM production of an onginal grand opera» from the pen of an 
English composer. Mr. Macfarren was, for reasons unneceasary to ex- 
plain, judidously appointed to the poet of honor, and his JfelvUlgm (the 
book furnished by his literary associate in J2o6tfi Moody, brought oat 
last night in a style of thorough effidency, has inaugurated what 
pretends to be, and what every one interested in the- p rogres a of cor 
home school of operatic music hopes may really turn out to be, a 
national undertaking, in a befitting manner. The honse was not 
inconveniently crowded, but the audience, disposed to view everything 
eoulewr de roee, was evidently wdl inclined to the cause at stake. 

Though the plot of Melvellifn is borrowed from Jkr SotMenmexdlkf, 
a German drama, by Mosenthal, whose Deborah has been rendeMi 
famous in England by the ** Leah " of Miss Bateman, the details that 
give a local eotoring to the story are wholhr originaL Ttie entire 
action bears reference to the destruction of a foondir in the north oi 
England, many years before the play begins. "By this calamity, whirk 
is dearly attributable to an incendiary, numerous &miUes are plunged 
into distress, and it is consequently remembered with horror over a 
large district ; Ralph, a discontented workman, supposed to liave been 
the criminal, and who perished in the flames, being eveiywheie m«D- 
tioned with execration. During the progress of the overture a 
tableau, representing the conflagration, is shown. Ralph appears. 
dying, with his wife and diild leaninsr over him, while at the hudk. of 
the scene is another labourer, named Luke, of whom more anon. 

The business of the drama takes place on the estate of Mabd. a 
wealthy proprietress, in the vicinity of the Cumberland moontaio, 
Helvellyn. Mabd's farm is superintended by an active, intellig^fli 
young man, called Martin, whom she has reared as an orphan, and 
whom (thoujp[h she does not tell him so) she intends to choose as the 
successor of her late husband. Everything in the bam seeow 
prosperous, the ^mbling of Steenie, an old servant, giving et^ k» 
the general hilanty. WMle all are congratulating themsdves on tin ir 
happy condition, Hannali, an unknown girl, reduced to mcnduiij. 
arrives among them, craving for food and shdter. Urged by Mania, 
Mabd takes Hannah into ner service, despite the protestaticMM of 
Steenie, who instinctivdy dislikes straagena. Mors dfstnrUag, how- 
eyer, ia the appearance of a secon4 m w4cnpV-nRTO«*yi Luwe, tbt 



Digitized by 



Google 



November 5,^1864.] 



THE MUSICAL WORLD. 



707 



brother of Mabel's deceased hnaband. After many years* absence, 
Lake returns to the home of his father, a low debanchee, of the worst 
description, and proclaims himself entitled to half the profits of the 
fiurm. Mabel, a large-hearted woman, instead of turning him out of 
doors, grants him a lodging, herself setting off for London, in search 
of a document that will establish her claim to the undivided 
possession of the estate ; and with Mabel's departure the first act 
ierminatei. 

During the absence of Mabel the eare of the &rm is, by her direction, 
intrusted to Martin, whom all the other dependents are ordered to 
obey. Luke, comfortably installed in a snug room, drinks and smokes 
the livelong day, varying the monotony of existence with a libertine 
' passion for Hannah, who is forced to repel his attentions with a 
reaping hook. Martin has also become enamoured of the fidr 
wanderer; but his is the tender, modest love, that hardly ventures to 
pronounce itsel£. The festivities of a harvest home (elaborately repre- 
sented) are suddenly checked by a quarrel between Martin and old 
Steenio, who views with a jealous eye the voung man's superior 
position. Hannah havine given away a bowl of milk to a sick pauper, 
IS accused of theft by LuKe, crho burns to avenge his defeat ; and the 
accuMiiion is supported by Steenie, but rejected by Martin, who applauds 
Hannah's charitable motive. In the midst of the dispute Mabel 
returns from London, and, ascertaining the merits of the case, dismisses 
Steenie from the farm, as ^ilty of msubordination towards Blartin, 
sending Hannah — ^however innocent, the primary cause of mischief— 
to a mountain-hut, where she is to tend the sheep. Luke's claims are 
overthrown by the production of a copy of his brother's will, by which 
the whole property is bequeathed to Mabel; and, as he grows 
oontumadous, Mabel charges Martin to ejeci. him, at the same time 
declaring that she has selected her young wroUgi for a husband. By 
this resolution Luke and Martin are equally put out of countenance, 
the latter being consumed by his secret passion for Hannah. 

The third act commences at the mountain huty where Hannah, in 
spite of the desolate nature of the place, is rejoiced, after long years of 
trouble, to find herself at peace. Soon, however, she is followed by 
Martin, who, teUing her of Mabel's offer, states also his resolution to 
decUne it, and at length makes an avowal of his love. Though it is 
obvious that his naseion is reciprocated, Hannah gives no encourage- 
ment, but, to curb his affection at once, informs nim that she is the 
daughter of the reputed incendiary, Ralph, and that her father's crime 
has been the curse of her life. When even this proves insufiicent to 
damp the aspirations of the ardent swain, she flies from his presence. 
The scene now changes to the exterior of the village church, where 
the people are assembled for the Sunday's devotions, in the course of 
whkm it is expected that the wedding of Blabel and Martin will be 
solemnized. But the bridegroom is wanting, and Mabel now learns 
from Luke, who has derived his knowledge from Steenie, all about the 
interview on the mountain. The entrance of Martin, wild and haggard, 
by no means induces her to doubt the correctness of her information ; 
and when at last Hannah herself appears, she is laden by Mabel with 
reproaches, from which she cannot wholly defend herself; for, though, 
in compliance with Mabel's demand, she swears she never encouraged 
Martin, she breaks down when required to make oath that she does 
not love him. Mabel is, of course, indignant with Hannah, but when 
the fourth (and last) act commences, better thoughts have resumed 
their sway over the good lady's heart, and she resolves to abandon her 
preteofdons in favour of her rival. At the conclusion a strange incident 
relieves Hannah from her hereditary despair. Luke visits her hut, and, 
overcome with rage at his ejectment fh>m the &rm, proposes to set fire 
to it, confident that its destruction will be ascribed to a thunderstorm 
which is now raging. With this view he snatches up a brand, when 
straightway a scene of her youth is recalled to the mind of Hannah. 
She was the child exhibited in the introductory tabUaUy and encourag- 
ing Luke, she now discovers that he, not Ralph, was the destroyer of 
the foundiy. Charged with the crime, Luke escapes her graop, but 
elutching at a tree that is stricken by lightning, falls down a precipice. 
Stennie, who happened to be concealed in the hut, is able to proclaim 
the innoeenee of ^Iph and the guilt of Luke, and thus all is brought 
to a happy oondusion. « 

That the piece is somewhat complicated ma^r be gathered from the 
foregoing ; it is, nevertheless, crowded with situations more or less 
amenable to effective muvical treatment, and affords excellent oppor- 
tunities for that ** eouleur locale" of which critics have talked so much, 
but the proper application of which is still a matter of controversy. Of 
the munc of Mr. Macfarren, however-— as of the periormance generally 
— we must defer speaking. Enough that the dramatU pertona were 
last night thus distributed — Mabel, Mdlle. Parepa ; Hannah, Bladaine 
Lemmens-Shenrington ; Luke, Mr. A. Lawrence; Steenie, Mr. H. 
Corri; and Martin, Mr. U. Haigh; tlutt no less than six pieces— in- 
cluding a song for Mabel, the last movement of Luke's <ceiia, a part 
song ('* Harvest Home "), a ballad for Martin, the hut movement of 



Hannah's seena, and a ballad for Hannah— were encored; that the 
principal singers and the composer were several times called forward, 
and that at the termination of the opera the same compliment wis paid 
to Mr. Alfred Mellon, the conductor. 



REVIEWS 

«C. M. WEBER'S BIOGRAPHIE.** 
iOonHnued from Page 698.) 

Weber^B bark was destined to be soon launched ; still it had to 
aroid many shoals and quicksands before reaching the wished for 
haven of suocess. The author of the Biagraphie gives ns a full and 
circumstantial account of all Weber^s movements at this eventful 
period of his life. 

The tremendous suocess of Olympia did not last. The undeniable 
merit it exhibits was properly appreciated, but the infatuation 
diminished. Not only did even the third representation meet 
with an almost cool reception, but there were actually emptT 
places in the front of the house, though all the Berlin critics stiU 
continued to trumpet forth at the top of their voices the grandeur 
of the work. The public seceded from a party that could create 
no more dissensions. This caused the German party to raise their 
heads all the more confidently, just as the first unpressioii pro* 
duced by Olympia had discouraged them. 

It was at tms time that We^ made his first appearance before 
a Berlin audience at a momiuff concert got up by his frioidt, 
Bhune, the singer, and Taus(3i, the clarinettist, on the 13th 
May, in the concert room of the new theatre. It was the first 
concert ever given by daylight in the new and brilliant locale, 
which, on this occasion, was the principal object of attraction. 
Weber played, with Tausch, his ^* Variations for Piano and 
Clarinet, " but did not produce a particularly profoimd im- 
preseion on the somewhat inattentive audience, as neither his 
note-book nor the critics make mention of any very great applause 
bestowed upon him. 

On the 21st May, Weber was at length able to oommenoe the 
rehearsals of Der FreischstZy with a trial of the choruses got up bj 
Laidl, at the second of which, a quartet rehearsal, he was sur- 
prised by the arrival of his favourite pupil, Benedict. Weber and 
his wife received the excellent young man as though he had been 
their own son. Mad. Weber Mt easier at knowing he was now 
always near her husband. With beaming eyes she told him with 
what restless zeal, and with what love the artists devoted them- 
selves to the work, adding : *^ But what surprises me most, whOe 
affording me the liveliest satisfaction, is that Weber himself feels 
well and happy." 

The choruses already went admirably. 

Great was the rejoicing when at the *^ Schiitzenkonig Marsch*^ 
-—the march after the fixing at the popinjay — W^eber took the 
instrument from the hands of Henning or Sadler, lx»th of whom 
were among the first violins, and b^an tuning, himself. He 
wanted the three fifths to be so bold and saucy ! As in this instance, 
so in all the following pieces, every one perceived, frequently with 
astonishment, but, finally, always with pleasure, the vivifying 
breath of originality. In his own way, sometimes with gentle 
earnestness, and sometimes with irony, Weber discovered the 
secret here, as elsewhere, of enlisting the sympathy of the artists, 
and maintaining strict discipline. Their partiality for him, and 
their enthusiasm for the work, the genuinely German beauty of 
which became more and more apparent, increased with every re- 
hearsal. It would seem that, during the rdiearsals, some changes 
struck Weber here and there as advisable, for, according to all 
accounts, tlie kst finale was not written in its present form till 
after the first few rehearsab in Berlin, while the music between 
the acts after the scene of the Wolfs Glen underwent, in all proba- 
bility, malcaial modificaljons. Weber's activity during the time 
the rehearsals were going on reached an incredible pitch. The 
rehearsals began generally at ten, and lasted till one or two 
o^clock ; one hour each day was devoted to piano exercises ; besides 



* I may here mention that Weber founded this splendid piece of mosieal 
oompoution on a very old, but most trivial march, which is sdll sung, here 
and there, in Bohemia, and which he prohably remembered from having heard 
it Id Prague. 



Digitized by 



Google 



708 



THE MUSICAL WORLD. 



[November 5, 1864. 



thifl, he worked indufitrioasly at the fine '^ConcertBtuck" 
(F minor) which he had commenced in Hosterwitz. Visitors 
came and went, and their calia were letnmed. The afternoon was 
devoted to his friends, and the evening to studying the theatre, 
and admiring the two fair actresses, Naumann and Stich, who 
were then fascinating every one. His early mornings were dedi- 
cated to his extensive correspondence, and to conferences with 
painters, costumiers, and stage- carpenters; even Briihl often called 
npon him aa early as seven o^clock. Of a night, however, he might 
sometimes be found at Lutter*s or W^er's, with Duport, Devrient, 
and Hoffmann, when the latter imd Devrient, by the flames of the 
flarinff punchbowl, tried who could make the most devilish faces, 
and ^yed all kinds of demoniacal antics, until the others felt their 
flesh crawl, and, with an oath, put an end to such unearthly 
doings by lighting the candles again I 

As Weber was one day walking along the avenue known as 
^* Unter den Linden '^ with Benedict, after an orchestral rehearsal, 
a charming boy, some twelve years of age, with gleaming eyes and 
waving locks, sprang forward to meet him. Weber stretched out 
his hand to him, with the words : *^ There is Felix Mendelssdin." 
The boy accompanied them in their widk, and, when the two 
parted, dragged Benedict into his father^s house, and introduced 
him to his mother. ^^ Mother, here's Benedict, one of Weber*s 
pupils, he can play us something^ out of Weber^s opera,'' he said. 
Benedict was obliged to sit down at the piano and play as much as 
he could manage to recollect. A few days later, Felix played it all 
to Aim, pointing out the instrumental effects almost precisely as 
they actUiftUy were, as if he himself had thought of them. 

The rehearsals, we are informed, now followed each other in rapid 
BucceBsion. Weber had, altogether, sixteen rehearsals of Der 
Freisckutz, including the reading ; thx^ee rehearsals for the chorus ; 
five quartet rehearsals ; two rdiearsals with scenery ; an especial 
rehearsal of the Wolfs Glen alone ; and four full rehearsals, two of 
which were regular performances, with complete costumes and 
scenery, together with all the supernatural business. Time was 
strictly kept, and the singers required to sing their parts through 
from beginning to end. 

Herr Hellwig, the stage-manager at Dresden, surprised AVeber, 
to the latter's gr^t delist, at one of these performances, which he 
had come to Berlin for tlie express purpose of witnessing. On the 

the 10th June, Weber writes as follows to Kouneritz :— 
* 

.".... I beg to acknowledge with the wannest thanks the great 
kindness displayed by your Excellence in leaving the further dunUion 
of my absence to my own option. I feel, in consequence, doubly 
bound neither to take an undue advantage of your good nature, nor to 
forget the respect which 1 owe my own official position generally. My 
opera cannot be produced before the 16th. As I shall have to direct 
the first three performances, and give a concert as well, 1 see no potest- 
bility of my stay in Berlin being brought to a close before the end of 
this month. I shall, therefore, return hence straight to Dresden. 

^ It would be wrong of me not to confess that 1 am grieved at being 
obliged to deprive my wife of the opportunity of drinking the waters, 
not to speak of the holiday 1 so greatly need myself. But 1 feel that 
in consequence of the absence of Herr Morlaochi, the Koyal Capell- 
fneifter, my presence is more requisite than your Excellency's ^good 
nature would allow yon to say. 

" My friend Hellwig surprised us yesterday in the most agreeable 
manner. He received, however, no slight shock on hearing that Der 
Freitehutz could not be produced before the 16th, as he had to play on 
the 18th at Hllnitz. It would be a very great pity for him to have 
made the journey, for nothing; and I entertain a sufficiently firm con. 
Tiction of your Excellency's indulgence, and the kindness of the first 
person of the realm, to believe that, on this occasion, a small change in 
the bills will be allowed. Ho was perfectly charmed with the int« rnal 
arrangements of the new theatre, and is very desirous for your Excel- 
lence to send Lissmann over here to him, so that some of the 
most judicious of these arrangements may be introduced into the building 
at Dresden. He was going |o write to your Excellence only yesterday, 
but I will not vouch for his having done so, and, therefore,*thouglit it 
would be better for me to speak to you about it myself in this letter. 
If j-ou would kindly answer by return of post, your reply might still 
arrive in time. 

«' Since I have been here proposals have been made for me to take 
the management of the opera in Cassel .... 

"In the way of art there is nothing new here. Herr Meyer, from 
Carisruhe, is starring it, but is not successful. The fifth, and, for the 
present, last performance of Olympia takes place on Wednesday, as 



Mad. Milder is then going on a professional tour. I trust I may 
succeed in justifying the confidence which, in tout letter, you ao very 
kindlv express of me. I am certainly animated by the best intentions 
and thus I am also animated by the hope of attaining my end, and 
thereby affording you satisfaction, etc." 

With this letter was joined one from Herr Hellwig, in which 
that gentleman most urgently requested Herr Von Kouneritz to 
send Lissmann, the machinist, as soon as possible to Berlm, for 
the purpose of studying the machinery made for Der FrdsehUz. 
He begged him, abo, not to grudge the few thalers more it 
would cost to travel by ^e *^ extra-^wst," so that Lissmann mi^ 
have a few days longer than he otherwise would have for canymg 
out the purpose of ms journey. 

{To be continued.) 



MUSIC IN BERLIN. 
{From our own Correqfondmt), 
As it is sometime since I have written to you, and as what I said 
in my last letter may have escaped your memory, I would ramind 
you that one of the facts I chronicled in it was the great sensation 
Herr Gunz, or Dr. Gunz, or Herr Dr. Gunz, as he is styled here, 
had created among the Berlin public. He was the operatic lion of 
the day — lion ? pooh I he was a host of lions, a whole menagerie 
in himself. lie came to this capital at a period of the year when 
most of the opera-goers are not opera-goers, being, '^ on the land,'' 
i.e., in more idioouttic English : in the country ; or preferring out- 
door to in-door amusements, garden-concerts and such li£a, for 
instance, to operatic performances within the four, or m<Mne, walls 
of a theatre; he was engaged at an establishment which the 
ficUe goddesfr^need I say I mean Fortune?— had certainly not 
selected as her head-quarters for the season, but, despite these dis- 
advantages, and they were by no means slight, he achieved a great 
success. His engagement was extended from four to sixteen even- 
ings, and, greatest triumph of all, the applause he received in the 
Victoria Theatre was bo hearty ; the audience, what with clapping, 
and diouting, and stamping, and encoring, and hurraing, Kickeci 
up such a shindy, made such a noiae, indulged in audi a con- 
founded charivari^ indicative of their unbound^ satisfaction, that 
the hubbub was heard as far off as the Royal OperahoiiBe, and 
roused up the ^^ Intendanz" or manager of that national establishmeDt 
from the half -sleepy state which seems natural to most jp^ovemment 
officials in most countries of the world, eqpedally of Gennany. 
The consequence was that Herr Gunz received a most flattering: 
invitation to give a series of performances at the Grand Opera- 
house aforesaid. This was a feather, I need scarcely add, which he 
lost no time in stickii^g in his cap, where it looked ^remarkaUv 
well, by the way. He replied, at once, that he should be moct 
happy to appear at the Royal Opera-house, provided he coukl 
obtain leave of absence from the 1 neatre-Royal, Hanover, lliis 
waa nearly tantamount to saying at once that he would appear at 
the first-named establishment, b^use it is net very likely tLat tbo 
^^Intendanz" at Hanover would say no to the '^Intendanx'^at 
Berlin. The upshot was that, on the 24th September, Hen" Gunz 
made his first bow on the royal boards, and before the royal loot- 
lights, as Octavio in Mozart's Don Juan. His second part wa8 
that of Arnold in GuiUaume TelL He was most favorably received 
in both characters, and a wish has been pretty generallj expreBsed 
for the management to engage him permanently. The manage- 
ment would be, and, indeed, is, nothing loath to do so, but there is 
a small obstacle which first requires to be cleared out of the way. 
This obstacle is the fact that Herr Gunz is bound by hia engage- 
ment to the Theatre-Royal, Hanov^, for a considerable penoS^ 
some years to come, I believe. However, if he is as mudi a favor- 
ite aUer he has appeared in Jessonda and Pidelio^ aa he is now. 
I make no doubt that some means will be found to oecore him for 
this capital. As I before hinted, when Prussia willa a thing, 
Hanover is only too delighted to will it too. I should haye men- 
tioned that Herr Gimz would have already appeared in the two 
operas I have just named, had he not been recoiled by telegraph U 
Hanover. So much, at present, for Herr Gun2, or Dr. Uunz, cr 
Herr Dr. Gunz as he is styled here. How a German does go iii 
for a title I He loves one as dearly as an Englishman bves a lonl. 
The last two sentences have not, I am free to confess, much to d>* 
with music. They are more closely connected with national cha- 
racteristic?. No matter. Sprigs of parsley are not genenJly eaten 



Digitized by 



Google 



November 5, 1864.] 



THE MUSICAL WOULD. 



709 



with cold mutton, yet no one objects to the diah being garnished 
with them. 

The management still continues angling for a *' Heldentenor '* 
** a herioc tenor,'' but not with the deored result. It has c^ten — 
as I have duly informed you — ^f elt something very heavy on its 
hook, but, on pulling up the hook, disoovered that the something 
Tery heavy, instead of being a fine fish, was simply a quantity <n 
worthless weed. On the present occasion, they have brought to 
the surface a certain Herr Kolomann-Schmidt, who tried his 
fortunes here last year, and failed, or, at least, to put it more 
mildly : did not succeed. Nor will he create a great sensation this 
time. Such is the opinion I have formed after haying heard him 
in La Juive^ La Mwtte^ Les Huguenots, and GuiUaume Tell, To 
assert that he is entirely without natural qualifications would be to 
assert too much, but I am strictly within the bounds of truth when 
I say that he has, evidently, ncsglected to make the most, by a due 
courw of application and study, of those natural gifts which he does 
pooess. Had he been properly trained, he might have really 
secured the position to which he aspires, just as the ricketty, 
warped, and treacherous piece of furniture which has, within a 
month after its purchase in Tottenham Court Road, fallen to the 
ground with a loud crash, and its luckless owner's Sunday's dinner, 
mi^t hare had pretensions to be called a table, had the wood of 
whioh it is comp<Med been |»operly seasoned, instead of being em- 
ployed in a condition as green as the persoki who bought it. With- 
out wishing to be too much of the 

" Diffidlia, qQemluB, Undator temporis acti 

Me pnero," 
I cannot help regretting the period when it was considered essential 
for a singer to Team how to execute a simple shake ; to know a 
little of phrasing ; and to sins sometimes in tune. 

To use the English equiTadent for ^e term employed in Ger- 
many to designate the wandering stars in the firmament of art, who 
shoot from city to city, profiting bv a reputation alreadv made, or 
doing thdr best to aoqmre one, and an engagement simultaneously, 
another ** guest " has visited us httely. I allude to a young lady 
of the name of Metzdorff. She comes from St. Petersburgh. She 
made her first appearance as,Isabelia in Eohert le Diable; her 
second, as Mathilde, in GuiUaume Tell ; and her third, as Pamina, 
in Llie Zauherflote. Unlike Herr Kolomann-Schmidt, this ^foung 
lady's training is superior to her natural gifts. Her execution is 
correct and fluent, her intonation nearly always sure, but her 
voice is weak and devoid of anything like breadth or fullness. Nor 
is her histrionic talent satisfactory. It wants feeling. But if 
Mdlle. Metzdorff was not a genuine success, if she proved ^* cavi- 
are to the general," which is not desirable here, lu)w«ver, much 
it might be in the capital of all the Rusaias, where to be *^ caviare" 
— at least as far as r^ards edibles — is to be highly popular, 
another lady, Madame Zademack-Doria, had still less cause for 
self-congratulation. She impersonated the haush^ and unscru- 
pulous Lucrezia Borgia in Donizetti's opera of uie same name, or 
to be more correct, names — ^I am fond of splitting straws some- 
times. >Vhat sort of an impression she produced you will im- 
mediately know on learning that, though engaged for three parts, 
she attempted only this one, and returned at once to that pro- 
vincial obuvion from which it was highly ill-advised of her to 
emerge. Had she possessed the slightest scintillation of ability, the 
management woula not have thus dispensed with her services, see- 
ing that some one was required to keep the theatre open, 8o;frequent 
and so numerous have been the cases of indisposition lately, among 
the fairer members of the company. 

Perhaps the most popular artist at the Royal Operahouse just now 
is Mdlle. Lueca. Her first appearance since her hasty return from 
" perfidious Albion" was a perfect triumph. She was greeted with 
long-continued applause and a perfect downpour of bouquets. The 
public were overjoyed at once more greeting a young and amiable 
lady blessed with so fine a voice and so puuctuious a sense of what is 
due to the honor of her country. She chose the part of Valentine 
in Les Huguenots, Not having to contend with the murky atmo- 
sphere of that horrid hole, London, where a person, according to 
her, cannot even smell a flower without gettins his nose begrimed 
with dirt, and, moreover, not being exhaustea by such long re- 
hearsals as she had to attend under the iron sceptre of that arch- 
tyrant, the manager of the Royal Itali^m Opera in Bow Street, she 
acquitted herself brilliantly, and added another sprig or two of laurel 



to the already tolerably thick wreath which encircles her forehead. 
It is really a thousand pities that so gifted a prima dmma should 
entertain such antipathetic sentiments against tne English. Let us 
hope they may wear off, and that Maalle. Lucca may still del^ht 
Hie inhabitants of your overgrown metropolis with her siren strams. 
** 'Tis a consummation devoutly to be wished," and not quite so 
improbable as might at first appear, if certain rumors have any 
truth in them. What those rumors are, I do not feel justified, as 
yet, in divulging. If they are not founded on fact, it is useless, to 
specify them. If they are, you will hear them in due course, for, 
sooner or later, *^ todo se sabe, hasta lo de la callejuela." — ^MadUe. 
Lucca has since appeared as Mrs. Ford in Nicolai's Lustige }y€ihtr 
von Windsor^ whidi is still a stockpiece here, little as it pleased in 
London ; Zerlina, in Fra Diavolo ; and Rachel, or Recha as we 
call it on the banks of the Spree, in La Juive. She has sung 
Zerlina several times, for the management are not at all inclined 
to let her rest upon her laurels now that she has returned. And 
who shall blame them ? £very time her name appears in the bills, 
it is the certain forerunner, evant-coureur^ or avant'Courrier — car 
tous les deux se disent — of a huuse, to use a homely ezpressbn, 
" choke-fuH" from floor to ceiling. 

Did you ever, O respected ^tor, hear or read Marsdmer's 
opera entitled Hans HeiUng t If you ever did, you will, perhaps, 
be surprised to leam that the management of the Royal Opera- 
house nave revived it, and revived it, too, with great care. It is 
exceedingly well* put upon the stace. 'Jlie principal singers exert 
themsdves to the utmost; the choruses go smoothly; and i^be 
orchestra executes its aUotted task with commendible consdentions- 
ness^ but I am afraid the result will not repay all this trouble. 
Neither the music nor the libretto is of a sort to take a very firm 
hold of the public, and I fed strongly tempted to predict that, 
before I write to you again, the opera will have been reconsigned 
to tiie limbo of the library. 

There have been some very good operatic performances at the 
Victoria Theatre and KroU's Utely, but the space at my disposal 
will not -allow me to enter into a detailed account txf them. I 
must, however, mention the singing at the last named establish- 
ment, of Herr Schon, from the Stadttheater, Posen. Herr Schon 
possesBes a fine and well trained bass voice which he turns to the 
best account. His comic histrionic powers, also, are by no means 
to be despised. He is a great favorite with his audiences, and 
deservedly so. 

The firat of the series of Soirees to be given by the Members of 
the Royal Capelle took place on the 15th inst., and was, as the 
public had a nght to expect, highly successful. The programme 
comprised Emil Naumann's overture to the tragedy of Loreley ; 
the introduction to Lohengrin^ by Herr Richard Warner, of whom 
his Majesty the King of Bavaria has lately ordered the sculptor, 
Herr ^^aunbusch, to execute a bust in marble; Maidabsohn's 
overture to Athalie ; the *'*' Reigen seeliger Geister" from GIucIl's 
Orpheus ; and Beethoven's Sinfonia Eroica. 

The above have been the principal events in the world of music 
here during the last month or so. Before conduding my letter, I 
may add, % way of chit-chat, that Hot Hans von Billow, or Dr. 
Hans von Billow, or Herr Dr. Hans von Billow, — see, if you 
choose, my remarks on Herr Dr. Gunz— has so far recovered from 
his recent severe indisposition as to be able to accept a very 
flattering invitation he has received to be the ^* Vorspieler," or 
player, i.e. pianist, of his Majesty the King of Bavaria, with a 
salary of two thousand florins a year. Verily, his Bavarian 
Majesty must be exceedingly partial to the music and musicians of 
the Future. There would not be much harm in this, were his 
Majesty a private gentleman, but, occupying the position he does, 
there is no doubt ne will insist on Herr Richard Wagner's music 
being played rather frequently at the Theatre Royal, Munich. A 
pleasant prospect for the inhabitants of that German Athens! 
But to return to Herr Hans von Billow. That gentleman wUl 
take up his permanent abode in Munich sometime in the beginning 
ei Novemb^. To console, however, as far as in him lies, his 
numerous admirers here for his loss, he will pay us a visit about 
January or February and give a series of three concerts of ancient 
and modern pianoforte music, lliis is exceedingly kind of him, 
is not it? I hear that Herr Rudolf Willmers is to succeed him at 
liie Conservatory of Music. And with this item of information, 
I conclude. Yale. 



Digitized by 



Google 



710 



tHE MUSICAL WORLD. 



[November 5, 1861 



NOTICES. 

To Adtxbtisbrs.— 7%e Office of The Musical World is at 
MsflSRfl. Duncan Davison & Go's., 244 Rtgeni Street^ comer 
of Little Argyll Street (First Floor), Advertisements received 
as late as eleven o^dock A.M., on Fridays — htU not later. Pay- 
ment on delivery. 

To PuBUSHSBS AND COMPOSERS — Music for Review must be for- 
warded to the Editor^ care o/Me8sr8. Duncan Davison & Co., 
244 Regent Street. 

To Concert Givers.— iVb Benefit-Concert^ or Musical Perform- 
Alice, except of general interest^ unless previously Advertised^ can 
he reported in The Musical World, 

TO CORRESPONDENTS. 
QVABTO. — Nicohi. oompowr of The Merry Wives of Windsor, was bom 
at Koenigsberg in 1809, and died in 1849. 



LONDON: SATUBDAY, NOYEMBEB 6, 1864. 



^t P> 



ALBRECUTSBERGER. 

( OofUinued from page 69 1 .) 

CHAPTER Xm.— 0/rt« first species of Counterpoint for three 
parVi), — 59. This first species (like that of the dao), is called 
counterpoint, from having note against note. It may here be 
escplained, for the adrantage of beginners, what that third sound is 
which may be added to the two sounds of the duo, for the third part. 
\stly. To the perfect unison (the augmented unison being 
seldom used in this species), the third must be added, in the first 
bar; the fifth may likewise be used. 2fUy. The minor second 
mostly takes the minor fourth or major fifth ; sometimes also the 
major third. The major second has the minor fourth, or major 
fifth, ^dly. The major and minor thirds take the major fifth, or 
octave ; the diminished third is seldom seen, and then it is in the 
chord of the diminished seventh, only where it stands, in the 
minor third. i.thl(f. The diminished fourth requires the minor 
fifth, or minor sixth. The minor fourth, when it is ligatured, 
takes the same fifth which belongs to that degree of the scale 
which serves for the baas ; in that case it likewise takes the sixth ; 
but when not ligatured, the latter consonance is required. The 
major fourth takes the major second, or minor third, or again the 
major sixth ; when this fourth is ligatured, the major fifth must 
be placed, as if it were, properly speaking, the fourth. btJdy, The 
minor fifth has th^ minor third ; the major fifth takes the third 
which is shown by the degree which that fifth bears, or the sixth 
may be employed in case of a ligature; then it becomes a 
disBonance, and re resolves on the third if the baas rises, or on the 
fourth, if the bass remains stationary. The augmented fiftk takes 
nothing but the third, ^thly. The minor sixth requires the major 
or minor third, or the octave, which may also, but very seldom, be 
supplied by the unison; the augmented sixth should have the 
major third, seldom the majcv fifth ; still seldomer the tritone. 
Ithly. The diminished seventh should have the minor third or 
fifth ; the minor seventh requires the major or minor third, the 
octave or major fifth ; the major seventh, not ligatured, being 
taken without preparation, and, rising to the octave, should have 
ihe major seeond or minor fourth ; that seventh which is ligatured 
aftd resolves in descending, should have the third, even the major 
third, seldom the octave, and stUl more seldom the simple unison. 
%ihly. The octave has the third which is analogous to the degree of 
the scale, ^thly. The minor ninth likewise requires the major or 
minor third, or the minor sixth ; the major ninth should also have 
the third or major sixth. lOthly, The two tenths require the 
fifths rarely the minor fifth ; the minor tenth takes the octave, or 
the third (the octave of the tenth). Otto Beard. 



(% 'eco:itinu:.!.) 



ADELINA PATTL 
A M. DismjBT Pbtxbs. 

ADELINA PATTI est en 1864 la plus jeone, la plus briUante, 
la plus envi^ des cantatrices. Quand*un nom est entouiv 
d'une telle aurdole, la curiosity se m^e k Tadmiration pablique : 
on aime k oonnaitre la vie de celle qui le porte, quelque comte 
qu'elle soit. La vie de MUe. Patti est dejk longue de trionqihes. 
Elle est nte k Madrid, il y a vingt-deux ans d'une nombreuae f amille 
d^artistes. Le berceau de sa f amille f ut ITtalie, la patrio des bdks 
filles et des belles voix. 

A cinq ans elle dtait k la Havane. Un soir, pendant que a 
m^ jooait iVbnna, on Tenvoya coucher. L^enfant n'obeit pas. 
En rentrant on la trouva drapde en druidesBe. Sa mere arait une 
ooncurrente. Cimabue' troava un jour un petit pAtre qui{ desninit 
des brebis sur le sable. Giotto fut un grand pdntre. Addina est 
une grand cantatrice. 

A douze ans eUe ohantait dans les concerts k New- York. Les 
Am^ricains raffol^rent de oette ravissante enfant ; ils la comblerent 
d^appkudissements et de presents. A New- York se tiouvait nn 
musicien distingu^, M. Strakoech. II avait de la fortime; U 
dpousa une soeur de la Patti qui n^avait'rien. H devint le sontioi 
de toute une famille. Une action g^ndreuse porte avec elle sa 
recompense. Son dl^ve est devenue sa gloire et sa rdoompense. A 
seize ans, Adelina debuta k New-Yoric dans La Sowmandfula^ am 
triomphe. Comme k Londres, oomme k Paris, elle y ansdia de« 
larmes aux spectateurs. Le chef-d'oeuvre de Bellini est son oeuvre 
de prddilection ; le r61e d' Amine est son bien-aimd. C'est par lai 
qu'elle inaugure chaque saison. 

A Londres, il y a trois ans, les Anglais lutt^rent d'enthousiasme 
avec les Am^cains. 

A Paris, le rossignol fut discutd. C'est la conditien de la viai? 
gloire et du g^nie. On ctait si peu accoutumd k cet organ? 
enchanteur, k cette flexibility et k oette agilitd surprenantes qu - 
Ton se mit k douter. Chanter sans ficelles et sans efforta, avoir 
une voix d'une puret^ de cristal, avec un timbre sonore, m^talliqiio 
et en memo temps sympathetique, cela parut inoui. C'etait un 
miracle: on Taocusa de sorcellerie. Cependant <m aocouraii en 
foule, on etait transportd on battait des mains, on pleurait ; c etait. 
sans doute, de d^pit. j\u bout d'un an, Topinion publiqne avait 
porte son jugement. C'^tait beau, c*dtait toochant, c'etait 
magique. Les ennemia se veng^rent en disant qu^dle etait 
admirable dans les roles bouffes ; mais qu'elle ne valait rien dai.s 
les situations dramatiques. lis ofiPraient d'envoyer le rongnol ao 
conservatoire. Aujourd'hui voici ce qu*on dit : — 

"—Adelina P^ttl a vingt-deux ans. Elle a des cheveux ootdenr d • 
jais avec de grands yeux noins un pea fauves, le teiot mat et des deat^ 
charmantes. Ce qu'il y a'de inoius regulier dans ses traits ijonte i ** 
physionoinie vive et mobile. Elle est de laille moyenne, un pea fr«l- 
et mignonne. Dans le Barhier^ Don PasquaUj Marta et 1' JEZinr d'Amorf . 
elle est dtincelante d'esprit, de finesse et de malice. EUe est iiiooa«- 
parable dans la Sonnambula et la Lucie, Elle ne chante pas, ell« pleur • 
la priere d' Amina ; elle est tout-i-fait folle an troisi^me acte de 1 1 
Fianeie de Lammermoor, Dans la Traviatat elle r^vble uue tragddienD . 
Rachel aurait voulu mourir conime elle. Dans Faust, qu'elle a appri^ 
en quatre jours, la Marguerite de GoSthe aurait etd jaloase de e<« 
attitudes de retenue et de pudeur. Son talent grandira, son style v? 
perfectionnera; car elle dcoute, etudie et est pleiue de respect poor 1 - 
public. Elle aime son art pour lui-n)6nie. EUe ne se Udsae ^bloair in' 
par ses triomphes, ni par les adductions de la gloire et des adulatioiK 
Aushi, die est recherchde autant oomme femme que oomme actiatr. 
Elle appartient 2k la meiUeure oompagnie." 

Tel est, esquiasd rapidement, le portrait d' Addina PattL Qu* 
en dites vous, mon cher Peters? 
Paris—Hotel Bis— Nov. 1. Figaro Nackiacxx. 

[Je I'ai tout prcdit — et micux encore. — ^Dishlet Peters-J 



Digitized by V^riOOQlC 



November 5, 1864.] 



THE MUSICAL WOULD. 



711 



PARIS. 

(From our oven Correspondent.) 

The director of the Italiens is likely to have his hands full tius 
season ; and, if I am not much mistaken, he will find the admin- 
istration of the Italian Opera at Madrid too hot or too heavy to 
hold. The subecribers and the public have appeared difwatisfied 
with the manner in which affairs have been conducted, and M. 
Bagior has been compelled to make certain concessioiis to popular 
clamour, as in the engiigementB of Mario and Gassier. As far I 
can learn tiie patrons of the theatre were bent upon having a row, 
and took occasion to make one at the first appearance of Signer 
Brignoli to serve their purposes. It does not seem certain that the 
new comer was a nosttive failure as a singer, as one might be led 
to conclude from the emetUe at his performance, and were is no 
doubt that ^e audience made use <n the opportunity to signify 
their dislike to M. Baeier's management. I wiU say liothing cd the 
extraordinary want (» rationality displayed in making a stranger 
the medium for the exhibition of their hostile feelings ; but I will 
say that worse taste was never shown towards an artist very 
naturally looking to his audience for i^ympathv and support A 
Madrid Journal, Xa Corrispondenza^ gives the following narrative 
of this most disgraceful affair :— 

<* Scenes o( the most deplorable nature have taken place at the 
Theatre RoyaL The new tenor, Signer Brignoli, is far from DOMeedng 
those qualities which render an actor sympathetic to the public. He 
has shown indeed aome knowledge of his art ; bat it is certain that the 
public appeared determined to make a grand demonstration against the 
direction, and that demonstration has taken place. The curtain had 
icarcely been raised when the scandalous proceedings commenced, -and 
did not cease until the end of the last act, when the represenUtion 
terminated in the midst of a deafening storm of whistling and hisses 
and outciies. Their Ms^esties and the infanta Dofia Isabella remained 
ill their box until the commencement of the last act, when the noise 
became insupportable. It is stated that the director received informa- 
tion that more tlian 800 biUets had been distributed among the students, 
with as many aiffktt (whistles, or catcalls). We are ignorant how far 
this is true, but the number of tifflett which we heard certainly sur- 
passed 800." 

For my part I do not see what complaints the Madrid folk have 
to urge against M. Bagier. He has engaged nearly all the cele- 
brities now before the public, from Adeiina Patti and l^Iario 
downwards, and if all his singers have not proved equal to that 
renowned pair, is it M. Biker's fault ? The day after the explosion 
the Governor-General of IMbdrid called upon M. Cabrera, one of M. 
Bagier^s managers at the Theatre Royal, and intimated to him the 
neoessity of making concessions to the'public demands, handing 
him at the same time a list of the artists who were required by the 
subscribers and habitues of the Opera. In this list appeared the 
names of Mario and Gassier. M. Cabrera exphunedto nis Excel- 
lency that both these artists had been engaged. His Excellency 
then pointed to the names of Mdlle. Groesi, the tenor Geremia 
Bettini and the tenor NegrinL The manager dedared that the 
tenor Negrini had been engaged, but was suffering ftook indispo- 
sitioQ, and could not appear for some time, and that the tenor 
Geremia Bettini, at his villa on the Lake of Como, and the con- 
iaralto MdHe. Groad, at Her MaieMiy's Theatre in London, would 
be forthwith telegraphed for ; from all which it would naturally 
follow that the people of Madrid are more remarkable for prejudice 
than for taste and judgment. 

Anewj)roi7w6e, entiiled Les Absents^ was produced attheOp^ra- 
Comique on Wednesday last, and was very favourably received. 
It is an amusing trifle, and, excepting that it involves in the 
cast five personages instead of four, might be recommended to Mr. 
John Oxenf ord, Mr. Morton, or Mr. Alfred Mellon,* as a libretto for 
an Opera di Camera. The writer of the words is M. Alphonse Daudet, 
the composer, M. Poise. Galathee^ with Madame Cabel and Mdlle. 
Wertheunber, has proved very attractive. Madame Cabel has kxA 
litUe or nothing of the freshness of her voice and her wonderful faci- 
lity. Her illness does not seem to have affected her in any way. 1 
must say, however eminent her success has been, that she has many 
characters in her repertory in which she is heard and seen to far 
greater advantage than in Galathee — as for instance, Catarina in 
Les Diamans de la Couronne, and Angela in the Domino Noir. 



* Mr. Alfnd Mellon is a conductor and composer, not a writer of books 
for music.— Eo. M. W. 



An unusual sensation and the greatest possible curiosity were 
excited at the Th^tre Lyrique on Thursday— yesterday week— by 
the debut of Mdlle. Nillson in the Traviata. Mdlle. NiUson is a 
countrywoman of Jenny Lind; she has a decided Swiss cast of 
countenance, and the expression is smiling and good-natured. She 
is rather on a large scale ; her hair is auburn ; her eyes are blue ; 
her appearance, altogether, prenosseasing. In short, when che came 
on in the first scene she created a favourable im^nression before she 
sang a note. I am told positively it was her tmrt appearance on 
any stege. If so, I must congratulate the young lady— she is 
young — on a very rare achievement. As a matter of course she 
was nervous, painfully so at first. Indeed the presence of such a com- 
pany was enough to have made the oldest stager tremble. Among 
the audience— a numerous and brilliant one— I noticed Adeiina 
Patti, the most original and perfect of Violettas, Madame Miolan- 
Carvalho, Madame Vandenheuvel Duprez, Madame Ugalde, 
and other celebrities of song, togetiier with Madame Doche, who 
created the role of La Dame aux Camillas. Mdlle, Nillson coulf I 
scarcely be heard at first, but, receiving warm encouragement, 
she took heart, and in no long time satisfied her hearers that slio 
poaaesses a voice of beautiful quality, and fresh as a lark's, and 
that she does infinite credit to the schooling of her instructor, M. F. 
Wartel. H er delivery of the French language is worse than indif - 
feient, and, remembering the scurvy treatment which Mario and 
Utiens had met with from Parisian audiences on the score^ of faulty 
pronunciation, I was astonished at the forbearance shown to tiie 
debutante. M. Monjauze jdayed Alfredo, and M. Lutz, Germont. 
Maria is in preparation, and Madame Ugalde will sustain, for tiie 
first time, the contralto part of Nancy. Madame Carvalho, of 
course, will be the Lady Henrietta. . , ,, . . , „ 

At the second Popular Concert of Claancal Music, the follow^ 
ing programme was performed :— Overture to Athalie^ Men- 
ddssohn; Pastoral Symphony— Beethoven; Overture to The 
Merry Wives of JVindsorSicohi ; Adagio from Quintet for claii- 
net and stringed instrument (op. 108)— Mozart ; Symphony (No. 
42 (" The Surprise ")— Haydn. , ^ ^ ^ . ' 

A grand performance is about to be given at the Opera for tiie 
benefit of Bouffe, the celebrated comedian, who, in consequence of 
his declining health, has been compelled to leave the stage, and is, 
I hear, in Indifferent circumstances. The entertainment will com- 
prise La nUe de VAvare ; the duet for tenor and baritone from 
the Reine de Chypre^ sung by M. Roger and M. Faure ; and tiie 
third act of the Prophkte^ including the famous ballet of tiie 
Patineurs, with M. Roger as Jean of Leyden. While speaking erf 
the Opdra I may inform you that in future reoresentations will 
be given in that theatre every Sunday throughout the winter, 
in place of alternate Sundays, which has been the custom to tiic 
present time. Montaguk Shoot. 

Paris^ Oct., 26, 1864. 

Mr. Hatton's New Opera.— The title of Mr. Ilatton's 
anxiously expected opera, about to be produced at the Royal 
English Opera, Covent Garden, is The Deserter. It is to be 
hoped the public will not also prove its claim to the titie. 

Per Mj^jesty's Theatre.— The performances of English opera, 
under the direction of Mr. W. Harrison, will mot commence on 
Monday, as announced, in consequence of Madame Kenneth 
having been detained in Paris by indisposition. The season will 
therefore be inaugurated on Tuesday, with Faust. Miss Louisx 
Pyne, JMr. Sims Reeves, and Mr. Santiey, sustaining the prmcipiil 
parts; and on Wednesday the Traviata wUl be given, with 
Madame Kenneth as the heroine. 

Devosjpobt.— A concert was given last week at the Mechanics' Insji- 
tutc, conducted by Mr. Emile Bcrger. The hall was crowded, and the 
audience, by their frequent applause, showed their appreciation. The 
programme commenced with •« This magic wove scarf, * by Miss Mitli 
Wynne, Mr. B^rank Elmore, and Mr. A. Irving. At the conduMon oi 
the first part, Mr. H. VandenhoflF read a selection from At You Lik^. 
If, in which the "Seven ages of Man," '* Under the greenwood tree, * 
and '* Blow, blow, thou winter wind " were introduced. In the second 
part, Miss Wynne cave "Where the bee 8Ucki«,'' and was encored. 
The piano solo. *- Silvery trwUtt,'* hy Mr. Berber was exceedingly clever, 
and called forth loud applause. •' Bel rag^io " was t«un^ by Mdlle. 
Eneqnist, in excellent stvle. and repeat )d by desire. The performances 
terminated with the trio, *»Bello e U cielo," by Miss Wynne, Mr. 
Elmore, and Mr. A. Irving. 



Digitized by 



Google 



712 



THE MUSICAL WORLD. 



[Noyember 5, 1864. 



HER MAJESTY'S THEATRE- 

'I'litf revival of Beethoven's Fidelio, though it came 00 late that only 
luur performancea could be given, was the most memorable event of 
the last season. Its attraction proved as great as at any previous time. 
The simple and affecting story was aa easily understood, and the 
macnificent music went as directly to the heart. Then there was, in 
MdUe. Titiens, a Leonora both in a dramatic and musical sense the 
ideal heroine of the poet-roosidan ; and lastly an orchestra equal to all 
the intricacies of the score, and headed by a conductor whose thorough 
musical eKperience enabled him readily to grasp its full meaning. 
The cast or the dramatit p^nona was in other respects efficient ; and 
the one opera of Beethoven, in consequence, brought the accustomed 
erowda and raised the accustomed enthusiasm. Under the circum- 
stances, it was natural enough that Fidtlio should be included in the 
brief series of winter representations now running their course. Some 
difficulties stood in the way, but these have teen surmounted, and on 
the whole Fiddio is reproduced in a manner reflecting the highest 
credit upon 8ignor Arditi and those whose efiorts he controb. 
AlthoQt^h Signor Oardoni is unfortunately compelled to transpose the 
last movement of Florestan's air in the dungeon scene, his perrormance 
if, in other respects, one of the most inteUigent and artistic we can call 
to mind. He is excellent in the trio-^in the great quartet — and above 
all, in the duet with Leonora, when the designs of Pizarro are frustrated 
and Florestan has recognized in his unexpected deliverer his faithful, 
loving wife. Madlle. Sinico, the new Harcellina, is also agreeably 
efficient, having studied the nmnc conscientiously, and doing the 
utmost for a part which, however important to the general effect, can 
hardly be made to stand out as a marked individuality. She sings her 
quaint and tender air in a style at onee unaffected and correct 
Signor Bossi, too, while unable to impart to the character of Rocco any 
semblance of dramatic life, has made himself so familiar with the 
music that he is never at a loss ; and this is more than can be said for 
one or two representatives of the rough but kindly gaoler, endowed 
with some portion of that histrionic genius which in Signor Bossi is 
nnmanifeeted. The fine tenor voice of Mr. Swift is heard to advantage 
in the small part of Jacqnino. But among those who now come for- 
ward for the first time in Fidelio Mr. Santley shines pre-eminent. 
Amateurs who remember the late Herr Staudigl in Pizarro can alone 
form a>proper estimate ot the merits of our English barytone's perfor- 
mance. Sinoe Herr Staudigl there has been nothing to approach it. 
The fierce phrases of the soliloquy are heard distinctly penetrating 
through the orchestral thunder with which Beethoven, swayed by 
impetuous feeling, has unmercifully accompanied it; the duet with 
Rocco (Leonora oveiiiearing) is perfect ; the sublime quartet-^where 
the foued Pimrro stands amazed in presence of the heroic wife, 
who, shielding her husband with her person, confronts his auMtilant 
with a loaded pistol, is dramatically and muoically all that could lie 
imagined. The Pizarro of Mr. Santley, in short, is worthy the 
Leonora of Madlle. Tiiienn. By this laf>t remarkable assumption — as 
touching, iiitellectual and full of poetic grace as it is physically 
splendid and imposing — the audience are- no less keenly impressed 
tnan before. Ltast night, after the great scene alluded to, and the 
rapturous love duet which is its culminating point, the home literally 
rang with applanse. Twice Mdlle. Titiens came forward, first with 
her three companions, then alone, amid a display of genuine and 
unmistakeable enthuftiasm. Among her many artistic triumphs we 
cannot but think that her Leonora is unquestionably the most legiti- 
mate and the greatest — which is equivalent to saying that she exc^s 
precisely where it is most difficult, and therefore most honorable to 
excel. The overture (the; grand one in C major Na 8) is admirably 
played and applauded according to its deserts. 

// Trovatore (Leonora, Mdlle. Sinico) was gjven on Wednesday, 
Konna rNorma, Mdlle. Titiens) on Thursday. Fiddio to-night, lor 
the third time (the last performance of the season). 

MANCHESTER. 
(Fiom a Corretpondent) 

Mr. Charles Halle*8 ** Grand Concerta*' are among the most 
important and interesting music meetings in the provinces. Man- 
chester has, in one respect, the advantage over the Triennial 
Festival towns in matters musical. Instetul.of one brilliant week 
in three years, she enjoys during the winter a series of weekly 
concjrts, unsurpassed in design if not in execution, even by the Me- 
tropolitan Philharmonic Societies. It is not too much to say that 
Mr. Halle's concerts are to Manchester what the Philharmonic, 
Sacred Harmonic, and Monday Popular Concerts are to London. 

A glance at the prospectus for the present season will confirm 
this opinion. AVe are promised, as usual, the great masterpieces 
of instrumental music— the symphonies of fieethoyen, Mozart, 



Haydn and Mendelnohn, indnding the colossal Choral Symphony 
of JBeeUioyen. We shall have occasionally the yisrts oi leading 
instrumentalists who, as soloists or in combination, will introduce 
some of the choicest gems of classical chamber music. The chond 
performances will include the gr^test works of Handel and Men- 
delssohn. Mr. Costa^s Naaman will be yi interes&g novelty, and 
a Mass b^ M. Gounod will be heard for the first time in England. 
The leading yocalists of the day have been engaged to aid in Aese 
visits, and the fame of the orchestra, of seventy well selected instni- 
mentalists, is already so well established that Mr. HaU6 may look 
forward with confidence to the ensuing as the most sncosBsfid of 
his series, llie present high position of these oonoerts baa ben 
mdnally achieved. To the determination of the eondaetor to 
depend upon art and present first class music in first daai style 
it is mainly due. Faithfully has he adhered to his reM»lve ; no 
one can accuse him of pandering to vitiated taste, bnt no one has 
ever charged him with giving dull oonoerts. The most akitfal 
Chinese gonff-soloist, however popular, would never be called to 
aid Mr. Hall^ to crowd his gallery ; and even those of hia friends 
who once thought he ought to vary the ** Jupiter ^ aymphoDy of 
Mozart and the ** Italian** of Mendelssohn by the oceasioiifJ intto- 
duction of an arrangement from Verdi or Fk)toir« are now 
convinced that the public can enjoy good mnsio even more Umii 
pretty music when familiarity has revealed its ezceUenoiflB. In 
speaking of the position of these concerts it vould be anjosfc to 
make no reference to the popularity of the conductor. The Man- 
chester people consider him as one of themselyite ; tiMjr bi^ily 
appreciate his talent, and consider his success in Loodoii and 
elsewhere as reflecting, in a certain sense, credit on themeelrfli. 

The first concert of the present series was giyen on llmraday 
last. The attendance was very numerous. Tbe programme was, 
as usual, full of interest : — 

Overture, *• Enryanthe,'* Weber; Cavatina, Mr. Sima Reeves, **TL csefe 
azzuro," (** La Nonne Sanglante*'} Gounod ; Concerto, viaiiolbEte— Mr. 
Charles Hal16->inQminor, Mendelssohn; "Adebide"— -Mr. SimsReefres. 
accompanied by Mr. Charles Uall^ Beethoven ; Symphony in D, Ko. %. 
Beethoven; Overture, *< Mirella*' (first time), Gounod ; Solo, Oboe— M. 
Laviirne, ** La Traviata,*' Lavigne ; ** Danse dee Baoehantea" fim 
«« Philemon and Baucis," Gounod ; «« The Message"— Mr. Sims Baewss, 
Blumenthal; Solos, Pianoforte, Mr. Charles Hall^—** Beceenea," ia 6 
flat (first time) Henselt, and Grand Polonaise in A flat, Chopin ; Over- 
ture. *• Ija Part du Diable," Auber. 



The symj^ctey in D is a great fayourite here. It ' 
to with the utmost attention by the vast audience. Hm gm»» 
fnl melody of the Larghetto excited deep interest, and nioy«dtllie 
Mople more than we ever remember to nave seen effected bj **]] 
Balen,** or ** Di Provenza," in the envied operatic selectiona. KeKt 
in importance to the symphony- was the pianoforte oonceEtov 



was executed with rare appreciation and perfect skill by Mr. 
Hall^. He seemed to ** carry away" his audience both in the 
Antiante and the sparkling Allegro^ and was rapturouslT s|iplaiided 
at the conclusion, llie pretty Berceuse of Henselt, and tfaa cfaanc- 
teristic Polonaise of Chopin varied the interest of the moohI part 
and showed Mr. Halle*s powers as an executant of dmvb^ 
music. The overtures which opened and oondnded tbe 1 
are old favourites. That to Mirella^ beard for tbe fixat tine si 
these concerts, afforded unanimous satisfaction and wiseDOovBd. 
llie '' Danse des Bacchantes " of M. Gounod is a greai laToariti 
of Mr. Hall^*s. M. LavignVs solo, a manrel of skiU, ir« «njojed 
by none more than by his friends in the orchestra. 

The first concert of the series was sraced l^* the pra wD oe d tbe 
first of English yocalists. Mr. Sims iteeves, who was in s ple n d id 
voice, never was more successful in proving himadf aa unriTalledia 
taste and refinement as he is in vocal power. He was oompeUed to 
re-appear after Adelaide. In Blumenthal^s song, *' Tbe MfiMsn^i * 
he was encored so persistently that he was abecuutely compelled to 
repeat it. 

UxsRiDOE. — The singing class of this town has made such process. 
that it has changed its title, and now aspires to that of '* Tbe Uxbridgv 
Philharmonic bociety." The meetings are fixed for WcrtuealiT 
evening^, from Michaelmas to Lady Day, under tiie diractioa of Mr. 
J. T. Birch and Mr. Edgar. The members of the Soebky, alreadt 
familiar with The Messiah, are now practising The CVastwa and Jmeii 
Maccabeus. 



Digitized by 



Google 



Noyember 5, 1864J 



THE MUSICAL WOBLD. 



713 



LETTERS TO THE EDITOR. 

THE HARP. 

Sib,— A great deal has of late appeared in the columnii of the Mutkal 
Werld respectiog thia very ancient instrument, but I think that what 
has been said '* *iwere better 'twere never said at all," as nothing so 
conduces to bring into contempt anything about which there has been 
an useless controversy. Without the slightest intention or desire to 
enter the lists with either of the gentlemen who have been duellinff so 
long, I beg to say that it is my humble opinion they would have done 
more material good for themselves and the InstntmeDt they both appear 
to regard with afiection, if they had searehed into the origin, pro- 
gress, and effects of ** an instrameat which appears to have commanded 
the paasione in an enninent degree, and to have oommunioated so much 
delight to mankind." Their arguments, however, caused me to reflect, 
and now reflection has given nlace to a strong desire to " search the 
scripture'* and other works wnich have passed the ordeal of cri- 
ticism, for information concerning the harp ; 1 therefore 'give you the 
result of my researches, trusting they may be deemea worthy of 
acceptance, as also the perusal of the two antagonistic Jbarpert, 

In perusing the Holy Bible we shall be convinced from the highest 
authority that Jubal was the inventor of the Harp, {Oenuia iv, 21 .) In 
this '* Book of books'' the harp is used lawfully, ynlawfuUy^ and my^U- 
tally, H is used laufully in setting forth the Lord's pnise, {Psalm zxziii, 
2, Pjolm, sliii, 4, FuUm odvii, 7, and F$alm czlxix, 8), as also in many 
other places in the same book. Aocordingly, use was made of the harp 
when the ark was brought from . Kiijath jearim. (//. Samuel, vi, 6, 
/• a^9nieU$ ziii, 8, and /. Chronklet xv. 16, 21, 28) "and set in the 
tent that J>avid had pitched for it,'* / Chronicles xvi, 1, 5. It was used 
by Jehothaphat upon the overthrow of his enemies, (//. ChromcUa zx, 
28) ; also by Hettkiah in the House of the Lord, according to the com- 
mandment of the Lord (//. Chronicles xxix, 25) ; and by /fehemiah at 
the dedication of the wall of Jerusalem (Nehemiah xii, 27.) The harp 
was used unlawfidly by profane and luxurious persons {Job xxi, 12, and 
/mmA V, 12), hf idolators, {Daniel iii, 8, 5, 7, 10, 15.) It was used mys- 
tically, as of tlie four beasts, and four-and-twenty elders {Revelations 
V, 8), and of the Harpers mentioned {Revelations xiv, 2) harping with 
their harps. The harp was used in expressing g^^t joy and gladness, 
{Genesis xxxi. 27,) but this not always^ as we find in Job xxx, 81, and 
Fsalm cxxxvii, 2. Occasion may be offered when the joy of the harp shall 
ceaM (Isaiah xxiv, 8) and the sound shall be heard no more {Esekul 
xxvi, 33.) 

We find that music and the spirit of prophecy were united in the 
same persons. Samuel speaks to Saul in these words : ** After that 
thou snalt come to the hill of God, where is the garrison of the Philis- 
tines, it shall come to pass when thou art come hither to the city, 
thou ahalt meet a company of prophets coming down from the high 
place, with a psaltery, and a tabret, and a pipe, and a harp before 
them," {Samuei x, 5). The Royal Psalmist, who was possessed of the 
spirit of prophesy, cultivated music early in life, and his Psalms give 
ample testimony of his poetical abilities. He used to console himself 
with his harp when his soul was in heaviness, and to sing the praises of 
God. He was sent for by Saul, who had heard of his skill in music, 
to administer relief to him by the power of his harp, when he was 
aflBicted witli an evil spirit (/ Samuel xvi, 28): 

Leigh, in his annotations says : ** The harp is an instrument used in 
the temple under the law, whereon they praised God according to those 
-times when the church was in her infancy." ** These instruments and 
their song show their cheerful thankfulness^ and are a symbol of divine 
praise, thanksgiving, and gladness {Psalm xxxiii, 2, and clx, 8). 

As 1 fear this letter is already too long, 1 will defer sending the 
rcroaindei of my extracts until next week. 

Btlgravia, Oct. 26M, 1864. Yours (aithfully, A. J. P. 



Sim,— >ToQr known liberality induces me to hone yon will allow me 
M eomer in your valuable columns. 1 find that tnere haa been singing 
at the Albion Hall and elsewhere a person bearine or assuming the 
aame name as myself, and as this would, if unexplained, be of some 
detriment to me in my profession, I venture to ask the insertion of this 
letter, as the only means of publicly statinf^ that 1 have never sung at 
this hall or any of the places where this person has been singing. 
With many apologies, I am. Sir, your obedient servant, 

LlZZIB WiLSOK. 

124 {late 63), Church Road West, Islington, K.-^Noo. 2, 1864. 



Six, — I present you with a report of the Stockport Choral Society's 
library (sent by book post). In doing so, I feel persuaded that 3*ou 
take a deep interest in the spreading of good mntdc throughout our 
land. The S. C. S. meets every Tuesday evening in the large room 
of the Stockport Sunday School for the purpose of practising sacred 



music. We don't depend upon the public ibr support, but we support 
ourselvea Each member contributes 4a 2d. per year. Female 
members are free. We have a commodious orchestra which contains 
a most efficient organ. We number more than 100 members. Wc 
have ffiven many concerts for the benefit of ^our Infirmary, Ragged 
Schools, and other charitable institutiona By these means we have 
contributed largely to the funds of the above institutions. Our 
orchestra will accomodate 200 performers at least. The concert room 
will seat upwards ot 2000 people. T. B. B. 

StocJ^ori-^JS^oo, 2. 

[See another colunm.-r-£D.] 



OxFOBD. — On Friday, the 14th inst., the theatrical Meson (in 
compliance with the wishes of the Vice-chancellor) was brought to 
a close with the following pieces : — The Corsican Brothers, lei on 
Parle Francois, and My New Place, After the second piece, the 
manager, Mr. Hooper, came forward to make his parting address, 
and was reoeiTed with continued rounds of cheers. He spoke as 
follows : — 

** Ladies amu Gjehtlembv, — It is now three years, or nearly so, since 
I had the pleasure of addressing you on an occasion like the present, 
and 1 recollect that I then said that 1 considered the manager of a 
theatre one of that numerous and interesting class of mankind, usually 
denominated 'gentlemen in difiiculties.* I think that impression is 
strengthened and confirmed, for I feel the greatest difficulty in return- 
ing thanks for the ver>- kind and geberous reception which you liave 
given me. It is a lauch easier task paoefully to acknowledge a fiiilure, 
than to find words to return thanks in adequate terms, for benefits con- 
ferred. An unsuccessful manager appears upon the stage, claiming the 
sympathy of all around him, and it is so interestinjr to see him stand- 
ing, * like patience on a monument, smiling at gnef,* that the ladies 
exclaim, * poor dear fellow, how well he bears it,' while the rougher 
sex say, * poor devil, he has done all he can.' Thus the unfor innate 
Thespian, retiring with the comiaeration of all jparties, makes 'a 
golden set, and by the ruddy brightness of his tract gives promise of 
a goodly day to-morrow.' But you, ladies and gentlemen, have deprived 
me of all these advantages, and have not left me a loop hole to attack 
your commiseration, for every effort which 1 have maue this season to 
minister to your enjoyment, has been crowned with the most decided 
Buocesa You may judge what was my astonishment, when at the end 
of the very first week of the season, the treasurer announced a balance 
in my favor, and though bone of my bone, and flesh of my flesh, I can 
truly say that a better treasurer, or a better man— no woman of busi- 
ness — never stood in erinoline. I rushed to the treasury-chamber, and 
Ibund that it was not an illusion of the brain, but a bondjids balance. 
1 could scarcely credit my eyes, and exclaimed with Macbeth, * Is this 
a balance which 1 see before me, and ready to my hand — come, let me 
clutch thee.' I did clutch it, and walked forth with all the importance 
and complacency of a man, who is entitled to tack to his name the 
honorary abbreviation of £ a d., being the Roman initials for pounds, 
shillings, and pence. Now ladies and gentlemen, after these few hints 
you wul have no difficulty in arriving at the result of the season, and 
as 1 stand here with a light and grateful heart returning you my 
acknowled^ents, you will say our ' veteran manager ' has had a suc- 
cessful cruise. Ladies and gentlemen, it has been successful, a few 
light squalls may have disturbed our voyage, but the sunshine of your 
favor cheered us on our course, and I am now about to loosen our ropes, 
lower our canvass, and cast anchor with profit to ourselves, and I hope 
with satiitfaction to you, our kind and liberal supporters. I cannot 
refrain from availing myself of this opportunity to return mv acknow- 
ledgments to the university and city authorities, and especially to your 
worthy Mayor, for his consideration and kindness to me on all occa- 
sions. My thanks are also due to the Aldermen and Corporation, who, 
together with the Mayor, honored me with their bespeak, which was 
not only flattering hut highly profitable. To the gentlemen of the 
Press I am also greatly indebted, and 1 hope they will receive my 
acknowledgments. Little now remains for roe but to thank you in the 
name of the ladies and gentlemen of the company for your great kindness 
and indulgence to them, and, believe me, they feel it as they ought ; 
in short, the heart of the establishment is full, and the head of the 
establishment is here to say so. Permit me once more to thank yon, 
and to wish you all health.^happiness, and prosperity until next year, 
when I hope to have the pleasure of meeting 30U again. 1 niOi$t 
respectfully bid you farewell." 

The farce of My New Place foUowed, and then the curtain fell 
to one of the most saccessful seasons the manager has ever had in 
Oxford. Great credit is due to Mr. Hooper for the successful way 
in which he has catered for the public, the admirable manner in 
which the Tpsce^ have been produced, and the good order and 
decorum which hare prevailed. — Oxford Times^ Oct, 22. 



Digitized by 



Google 



714 



THE MUSICAL WORLD. 



[November 5, 1864. 



Dr. Wind can l>appil7 make short work of this current. Mr. 
Ap*Matton being still abeent, he (Dr. Wind) has no alternativeft. 
Nevertheless, he has received a letter from Dr. Shoe, the brief 
contents of which he (Dr. Wind) feds impisnora^ to educe. 
Mr. Ap'Mutton is compieUed to remain at the Vatican through the 
imperformance of a promise made to him (Ap*M.^ by Carajial 
Antonelli. At the same time while in the Tibenan city he (Ap^M.) 
is authorised by Pope Pio to issue bulls and excommunicate. 
Becently he (Ap^M.), bathing in the Po, experienced a flash of 
lightning, followed by a clap of thunder, upon which he (Ap'M.) 
swam to shore, and found nis body -clothes brent. Happily the 
Cardinal was hard by, and threw over his (Ap'M.'s) shoulders 
his (the Cardinal^B) red doak. 

Dr. Wind can make short work of this current. First a 
protest. 

Pie kot " Pi." 

Bib,— My jfotrunomen is not •• Pi," but Pie; and I cannot see the 
point of omitting the § mute, which, being mute, could not offend any 
ears. My sponsor was a rich attmeuhut who called me Omicron to 
satisfy a whim. He drank nothing at the Christening least, but 
retired couchward, glassless. f am, Sir, Omicbok Pie. 

Dr. Wind is satisfied. Pie (not Pi) be it, by all means. 
A Lrti'eb feom Bbakx. 

8iB,^I beg to inclose a circular given me at Copenhagen at 
liumbye's concerts, in the folds of the programme for the evening's 
ooneert. You may ask ** What has this to do with music?" That is 
Just the question 1 asked at the Tivoli-— and I yet paura for a reply. 
I may however mention that '* Dos Aroigos " was plentifully adver- 
iukd in the establishment, and that the i^^ merchant there seemed 
to drive a lucrative trade, much to the annoyance of Lumbye, who 
** vHU not permit tnyoking in hit concert room " if he can help it The 
Prince of Wales and party was there (or were) (which ?) and tluy were 
highly amused at the peculiar construction of inclosed circular. It 
may give your *' devils" au idea as to how long words maybe 
conveniently and cleverly separated from line to line. Again you may 
ask " What has this to do with music?*' Well, might you not send 
ii to the able translator who put Et^lith words to Gounod'H Fauet f 
Might he not take a hint from this sample of literature, which has 
evidently been translated from Spanish into French and from that into 
English? And is it not a glorious achievement? Pray publish it 
exactly as printed I 1 have the honor to be, Sir, dec, &c, 

HooKKM Beare. 

Dr. Wind, in deference to Mr. Beake, complies with his 
(Beake's) request. 

" Notice is given tliat having been hired the Establishment Dos 
Amigos, where thi Segars are niannfiustured, by Mrs. Pli, Ramon and 
the proprit tor now has puthimaeK again to the administration, and 
that the tenants have opened anoter of the Same nature under the sing 
Dos Amigas and at they might be confounded whilst they only can be 
distinguiened bv the masculine termination of the former and female of 
the lacter^ for the preven al mutake, the boxes and casks of the mark 
Dos Ahigos will ece fort bear on their t A«tdl0, betddes the aver user 
conntemiak, this notice in the English, French and Spanish, sul scribed 
by mi son Mr. Domingo Hernandez Abreu, without the verification 
ofwhom they arenot genuine.*' D. Hernandez Abkeu. 

Dr. Wind now blows open an envelope enfolding a note from 
Mr. Verdant Green, Jun. : — 

Sit,— Squire Harrier bet me a bottle of whinkey the other day that 
the Ainny portion of your paper is that entitled MutJUmiana, and that all 
your serious reflections are published in the columns of ** Albrechts- 
l>erger." I flatter myself that I have not corresponded with The 
Musical Worl3 so long without being able to smell a good joke, and 1 
am sure I am right in saying that your " Albrechtsbereer " papers are 
meant to be very comical, but the Muttoniana essays, the production of 
a grave and serious thinker, are intended for a very different purpose 
tliau to raise a laugh. Pray decide the bet l^ saying which articles 
should really auiuse your most simple subscriber, Veudant Obebn Jck. 

The Afylum, Houghton le Spring^ Xov. 8. 

P.8.— You will observe that I have changed my address. 

The change of address explains the otherwise inexplicable nature 
of Mr. Green's epistle. Squire Harrier should jom our *^ most 
simple reader '' at the Asylum, llie bet is forfeited on both sides, 
neitner ^^Albrechtsberger" nor ^'Muttoniana'' being intended 
otherwise than seriously. Dr. Wind recommends that they 
^Harrier and Green Jun.) bestow the quotient on the Luufttic 
Asylum of Houghton le Siting. 



Dr. Wind has no pretence to comprehend the afteroomintg : — 
Ok Drr-DaaiLiTic Covet. 

The young and fascinating artiste, who is about to aj^nar at one of 
the west-end theatres, is of French origin, and bom in the island ui 
Guadaloupe. She has studied in France and Italy, and has also been a 
favorite pupil of Mrs. Stirling (who has great fidth in her genioi and 
talent) for more than six months. She also commands the esteem of « 
large elrde of the beau monde, who take the greatest interest in her 
success in the dramatic world. 

Dr. Wind has no pretence to comprehend the foregQui||^. He 

Sr. Wind) here stops to acknowledge receipt of oommmucatioias 
m Gaptun Coombes, Lord Beloher, Dr. Paper, and Mr. Paneb. 
Dr. Paper next Muttoniana, The prose epigrams of Mr. Punch 
have been forwarded to the Vatican. 

A Qunr avo Qubeibs. 

Sib, — Is M. Gounod's symphony in E tiat an early work ? — and was 
it ever played in England till last Saturday at the C. P. ?— aod if w 
when ? — and was Mozart's smaller ^mphony in D (annoanced for next 
Saturday at the 0. P.) ever heard in London?— and if ao when and 
where ? — and am your obedient, humble servant, Absl Qbooo. 

I U Club (jlmited).'-'Iirov, 3. 

Goimod*8 sym^^ony is an early woik ; and '* priie tymfhoay ' 
to boot ; and was played in £^ffland ; and where f — «fc the New 
Philharmonic; and irAenf-— Dr. Wind forgets; andMoaoi^ amaOat 
D has been heard in London ; and wkete f — at tbe old Philhar- 
monic; and when? — ^Dr. Wind forgets. Wherewith he (Wind) 
winds up for this current. Septimus Wom. 

Air Street, PiccadiUy, Nw, 4. 

FISH ON THE BEACH. 

A capital concert was hdd in the Town Hall^ on ToBesday even- 
ing, by Messrs. Metder and Vickers. The attractiona were great 
— so great that a crowded attendance micht have been reckoned on 
in advance. Tlie first part of the oonoertbegan with Arditi^a boier^, 
*^ Leggero invisible,** sung by Mad. Morenoe Lancia ; to whom 
succeeded Mias Palmer^ with ** Ah mon file** (Le PropkeU) ; txs 
whom suceeeded Mr. Smis Reeves, with a ballaa caUed Asjsabdh 
Lee (H. Leslie) ; to whom succeeded Arabella GoddanL with Ihst 
divinely tuneful suite of Handel which ends with the ^* HmmBiott 
Blacksmith'* (divinely played); to whom snooeeded the tfafte 
singers already named, with a trio dubbed ** Memory ** (H. Ledie 
— who has a good memory) ; to whom succeeded Hen Bngel, with 
his own harmonium arrangement of the '^ Garibakii Bliardi,'' plaT»i 
(right well) upon his own harmonium ; to whom snooeeded llr. 
Sims Reeves, with ^* Adelaide,** aooompanied by Mad. Goddard 
(how Bun^, and how accompanied, need I say ?) ; to whom sac- 
oeeded an mterval of silence. The second part opened with a tot 
effective duet for pianoforte and hannonium, on airs from Le Prm- 
phcte, composed bv Uerr Engd and perfoimed (in fint rate tMe) 
by Mad. Goddard and the composer (a real '^hit'*) ; to whkh 
succeeded a ballad stvled ^* Ruby ** (Virginia Gabriel), rnxog by 
MisB Palmer in her best manner ; to winch suooeeded BenefctV 
Shaksperian fantasia on Ame*s *' Where the bee sncka,** plaTed, 
with a grace and perfection that wonkl have made Arid jeaknis, 
by Mad. Arabella Goddard ; to which (the '' encore ** Mng iuian> 
mous) succeeded Thalberg*s vol-au-veut of *^The Lut Mose of 
Summer,** from the same supple *^ fairy finffera," with an equal 
result ; to which succeeded '' llie Meaaage ** (Blumenifaal), nttervd 
by Mr. Sims Reeves with unutterable gusto; to wtieh ^tiie 
** encore '* h&ng unanimous) succeeded ^^ Come into the garaea, 
Maud,** from the same Orphean voice, with an equal lenlt ; to 
which succeeded Goanod*s delicioas serenade, *^La Piiiuir 
prettily snug by Mad. Florence Lancia, and cunninn^ aided {m 
the harmonium ohbligato) by Herr Engd; to whidi anooeeded 
Harry Chorley*s ditty, ** When I was younff," dealt out eaqvRy- 
sively by Miss Palmer ; to which sucoeedea a duet by RooiBi 
(Yoga o Tonio **), for Mad. Lancia and the contralto above>lmed : 
to which succeeded (Herr W. Kuhe and Mr. Vicken luivin^ ac- 
companied the vocal music — ^* Adelaide ** excepted — on the pianu) 
the dispersion of an audience manifestly wdl pleaaed— ao wdl pleaaw^ 
that it (the well pleased audience) would have been better nTennil 
bad the entertainment (which could not have s ac eeede d bettg) 
been sooceeded, incontinent and without let, by just ndi 
another. The pianoforte was a magnifioent Broadwood i 
grand. CoVENTBT FiSH. 

Britjhton^^Sok and Mackcrcl-^Nov, i* 



Digitized by 



Google 



November 5, 1864.] 



THE MUSICAL WORLD. 



715 



CBYSTAL PALACE CONCERTS. 
The Winter Saturday Concerta are retained. The " Sydenham Phil- 
)iannooic" has become an eetablithed Institution. Amateurs look 
forward to the reannouncement of the symphony-programmes of Herr 
Au^nste .'Manns with constantly increasiog Interest. And most 
legitimately has that Interest been created. The programmes are 
models in their way ; neither too long, nqr too short ; containing a fiUr 
admixture of novelty with what the world acknowledges as classic ; 
judiciously varied and open to every individoal manifestation and 
|ieculiar phase of the musical art— from Sebastian Bach to Schubert 
jiiid Schumann, from Joseph Ebydn to Wagner and Oounod. The 
eclecticism of the Crystal Fialace KifellmsuUr is useful in its sphere; 
and his efibrts to obtain for his &vonte Bobert Schumann, a share of 
t le popularity enjoyed by Beethoven and Mendelssohn are as estimable 
as they have hitherto proved unsuccessful. Herr Manns may&iily 
boast thai at the concerts he directs with so much ability and zeal 
examples of almost every style are frequently to be heud. The pre- 
ponderance of the German school in his schemes, to the occasional 
detriment of the Italian and French, is as easily understood as the com- 
parative indifierence with which he regards some of the most finished 
productions of English art— as, for instance, the concertos and overtures 
of Stemdale Bennett Herr Manns being German, his sympathies md 
prejudices are German ; add to which he is upheld by the lact that as 
composers of orchestral, and, indeed, of instrumental music generally, 
his compatriots have acccompUshed more and better than all the other 
nations put together. Nevertheless, although professedly an eclectic, 
eager in the search after novelty, and desirous above ail to vary the 
interest of his programmes, there are many things French, both old 
and new (a .'catalogue of operatic overtures, for instance, by Mehul, 
Boieldieu, and Auber), many things Italian, and a few things English, 
not difficult to dte, which have hitherto either eluded his search, or 
been unadvisedly rejected — ^unadvisedly, because they would precisely 
answer the end he aj^xirently has in view. Even his cherished German 
repertory might be materially enriched by a little wider research, the 
names of several composers occurring, who, If not Mozarts and Beet- 
hovens (still less Schumanns and Wagners), if not Mendelssohns, 
Oounods, &o., deserve a trial not the less. But enough of this for the 
I .resent. Herr Manns has already given four concerts, all more or less 
good. At the first the orchestral pieces were Beethoven's Symphony 
in C minor— which heralded the new series in triumphant tones ; the 
•* Brisk Danoe" from Mr. Arthur Sullivan's JTent/tiwrM— recently per- 
formed at the Birmingham Festival ; and the overture to Le Sonae ium 
NuU dd'iAi— «n opeia in which M. Ambroise Thomas, of the French 
Institute, has shown how uncongenially a French musician may treat 
a Shakspearian theme. The voou music Cgeneraily the weakest point 
at these entertainments) was ftt)m Bossini, Verdi, Abt and Kllcken ; 
the singers were Mdlles. Liebhardt and Marietta Veralli, Signors Wen- 
oeelas Agretti and Carlo Bertani. The second concert opened, happily, 
with one of the ever green symphonies (in B fiat) of <^Papa Haydn';'* 
the companion orchestral piece being the masterly Interlude (" inier- 
maao ") from Mr. Henry Smart's BrieU of Dunkerron — the other new 
English Mfitoto, "written for and produced at the late Birmingham Festival. 
There was also Beethoven's Choral FatUana (pianoforte. Miss Freeth — 
whose sold performance was Godefroid's Dante des Sylphe$) ; the chorus 
being ftirther employed in GKMinod's Mout a la Meditation (**Benedictio 
ei C^ritas ") and Mendelssohn's " Departure" — the gem among part- 
•ongs. The solo vocal music, by Muzart, Gounod, Arditi and Abt, 
was confided to Mdlle. Liebhardt and Mr. Santley. At the third con- 
cert the symphony was Mendelssohn's great •< A minor** (the ** Scotch"); 
the other orchestral pieces being three of the minuets composed by 
Beethoven for the Apollo and Kiedoiiten Saals at Vienna, and Weber's 
overture to OheroiL The solo was a svcMw/antagia on airs from La 
Traviata, composed by M. Alard of the Paris Conservatoire, and played 
by M. Lemari^ ; the singers were the Misses Louisa and Susan Pyne, 
who, besides a duet by Auber, each gave a ballad, to which Miss 
Iiouisa Pyne added a eavatina by Rossini. The fourth concert, on 
Saturday afternoon, was in one respect the most remarkable of the pre- 
sent series, — why may best be explained by citing the instrumental 
faatures of the programme : — 

Symphony Id E flat— No. 2 (flrat time) Oounod. 

Cono«rto In A minor— No. 6 (first time) Vienztemps. 

Overtore— /(raft (first time) Spohr 

MAjroh— JTw^ i»«pft«» (fint time) Boetboven. 

Four *' piecee for the first time," and one of the four a symphony by 
the most popular composer of the hour. By *' first time of perform- 
ance " Uerr Manns, it must be presumed, intends first time in this 
oountry. M. Gounod's symphony was played, not long since, at the 
dmeerU Poptdairu^ in Paris, under the direction of M. Fasdeloup, and 
terribly abused by some of the critics— more especially by the late 
Signer Scudo. of the Revue dee deux Mondes — ^for its bombastic pre- 
tensions on the one hand, and its prevalent obscurity on the otKer. 
Yet a sni^le atteotlr^ hearing Is quite enough to convin^ any 99m- 



petent and impartial judge that M. Gounod's second symphony (like 
his first) is a plain, straightforward work, with very little " pretension," 
and absolutely no ** obscurity." That every one of the four movements 
bears testimony to the powerful influence of Beethoven — melodic 
phrases, passages, figures, and combinations from whose symphonies 
(Nos. S, 4, and 9 in particular) are continually aped and parodied — 
is unquestionable; but this does not necessarily render the composition 
of the French mufliciac either pretentious or obscure. In &ct, as we 
have hinted, it Is neither one nor the other. That it must be an early 
composition, however recently brought to light, seems evident. Not 
only does it exhibit no sustained style (by which is intended that any 
musician clever and well practised enough to compose a work of the 
same order might have written it) ; it has none of the depth and 
genuine expression, none of the beauty and exquisite finish of M. 
Gounod's late operas {Faust and MireUle, for esfamples), and at the same 
time none of those peculiarly rich and seizing effects which in his best 
stage-pieces show him so great a master of orchestral coloring. In 
short, there is nothing in the second B}'mphony (any more than m the 
firsts to proclaim it the offspring of M. Gounod's imagination, the result 
of M. Gounod's artistic workmanship ; whereas there can be no mistake 
about the source whence his operatic music is derived. If, on the other 
hand, the symphony in £ fiat be a recent effort, we can only gather 
from it that M. Gounod is very unlikely to attain as a writer of purely 
orchestral muaio the eminence justly accorded to him as adranutic com- 
poser. The work was carefully executed throughout, but seemingly 
made little impression — ^notwithstanding which it merits another trial, 
if only because it is a serious effort by one of the most thoughtful, as 
well as gifted, of modem musicians. This is the symphony which was 
announced, though not presented, at one of (he concerts last season. 
It may be here In plaoe to acknowledge the welcome addition of some 
extra instruments to the *' string" department of the band. This, 
while proclaiimng the liberality of the managers, was fairly the due of 
Herr Manns, to whose exertions the musical attractions of the Crystal 
Palace arcf so considerably indebted. The noble and vigorous overture 
to Fauel-^YiMi Fauet without a Margaret, produced at Vienna in 1814, 
daring the pdlitieal turmoil of the Congress, when as a violin player 
Spohr was astounding and delighting the connoisseurs among the 
crowd of notabilities thei^ assembled in the Austrian capital--came 
all the more welcome Inasmuch as It had never been heard before 
at these concerts. Although not quite so perfectly executed as 
might have been desired— the tempo of the allegro, both In the major 
opening and the minor coda, being somewhat accelerated— ^the beneficial 
effect of the added strings was sensibly felt in the energetic and bril- 
liant passages that characterise this fine dramatic prelude. The Sieges 
Marseh and Geistlieher Marech (Triumphal and Sacred Marches^ from 
Beethoyen's music to Eotzebue's drama of King 8iq>hen (com^sed In 
1812 for the opening of the theatre at Pesth), are favourable specimens 
of a^ pike de eireonttanee which, with all its meriU, does not exhibit 
Beethoven in his happiest mood, much less at his highest flight, nor 
is at all comparable either to the ballet of Prometheus or the masque 
of The Buins of Athens. Vhe music of J>er Ksnig Stephan, or at least 
the larger part of it, has been heard in London before now— at the 
Philharmonic Concerts (Hanover-square Roomn), and elsewhere. 

The violin solo— « showy example of the concert-niu.'iio of M. Vieux- 
temps— was extremely well played by Herr Louis Uies (who has held 
the post of second fiddle at the Monday Popular Concerts since their 
first establishment), and received with the utmost favour. Like all 
the more pretentious music of its composer, the concerto in A minor 
is very difficult ; but Herr Bies had thoroughly mastered it and was 
supported to a wish by the accompaniments in the orchestra. The 
vocal music was more than commonly successful. Miss Banks Talso of 
the Monday Popular Concerts) Is a favourite at the Crystal Palace, as 
she is at St. James's Hall. Both in a grand aria from II OiurametUo — 
one of the most laboured of Mercadante's laboured dramatic works— 
and in the plainUve ballad, " On the Banks of Allan Water," this 
rising young singer elicited and deserved the warmest tokens of satis- 
faction. Mr. Santley, a fiAvourite everywhere, roused the whole 
audience to en^usiasm by his niperb deliveiy of the air in which 
Polyphemus glowingly apostrophizes the perfections of Galatea— the 
incomparable 

**0 ! ruddier thsn the cherrj, 
O I sweeter than the bcrrv.** 
Which is the finer love-song of the two— that of " the monster Poly- 
pheme," or that of the pensive, sighing Acis (•* Love in her eyes sits 
pbiying")— which, in short, proclaims most triumphantly the genius 
of Handel as a composer of amatory mnsic, it would be difficult to say. 
Like to Shakspeare, all came home to Handel; all touched some chord 
in his large brain and expansive heart ; and he could sjrmpathize with 
the raging flame of Polyphemus just as readily as with the tender 
passion of Acis. The song and the singing (worthy each other) 
made their due Impression on Saturday. Mr. Santley (like Mr. Siir a 
Beeves^ a itaiinoh enem^ to the «'9n<^re'' nuisance) was forced W 



Digitized by 



Google 



716 



THE MUSICAL WORLD. 



[Novembers, 1864. 



Ruccunib on this occasion ; and indeed ft was not easy to refuse oom- 
pliance with a demand so unanimously and heartily expressed. Mr* 
Santley's other solo was an English version (by Mr. E. A. Bowring) of 
Heinrich Heine's ballad. ** The Two Grenadiers" (a tale of the 
fallen empire), set to music by Robert Schumann— despite the allusion 
to the " Marseillaise/' in the concluding coupletn, about as dull a com- 
{XMition as could well be listened to.. The last Tocal piece was the 
lovely duet from Spohr's Fautt^ known in Ens^lish as « Dearest, let thy 
lbot^tep6 follow," in which Miss Banks and Mr. Santley were associ- 
ated. 

The concert-room was crowded to the doors. By the way, as *< an 
interval of five minutes " is allowed at the end of the symphony (which 
usually begins the concert'^ would it not be advisaUe to keep the doors 
closed dunng its entire performance ? Those who don't care about sym- 
phonies (a small minority) can surely derive no gratification from dis- 
turbing the attention and otherwise incommoding those who are dif- 
ferently disposed. Th<) draughts and the continued annoyance of 
people going in and out on Saturday were intolerable, sadly interfering 
with what should have been an unqualified ei^oyment. 

At the fifth concert (to-day) the symphony is one of Mozart's ; the over 
ture Schumann's ( Oawveva), A selection from Franz Lachuer's orchestral 
tuiU composed for the Munich festival last year, is also included in 
the programme. The singers are Misses Louisa and Susan Pyne. 
During the promenade after the concert, and when the nalace is lighted 
up, the visitors are enlivened as formerly by Mr. James Coward's 
excellent performances on the Handel Festival organ. A more agree- 
able means of passing a winter afternoon, in short, oould hardly be 
imagined than is now provided every Saturday at the Crystal Palace. 



STOCKPORT CHORAL SOCIETY. 

(Report of the Sub-CommUUey 

TO TBI OOMMITTSB OF THB WTOCKTOVLT CHORAL SOOnETT. 

Gemtlemen,— Appointed by you. a Sul>Coiumttee, to Inipect 
and Catalogue the Libraiy, ve oeg to preie&t the following 
Report: — 

** At the formation of the Society in 1840, the want of a Libraiy of 
Music was a great bar to its progress. At that time, music in a printed 
form was obtainable only to a very limited extent. Thus the means 
for practising those compositions by the great masters (for which the 
Society was established,} were chiefly from manuscript copies, compiled 
at great cost and labour from score copies, mostlv published in the last 
century. Tliese copies were more or less difficult to decipher, aoeord- 
ing as the skill in writing, or musical knowledge of the writer (mostly 
an amateur^ served him to make them intelligible, and often the 
various marks of their expression, dipc, were altogether wanting. Too 
much praise cannot, we think, be given to the zeal and determination 
displayed by the writers of this music, to make the most of the means 
at their disposal. The quantity of this writine in our own, and more 
especially in the Librair of the S.8.S., to wmch the Society has had 
access, is prodigious; and remains a lasting proof of the devoted, patient 
industry of Mr. Leech, Mr. Mayer, Mr: Oldham, Mr. Bently, and others, 
to whom the town was at that time indebted for what was known of 
those sublime compositions. 

" Still, the superiority of 0>roperly edited) printed music over manu- 
script was so obvious— and Mr. V. l^ovello, Mr. Surmann, and others, 
having already commenced issues of Oratorio and other music in a 
greatly improved style of printing, the Committee of the Society at one 
of its firbt meetings decided to purchase only printed music. This resolu- 
tion has been as far as practicable adhered to, and has resulted in the 
purchase from time to time of the present superior library. The de- 
light of the members, when these splendid copies (printed with all the 
clearness and comprehensiveness of modem musical notation) were put 
into their hands was unbounded; and as thoee great compositions, 
which, before that time, could rarely be heard out of London, were, 
one after another, performed by the Society, the advance in musical 
proficiency of the members proved, most conclusively , that on its 
libraiy must greatly depend the position of any musical society. It is 
especially gratifying to thoee whose efforts have been directed to the 
purchase of this music, that, as works of art in printing, they have not, 
up to the present time, been surpassed. The music on the shelves of 
your library is second to none extant in beauty and correctness of 
workmanship. It is a collection of iSacred Music so rich and varied, as 
to be at once a source of pride to the members of the Society and a 
pleasure to any musician inspecting it. 

** The library at present consists of eight complete oratorios by Handel, 
viz., The Meeeiah, Judo* Maeeabeui, Satneon, Jothua, Jtrael m Egypi^ 
Jephthoy Ueborah, and DeUingen-le-JDeum ; six works bv Mendelssohn, 
viz., St, Paul, EOjah, Hymn o/Praite, ChriHui, the lliih Pealm, and 
Praite Jehovah ; by Haydn, The Creation, Seaeoiu, Third Hate, Fifth Mate, 
and the 3rd, 6th, 6th, 7th, Sth, 10th, and I2th Symphtnim: by Mozut, 



Tlu Firtt and Twelfth Maetit, and Praite Jehovah ; Kent's Anthemi and 
Services complete ; separate pieces for full orchestra by Handel, Beetlu 
oven, Hummel, Haydn, and Novello ; senarate instrumental pieces, fte., 
by Handel. Selections from Horsley ana Ulijah ; Farrant's anthem— 
** Lord, for thy tender mercies' sake ;" and 26 score copies of various other 
works not yet purchased in an orchestral form. These are all detailed is 
the accompanying sheets, and present a list of 19 full scores, 65 orgu 
scores, 74 hand scores, 1488 vocal parts, mostly stitched, 1187 isitn- 
mentsil parts, do., and 263 various manuscnpt and printed. Onnd 
total, 8086 copies, besides a number of small copies not enumented." 

•«BUMJIAaT OP PEOPEBTT BBLONOIBO TO THE 80CIBTT, IW, 
WITH AMOUNT OF VALUATIOK.'* 

£ t. A 

Library M ptr itatement 34S U S 

2 Drama, Bossi, CoTttrs, Aoc 2S IS S 

Doable Bms, Boir, ao ^..... 12 S S 

Llhntry CapboerdsJMl SeoNluir'SDrairtr .................. S IS S 

Sundry property 3 S 

£9S1 IS S* 

'* With the exception of The Meteiah and Judat Maeeabcau, iU 
whole of the ipusio may be said to be in good condition. The two 
named are partially worn out, and the same may be said of some of 
the detailed sheet music : but the bulk is securely bound and espsUs 
of much wear. Many of the hand and some ftiU scores reqaira 
binding, and we would recommend a uniform style of binding sod 
lettering, so that when in their places they may be easily known, k 
conclusion, we believe the library comprises nearly eveiy oratorio thst 
up to the present time has attained any degree of ceLefarity, sod v« 
earnestlv hope no ofibrt will be spared to maintain on itsshelvefsi 
full and complete a selection of sacred music as the funds of the 
society can compass. Jambs WHrriKnt, Hony. Swj. 

M. Bbswiok, Librarian. 

T. jAaiuif, Assistant da" 

At the half-yearly meeting, hekl January 26th, 1864, it vai 
unanimously resolyea that the report noir read, as to the oonditioi 
and number of works in our library, be adopted and entered oa 
tiie minutes ; and that the best thanas of the society are due, sod 
be cordially given to the Seoretary, Messrs. Beswict, Alcock, and 
Jannan, for tiie manner in which they hare executed a tgcj 
onerous duty, and for the Taluable report and atatistics which 
th^ hare presented. 



Reioats. — (From a Corrupmkdeut), — ^Mr. Thumham's ooocsrt 
in the Public Hall was attended by a Tery nomeroiu ami brilliaDt 
audienoe. The chief attraction was Madame Arabdla Goddsni, 
who was associated wHh Mioi Fanny Armytaffe, Mr. Montem 
Smith and Mr. Renwick, Tocalists, and Mr. U. Blagrove, ^r. 
Zerbini, Mr. R. Blagrove and Mr. Aylward, instnimentalBlSi 
Madame Goddard — an artistic Queen at Reigate— was received witli 
extraordinary favor. Beethoven^s erand trio in C minor (Madsms 
Goddard, Mr. H. Blagrove, and >Ir. Aylward) was played to 
perfection, listened to with breathless interest, and at the end of 
each moyement apolauded with genuine heartiness and unaaimitr. 
A duet by M. Thialberg and De Beriot (HuguenaU) was splendidly 
executed by the acoomplished young English pianist and htf 
eminent polrtner (also English) Mr. H. Blagrovei Madame An- 




ally encored by the whole audience. Miss Fanny Aimytsge rm 
very successful in *^ Jenny of the Mill," and a new and channiD^ 
ballad by Mr. E. Thumham ('' Let her depart *'--with o6%G/tf 
accompaniment for violin)— both deservedly redemanded. Mr. 
Montem Smith and Mr. Renwick eadi made an imprassion— the 
former in a sonff by Mr. Henry Ease (encored) the latter in one by 
Mr. A. S. Sumvan. Spohr^s genial string qusrtet in G rsaax 
(95) led by Mr. Blagrove, was given in the course of the ooncot, 
which began with a trio from Stemdale B^onett^s Jfa^ Qs^i 
and ended with another from Balfe^s Bohemian Girl. Hr. 
Thurnham accompanied the vocal music on the pianoforte with his 
accustomed ability. Altogether the concert was one of the most 
attractive ever held at Reigate. 

M. Fbederic HonfEiSTEB, the wdl-known publidiflr of Leipoc, 
died recently, aged 83. Mr. Hofmeister was one of the earlt 
publishers of Beethoven*^ works. 



Digitized by 



Google 



November 5, 1864.] 



THE MUSICAL WORLD. 



717 



Haboatb. — An '* amateur oonceri/' given at the AaaemUy Rooma 
in aid of the Home for Motheriees Girlg, was very mceeisful. Mn. 
Francis Talfourd was the attraction among the lady amateurs ; and an 
excellent singer she proved herself by her delivery of Blumenthal's 
** The Message" (rendered so popular by Mr. Sims Reeves), and Mr. 
Agui]ar*s song, *' The Appeal.*^ Mrs. Talfourd also shone as a singer 
of operatic music, and in •* Casta Diva" received suoh applause that 
she was obliged to repeat it. The other lady amateurs were Mrs. 
William Crockford, who sang " The three fishers," and Miss Cooper, 
who gave ** Home, sweet Home," and afterwards appeared as pianist 
(being a pupil of Mr. Aguilar) in a Tarantella by Stephen Heller, 
which being encored she placed ** Les Ailes" by Blumenthal. The 
ffentleman amateur was Mr. F. Hodses , a flautist, whose execution and 
brilliancy of tone was favorably displayed in a solo by Tulon ( * Thtoe 
de Mayseder") which obtained Uie honor of an encore. Signor 
Ciabatta in the concerted vocal mmdo was invaluable; and Mr. 
Trelawny Cobham sang Reichardt's lied, ** Thou art so near and yet so 
far," with ^nuine f*feling. BIr. Aguilar, pianist, played his new 
fantasia on airs from Faust ^ his new galop *' Couleur de Rose," and his 
fancy-piece called •*' Dream Dance." The concert ended with a 
quartet, from Martha, sunff by Mrs. Francis Talfourd, M'-s. W. Crook- 
ford, >lr. .Trelawny Cobham and Signor Ciabatta. The conductors 
were Mr. Aguilar and Mr. Louis Wright. 

PaisroN. — Mr. Norwood's first subscription concert was given in the 
Theatre Royal on Thunday evening. The boxes were filled with the 
Hits of Prctfton and the neighbourhood. The programme included 
madrigals, glees, songs, solos, duets, &o., and the singers were Ifiss 
Wells. Messrs. Baxter, Ciimmings, Land, and Winn, of the London 
Glee and Madrigal Union. Herr Liddel (violoncello) was the solo 
instrumentalist. " Slumber mine own," sung by Miss Wells, elicited 
an encore, as also did the " Htrike it up, neighbour," by Messrs. 
Baxter, Cummings, Lacnd, and Winn. The duet, «' Swift flows the 
sea," was well given by Miss Wells and Mr. Cummings. A sons, 
entitled ** The leap year," effectively sung by Mr. Winn, was encored. 
The serenade, ** Maiden fair, 0! deign to tell," sung by Messrs. 
Baxter, Cummings, and Winn, was also encored. The catch — 
<• Would yon know my Celia's charms," was given with excellent 
effect. 

Mb. C^bobob Teddbb flnve a morning concert on AJtonday at the 
Agrioultunl Hall. Mr. Tedder sang the Barcarolle ** La Donna € 
MobUe " (RtgoUtto) and *« The Red Cross Banner " with hisu&nal spirit, 
and was warmhr applauded afier each. Muses Rebecca Isaacs, Leffler, 
Mina Poole, Lotti and Ellerie, Blessrs. Cart, Turner and Leonard 
Walker were the other singers. Mr. Walker was encored in *> Largo 
al factotum " and '* Chi mi dira" {Martha). A solo on the Saxophone 
was played by Mr. Schallehn and some solos on the organ were intro- 
duced ij Mr. C. Wenbon. The concert was highly successfuL 

NEW MUSIC RECEIVED FOR REVIEW. 

T«Bsn»«B (At* MarU lAne).~"Chrl«tmM Miattrels j ** by Joseph WUIImm. 
AvoBirta * Co. — ** Hints to Perfonncrs on Musiosl iDttraments,** by L«o 
KsrboMh. 

* . ,. 

DR. STOLBERaS VOICE LOZENQE, 
For iBTlgontiikg and enriching the voice, and removing affeotioni 
ftom the throat, 

rAS mainUuned its high character for a quarter of a 

o«ntary ; Mid the flattering tesiimonUIs received from Ortit, Persian, 
• I and many of the Glergry and Statesmen fally*establiah its great Tirtues 

No Vooalist or pttbile speaker should be -without it. To be •buined of all 

Whoiesaleand Retail CbemlsU in ths United Kingdom. 

TABANTEIiliA, by WAIiTEB MAGFABBJSIT. 

n^HIS popular Morceau for the Pianoforte; played with 

X suoh distinguished success by the Composer at his Concerts at the Hanover 
Square Rooms, is published, price is., by 

Duwus Davisom M Co., 344 Regent Btrsst, W. 

Just published* price 16s., 

SONATA, 

No. I,ft>rttM 

PIANOFOBTE AND VIOLIN (In Score), 

DKDtCATBD TO 

HER IMPERIAL HIGHNESS PRINCESS WILLIAM OF BADEN; 

COMFOSBO BT CHARLES FOWLER. 

London : DimoAir Datisoh M Co., 244 Regent Strset, W. 




CHAPPELL & Co.'s 
KENiLWORTH. 

NOW READY, 

The New Cantata composed for and perrormed at the Bir- 
mingham Festival. Words by H. F. Ghorlet, Esq. Music 
composed by Ahthor Sullivan. Price complete 128. 

TBI FOLLOWIKO ABB POBUSBID SBPABiLTaLT :— 

I have Slept beneath the Water - 2s. 6d. 

Sung by Madame Shehrinotom. 

I am a Ruler on the Sea - - 2s. 6d. 

Sung by Mr. Samtut. 

DUET— How sweet the Moonlight 
Sleeps - - . - - . - 38. Od. 

Sung by Mr. CuiooNas and Madame SHERBraoTOM. 

A Brisk Dante, fbr Pi&hoforte Solo 2s. Od. 
A Slow Dance, ditto ditto - • 2s. Od. 

MW PIAIITOFORTE PIECES EROM 

" FAUST/' 

Callcott's Beauties of Faust, 1 & 2 
each - • - - - - 5s. Od. 

Callcott's Beauties of Fanst, Duets 
each - - - - - • 68. Od. 

Callcott's Eermesse Scene, con- 
taining the Celebrated "Old 
Men's Chorus," as a Duet - - 38. Od. 

Callcott's Soldier's Chorus - - 3s. Od. 

As performed in the Opera. Duct 3e. 6d. 

dsbome's Grand Concertante Duet 

for two Pianofortes - - - Ss. Od. 

Osborne's Grand Concertante for 

two Performers on One Pianoforte 6s. Od, 

Benedict's Morceau de Salon - 4s. Od. 

Favarger Fantasia - - -48. Od. 

Ascher Pensee Dramatique - • 4s. Od. 

CHJLI^X^EXiXj <Sc CO., 

60, NEW BOND BTBEET. 



Digitized by 



Google 



784 



THE MUSICAL WORLD. 



[NoTember 12, 18S4. 



NEW MD POPULAR 

V OCAL MUSI C, 

EESM SMART. 

WOKM BT a. D. 

The sailor hofs mother. Song. Fr^erio Enoch 2 6 
The first nightillgale. Song. . Frederic Enoch 2 6 

The star among the flowers. 

Song. Frederic Enoch 2 6 

The swBkllow came again in 

spring. Vocal Dnet * . Frederic Enoch 2 6 

The fisherman's welcome. Song v. w. EUb 2 6 



WILIELM GMZ. 



Sing, birdiCi sing 

Sung with Tmi 



. Zeik 3 

•aooetf by Maojjis Pabkpa. 



J. L EATTOir. 

The old brown Bible- Song. B. S. Montgomery 2 6 

The elf of the rose* Song . B. S. Montgomery 2 6 

The cross of oak. Song . B. S. Montgomery 2 6 



NEW SONG 



B7 



UeilEL" 



CHARLES SALAimr. 

As I did walk one summer's 

day- Song . Anon, 17th century 3 

Sang by Man Labckllks. 

T'amo d'amor doldssimo. Romansa . .26 

Compoied expressly for Haoaue Fabbfa. 



BOTTOU SUTH. 

Fallen is thy throne, Israel. 

Sacred aong . . Thomas Moore 2 6 

Bird of .the wilderness. 

' Song . . ' . The EUrick Shepherd 2 6 

Meny bird ! Merry bird! Frederic Enoch 2 6 

SG0TS0I7 CLARK. 

Those blight e^es. Ballad . . Henry Henee 2 6 
Sung with great saoceis by Mm BotE Hsbru. 



J. ¥. CHERRY. 

The sister's return. Vocal duet . .30 

Elfin revels* Vocal duet ' 3 

Hark! there's music stealing. Vocal duet . 2 6 
Silently, silently over ihe sea. Vocal duet . 3 o 

LOJSSDOJH: 
ASHDOWN k PARRY, 18, HANOVER SQUARE, 



Take hack the Heart 
you gam, 

SONG, 



BY 



66 



CLARIBEL." 



PBIOB 9«. 



This Song, one of four just pab- 
llshed) will prohaUy beoome man 
Popular than any other of the same 
Author's Compositions. 



LQMDOK: 

BOOSET & CO., HOLLES STREET. 



Prtatoabgr 



BAit, am FVToi, at No. S3, B«rMn Btra*, Oxftid 

"^'-^ IV WauMc pmui DtATiMa.at Sm Ofl«b IM 



In the ParMi oT Marytoboot, to tlia C«air of 



Digitized by 



Google 



tht 



nsial 




^Tm wosm or Abt appbabs xoct bmuimi t or UvaOf watx ir biquibbs bo iutkblu^ bo fUBjBor-iUTTBBt whosb mmct 
wsn BB VKDvcno: n is wholly iobic abd powbb, abd iv baiuh abs bbboblbs wbaxbtxb it BxnuBasipi,'*— (7^A#, * 

SUBSOBIFTXOSr. iPltXB SY 1P08T, SOi. FBB ANNXJK 

P«jaH»te adFWoe bj OaiUi or FoBi-dflUie Oriev to DUHOAH DAVnON * €XX,SU> B«ff«it Btveol. London W. 

IBegiitindfir Trantnuuhn Abroad,] 



Yok 42->No. 46. 



SATURDAY, NOVEMBEB 12, 1864. 



{«.?, 



iSd. 



HBB XAJBSTT'B THEATBB. 

Soti lUiAan AID DnieroB, Hb. W. HJLRRI80K. 

JItoi LooMf/m, UftduM Knonn, Mr. Sos Rnris, Mr. Oabcu, Mr. Mabobbii, 

iBi W» MBTLir, (betiif pOfltlTtly lUi last ap p — wn e M in Boglud pttrlou to 
;lili d0|«rtiii« ftv BAToaliMM.) 

AB&ANGSMBNT8 FOR TH8 WEEK. 
Oo MOMDAT, and Brwry Brtning dvrinf tiM Weekflht perfbrmuMi vUl 

**TOU KNOW WHO." 

MlM S. BofTM, Mr. J. Roroa, Mr. TnioR, and Mr. G. Hoxir. 
MOVDAT, WEDmCBDAT, and FRIDAT, Terdil Graad Opera, 

••TEAVIATA." 

TloUtte, Madam* Xnssni, AUnd, Mr. Swift, and GannoBl, Mr. Baxtlbt. 



TQBSDAT, THURBDAT and SATURDAY, Gounod*! Grand Opna, 

"PAUST." 

MMrfarttit Mtaa Looiba Pnn, Valenttne, Mr. GiaaA, Mephiitopbdet, Mr. Maicbul 
Faiut, Mr. Suet Rbbtbs. 



CoBdnotor-SioxoB ARDITL 



Mmr$irmtiiMa^'§tMMx, C o m m mm mt 



OpirmaiJUgki, 



PrttataBom, fromlOktd.; 8<allB,Yt.; Dnaa Clreli,ft.i VIrrt CXx«la,4i.t 
Uppar Bosoi, St.; Pit, Sa. 6d. : OallenTi IJ. 

KaOOoaopMdailir from Tea un FIT*. TIekeCs may be had of all ill* prinelpal 
Miuie PvblialMn and Ltbrariea. Mo eharge tot booking plaoea, nor ftea toboz-keepen 

01 on oil! 
THE CHRISTY'S MINSTRELS, 

AT ST. JAMES'S LOWER HALL, 
(fob obb month oblt), 

Brery Brtning, a t 8 o'dock; SatartUty Aftemoong, at 8- 

The CemiB Soene of 9ooral Mae DiU Dairell. ha*k« been reeelTed with raptarons 

a ppl a n ee, will be repeated erery ereBlog this week. 

Mr. RncBif wU alBB «« 8»ow nmte Bteaeomi,** and •« Happy be Thy Dreami.**: 

Mr. Hbbbi wiU i io« «• Toll the Beu7 : 

Tiekali la., ti., ai., and 6a., to be leonred at Autln'k Tieket-^HBoe. 81 Jamea*! HaU. 

T. W. Matthbwi, Beeretary. 

IT is re s pe ctf ully annomieed that tbe following eminent 
ArtistB wlD make a PROVIVOIAL COKCERT TOUR daring tbe montht of 
iMry and Fihrwary next :— 

■edftme TZOBUVOnVZ, 
Prima Donna AaaohiU of the Lloeo Theatre, Barcelona, 



Siagerln 
MiJ-ty^ 



.^UIMHiitabiaMfWMd 



lUdeiBoiBeUe XiZHBHABT, 
I vad Prima Donna der K. K. Hofoper, in Ytenna, and Her 
[«ety*a Theatre; Her first appearanoe in the Prorinoet. 

TEMOR: 

Signer AKBONBTTI, 

Hit first appearance in the ProTinees. 

:baritone : 

Mr. WINN. 

CONTRA.BA880 : 

Stgnor BOTTB8INZ. 

C0RKBT.A-PI8T0NS : 

K. LBVY. 

PIAXOPORTE. 

Xr. J. L. HATTON. 

to Mr. Sbbttabp, 4, Coborg Piaee, BBjiwater Road, W. 



ROYAL ENGLISH OPERA, 
COVJiNT OABDaV, 

(Of ERA COMPANY. LJMITEO.) 

ARBAKGSMENTS FOB NEXT WEEK. 

Ob MORDAT, Vow, 14« TUESDAY. THURSDAY and SATURDAY aol^ 
Madhrrenls new and highly sacceasAil Opera, 

heLvelltn. 



by Madame LBBMBxa-SaBBBorwrov. Mr. H. HAiOfl^ 
Mr. A. Lawbbmob, Mr. H. Cobbi and Madame Pabbta. 
OoBdaoCor» Mr. Altbbd Mbllob. 



On WEDNESDAY and FRIDAY next, Bellini's Opera, 

LA SONNAMBULA 

Amina, Mdlle. LnrAB Mabtobbllb (firom tbe Operas at Barcelona, Madrid, Ac. (he 
first appearance at the Royal English Opera): lata, Mies Flobblla Ilubo 
wobtb ; Theresa, Mrs. Athsbbt Coobs Oonnt Rodolpho, Mr. Wbim; Altpslo* 
Mr. ArasLBT Coox ; Notary, Mr. C. Ltall; and ElTino, Mr. Cbabuw Aoamb 
(his first appearance in that character). 

After which the second, and third. Acts of Anber'a oelebrnted .Opera, 

HASANIBLLO, 

In which Mr. W. Coatbs will make his first appearance as Maaanlello. 

Stage Manager»Mr. A. Habbis. Actfaig Manager, Mr. J. Rombll. 

OoBUBBQoe Bipeary Breniog at HJaUbve** Bewen. 

THE QUEEN'S CDNOEBT BOOMS, Hawver Square. 
These fhshlonable .ROOMS maybe ENGAGED for concerts, balls, besaars, 
wedding breaklksts, Ac. Ladies or gentlemen propoeing to nse the rooms are 
r eg o eete d to be early in making appUcattoa, in order to seenre them ibr the day or 
days desirsd. For terms, Ac, apply.to Mr. Payne, at.the looms-^By order of Robbbt 
CocXB, Proprietor. 

* MAD. D'E8TE FINLAYSON, 

From Mr. Oerman Beed't <' Opera di Osmera,*' 

WILL be prepared to aceept engagements for English 
Opera. Oratorio, Concert, Dinners. All oommnnications to be ad di s as s d — 
Priory Honsa, St. John't Wood. 

MB. BBINLET BICHABDS 
EOS to annonnoe tliat he has BEMOVED from Tor- 

rlagton Street, and reqaeata aU Letters to be addressed to his Resldeooe, 
No. • ST. MARY ABBOTrS TERRACE, KENSINGTON, W* 



B 



WILLIE PAPE, of Alabama, visits DYtrnfries, Oeatia 
Douglas. Ki^endbright, Dundee, Aberdeen, Glasgow, Edinburgh, Pforith, 
Liverpool, Litchfield, Leamington, Banbury, Lynn, SaDdringham, Norwich, Pen. 
■ince, Traro, Plymonth, Torqoay, Exeter, Sldmonth, up to 16th November, lie then 
TlsitsBellhst,Armagli, Dublin, Ac For engagements, plea '" ' 



London, W. 



B addrem 9 Soao Sqoabb, 



TO TBAOHBBS Ol* IiAKGITAaXS, MUBZC, Aea 

A HANDSOME DRAWING ROOM and RECEPTION 
ROOM, with use of Graod Pianoforte, Fire, and Attendance, can be had fiir 
^▼iog Lessons daily firom 10 till 4, in a private House near Charing Cross Railway. 
Cards to view can be obtained at DAvnox'a Music Warehouse, 244, Regent Street, 
No advertising party received. References to be exchanged. 



TO OBGANISTS. 

ADEPUTYSHIP WANTED by an Organist of some 
experience. He requires no remuneration. P. P. OSloa^ "Mnskal Wcrld,** 
244, Regent Street, W. 



TO C0MP08SB8 ABOUT TO PUBIJ8H. 

;«0 MUSIOSELLERS, COMPOSERS, <&g. — Works 
Snnaved and Printtd, in the best style, at very moderate prlcea, by 
BOWCHER,SUttleMar{bcroiighStieet. r -^ # 



Digitized by 



Google 



720 



THE MUSICAL WORLD. 



[November 12, 1*61 



irBS. CAMPBELL BLACK, VocaliBt (Pupil of Dr. 

JVL F«iiicit BowjwoH, VICM Choral of the Cathedral of ChrUTs Choreh and 8t. 
Tairiek't, in the City of Dublin), tliift In Italian, German and French. ^ She •Inf • 
S^all !he popular fengUtlK ScStchVWnd W.h rfelodlee, and luu «!««»"/ •^"dled 
laered Mutle. Mrt. Campbbix Black aooompanles hertelf on the Harp, Pianofrtrte 
a«d Guitar. All oommnnlcaUonB respecting engagemenU to ting at Concerto, *c., 
to b9 addreuad to her at t Well Walk. HametWMl, N.W. _______ 



M 

wiiTc 



RS. J. HOLMAN ANDREWS begs to inform her 

puplU that her Solr^ for the practice rtT Vocal concerted music 
Thnrsdar. November 17tb, at her residence. 60, Bedford Square. 



fnrttu 



R8. MEREST has returned to Town for the season 

Addresa all appllcaUons for Oratorlot, Concerto, Soirees, Vocal Classes, and 
Pupils, to T, Adelphl Terrace, Strand, Londoo. 



jt.^n:a 



ADAME RUDER8D0RFF has returned to Town from 

Italy for the laafoa. Atl Engagemento to he directed to 16. Wellington Road, 
Wi»d. . , 



m 



ISS ROSE HBRSEaS will sing " Tiw Knight and 

na lUiDBV,** oompoced by Ejou Bkbobk, at Leicester, Korember 28Ui ; 
alvortb, Morember »th. 






B. WILBY COOPER begs to infonn his friends and 

tte Bfuiioal public that he has returned to Town, and that all Commanica- 
fuapecUng Concerts, Oratorios, Ac., should bear his new address, 68, Richmond 
,W«tboi ^ •" 



BMd, Wastboor^ Qroye, W. 



M 



B. IMSACON begs to anBOunce that he has returned 

to Town Ibr the 8<Mon. It, WImpole Street, CaTcndish Square. 



MB. VAN PRAAG begs to announce that he leaves for 
the Continent for a short time. All claims and debto to be forwarded to the 
on* of Messrs. Duvoax Dahsov, * Co., S44. Regant Strwt. 



s 



IGNOR SCHIRA has REMOVED to No. 60, 

Otooeestcr Place, Portman Square, W. 



Juit Published, price Three Shillings. 

E. DE PARIS' **AZALIA," 

MARCHE.CAPRICE. 
London : Mbt^kb A Co., 35 to 38, Great Marlborough Street, W. 

HENRY SMARTS ' 

"BRIDE OF DUNKERRON:" 

A DRAMATIC CANTATA. 

Pianofirte and Vocal Seort, hMuhomOif b<mnd, with iUuttrated 

TiUepage^ 18f. 

Tht ChoTBi and Orchestra Parte can be supplied to Bootettet on moderate terma, 

or leat ibr the occasion. 

MniLiB * Co., 36 to 38 Great Marlborough Street, LondoB, W. 



HENRY SMART'S 
«'BBIDE OF DUNKEBBON/' 

Tha FnU Orokaatral Score will be published as soon as a sufficient number of 

Subscriber^ names arc aent in to the Publishers. 

Prif to SiMctOtri, 16a ; to Jkn-JBiibierannj aif. 

MiTZLta A Co., 36 to 38 Great Marlborough Street, London, W. 



Price 3d. ; by Post, 4d. 

rPHE CHOIR AND MUSICAL RECORD for Novem- 

I bar contains :— NoUces of Choral Fsftirals, Berlewi, and the Musical News of 
tha Month, with 
Nicjaoow, FOUR PAGES OF MUSIC. 

M o happy he who lireth,** a Part Song of the Sixteenth Century, adapted by E. F. 

XnCBJULT, LL.D. 

AAieriptiMt am commtttee ai a»y Hmi, 

•-• Hottoc-On Dbobmbbb Ist will be pubUshed a DOUBLE CHRISTMAS 

NUMBER, ffftntalMng EIGHT PAGES of seasonable Music, fc. Price 6d. 

Mrslib * Co., 36 to 38 Great Marlborough Street, W., and of all Book and 

Music-sellers. 



iJast PnblUhed, Price Two SlillUngs, 

"INTS TO PERFORMERS ON MUSICAL 

INSTRUMENTS played by the touch of the hand, by Leo Karbusch. To 
ha Ead of Messri. Avoeiibb A Co., b6, Newgate Street, City. 



Just PnblUhed, price Four Shillings. 
B. DB PARIS' FANTASIA ON SCOTCH 
''LOCHABER NO MORE," Ac. 

Lcndon : Auq»kb A Co., 86, Newgate Street, City. 



AIRS, 



70BK OATBBDBAIi. 
TT7ANTED for the Clioir, a High Tenor Voice:— 

VV Salary, €86 a year. 

Also a Bias Voiob :~8alary commences at £70 a year. The duties arc. at tand sass 
at the Dally Serrlce, Morning and ETcnifig, and at all Rehearsals required by the 
Choirmaster. App.icatioo, accompanied by testimonials as to cbar^oter^nd asaaieal 
qualifications te be addressed to Dr. Most, Minster Yard, York. 



THE DAVENPORT QUADRILLES for the Piano. 
Compoa«d by Stbtsbv Olotbb. Finely illustrated, 3s. 

THE FAVOURITE DRAWING-ROOM PIECE of 
the DAT.— chant DU BIVOUAC, pour piano. By E. Kbttbbbb, as. 

THE CUCKOO SONG. Words by Georgb Linlrt; 
music by FBahz Abt. Sung with wonderfU applause by Mile. Liefahart Sa 

RIGINAL OVERTURE in P minor (for fnli 

Orchestra). Composed and arraoged team tha Score aa a PIsAoiBcIa Daai by 

BaiHLBT RiCHJUUtS, 6s. 

T70CAL DUETS.— A CATALOGUE THEMATIQUE, 

V gratis and poet firee. of sixty popular duete for two Toioes. By tbc Cocsposar 
of " What art the WUd Wates -Saying." 
Apply te RoBBBT Cocks and Co., New Burlington Street, W., and all Moaleielkra. 



0' 



Just Published, price Four Shillings. 

DANISH FANTASIA FOR THE PIANOFORTE 
on tha NaUonal Air, **£T BONDEBRT LLUP," ^thaiBridal We lc o »a} , 
composed by Willbm Coxaav. 

London : Dpxour, Datibox, A Co^ 2U, Be^t Street 

JoctPubUihed, 

<< HABK, THE BEUjS ABE BINOINO/' 

NEW 80NQ 

bt 

HENRY SHABT. 

The WoitU by W. H. BELLAMY, Ek}. 

Companion te 1^ celebrated ** LADY OF THE LEJL* 

Sung with great aacoeas by Miss Florkkob Oe Coobot, 

at Mr. Howard Glover's CoDoert. 

Price 3s. 
; DWOAV Dat»ok a Co., 9U Regent Btxeet W. 



KAIDSN. 



>f 



Just published, price 3s., 
With a Portrait of MISS BOSIB 

«<THE KNIOHT AND THE 

POBTBT BT H. HER8EE E8Q.1 

Mvsio ar KMILE BERGER. 

««Tha long, 'The Knight and t^ Maiden,* by Mifts Role Hariee, aal w^ a 

raptoroua ehcdre.^ 

••Miss Rose Henet'i voice is sUTcry and clear; her IntonatSon good; and har 
execution very reflned.**—rorl«Mr« Oatett*, Sept. 10, IMi. 

DuBOAji Datisov a Co., S44 Regent Street, W. 



Just published, price 3s^ 

"L'A'MOUB," 

REVERIE POUR LE PIANOFORTE. 

Pab 

FREDERIC B08C0VITCH. 
Londoni Duioax Datuov A Co., 144 Beffsn Strteel, W. 



Just published, price 4s., 

JE VOUDBAIB ETBE, 

ROMANCE. 
AVEC ACCOMPAGNEMENT DB 

H ARPE, 

PAROLES DU CHEVALIER DE CHATELAIN, 
MuswtJE DE CHARLES OBERTHtTR. 

Op. 190. 
London: Dukcih Datisoh a'Co., 3U Regent Street, W. 



New aiid Rbtisbd Edition. Price 12«., 

THE VOICE AND SINGING. 

(The formation and Cultivation of the Voice for Singing). 
BT ADOIjFO FERRARI. 

•• The great and deserved success of this work has brought 1^ In «»J«3[ J*"^ *• * 
second efitlon, careftiUy revised, and enriched with a number of additional i 
which greatly increase its value.-— -/WaJiral**! ifetcs. 

London : Dcxcax Datis^s * Co., 344, Regent Street, W. 



Digitized by 



Google 



Noyeqiber 12| 1864.] 



THE MUSICAL WORLD. 



721 



BEVIEWa 



<<C. M. WEBEB'S BIOGRAPHIE." 
iOnUinutd from Pagt 606.) 
On the 26th May, Schinkel's new theatre was opened with a 
Prologae by Goethe ; that aatbor^s Iphiasnie; and a pretty ballet, 
inTented by the Prince of Meddenburgh, and then, after the per- 
formanoe of I£3and*8 Jdger^ Sohrbder'a Unglacklicke Ehe^ A>me 
■mall pieoea by Kotzebue, Ziegler's Hausdoctor^ and several repe- 
titions ai the Prologae, closed on the 8ih June, that oertain un- 
S!oyenients might be introdaoed into some of the stage-maehinery. 
n the 12th June, everything was completed, and Der FreUchuu 
quite ready for production, when Bruhi received the Royal com- 
mand to pla^ CHymitia^ on the ISth and 15th, because tlie king 
wished his visitors, the Prince of Anhalt-Pless, and the Duke (3 
Cumberland, to see that magnificent spectacle. Der Freischuiz 
was, thereforejpostponed till the 18th. In this, Weber saw a 
good omen. The 18th was the day of the battle of La Belle 
Alliance, and he, too^ now stood aimed and ready to do battle 
with the foreigner I 

He took axhrantage of the delay, by having two more full re- 
heanak on the lith and 17th, that on the latter di^te hurtdng quite 
five bomv. The evenly baknoed e(mdition of Weber's mind pre- 
viously to the production of Der FrtUchstz was something won- 
derful His fri^ids remarked it with astonishment. The strongest 
poof that can be given of the undisturbed tranquiDi^ of his feel- 
ings is the fact that, on the morning of the 18th «fane, the day 
on whjch the great question was to be decided, be sat down to his 
desk, according to his wont, and composed for two hours, com- 
pleting the gruid ^* ConoertstUck^' in T minor. With an air of 
delight he brought the manuscript, hardlv dry, to his wife. She 
bad just ieeovered from a slight indisposition. Benedict was with 
her. Weber took his phuse at the pianoforte, and played them the 
*' Conoertstttck '* through, from b^inning to end, with great 
spirit, accompanying his performance with the following commen« 
tary in a loud voice : — 

** The lady of the csstle rite on the balcony.— She gazes sadly out 
into the distant landscape.— The Knight has been, for yeSrt, in the 
Holy Ijand.— Will she ever aee him again?—- There have been many 
sanguinaiy battles. — Ko tidings from him who to her is everything. — 
In vain are all her pcayers to Heaven, in vain is her yearning for ncr 
Lord. — Suddenly the beholds a feurful vidon. — He lies upon the field 
of battle— deserted by his own party — ^his heart's blood is flowing from 
hit wound. — Ah ! could I only be by hu side, and, at any rate, die 
with him!— She sinks down conacionsleBS and exhausted. — Hark I 
what sonnd was that iar away ?— What glitters near the wood in the 
son?— What is tliat anproaching nearer and nearer?— The stately 
Knights and Squires ail with the sun of the croes-^and waving flags 
i— and the shouts of thepeople—^and yonder — ^it is he !— and now she 
rushes into his arms. — What a real store of love— what endle«^ inde- 
scribable happineas S— What Joy rustles through the branches and 
murmurs through the waves— annonndng, with a thousand voices, 
the triumj^ of true love." 

This hour in which the master thus opened to the glance of 
hia two auditors the very inmost veoeBeei of his heart has never 
been forgotten by either. Weber would not, however, have the 
above woras printed as a ^^ programme " for his *> Coneertstttdc *^ 
in F minor, but simpty corroborated them with a friendly nod 
when Benedict' showed him what he had written down from 
memory the same morning. 

Four hours previous to the opening of the theatre, a compact 
naas besieged the doora. It is impossible to conceive how badly 
planned are all the approaches to the buildinf^, and it was entirely 
doe to the admirable precautions of the nohoe that, with all the 
fearful poshing and struggling when the aoois were opened, there 
-were only do&es tcnm, and a few slight pinches received. The 
pit was crammed, presenting a serried mass of heads, youthful 
intelligenoe, patriotic fire, and enlightened opposition to the 
foreign element : students, young savants, artists, government 
officials, and peraons engaged in trade, who, eight years before, 
liad helped to drive forth lae Froichman. Under Caroline*s box 
stood Benedict ; there, too, was the long, slim form of Heinrich 
JEIeine, who said, in his sarcastic manner : *^ For once in a way 
lie would exchange childish verses for Byron's Childe HaroW^ 
^OQ which ha was then engaged) ; and there, moreover, was a 



small, sturdy student, with ^werf ul lungs and good hands. The 
kauU'VoUe^ and the authorities among we literary, musical, a^ 
learned circles of Berlin fiUed the stalls and boxes. Very few hi^ 
officials were visible, and scarcely any uniforms. Gradually the 
orchestra filled ; the musicians commenced tuning their instruments ; 
the buzzing of the masses, jammed together, and suffering from {he 
exceauve heat in the overcrowded house, increased more and inore ; 
suddmly a clapping of hands was heard in the orchestra ; Weber 
had entered, and the whole house, with thousands and thousands 
of hands, tock up, like an echo of thunder, the weak signal 
given by the orchestra. Three times was Weber compiled 
to lower his bdton and bow his acknowledgments before he could 
give the signal to begin. The stormy reception was followed by 
the most solemn silence. And now the magic tone-picture of 
the overture was unrolled in all its irresistible and moving beauty. 
The impression was magical, and when, after the dull, mvsterious 
blows n^n the kettle-drum, there came, at last, the powerful chord 
of C major, succeeded by the brightly glowing, jubilant condusion, 
there biust forth such a storm of amtlause, and such a tumultuous 
cry of " da capo,'' that the desire oif the. audience was obeyed, SAd 
the entire overture repeated amid, if possible, still greater enthu* 
siasm. The firstscene, charmingly grouped by Beschort, and played 
with great fire and animation, produced an extraordiiiary impres- 
8i<m. but all the musical daring exhibited in Rilian's air, ana the 
mocking chorus, though sung with remarkable intjUigence, were not 
immediately comprdiMided, or received asfavounbly as tbe passage: 
*^ O hiss Hoffnung dich beleben und vertraue dem Geschick," in 
the following trio. This passage, partly on account of the admir- 
able singing of the chorus, and partly because it reminded the 
audience of the overture, product an extraordinary effec^ i||nd 
occasioned a tempest of appUuse. ^*Nun lasset die Homer 
erschallen,*' and the waltz, characterised by such deep originality, 
were now over. The stage grew dark, and the attention of the 
audience was raised to wack a pitch in Max's scene, *' Nein, Ittnger 
trag' ich nicht die Qualen,'* that, in the general excitement, tiie 
beautiful arioso : ^^ Durch die W'lilder, durch die Auen,'* despite 
the manner, so genuindy artistic and yet so simple, in which 
Stiime delivered it, passed over, and scarcely left a trace* At the 
unexpected entrance of Samiel, a shudder ran through the whole 
house, which was deeply moved ; it was only the light diffused by 
the beautiful ^^Jetzt istwohl ihr Fenateroffen" that somewhat 
dispelled the feeling of awe inspired by the apparition, a feeling 
again experienced, and with still greater intensitjr, in the last 
aUegro. Tumultuous applause greeted the conclusion of the air. 
Karoar*B drinking song— conceived in a manner so opposed to the 
usual forms— -was not understood, and Blume did not give his 
voice a fair chance in his scene— in short, the curtain fell on an 
anti-dimax. The applause was lukewann, and the lone wait 
between the acts afforded an opportunity for very animated, na^, 
even stormv, discussions. The opontini-ites, in mass, rubbed thor 
hands and inquired jeeringly: *^Is that the music which 
is to make us forget Die Vestalin^ Cortex^ and Olympiaf What 
a fuss about a simple piece with songB, nay, almost a mek)- 
drama !** ^' What is the meaning of a coaversation a quarter of an 
hour long, and wearisome narratives in an opera?** v* How mono- 
tonous a lon|r act Uke this without a female voice!*' Thehoose 
resounded with the voices of eager disputants. 

During the tumult, Webor returned to his place. The curtain 
went up, and a round of applause greeted the elegant and pleasing 
forms of Agathe and Aenncben (Seidler and Eumcke), who, after 
the gloomy local tone of the first act, resembled bnght and re- 
deennng apparitions of lig^t. We, who have been accustomed to 
hear this opera from our youth; scarcely ei|wrience such impres- 
sioDS any longer! The magical duet, so new in form and treat- 
ment, and still more unmistakably, Aennchen's air: ^^Kommt 
ein schlanker Bursch gegangen," met with the approbation «f the 
whole house. But the gem of the first performance was indis- 
putably the Seidler's grand scene : ^* Wie nahte mir der Schlum- 
mer.*' Here all opposition ended; astounded and carried away, 
Weber's most zealous opponents went with the irresistible stream 
of the general audience. The orchestra, pit, boxes and gallery 
inhaled the perfume of the beautiful night ; prayed piously, in 
death-like silence with Agathe ; heard, like h^, the rustling of the 
trees ; saw Max approaching with the nosegay, and simultaneously 
with Agathe's outburst of delight, hearts, hands, and souls joy« 



Digitized by 



Google 



732 



THE MUSICAL WOELD. 



[November 12, 1864. 



oxaAj greeted with shouting, clapping, and nev^-ending crieB, 
the oompoaer of the magic work! From this moment, the success 
of the opera was decided. The trio found the audience most 
attentiye and appreciating. The Wolfs Glen with its supernatural 
am>liance8, its perfectly new instrumental effects, and its highly 
effectiYe scenic arrangements, carried out in such strict conformity 
with ihe master^s own conceptions, brought the second act to a 
truly triumphant close. The vieorous student under Caroline's 
box, took his cap from between nis knees, where he had held it, 
in order to have his hands free, and said, blowing on the burning 
pahns of the latter: ^^ That little Weber is a devil of a fellow. It 
M rather tough work proving to him how well he has acquitted 
himself.'* If the hubbub after the first act had been great, the 
noise now became overpowering, but how different was the 
character of the exchunations I The Italian party was reduced to 
lilenbe. " Wonderful " — *' magnificent " — " gentle and vigorous " 
*.««a8 new as beautiful ** — ^^ achnirable " — ^* cuiring but successful" 
— such were the words which re-echoed on all sides. Weber, 
meanwhile, had slipped into the box to Caroline and lichtenstein, 
and sat in a dark comer, having in his own hand that of his wife, 
who was weeping for ioy. Aner the curtain was again raised, 
Agathe's Prayer, playea with freshness and energy by the orches- 
tra, and approaching more than the other pieces the old cavatina 
form, was extremely well received, as was, also, Aennchen's 
«» Kreideweisse Nase,** with the ohhUgato viola, and the half toying, 
half tender allegro. It was sung most captivatingly by the 
Eunic^e. The folk's song : ^^ Wir winden dir den Jungfemkranz,'' 
so thoroughly popular, in the best sense of the word, toides being 
composed with such genuine German feeling, had to be repeated, 
in ooedience to a most uproarious demand, luthough the Remwald, 
who was extraordinarily nervous, sang it in a trembling voice. 
'* Tlie Huntsmen's Chorus" was greeted with thunders of applause, 
but, strange to say, did not take a really strong hold of the public 
till the eighth or tenth performance. The mel^y of it was one of 
the few in Der Freischiitz which was not immediately sung about 
the streets. Prince Ottokar (Rebenstein) gave the signal for firing 
at the Dove, and the magnificent finale— with a slight tendency to 
coolness among the audience, a tendency occasioned by its being 
somewhat spun out in c(Mnparison with the rapid and stormy rate 
of progress distin^^uishing the other parts of the opera — ^brought 
the work to a glorious conclusion. — (To be continued.) 

HAN ROUKERS^^LAVICHORD. 

On a morning of August in the year 1618, a carriage, drawn by four 
hones, was seen before a house buUt of gray bricks on the old plmoe de 
Meire in Antwerp ; the door of the carriage was opened and held by 
tfU, riohly gilt lackeys. Several persons descended tlie six steps of 
the entrance, to accompany an aristocratic looking gentleman, decorated 
with several orden to the carriage. He was the Ambassador of France 
at tilie Court of the Netherlands, who had come in company with the 
magistrate of the town, in order to receive a clavichord, which had 
been ordered of Han Roukers by Maria of Medecis for the future 
Infanta of Spain, Elizabeth of France, oldest daughter of Henry IV., 
who WM .soon to be married to Domingo Victor de la Cruz, son of 
PhUip III. The Ambassador seemed well satisfied with the instru- 
ment, and paid for it the price agreed upon, after he had it tried by the 
organist of the church of Notre Dame. This artist, like all his 
contemporaries, did n6t confine himself to the rigid style. The 
organists of that time transposed all the eccentricities of vocal music 
on the organ. Tor whether they played after a cyphered bass or after 
written copies, they would always bring variations of very common 
songs, which often recalled the worldly meaning of the original words 
in the memory of the audience. These so called Ricerari even 
adopted the names: Mimi, Satumin, Martinelli, Chaeonne, Basse 
FUmande, etc., fW>m the songs or dances, the melody of which served 
them as a theme. But that which might appear improper on the organ 
was very well fitted for trying a piano, and thus it happened that both 
the player and the, instrument were received with extraordinary 
applause. However the amliassador is gone and most of the person- 
ages ti^ether with its master are back again in the house, preparations 
having already been made to remove it to the Ehcurial. 

Th& building, containing a monaHtery and a royal castle, was built 
by Philip II. in commemoration of the battle of St. Quentin. It was 
erected in the shape of a roasting grate in consequence of a sacred 
pledge made by the King to St. Lawrence before the battle. The 
Antwerp instrument arriv^ there in good state and found its place 
. between different lutes, theorbors and other instruments in the same 
apartments, where Philip II., some years after the building had been 



finished, being alone and without any rign of his royal dignity, nw a 
stranger enter, who immediately asked of him an explanation of the 
pictures suspended there. The King willingly responded to the desire 
of his visitor, who, gladdened by the compUicency of the King, said 
to him when leaving : ** Sir, my name is so and so, I live in Sevilbi, 
and if ever you pass through that city, come and see me, I shall traal 
you to a glass of good wine." ** Sir," the King replied, " I ^bnik 
you very cordially ; my name is Philip II., King of Spain, and if ever 
you come to Madrid, please honor me with your visits I shall theo 
treat you on my kind of wine, and you must t^ me which of the two 
is the better.** The reader will pandon this di g r e s id on upon historical 
ground ; but the annals of Han Boukeri' Cuvichord are so closdy 
connected with the events of his time, that 1 am obliged to meniioii 
such as are neoessanr to the understanding of my late. 

When Maria de Medicis commanded all the musical instruments to be 
made and brought, which formed part of her dowry, she did like 
certain young women, who ordered the cradle before the birth of the 
child, or like one who buys a frame without having a picture, lor 
Elizabeth was hardly twelve old years before her marriag^, znd hid 
nevor touched a clavichord, an instrument which then was entirely new. 
True she had had some lessons on the theorbor by Claude Nicon, the 
king of professional minstrels, yet what could be expected of a twelve 
year old nrincess, or even of a queen of nineteen, who had been inde- 
pendent nnoe years, when she ascended the throne at the side of Ptulif 
IV ? Hence the instruments brought to the escurial were onlj ooo« 
sidered as pretty toys, and aflerwaras as fine pieces of fumitnre, wbi^ 
remained all the time hidden in their covers, being only shown to 
curious visitors as most precious articles. If ever the splendid davichocd 
was opened, a tuner would have to be got from Madrid, in order to 
replace the broken chords or to re-arrange the hammers loosened 
within their caps. As soon as the marriage oeremonies of the twehe 
year old princess with a ten year old infant-prince had taken place, tlie 
young wife of course was sent back to hsr dolls again, and the nobU 
husband was invited to follow his governor to Madrid. The jouig 
princess was placed under the inspection of her tutoren in the Escu- 
rial, who was uhable to teach anvthing to her royal pupil, or 'eren to 
control her violent temper, which she had inherited from Henry FV. 
and his mother. As to her young spouse,* his shameleM oourtiers— a 
set of which Spain has at all times produced real models — ofTered him 
so many opportunities for uncouth pleasures, that he was unaUs 
to rule, when his time had come. The young king was cooetantly 
hunting up amorous adventures, even in idl classes^of society, and, as 
he was not in the habit of concealing his misdemeanour, the queen cried, 
raved and threatened by turns. These constant matrimonial quarrd% 
recalled to the memory of the peoule the sentence of Alj^ons V. of 
Arragonia : " To make a good match, there must be a deaf man and a 
blind wife." They destroyed all the power the queen might have 
possessed in the beginning over the heart of her consort, and the latter 
mcapable of government suffered himself to be ruled entirely by 
Olivarez, who hated everything that was French. The administza- 
tion of Philip V. was therefore nothing but a lon^ series pf wars, 
during which the arts, and particularly music, in Spain was lying in a 
deep uumber. It cannot be surprising, theiefore, that Han Boaken* 
Clavichord remained, so to say, closed tfll the death of the qaeeo. 
Yet no ; it was opened on a memorable ni^ht, in the year 1688, at the 
very moment which gave birth to the Princess Maria Theresa. The 
queen demanded in that painful hour, that the Motetts of du Osfoy, 
chapel-master of Henry I v.. with which she had already been lulla- 
b3red in her infkncy, shoula be played to her in the intervals oCUw 
*^ labor." A monk from the monastery, well taught in the #rt of 
organ-pUiying, was sent for, and charged with the performance, brt 
was often interrupted by the plaintive moaning of the patient. After 
the death of the queen the clavichord of Han Bonkers became the 
property of her daughter, for Maria Theresawas the only surviriog 
child among many brothers and sisters. This princess was promised 
to France, as a warrant of peace and of the new alliance between the 
two realms, in consequence of the " treaty of the P> renees." Yet Flniip 
IV., continually retarding the fulfilment of this promise, and means 
being constantly suggested to postpone the yielding up of the prinoeM 
who was to marry Louis XIV., Cardinal Masarin induced a &roe to be 
played, equally unworthy both of the miyesty of the throne and tbs 
loyalty of the French nation. According to the advice of his ministers, 
Louis XIV. pretended to resign his pfojected union with Spain, aad 
demanded the hand of the princess of ii^voy. The interview of the 
intended couple took place at Lyons, accompanied by great solemnities 
and everything seemed already agreed upon and setUed, when Cooat 
Pinental offeri^ the hand of the In&nta Maria Theresa in the name of 
6pain. Princess Margaret was then immediately dismissed by way of 
a writt< n document, and the French Monarch wrote to her in a ftre- 
well-letter, addressed to her, that he would return to Savoy, in ssss 
** Spain would not prove faithful to him." 

( 7b ^ eontimiid.) 



Digitized by 



Google 



November 12, 1864.] 



THE MUSICAL WORLD. 



S3 



. OLD, NEW, AND NO MUSIC. 

CHAPTEB I. 

It nuty be w<^h vfaile^for thoM, at least, rrho do not share Swift's 
contempt for " the fiddlers " and their '* fine stuff," but rather nourish 
their sympathies for a beautiful art, under the more genial sanction of 
a Shakespeare or a Milton — ^to stand still for a moment, and attempt to 
form some idea as to what England's gains in the matter of mudc nave 
been during the past quarter of a oentury. This can hardly be accom- 
plished without lUnslratiog by comparison. If compsrison show loss 
on the part of other oountries, the result gives no ground for the 
Tttlgartties of personal triumph, howbeit it may point out sunken rocks 
we should do well to avoid — paths not to be entered without the cer- 
tainty of fatigue, loss of patience, and loss of strength. The writer 
was, not long ago, driven on such a retrospect— on such expedients for 
testing progress— by a couple of striking experiences, which occurred 
within toe compass of three weeks : the experiences of a German and 
of an English musical festival. 

When the writer began to frequent meetings of the kind — more 
than a quarter of a century since— two of the great schools of European 
art had little, it at all, piUsed their prime. Italy's greatest operatic 
eomposer — Signor Rosrini — had only just ceased to produce, and the 
works of Doniaetti and Bellini (both in ftill activity). were all but un- 
known to our pttbUc. Great singbm crossed the Alps taus from Milan, 
and Venice, and Ka[des. Matters were in an even more listisfactory 
state in Germany, regarding the art and literature of which country 
English admiration then stood at its highest point Beethoven had 
not long passed iiway, leaving a treasury of hu music complete and 
incomplete still to be unseals for us. Weber was carrying England 
by storm with the supernatural fascinations and *' flattering^ melodies 
(as Mendelssohn called them) of his FreiMchutz. The rich sedateness 
of Spohr still passed for something as profound as it was individual 
People eUmbered on the roof of St. Andrew's Hall at Norwich to hear 
his oratorio through the windows, unable to find a place within the 
Ixiildiiig. Prescient amateurs, who do not wait tiU originalitv is 
crowned by success, were looking out for the prodigious bov. Mendels- 
•obo, whose Midaummer NighC$ Dnam overture is possibly the most 
extraordinary piece of early promise existing in music The day of 
the disinterment of Bach had not come, but our passion for Mozart was 
then, as now, in its wav, as much of a religion as our reverence for 
Handel, in short, we lived and listened, and gave a Uank credit to 
everything, past and present, that came from a certain land, without 
any closer wish to discriminate than belongs to impUcit hero-worship. 
iknd had any one, then, whispered a prophecy of downfall or decay, or 
suggested that the geqns of these mignt even then be traced in the 
midst of musical productions tempting to the enterprising by their 
originality, and to the vain, because of their difficulty of comprehen- 
idon, as compared with the more fluent and spontaneous music of 
Italy — he wouM have been hooted down by all the *' elect and 
precious " as a flimsy trifler, incapable and unworthy of understanding 
and receiving the highest and most profound pleasures which Poetry 
can give. 

England's &ith in German music, at that time, if excesrive, was 
sincere, and justified by the state of matters at home. What have 
been the fiu^ of the case 'since those days? The great school of in- 
fltrumental writing has received no healthv development in Germany, 
"while the art of singing, which largely includes the culture of melody, 
has been allowed to fall into a state of dilapidation which could only 
liave a bad result, as lowering the standard of one material used in 
musical composition. In the early days of German art— when Bach, 
by way of holiday, used to go to Dresden to hear '* the pretty songs " 
— when Handel passed into Italy, to smoothe himself without laying 
down a whit of his northern manliness, by makins acquaintance with 
the treasures of Beauty in the south— when Uaydn (pupil of another 
Italian, tlie nigged Porpora) professedly ripened and refined every 
theme he treated — when Mozart exhibited the most completely- 
balanced combination of charm, invention, and learning we have ever 
seen, — there was no thought of antagonism, no dream of such a folly 
as that form could only be vindicated by neglect of color, still less that, 
"vrithout having form or color, a vaporous and confused concoction 
•bould, because of its scale or its singularity, pass as a great poem only 
to be relished by the profound and the far-sighted. Yet these follies 
liAve been adopted, and preached, and fanatically pushed to their 
extreme consequences in the world of modern German music. 

The stirrings of this folly— takine the form of a spurious nationality 
«— the introduction into an art which has an universal language, of con- 
tradictions, defiances, renunciations, as so many precepts and principles 
. — in Germanv originated with Beethoven, and were largely shaped 
And forwarded by the personality and the niii^fortunea of that siibhine 
poet. He fell *' on the thorns of life," if ever artist did. He had little, 
mf any, home training ; he was born with a spirit at once colos^^ly 
generous, and riigged, and jealous ; he hardly became aware of the 



GivHeges as a ruler and a discoverer, which his good geoiiit had givea 
m, before he was touched with palsy — to bu<^ a man more teirible 
than violent death. He had hardly wakened to his consciousness, thai 
immense and unknown combinations were at his command, when it 
was also made so dear to him that the power of testing theto by ex* 
perienoe (invaluable to a musidanj beyond every other artist) was 
steadily decaying. A thoroughly disciplined mind might have 
mastered even this calamity ; but Beethoven's was not a thoroughly 
disciplined mind, and no help was ministered to him by the by* 
standers — his patrons of quality — his rapacious kinsfolk. He was la 
advance of his time, he was in advance of his patrons, and he only 
followed tiie law of weak human nature— apt to mistake suffering for 
injustice, and to fimcy inevitable neglect persecution — in finding relief 
for his unhappiness in the defiance of fiisnion, and precedent, and pro- 
test, and in pushing advance too far and too lawlessly towards chaos. 

The mischief which such an example, left by such a man, isn do to 
idle dreamers and theorists (showing, nevertheless, the most wondnma 
patience for collecting details), can hardly be estimated in this practi- 
cal shop-keeping England of ours. It mij^ht be hard to the verge of 
impossibility, to em&te the vigor and spirit of idea to be found in 
every one of Beetheven's compositions, be they as full of diffuseness, 
confusion, and cruelty as his Posthumous Quartets and his Second 
Mass, but it was easy, because he broke bounds, for his idolaters to 
defend such licences as so many bold and beautiful enlargements of a 
domain narrowed by pedantry. Yet to adhere to established forms 
without becoming tiresome demands as much cultivated intelligence 
as reverence — to brcttk proportion and harmony in pieces — to represent 
ugliness and discord as new oracles, from whose say inn those superior 
to common superstitions could alone derive real inspintion— requires 
no thought, no training, no power of really appreciating what is beantl- 
fVil and holy. Then it was found in Germany new and noble to re- 
present music as scmethmg which music never was and never will be 
— an expression of political feelings— of metaphysical definitioiUH-of the 
yearning anguish of the present— of enlightened contempt for the past 
—of a defiant and exclusive nationality, frowning at one country, 
scowling at another, sneering at a third, ignoring a fourth. It was 
held as divine of an artist to be morose, uncomplying, unkempt— not 
to win, but to force his way ; to insult taste into' that sort of terrified 
silence which despotism mistakes for spmpathy — to mystify those who 
are appalled at sounding words, by a llt>eral use of the jargon of solemn 
nonsense. That all these cheap and easy innovations were provoked 
by the mechanical phlegm of a set of manufacturers, who, in Germany 
more than in any other musical country, in their works substituted 
letter for spirit, ad nauteam, is not to be questioned by any one who 
has glanced at the bales of waste paper that fill the music-publishers' 
warehouses. 

Considering the flaws and specks in Beethoven's latest music as the , 
starting-point of the movement, the first name among those modems 
who have helped in German music to confound good and evil, is that 
of Robert Schumann : a dreamy, heavy, bewildered man, not without 
generous aspirations, and a satisfactory amount of scientific preparation, 
but whom clearness of purpose and vision seem to have largelj* forsaken 
whenever the work in hand was one of any length or importance, and 
in whom the instinct for Beauty seems to have been extraordinarily 
weak. That man shall run the risk of bein^ pilloried as a malevolent 
bigot, who shall venture in certain German circles (and these made up 
of intelligent and sincere persons) to declare that very little of the 
mass of music bearing Schumann's name has any real value, sitve those 
slight trifles thrown off for children and yoaaf persons at an early 
period of his career, which he lived to disown with transcendental con- 
tempt. Want of freshness in idea, want of simplicity in treatment, a 
resolute determination to be eccentric (that most commonplace of 
follies), a lumbering uncouthness where animation was aimed at, affec- 
tation where tenderness and pathos might have been looked for — these 
characteristics, with more or less mitigation, distinguished Schumann's 
symphonies, his cantatas, his overtures, all, in short, of his compositions 
on an extended scale. His songs, which are in high fitvor with those 
who are advanced in cloudy connoisseurship, are stale, strained, and 
sickly, as compared with the best by Schubert, Mendelsohn, and Lind* 
blad, the Swede (the last far too little known in England). In his 
pianoforte music, such real fancy as it contains is confined to the titles 
of the pieces. As for affording the player on the instrument any scope 
for special display, that, of course^ was too base and tri\ial a concession 
for a high-minded transcendentalist to stoop to. Tet this was the mnsi- 
cian for whose sake the composer of the Midtummer NighVa Drtam 
music, and of SL Paul, and Elijah^ and the Italian and Scottish sym- 

Ebonies, and the Antigone choruses, was, almost before he was cold in 
is grave, decried as having been shallow, superficial, amiably worldly 
(Mendels(K>hn, worldly !), an artii^t iiith a factitious reputation fast 
wearing out, totally incapble of depicting the anxiety of the great 
German mind, or expresstn^^ the honorable determination after unity 
at home (implying antagonism and antipathy for the stranger without 



Digitized by 



Google 



«4 



THE MUSICAL WORLD. 



[November 12, 1864. 



itf gates), which it is the privflege aod mission of the Oerman art of 
the nineteenth century to display and to develop. Nothing can be 
mnch more cnrious to the English stranger who is not prepared to 
** stand and deliver/' because the giant in his path (bat half seen) }ias 
a false air of bravado and a real diRproportionate overawing ngUness, 
than to stndy the tone of enthusiastic idolatorv in which the music of 
Schumann has been treated in the journals, and in the schools, and in 
the societies of Germany.— ( To be continued), 

o 

HER MAJESTY'S THEATRE. 
Mr. W. H. Harrison—who, associated with Bliss Louisa Pyne, es- 
tablished (in 1857) what the public was used to recognise as " The 
Uoyal English Opera ** — having abandoned his old quarters in Covent 
Garden, has taken up new ones at the great theatre in the Haymarket. 
On Tuesday night he gave what may be termed a house-warming ; and 
the entertainments provided for his friends were varied and of high 
character. Mr. UarriKon, whose short and unboasting programme is 
widely known in musical circles, has engaged an operatic company as 
complete as could well be brought together at the jiresent time and 
under existing circumstances. Into an examination of this programme 
it is mmecesKary to enter ; enough that Tuesday night's pwformance 
afforded a sufficiently iair notion of the resources at Mr. Harrison's 
dii-poMil, and justified a belief that he will be enabled to qo through 
the winter season with credit to his management and to the satisfaction 
of his supporters. A more solid liasis for an effident operatic troop 
than the well-known orchestra of Her Majesty's Theatre, under the 
direction of its own excellent conductor, Signor Arditi, could not be 
possibly desired ; and Rossini's overture to Guillaume Tell, well selected 
for the occasion, and splendidly plaved, at on<*e put the crowded 
audience in good humor, eliciting applause as heartv as it was unani- 
moas. To the overture succeeded Mr Maddison Morton's comedietta 
entitled You Know Who^ the principal parts in which were allotted to 
Miss K. Buflon, Messrs. G. Honey and J. House. From this it may 
be presumed that it is the intention of the new management to begin 
the performances eveiy evening with a •• lever de rideau,** in the shape 
of a one-act farce— an expedient which (in the absence of one-act 
operettas) is likely to meet with approval from the general public, and 
is certainly of advantaee to those who, unable or disinclined to go to 
the theatre before 8 o'clock, are not the less anxious to hear the whole 
of the work, which— to employ a hackneyed formularv — must always 
form the **j>ieee de rieittanee. The opera chosen by Sir. Harrison to 
inaugurate his new undertaking was M. Gounod's Fauet— or rather 
the English version of M. Gounod's Fauet, first introduced at Her 
Majesty's Theatre something less than a twelvemonth since. The 
cast was in two important instances— Faust and Mephistopheles— the 
same as before. There was, however, a new Margaret, and certainly 
on the whole one of the most charming representations of that 
attractive character ever yet witnessed on the London stage. That so 
perfectly accomplished a mistress of her art as Miss Louisa Pyne 
would shine in the exquisite music which M. Gounod has put into the 
mouth of his most favored heroine, was only what everyoody antid- 

Eted. Indeed, her fluent and graceful delivery of the *» Air dee bijoux " 
d already more than once won the admiration of amateurs in the 
concert-room. Nevertheless, her extremely poetical conception of the 
part showed that its dramatic requirements lay as eanly within the 
scope of her talents as the execution of the music, which, from the 
first brief laterview with Faust amid the bustle of the Kermene, to the 
scene of the death and apotheosis, was pretty nearly perfect. Without 
entering into details or dwelling upon points reiteratea allusions to which 
have made so familiar to all who mterest themselves in such matters, it 
suffices to add that Miss Louisa Pyne's Margaret was a success as 
complete and legitimate as any that could be named in the history of 
her briUiaut career. It may be as well to add that her reading inclines 
more to the pensive, earnest, and traditionally Oerman view of Margaret, 
the ideal beauty of which was attained in the impersonation of Mdlle. 
Adelina Patti, and has no affinity with the impassioned ** abandon " of 
Mdlle. 'J itiens. or the pretty sauciness of Mtille. Pauline Lucca. The 
FaUHt of Mr. Sims Reeves needs no description ; but in justice to an 
artist who never seeuis to think tliat a part can be too deeply or too 
frequently considered, and who had already more thoroughly atudied 
the umtdc of M. Gounod's hero than perhaps any of his contemporaries, 
it is but fair to state that his perfurmance has gained both in ease and 
dramatic force. In vocal finish it had little or nothing to gain, and-^ 
not to speak of the opening soliloquy — it would be difficult to 
imagine a more expres«tive r^ins of the apostrophe to Margaret's 
home in the garden, or of the |*s.Hionate and beautiful duet between 
th« lovers, whi«-h I ringH down tlie eurtjiin upon the third act — the 
ni»8ter|4. ce of th« 0|K5r;i. Ain-Unne mon^ unanimous than tliat 
which greet. d Mi>H l>oui^a Pvne and Mr. Reeves, wh.n summoned 
Ufor* the lainpi* at the end of this alworbing «cene, has rarely given 
expresHion fo the hearty approval of an audience. The Mephistopheles 
of Signor Marchesi has more of the masked arch enemy in its assumed 



bonhomk than we have been aocustomed to on the En^ishboardi. Hoe 
is the scoffer scoffistical to a T. M. Fatire might Uke a faint ftom it 

Mr. Garcia, who played Valentine (for the first time— at any ate ta 
London), is, we believe, a son of the eminent vocal professor. Senor 
Manuel Garcia, and thus a nephew of Malibran and PraUna Viudot. 
His success was dedded. His vdce is a genuine baiytone; he angi 
like an artist, and the impressive episode of Valentine's death (Act Iv.) 
was quite suffident to establish his possession of no ordinary dramatic 
feeling. It is long since a young ddbuUnU of more promise haa come 
forward. To estimate Mr. Garcia^srcAl powers, however, itia neceii y 
to judge him in other parts. There was also a new and vcfy aeoepcible 
representative of Siebel in Miss Cottrel (late of St. Jamee'f Theatre), 
who sang the pretty air while gathering the flowers so unaffected^ 
and with such good taste as to win an encore, as well aa an offering oC 
bouquets which might have appropriatel}' swelled the tribata to Mar- 
garet. The little part of Martha was effiaently stistained by a Madame 
Burrington, from Dr. Wylde's London Academy of Muate ; thai oc 
Wagner by a Mr. H. Com — of course not the Mr. H. Corn of Covent- 
garden. About the general performance of FauH it is enoogh to add 
that, with the aid of Signor Arditi and his orchestra, it preaented all 
the excellence to which the public had been accustomed -mi Her 
Majesty's Theatre, and that the strophe of elderly citizens, in the 
introductory chorus at the Kermesse. obtained its accustomed ** encore.*' 
At the end of every act the principal performers were called ; and af^ 
the opera the National Anthem was performed hy the wliole company 
—solos by Miss Uiles, Miss Louisa Pyne and Sir. Sima Bmvcs. A 
loud call for Mr. Harrison had not been responded to ; but, when the 
ciu'tain rose for the anthem, he appeared, with the other perfonners. 

Madame Kenneth made her dibui on Thtirsday night as Violetta ia 
an English version of La Traviata, and, though evidently soAiiiy 
from the indisposition which prevented her appearing on Monday oifht 
according to announcement, and although, as might have been antici- 
pated, over-anxious and nervous, satisfied her audience that she bad 
considerable talents both as singer and actress, and that she woold be 
a decided acquisition. So great was Madame Kenneth's timidity in the 
first scene tluit she cotild do little more than get through the hrimdid. 
Still it was evident that she was a practised artist ; and, once embold- 
ened by encouragement, she dashed through the eabaleUa of " Ah ! fin' 
e lui " with so much brilliancy, that a sudden feeling was evoked in her 
fkvour, and the ciirtain descended amid considerable applattae. The 
second act was altogether better than the first, and the thud better than 
the second, thus proving that the quasi &ilore of the early part was 
owing to accident. Mr. Swif) gave force and vigour to the <maxmctcr 
of AlfVedo. and Mr. Gustavo Garcia, who sustained Uiat of Gtonnoot, 
again exhibited his voice and style to advantM^e. 

The general performance (band, chorus, and ballet^ dro.) waa all that 
could be wishea. 

^aiM( was repeated on Thtirsday, La Traviata last night. This 
evening Faust again. Why don't the *^ English Opera Company 
(Limited)" get up Fautt f 

NiCB. — The Journal de Nice gives the f(^owing account of tlie 
representation at the Imperial Theatre at which the two Emperors of 
France and Russia were present : — '* The representation yestsniay at 
the Imperial Theatre was magnificent The doors of the theatre were 
besieged at an early hour by an immense crowd ; the boxes »nd stalk 
were occulted by ladies en grande toOetie, The Emperor Napoleon 
arrived at eight o'clock and was saluted with unanimous cries of < Vive 
TEmperemr,' many times repeated, and which were interrupted by the 
national air of Queen Hortense executed by the orchestra, llie 
Emperor Alexander arrived a quarter of an hour after Napoleon II I^ 
who had set aside a part of the Imperial box for bis reception. The 
entrance of the Russian sovereign was also saluted by the natioual 
Russian hymn, which interrupted for a few moments the perfonnanoe. 
The audience received the Czar with enthusiastic aoclamatign*, 
mingled with reiterated cries of *Vive rEmpereur.' The two 
sovereigns were in plain clothes ; the Emperor Alexander, placed on 
the right of the Emperor Napoleon, wore the grand cortfojt of the 
Legion of Honor ; and the Emperor Napoleon wore the grand cordom 
of the order of Baint-Andr^. In the Imperial box were also the 
households of the two sovereigns, the mayor and civic fVmctionariee <^ 
the town of Nice, and the pri/et of the Maritime Alps. Daring the 
representation the two sovereigns talked to each other, and were 
frequently observed to smile. The audience seemed to be moved in a 
very lively manner by these manifestations of cordiality between the 
two emperors. The facade of the theatre was brilliaiithr illuminaled 
and ornamented by the colours of the two natioiu. The front c^ the 
box and the box i^elf were decorated with much splendor and eleganee 
by the care of the nmnitipal authorities. The staircase leading to the 
box and the ante-room sparkled with lights and flowers. Upon a tabk 
in the middle of the ante-room was placed a magnificent jardimirtj a 
ehe/dauvre made by a celebrated artist-en-^oufuete. 



Digitized by V^riOOQlC 



Noyemter 12, 1864.]. 



THR MUaiCil. WQBLI), 



725 



F U XEK AL OWWBC JOH lff LEECH. 

IVii BumtiiB and om week ago a crowd aaaembled in £en«al Oraen 
Caaataiy to pa^' iho la^i iiibfate of reipoct to WiUUm Makapeaoe 
Thadcamyt and among thoie standing hj the iraHili, as it revived the 
coffin of the author of 71ie Keweomet was. John Leech.^ On Friday (the 
4th inst.) 'he too was borne to his long rest, and laid within ibnr j^rdi 
of his fmnd, in p na wn oeof a throng, many membea of which wore 
the sapitf thai on the last day of- the ^t year stood looking into tne 
tomb of "[^hacker^* Noon was the time appointed for the remoral of 
the body of John Leech fhnn his residenc^r-No. 6, Terrace, Ken- 
Kensington, oppodte the pri^te road leadieg to Gampden HiU. By 
thai time a crowd of the narsemaids and ttie small boys whom he 
lored to depict were there assembled, and in the erowd an eager ianqy 
might detect fiffnres and &ces that may well have been the originals 
of manT a laoghter-stirrinflr picture ; while as more than one omnibus 
passed by the oondnotors looked carionsly— «nd one might soppose 
with a ton^ of regrei— at the house with the drawn blinds, where lay 
coffined the mortal remains of the artist whose pencil has seAt them 
down to posterity for onr grandchildren to smile at. . And more than 
one artist with pencil or with pen came here uninvited, thai he might 
Fsise his hat reverently to the remains of John Leech; while th6 
whole Pumch staff prepared to accompany to the grave side the body of 
their valued eoilahoraUur, The heane, provided by Mr. Oarstin of 
Welbeck Street, Cavendish Square, who had charge of the funeral 
arrangements, was drawn up to the door a few miQUtea after twelve. 
It was an open platform on wheels, surmounted by a dmc^ with 
plumes. The platform was covered with black cloth, and on each side 
nung a scutcheon bordered with white, and beariqg in the middle the 
monogram J. L. When the coffin was borne forth from the house of 
momning it was covered bgp a black velvet paU bordered with while 
brooade crosses, and as soon as it was placed on the hearse a wreath of 
immertiUei was laid on the top, and two wreaths on either side. Seven 
mourning coaches followed the hearse, and conveyed the mourners to 
the cemetery. The first coach contained Mr. John Leech, sen., Mr. 
Charles and Mr. Thomas Eaton ; the second, Mr. Charles Adams, Mr. 
Samurl Denton and Mr. Evans ; the third, Drs. Quain and Walshe. 
and Mr. W. B. Hutchin8on. The remaining four coaches conveyed 
the literary associates of the late Mr. Leech. In the first was Mr. F. 
£vans, sen., Mr. Shirley Brooks, Mr. John Teoniel and Mr. Horace 
Mayhew ; in the second were Mr. H. Silver, Mr. S. Lucas« Mr. C. 
Keene ^nd Mr. Tom Taylor ; in the third were Mr. F. C. Bumand, 
Jtfr. F. Evans, Jun., Mr. W. Bradbury, jun., and Mr. Percival Leigh ; 
mnd in the fourth were Mr. Mark Lemon, Mr. A. Armstrong, Mr. H. 
H. Howard, Mr. Felix Joyce and Mr. John Milkis. 

Precisely at half-past twelve the hearse and mourning coaches moved 
■lowly off. followed by five private broughams, in one of which sat Mr. 
Fhilp. li. A., sent by friends as a mark of respect. It was half-past one 
o'clock when the funeral, starting like Thackemy's from Kennngton 
»nd following; the same route, reached Kensal Green. For some ten 
aninutes previously the mournful bell of the mortuaiy chapel was tolling 
aadlv, and announcing to those assembled about the end of the princi- 
oipal avenue that the time for the last rites had now arrived. And on the 
stepsor in the ohapel were at this time assembled Mr. Charles IHokens, 
Idr. George Cruikshank, Mr. W. P. Frith (R.A.), and a host of other 

Sitlemen associated with Mr. Leech in literature or in the ties of friend- 
p. When the hearse drew up at the door of the chapel the body was 
remo'ved, and being met by the Hev. George Correy ana the Her. Chas. 
Stuart. A.K.C., (he chaplain, was carried to )he bier, followed by the 
mourners and accompanied by. the pall-bearers, who were Mr. Mark 
Liemon, Mr. John Tenniel, Mr. Tom Taylor, Mr. John MilUds, Mr. 
Boraee Mayhew, Mr. Evans (sen.) Mr. Shirley Brooks, Mr. Charles 
Keene, Mr. Perceval i/eigh and Mr. Henry Silver. A couiderable 
number of persons followed the mourners into the chapel and listened 
with reverent attention to the service, which was read oy the chaplain 
of the eemetry.^ At the close of the leison the coffin was renlaeed in 
the beaiae, and,* followed by the chief mourners and the pall-bearers, 
was borne to the vault, on the south side of the cemetry, and only 
marated by one tomb from that in which lies all that was mortal of 
"W. M. l*hackeray. Fully a hundred gentlemen connected with 
Uteratare and art followed the hearse bareheaded ; and it was here a 
seneral subject of remark how much the day resembled that on which 
Thackeray was buried. Hardly so cold, it was yet as bright and 
cheery ; and the few leaves lingering on the trees alone served to show 
that the seasons had tince then come and gone. Approaching the 
^lave the coffin was removed from the hearse and placed by the side 
of the vault, and the private friends of the deceased naving taken their 
places under a canopy formed of mourning draperv the service was 
proceeded with bv the Rev. S. II. Hole, the preacher of the school 
where John Leech was educated, as well as William Thackeray. At 
the thrilling sentences, " Man that is born of a woman," d^c, the 
#aiotk>n was graeial ; and when the coffin was being lowered into the 
▼aidt, at the priest uid, <• Forasmuch as it hath pleased Almighty God 



to takomto himself the send of o u r d ear b i eth sf h ate dspa rt ed / '-i 
men fairly broke down, and wepl^ as women might weep for a dear one 
who goes to hit rest, and many a twitching mouth and many watenr 
eyes among those who knew John Leech onl v through his works, teiti- 
fied how truly he was mourned. With choaked throats the multitude 
joined in the Lord's prayer; and when the offieiating clergyman, him- 
self deeply affected, came to «« We give Thee hear^ thanks, for thiat H 
hath pleased Thee to deliver this our brother out ot the miseries of thia 
sinftil world," oonvubive sobs again burst from the mourners and the 
palUbearers, among whom there was not a single ^e undimmed with 
tears. And even on the outskirts of the crowd several persons who had 
known John Leech bore witness by their tearful eyes to their deep 
regret for his loss. At the conclusion of the service the pall-bearers 
each cast upon the coffin a wrt:ath of immorteHes ; and then the mourn- 
ers, moumuig in something more than for custom's or for appeannce 
lake, passed away to their carriages, and John Leech was left beside a 
little daughter whom he loved and lost fifteen years aso. 

Few of those present left iho cemeteir without taking a look al the 
coffin of stout elm covered with Uack cloth, and bearing between two 
gilt crosses a brass plate, with the inscription :— 



JOHN LEECH, 

Oairr 29th Ootobkb, 

1864. 



BBisLAu.-*The entbusiaam caused, by Mdlle. Cark»tU Fiatti*s first 
appearanoe has setUed the question ^hich for weeks had, to a certain 
extent, kept the public in a state of excitement. We ourselves have, 
with some hesitation, abandoned the principle* we have always a4vo» 
cated, especially where the performances of virtuoti were concerned, in 
(HTder to adopt those views by which alone, in our opinion, such a 
phenomenon ought to be judged. Xbe usual standard tax foming an 
ofanion is, in the present case, insufficient ; by employing it, we should 
unjustly depreciate a great deal, and completely overlook much more 
which, is precisely what strikes us as new. If, therefore, we offer, for 
instance, no opposition to the pieces sung, we do so, hMauaa we eon- 
sider such pieces the only ones adapted for exhibiting in every phase 
such a natural phenomenon. On the other hand, we are delightea that 
from time to time Italian compositions are suns by Italians, because 
the public learns thereby how compositions of this kind should' be sung. 
When Mdlle. Cark)tta began her first air from Doniaetti's Li9idm di 
Chamonni, a great number of the audience were certainly surprised at 
finding she possessed a voice of only moderate strength ; but thay soon 
recovered from this little disappointment of their expectations, and 
became more and more astonished as the fidr artisi opened upon them 
the floodgates of her artistic powers. One of the most striking feature! 
of Mdlle. Carlotta's singing is the unuxually brilliant character of her 
voice in the two-line and three-line octave. We never knew anything 
like it in anyone else, and it possesses a peculiar fiMdnation. Another 
quaUty which enlists the sympathies of all is the unerring certainty 
with which this ladv executes unheard-of feats of strengtti, such, for 
instance, as sustained shakes on the three-line 4 and $ ; and staccati up 
to /in the same octave, executing them, too, with extraordinary dev> 
ness, dEc. But for more captivaling than all tbfl|n feats is the great 
feeding manifested in her smging ; it must win over, we should say, 
even thone who were proof both against the high/, and the remarkable 
virtuosity exhibited by the fair artist. Beddes the -air mentioned, we 
heard Mdlle, Carlotta Patti sing the well-known ** Shadow Bong/' (hmx 
Meyerbeer's Dinorah ; a piece arranged expressly for her, and consist- 
ing of an Introduction for the Piano by Schulhof, and the ** Carnival 
de Venise," by Paganini ; and " Laughinji; Air," by Anber. In con- 
sequence of the apjdause which fl;reeted thu hwt, and which seemed as 
though it would never end, Mdlle. Patti repeated it, charming every 
one uy her great fond of natural humor and winning grace. The con- 
certs began with Beethoven's Kreutzer Sonata, performed by Herien 
Alfired Jaell and I^nri Yieuxtemps. The work was given entire, 
and loud applause rewarded each separate movement. Later in the 
evening, immense enthusiasm was excited, also, by the solo perform- 
ances of the same gentlemen. Uerr Jael played Handel's well-known 
** Variations," and his own Transcri|)tion of ** Home, Sweet Homer* 
adding, in consequence of the great satisfaction evinced by the aodience, 
Liszt's Paraphrase of the march from Tatmhauter, Herr Steffens, the 
Russian virtuotOf by his performances of Ooltermann*s Concerto, justi- 
fied the high reputation which liad preceded him. He has a foU and 
beautiful tone, and his handling of the instrument indicates a good - 
school. Herr titeffens wv rewarded with great applause. The room, 
wag densely cnywded.— E. v. Blttv. 



Digitized by 



Google 



726 



THE MUSICAL WORLD. 



[November 12, 1864. 



NOTICX8. 

To Adtsrtiskrs.— 7%e Office of Tbb Musical World U at 
UB8S1I8. Duncan Davison & Go's., 244 Rtgeni Street^ comer 
of LittU Argyll Street (First Floor), AdvertUementi received 
ae late as eleven o'clock A.M., on Fridays — hut not later. Pay- 
ment on delivery. 

To FUBLISBIRS AND COMPOSERS — Music for Eeview mtut he for- 
warded to the Editor, care o/Messrs. Duncan Davison & Co., 
244 Eegent Street, 

To Concert GiVERS.~2Vb BeneJU^Coneert, or Mveieal Perform- 
ance^ excq)t of general interest, unless previously Advertised^ com 
he reported in Tiat Musical World. 



TO CORRESPONDENTS. 
Uasou Hat lOumld addren himself to Dr. Shoe 
Hmio w Mahohktibb will appear next week, with any additional newi 

with which onr oorrenpondent may fiiTor nt. 
MB. TnavBY flow at the G. P.^The ** London Choral Union,'' and 

the '* Ciyttal Palace Goncerta^" are nnaToidably postponed. 



LONDON: SATURDAY, NOVEMBER 12. 1864. 



JOHV IiHaOB. 

OmiT October zznc, mdccclziv., 

JSn^AT 46. 

THE dxnplest words are best where all words are rain. Ten 
days ago a great artist, in the noon of life, and with his 
glorious moDtal faculties in fa]) power, but with the shade of 
phyiical infirmity darkening upon him, took his accustomed 
place among friends who have this day held his pall. Some of 
them had been feUow-workera with him for a quarter of a 
century, others for fewer years ; but to know him well was to 
lore him dearly, and all in whose name these lines are written 
mourn as for a brother. His monument is in the volumes of 
which this is one sad leaf, and in a hundred works which, at 
this hour, few will not remember more easily than those who 
have just left his grave. While society, whose every phase he 
has iUustrated with » truth, a grace, and a tendemeas here- 
tofore unknown to satiric art, gladly and proudly takes charge 
of his fame, they whose pride in the genius of a great asBOciate 
was equalled hj their affection for an attached friend would 
leave on record that they haye known no kindlier, more refined, 
or more generous nature than that of him who has been thus 
ear]^ called to hia rest . fiunclf. 



ris not long since Fiorentino died, and musical criticism in 
FaHs has again suffered a severe loss ; Pierre Scudo, the 
musical critic of the Revue des deux Mondes and some other 
Parisian periodioab, fell a victim, on the 2l8t October, at Bids, to 
the attacks of madness which, for some months previously, had 
prerented his pursuing his professional avocations and necenitated 
his retirement from public life. 

Scudo was bom on the 8th June, 1806, at Venice. He went, 
however, at an early age to Paris, and, when about eighteen, was 
admitted into Choron*e Musical Institute. How he found his way 
to France, and what took him to Paris is something we do not 
know. His eccentric manners rendered him a favorite with his 
fellow students, among whom was Dupiez, afterwards so celebfated 
as a ringer. Choron usually called him his Court Jester. His 
voice was insignificant, and his murical knowledge still more so; 
but he poneawd an intelligent mind, to which were added the 
impulses and nature of an Italian, together -with groat confidence 



iQ-hiaself. As he was continually engaged in musical pamili at 
the Institute, his practical education was advanced by the stad j of 
dassical wotks, which Choron made his pttpDs sing, almost to tiie 
exclusion of aJl others. Technical vocal instruction, piop c dj wo 
called, was imparted only in a defective manner, so that boedo 
never properly learned how to sing. Notwithstendiag tkia, he 
was selected, owing principally to his natldiaUty, to sMfsin » 
second part in II Viaggio a iZetaw, an open compoaed by Boarini 
ezpready for the coronation of Charles X. in 1S24. 

In oonsequ^ce of the Revolution of 1830, Cbatoa^ Sdmol for 
Church-Muric was closed, 'and Scudo ^^^^p^^ ^ ^^^ abcnt 
for some means of gaining a livdihood. From tins' ftnA, M. 
F^is, as he tells us in his Biograpki& Umv»selk, voL Vn, lort 
sight of him, but was informed that he became a darinet plajer in 
a regimental band, and, in 1882, was stationed at Nantes. He la 
said, at the same period, to have plunged into the writingi of tte 
theosophers Jacob B8hme, Van Hebnont, St. Martin, and otiicn. 
F^ mentions the fact as a mere report, but if it be ttuOf nov, 
that Scudo has so unfcntunately fsllen a victim to mental dcnufe- 
ment, it carries with it greater weight than would oCihcrwiie hftve 
been the case, since it is suggestive of aprerious eooentric tandeDcy 
in his mind. That, however, he devoted the period in question to 
the task of making up for lost time seems higUy probable, and 
may be asserted with tolerable certainty, from his so L ee qu e u t 
appearance as an author. 

After hia return, to Paris, he gave leanns in singing. He wrote, 
also, a large number of songs or romances, many cf whsdi wve 
published, and, for a time, were popular among dilettantL Ftfs 
gives the title of two pr three dosen, but passes a Tevj eerere 
judgment upon them. What we remember to have esen cf thm 
proves, i^ is true, that composition was not the qphere in whidi 
Scudo w^ destined to idiine. In the accompaniment, alm,cf 
these romances we perceive what was either a striking want of 
acquaintance with the elements of harmony, or unpaidonaUe 
haste. 

He did much more in the way of musical criticism, or, periiaps, 
to speak more coirecUy, of reporting matters conneeled |With 
music, for he did not possess sufficient aoquxremcnts to write 
sterling criticism founded upon the theoretical analysla of a work 
of art. We should, however, be ddng him injustioe were we to 
go so far as to deny him the murical knowledge neosasary lor an 
independent nsthetic opinion on mumc, 4md In ekneOy tbe 
same degree that the judgment F^tis passes on him aa » o o m|Wff 
is correct, what he says about him as a writer oa merie la ill* 
natured and unjust. Iz we leave oni of conrideration a partiafity 
for the Italians, his countrymen, which sometimes ezerciaed a strong 
infiuence on him, Scudo was, abo^ all, one of the few Pttiatan 
critics who gave utterance to his conscientious convietionB, and 
never allowed himself to be swayed by any conriderationa whatever 
save those of art He possesMd, moreover, a pdiahed and attnctive 
style, especially and laudably remarkable from the fact of hk \m»^ 
free from that continual striving after esprit which besets ao many 
feuilleton writers, and of his never being tempted into coloring hIa 
judgment in one way or the other for the sake of a wit^ idea, or 
into wounding any one peraonaUy, although, especially in the het 
years of hia life, he despatched many subjecte very coitlx, and 
waa irequentiy harsh and dogmatical As one of the writea, for 
very many years, on the Revue des deux Mondesj he had, it ia trae, 
succeeded in making himself a sort of authority in murical anltsn» 
and in asserting his equality with the other talented oontribiitcca ta 
that periodical 

His articles in the Revue and other pubKcatloiis he gave to tl» 
world under various ooUective titles in the years 1850, 1854, 1859, 
1860, and 1864. He wrote, hkewise, a kind of ert-ieniMe: Xs 



Digitized by V^riOOQlC 



November 12, 1864.] 



THE IfUSICiL WORLD. 



737 



ChevaiUr Sarti^ which has been translated into German. The 
Nkd$rvMmaehe Musik'Zeitung^ alflo, reproduced mtaxy of his 
articles, though often obliged to oppose him, e^iecially in his 
opinions on German art. , On the other hand, howerer, he 
fiT|ii:psHsrl unbounded admiration of German and especially 
Bhenish -coiieert perfcnmanoes, with which he became acquainted 
only a few years since, while, according to his own aasertion, the 
Qtatorio choroses transported him into a completely new sphere of 
artistic enjoyment. 

His intdlect began to be deranged at the commencement of the 
prewnt year, and, at kst, his disease degenerated into downright 
madness so that his death— which occorred on the 21st October — 
Aust be looked on as a blessing by all who felt any interest in 
him. * h, BiscHorF.* 






EBNST. 

Parity November 6. 

UI ne connatt le nom d*£mst, on grand et channant artiste, mi 
dee pins aimds et des plus populaires^ de notre temps ? Mali 

fonle qui s'est empressee aux concerts sans nombre qu*Emst a 
donn^ dans ses royages Ik trayers les grandes et les petites yilles de 
rEorope, oette foul^ ne connalt que le Tirtnose extraordinaire, qui 
s'est jon^ des difficult^i ineztricables de Tart Paganinien^ et cela 
sdBsait pour qu^elle lui d^oemftt le nom de grand artiste. A c6t^ 
de oette multitude, tl y arait une ^te de connoisseurs (mdns 
nombreuse— ceU va sans dire)— qui ne oonnaissait rien de plus 
d^cieux que d^entendre jouer par Ernst un quatuor de Beethoyen. 
Tout a ^ dit snr ce jeu tour h tour passionn^, tondre, spiritneli 
humorUtique^ et je ne yeux pas r^p^ter ce qui a ^t^^dit et tent par 
lei meilleun juges. 

r. Ernst a public une foule de mprceaux, ^rits pour pettre en 
relief tout ce que le public exige aujourd'hui d*un yirtuose 
aeoomplL H les a fait entendre dans tout Tuniyers ciyilia^, et ils 
ont M adppt^s par les ylrtuoses de toutes les eateries. Ss ont 
probablement coClt^ bien les larmes k ces pauvres pettts (tree que 
dee p^res sans entndlles, ou yaniteux, int^ress^ consacrent k T^t 
d^enfant prodige^ ^tat que Ton exerce aouyent pendant longues 
ann^ qar il y a des enfants prodiges de tout &ge. J^ai connu des 
artistei, que parlaient, agiasaient, jouaient d'un instrument ou 
oomposaient en en/anU prodiges jusqu^k leur mort. Dans ces 
nxxrceaux brOlants, compos^ par Ernst, on yoyait n^anmoins 
poindre aouyent un sentiment d'un art plus dley^. On sentait 
rartiste richonent dou^ k trayers ees accords plaqu^, ces folles 
gammes, ces traits dcheyel^ et tout oet attirail du grand yirtuose, 
qui yeut et doit f rapper, stup^fier memo ce monstre yorace et insa- 
tiabie qu'on nomme un auditoire. Comment un artiste yoyageur, 
k cbaque moment sous le coup d*une grande exhibition^ oomme 
£sent nos yoisins, trouyerait-il le cahne, le recueillement si 
nteasaires k reclosion d-une oeuyre d*art? dependant, de temps k 
antee, il paraissait quelque oeuyre d'Emst, oil Ton yoyaSt bien ce 
qa*il y ayait en hd de sentiment profond et podtique. Je ne yeux 
dter q«e sa c^l^bre EUgie^ dont les accents si tendrement 
pasnonn^ ont proyoqud partout lis applaudissements les plus 
enthousiastes. L*£l^gie a 4td — j'allais dire traduite dans toutes ks 
languea— arrange du moins pour tous les instruments ; piano seul, 
ilate, claiinette, et pour la yoix. Enfin, elle a eu tous les honneuis, 
si }*en exoepte oelui de Torgue de Barbaric, le triomphe, le Capitole 
des compositeurs yictorieux. Je dois citer encore le concerto en fa 
diese majeur, conception remarquable, dans laqudle Ernst a fait 
preure de quality sup^eures. J'ai dit plus haut qu'il est bien 
difficile sinon unpossible, de trouyer le recueillement n^oessaire k 
une oeuyre d'art s^rieuse, au milieu des tracas et des occupations 

* Editor id th« NkitrrhmiKhi MuHk-ZcUw^. 



sans tr^ye d'une yie nomade, oomme ceDe d*un yirtuose yoyageur, 
Ce recueillement, oette soHtude, ce calme, Ernst les a trouv^, 
hdlas ! mais k quel prix ? Depnis dix ans, il soufEre d*une makdie 
cmelle, et son yidon enchanteur lui est dchi^yp^ des mains. Mats 
la Proyidence a youlu que son esprit restUt yaillant, et il souffre 
ayec courage, ayec r^gnation, parce que le plus yif sentiment de 
Tart diyin se conserye tou jours dans son dme. Par un destin cruel, 
le yirtuose n^existe plus : U s'est consumd oomme le ph^ix, et de 
ses cendres il en est sorti un autre qui plane bien au-dessos du 
premier, quelque admirable qu'il fdt. Ce second ph^nix au yd 
radieux, c^est le compositeur. 

B y a quelques jours, nous ayons extendu deux oeuyres de lui, 
deux quataors pour deux yiolons, alto et yiolonoelle. Kous ne you* 
Ions pas mdme essayer, par une s^he analyse, de donner une idte 
d*oduyres aussi importantes par leur ^tendue que par leur yaleur. 
K*y cherches pas Taimable et charmant compositeur de la fantaisie 
sur Otello^ ou sur le Pirate. Mais yous y reconnaitres Tauteur de 
VElegie et du Concerto^ singuli^rement agrandi et ^pur^. Toutes 
les promesses contenues dans ces deux ouyr^ges se sont r^lis^, et 
yous ayes deyant yous un noUe artiste arrive k I'apog^ de son 
talent. Ces quatuors ne pouyaient dtre Merits que par un grand 
musicien, qui a cent fois exdcutS, m^t^ les chefiB-d'ceuyre de ce 
genre que nous ont laiaids les grands maftres. Le style le plus 
noble y r^e d'un bout k Tautre ; aucune liUshe complidsancepour 
les oreilles noyices ou f riyoles. Tout y est de cette beauts sdrieuse 
et s^y^re qui seule assure Tayenir aux oeuyres d'art. Ne croyes 
pas toutefois que la melodic n'y abonde pas. Les adagio^ les an- 
dante sont ce qu'ils ddyent €tre: des chants ou expreasilB ou 
tendres, et paasionn^ souyent. Les scherzo sont d'un y^ritable 
humoriste : celui du premier quatuor, d^un laconisme ^tonnant, en 
dit beauooup plus qu'on ne pense. C^est ttne ^pigramme, mais 
sans fiel ni amertume, et comme un confidence aimable et rapide, 
glisB^ k Toreille en passant. Le scherzo da deuxibme quatuor est 
au contraire trte-ddyelopp^, d*une grande hardiesse harmonique et 
rhythnuque. Ces deux morceaux ne rapellent aucune composition 
de ce genre, et c'est Ik un bien grand m^te. Je youdrais citer 
encore le rayiasant andante^ de style un pen pastoral ; et j'aurais k 
dter tant d^autres passages! — J*en ai assez dit. Je ne puis me 
r^gner k une analyse^ il faut entendre cette musique. Je me re- 
sume : ces deux quatuors t^moignent dWe complete transformation 
du talent de Tauteur. Ces grands ouyrages m^ritent la plus 
s^rieuse attention, et il est impossible que le suiSrage de yrais con* 
naisseurs leur fasse ddfaut. 

Deux jeunes artistes anglais, les fr^res Hohnes, et MM. L. Jac- 
quard et C. Ney, out interpr^ les quataors ayec un rare talept. 
Aprte une seule r^pdtition, ils <mt dit ces oeuyres si diffidles ayec 
un strain et un ensemble bien remarquables. L'auteur ^tait pr^. 
sent, et il ^tait yisiblement dmu de la profonde impressian qvi 
partait de lui pour lui reyenir. L^aoditoire, compose de nombreux 
artistes et connaisseurs, Ta chaleureusement f dlicite. Je ne yeux 
pas terminer ces lignes sans dice un mot des deux fr^res Holmes 
que je yiens de nommer. Aprte la grande pi^, la petite. lis ont 
jou^ un duo pour deux yiobns, sans accompagnement ; quel en- 
semble meryeilleux! quel spactacle sympathique, celui de deux 
jeunes gens, de deux fr6res, qu'on dirait issus du mSme yiolon, 
comme ils sont issus de la mgme m6re ! Paris, cette yille si a£Ereuse 
et si belle, le public parisien, ce public si detestable et si adorable 
(choisissez entre les ^pith6tes : chacune son heure et son k-propos) 
jugeront les jeunes artistes : je ne suis pas inquiet pour eux. 

Stephen Heller. 



Mr. Balfe has left Engbmd for Paris, where it is his intention 
topass the winter. 

Herb Anton Rubinstein is said to haye composed a yiolonoello 
concerto expressly for Sig. Piatti. 



Digitized by 



Google 



728 



THE MUSICAL WOBLB. 



[November 12, 186i. ■ 



S 



(^To the Editor qf the Hcsical World.) 
IR,— Since I last addressed you on the subject o! the ^ Boyal 
English Opera (Limited)'' I have been fayoured with a letter 
containing particulars of which your many readeis may not have 
had prerious knowledge, which, in any case, must be admitted to 
possess a certain interest. The subject of this letter is the band 
now performing tmder Mr. Alfred Mellon 's direction at Covent 
Garden Theatre; but, without further jn^amble,* here it is tJi 
extenso : — 

SxBw — ^Permit me to call your attention and, by the aid of your 
Tiloable journa], that of the public, to an error unfortunately but too 
often committed by muidcal and other speculatorf. I make the 
following extract Itom an advcrtiflement of the Opera Company 
(limited) which appeared in the Timea on October 6th, ^c of the 
present year : — " The orchestra and chorui will be composed eutirely 
of members of the Royal Italian Opera, now so justly celebrated all 
over Europe." Now the public from this can only suppose that they 
are listening nightly to the celebrated orchestra of the Royal Italian 
Opera, perlwps a tritie reduced in numberp. The fiurta are, however, 
as follows: — ^The orchestra of the Roj'al Italian Opera, under Mr. 
Costa's conductorship, consisted last season of eighty-six perfprmera, 
fortv-one of whom (less than half, observe) now p£y in the orchestra 
of the Opera Company (limited), assisted by eighteen gentlemen who 
are not members of the Royal Italian Opera, making the band of the 
Opera Company (limited) consist of 59 performers, very nearly one 
third of whom are not members of the Royal Italian Open band. 
This may not be a subject of ereat interest to the publio as long as 
the band provided for them U a sufficiently good one, but, as it is for 
various reasons one of considerable importance to many of the forty- 
five members of Signer Costa's orchestra, who from the advertisements 
quoted may be supposed to assist at the performances now being given 
at Covent Garden Theatre, and who are really not to emploj/ed, I am 
instructed to say that you will confer an important iavor upon those 
gentlemen by the insertion of this statement. 1 enclose a list of 
names (for reference or publication) which is correct in every particular, 
and am. Sir, youre obediently, , Simon Half. 

New Moon Street, Nov, 10. 

In a postscriptnm Mr. Half gives the names of forty-five mem- 
bers of the Royal Italian Opera who do not play at the *^ English 
Opera Company (Limited)." These are : — 

Blessra. Sainton, Dando, Carrodus, Goffrie, Ries, Love, Streathcr, J. J* 
Watson, Zerbini Sen., Willy, Bort, Kelly, Loades, Newsham 
Nicholson, Simmons, Schmidt, S. Webb, W. U. Hann, Wilkins, J. 
Hill, Thompson, Westrop, Calkin, Hancock. Paque, Reed, Shepperd, 
Campanile, Castell. Mount, Reynolds, Russell, Severn, Vaudrelan, A. 
Winterbottom, Cheshire. De Folly, A. Nicholson, Maj-cock, Hutchins, 
Anderson, Irwin, W. Winterbottom, and Chipp Sen. 

He then adduces the names of eighteen of the *^ English Opera 
Company (Limited) " who do not play at the Royal Italian Opera. 
ITiese are : — 

Messrs. Betts, Jones, Thomas, Zerbiai Jun. Payton, Brown, White, 
C. Ould. Harper Jun., Waud, Radcliffe, Engle, Owen, Winterbottom 
(John), Smith, Sutton, Horton and Ouhard. 

I feel convinced that should there be inaccuracy in the state- 
ment of Mr. Half, you will allow any literary representative 
appointed by the *» English Opera Company (Limited)" to point 
it out in your impartial columns. Meanwhile it is only fair to Mr. 
Alfred Mellon that the plain reason should be known why the band 
of Her Majesty's Theatre (Mr. Harrison's band) is unanimously 
pronounced superior to the one he (Mr. Mellon) directs. 

By the way what has become of Mr. Charles Adams? Is it 
true that he was only engaged for one month ? and that he has 
returned to Berlin ? Dishlet Peters. 

Tadcaeter-^ Service-tree and Sable^ November 10. 



MENDELSSOHN SCHOLARSHIPS. 

To Sir GEoaoa Suabt^ 4^., ^., ^„ 

.xP'^.^^^ HoHoaED 8iB,--Your letter of the 10th inst., resigning 
the chairmanship. &c., of the above foundaUon, has been duly laid 
before us. Wo cannot receive it and accept it without forwarding to 
you, in rttum, the expression of our deep re^ for a loss which we 



must all feel so great a one, however considered, — and our unanimous 
and most sincere gratitude for the valuable serviees you have rendend 
to the committee since its ibrmation. We remain, reepeetfiiBy alMi 
aflectionately, yours, The MendeUeohn Seholarahm Cfomemttee : — 

CiPBiAirx PoTTEa (^Chairman). 

Jules Bbkemot. 

WiLuax Stbrxdalb Bskhrt. 

E. BoxTOH (ifofi. TrMwrer), 

HsNsr F. Cboblbt. 

J. W.* Davison. 

Otto GoLnsononr. 

John Hullah. 

C. Lucas. 

LiNOSAT Slopee (Eon, Secretary), 
October 2«, 1864. 



FA^IS. 

-(From our own Correspondent,) 

The reprise of Donizetti's Roberto Devereux at the ItaUens is not 
likely to be of much aenrioe to the theatre. Why M. Bagiw 
revived it I cannot baj. When first raoduced in Paris, in 1838 — 
with Rubini, Tambunni, Grisi and AJbertazzi— it had a very mo- 
derate Bucceas, and no aucceea at all in London the follow- 
ing year. Roberto Devereux was written at Naples, and 
produced at the San Carlo in 1837, with Madame Ronzi di B^;nis, 
bignor Bassadona, the tenor, and M. Barroilhet, the French bari- 
tone. The present cast at the Italiens includes Madame de Lagrange 
ai Elisabetta, MdUe. Vanderbeck as Sara, Signor Frwchini, 
Roberto, and Signor Ddle-Sedie, Notting^iam. Roberto has been 
a favourite part with Signc»r Fraschini in Italy, which, in all pfo- 
bability, is the cause of its reproduction at the Italian Opera at 
Paris. Signor Fraschini has certainly some *^ great moments ^ in 
Roberto, but I cannot agree with one of the journals who praises 
*^ his superb voice, his large virtuosity, his admirable and gk>wing 
vocal sentiment.** How is it that with these rare artistic virtues 
he is utterly ignored by the London Italian directors ? For my 
own part inde^, I should much rather hear Signor Fraschini, in 
any music under any circumstances, than Htrr Wachtel. The 
Italian at ail events, is a thorough artist ; the (jerman, or Austrian, 
or Hungarian, whichever he ma^ be, has little knowledge of the 
art of singing. Signor Delle-Sedie made but little of the diaracter 
of the traitor Nottingham, not having the requisite voice and > 
fire for its just inter^;etation. The Elisir dAmore is in active 
rehearsal for Adelina ratti, whom,, I fear, the other prima donnas 
of the establishment cannot greatly reverence, seeing that she alone 
proves eminently attractive with the public. The Sisters Marchisio 
are expected shortly, and will make theur clebut in Semiramide, After- 
wards Sister Carlotta will appear in PoUuto with Signor FraachinL 
The new divertissement, which is to inaugurate the performance of 
ballets and dances at the Italian Opera imd is intended to precede 
the representations of the Elisir dAmore, ia, I hear, the composition 
of a young Florentine musician, Signor Mattiozi, of whom rumour 
is not stinting in praise. M. Bagier, I understand, has determined 
to compete with the best achievements of the Grand Operi in the 
matter of soenery, decorations and costumes. 

Madame (jennetier has confirmed the good impressbn Aa made 
in M. Thomas* opera, by her performance of AngeU in the 
Domino Noir, The music suited her perfectly, and her aucoess in 
the ^^ aragonaise '* and the rondo finale was triumphant. The 
Opdra (3omique has been fortunate in securing the services of this 
brilliant and fascinating singer. On Saturday the first r qw re wn - 
tation of the Tiesor de Pierrot took place, llie music is faj M. 
£. Gautier, the book by MM. Cormon and Henri Trianon. It 
had a tolerable success. Particulars in my next. 

At the Theatre Lvrique Mdlle. Nillson has, in one respect, made 
large advances on her first performance in the Traviata. Her 
singing has gained more force and more accent, and her voice, in 
consequence, more tone and quality. She has not yet shown any 
great improyement in her acting, which is apathetic enough for so 
inflamnaable a young lady as Violetta. However, Rome was not 
btult in a day; nor can a histrionic reputation be made in a 
moment. The friends and admirers of Mdlle. Nillson are perfectly 
satisfied with her success ; the manager rubs liis hands ; and I write 
my remarks. Voila tout. 

I fear it is all up— or, rather, all down— with Signor Nqsiini, 
one of M. Bagier*s pet tenors, and a special favourite of thelmkid 



Digitized by V^riOOQlC 



November 12^ 1864.] 



THE MUSICAL WOELt). 



729 



Mblic, as mj last letter xntist have informed jm, A Naples 
jonmal, VJndependente^ stateB thatSignorKegriniwasafewdlayB 
tinoe aeused with an apoplectic fit, and that his life is in imminent 



rehearsals of the A/ricaine are being pushed forward with 
tctivity. Hie principal dnffen and choros have pretty well 
Mastered the first two acts, and the third has been justdistnbnted. 
I hear that M. Ferrin is determined that the scenery, apixxintments 
and dreBses shall smrpass those of any former prodacUon of the 
Opte— which is saying a great deal 

According to my usiuil custom I snpjply tou with the programme 
of the week^s Fqpular Concert of Claaical Music. These concerts, 
to a oertun extent, may be called ^^ The Monday Porailar Con- 
certs*^ of Paris, although they are gj^en on a Sunday. The follow- 
ing selection was performed at the Third Concert : — Overture io Ihe 
Ruler of the Spirits-^Webet ; Symphony in Gr minor— Mozart ; 
the Agitato movement from the Symphony— Cantata, Lobgesang — 
MendielsBohn ; Concerto for pianoforte in B flat— Beethoven ; 
Suite d'Orchestre, in D Major— Franz Lachner. M. Th^ocbre 
Bitter was the pianist. Momtaoue Shoot. 

Paris, Nov. 9. 

MoLLE. MuRSKA, writes the Revue tt Gazette Musicale, one of 
the most brilliant pupils of Madame Marches!, is engaged at 
Vienna, and for next season at Her Majesty's Theatre. 

Joseph Joachim. — ^The infant son and heir of this distinguished 
artist will, if report speak truth, have the King of Hanover for^a 
godfather. 

Mr. Benedict has been decorated by His Majesty the King of 
Wurtemberg with the Grand Order of the Crown. This decora- 
tion, writes a Parisian journal, only bestowed on extraordinary 
occasions, confers on the recipient at the same time credentials oi 
nobility. 

Mdlle. Pauume Lucca.— All difiicukies between Mr. Gye and 
Mdlle. Lucca are happily arranged, and the pleasantly vivacious, 
piquant, and gifted httle lady will positively be one of the '* stars " 
of the Covent Garden troop aext year. Tanto kieglio, Mr. Gye 
is at present at Berlin, having had scent of another desirable prey. 
We hope he may catch it. 

Leech and Thackeray. — ^The two great humorists who so lately 
satirised in a kindly and gentle spirit uie follies of their time, and 
who now lie within a few feet of each other at Kensal Green, sat 
side by side in the great hall of the Charterhouse on the last cele- 
bration of Found^*s Dav. It is proposed to erect within the 
building a monument to th^r joint memories, and the Rev. Dr. 
Curr^, of the Chaoterhouse, has consented to receive the subscrip- 
tions which the general public, and particularly Carthusians, will 
be anxious to contribute for this excellent purpose. 

SioNOR Randeqoer has returned to London after a continental 
tour. He had the honor of sharing with the renowed Mercadante 
the conductorship of the San Carb orchestra, at the Grand Con- 
cert given to the members of the Italian Musical Congress, on the 
29th September, in Naples. He directed (among other pieces) 
the Festival Overture of Mr. Benedict, which was received with 
immense applause. Signer Randcffger has been appointed, Ir^ the 
President m the Congress, one of uie four meinbm of the Com- 
nuanon of Enquiry as to the Method of Instruction pmuned at the 
Cmiaervatoire of Naples, and to furnish a report to the Minister 
of Public Instruction at Turin. Signer Randeeger has visited 
Rome, Florence, Bologna, Venice, Trieste, Vienna, Munioh, 
Stuttgart and Paris— in each of which cities he was welcomed and 
appreciated as a musical artist of the first class. 

Dawlish, Dsvo2r» Nov. 9th. — ^This favourite watering-place was 
vialted» kat Monday, l^ Bin. John Mac&rren, whoae Evening ai ihe 
Pianoforte attracted to the Town Hall a crowded and appreciative 
assembly of the neighbouring gentry ; indeed, an audience lo numer- 
oua, that the-apace proved too limited for its convenient accommodation. 
The programme comprised a selection from the pianoforte works of 
Mozart, Haydn, Beethoven. Stemdale Bennett, Liszt, Brisnc, &c., and 
these were executed by Mrs. John Hac&rren with such appropriate 
vigour, brilliancy, and refinement^ as to elicit cordial and unanimous 
applause. The entertainment was agreeably diversified by vocal 
meces, charmingly sung by Bladame liilardoni, who, in Mrs. John 
Kaefiuren's new ballad " One Tear " (a village tale) was vociferously 



ROYAL ENGLISH OPERA. 

HelveUgn has been given eveiy night during the week, excepting 
Wednesday, when Masaniello was performed for the last time, 
Mr. Charles Adams being compelled to return to Berlin, and last 
night, when the sudden illnen of Madame Parepa necessitated a 
change of performance. Whether Mr. Adams rejoins the com- 
pany before the end of the season we cannot say. While 
speaking of Masaniello we may note the fijrat appearance of 
Miss Imngworth in the part of Elvira. This lady, of whose 
antecedents we know nothing, has a soprano voice of good 
quality, but is somewhat timid in its use. HelveUyn pleases more 
and more those who are able and willing to appreciate good music. 

Miss Linas MartoieUe will, it is said, shortly make her tUbut 
in the Sonnambula, o 

Madame Abadella Goddard gives a ^^ Recital" of dassical and 
modem pianoforte music here on Hmrsday. 

Miss Milly Palmer.— This young lady, whose fame, as an 
actress of the hightet repute, has been more than once recorded in 
our Liverpool correspondence, made her first appearance in London, 
at the Strand Theatre, on Monday evening. The character 
sheeted for her was Pauline in the comedietta of Delicate Ground. 
There was indeed but one opinion about the new comedienne after 
the performance — namely, that she is destined to become an or- 
nament to the Metropolitan stage. We shall have more to say 
anon, of Miss Milly Palmer, whose legitimate- arena, by ^e way, 
Ml hardly the Stcand Theatre. 

Bo9TOM« — (Masaaekuseitsy.-'^torer'B German opera company 
is the nusical attraction at present. The season, as usual, com- 
menced with Mar^a. We have, of late, seldom seen so large an 
audience to listen to this somewhat stale and uninteresting opera. 
Could we have had Formes as Plumkett, it would have given a 
different character to the performance, although Herr Steinecke 
did as well as he was able. Mdlle. Frederici left nothing wanting 
in the part of Nancy. But the manner in which she uses the 
lower register of her voice will impair, it ere long. Hie choruaen 
were sung with more spirit and accuracy than we are accustomed 
to by Italian chorist^. Tho orchestra was not well prepared. 
Herr Karl Formes made his first appearance this season on Wed- 
nesday, as Bertram in Robert le Diable, This is one of his best 
parts, and his popularity in Boston was sufficient to insure a full 
nouse. Herr Formes^ voice has suffered in its middle and upper 
register, from hard usage ; but he had prepared for the perform- 
ance, and proved to be still a great artist vocaUy and dramatically. 
The company have given some of the best German and French 
operas, including Mozart's Don Giovanni^ and they have several 
good;^things in store. The ** Mendelssohn Quintet Club,'' with a 
few singers, have given a short series of concerts at the Melodeon. 
The bij^est concert of the season was at the burning of Halloet 
and Davis's piano manufactory, when the Boston Fire Department 
played on one hundred pieces at once. — (Boston^ Oct, 16.) 

Kew York (U. S.>--The Italians at the Academy of Music 
have given // Trovatore<, La Traviata^ Lucia^ Un Ballo, Lucrezia 
'Borgia, and Fatist. The new ten)C)r, Signer Massimiliani, has not 
improved on closer acquaintance; his means are certainly not 
large. The prima donna Mad. Corezzi-Zucchi, thus far, is the best 
acquisition Mr. Maretzek has made. She is a little cold, but 
always artistic and tasteful. The new contralto^ Mdllo. de Gebele, 
has a prettv voice, but little else. Her delivery is faulty and the 
registers of her voice have not yet been brought to any kind of 
blending. In Faust Mdlle. Kellogg made her appearance and 
again charmed th« audience by her trul^ poetical and finished 
performance of Marguerite. It was a wise, a necessanr step on 
the part of Mr. Maretzek, to re-engage her. Signor Lotti was 
Faust. He has a pleasing voice, and tlie higher it goes the better 
it sounds ; his delivery is good, and lie is altpcether acceptable. 
But he might be a favorite, if he only knew a little more of the 
secret of accentuation and expression. With all his means he 
makes but little effect. Mdlle. de Gebele was very indifferent in 
the part of Siebel, and Signor Susini made a failure as Mephisto. 
He seemed to be under tiie impression that he had to act Falstaff. 
His singing was by no means artistic. Must this once good artist, 
too, fau in all operas which are not Italian? lliere was rather 
more dancing in the seoond act than necessary, and we do not 
think it enhanced the poetry of the first meeting between Faust 
and Marguerite.— (Aeir York, October 22*) 



Digitized by 



Google 



730 



THE MUSICAL WORLD. 



[Noyember 12, 1864. 



Dr. Wind cannot blow hot and cold — at least not in the aame 
•eoond ; nor wonld he if he could. He nerertheleBi, feds impig- 
norated to ednoe a communication from Mr. Paper Brown, wliich 
under diyerse circumstances he might have felt impignorated to 
reject. 

M<MT SsRSMs HioHNEM, Gracious Prixor AMD 8iB. — Siii,^Tour 
most serene HighneM, ai high connoiuear and protector of the mutical 
■cience, I take the liberty to offer most lubmiMiTely vnr quite newly 
compoted ilx quartetts for two yiolins, alto et Tioloneello coDcertante, 
for subscription for six ducats, correctly copied. -They are in a new 
and quite peculiar manner, my quite new symphonies, concertos, and 
operas are ready to foUow at vour roost gracious desire — foreign high 
families will receive the subscription quartetts sooner than J shall 
bring them put here. Recommending myself to your illustrious grace, 
I remain in hopes of a &Torable reply, with deepest respect always* 
Tour most serene Highness*s most humble ana obedient Josbprfs 
Hatdv ( CaptUmtuUr to the Prinu Eiterhai^.) 

** Wien, a. 8 Ikeembre, nSl,^Addre$9e N. IT. to he l^ oi tht house of 
hii Mraii ffighmet Prince EeUrhaty in WienJ^ 

The foregoing was forwarded to Mr. Ap*Matton*s qnarten too 
late to be desiwtched to the Vatitei, with hw (Ap'M.'s) Wire. It 
was accompanied by a comr of the German origtnal, and also an 
apologetic note from Mr. Paper Bxown, which Dr. Wind thinks it 
harmfas to affix ; — 

Djeab Ap'M.,— My friend Herr Schlangenstob (of Breslan) has for- 
warded me a letter ftom the late cofflpoeer, Jose|^ Havdn, to an 
exalted personage, which he says he found in an exoavaUon. With 
the letter came equally a translation into English, by Herr Sohlangen- 
stab himself, who declares that the letter was nerer puhlishea and must 
have remained in the excavation since feu Haydn wrote it. I enclose 
both to you, thinking it may do for MuUomtma, 'VLj best compliments 
to Mrs. Ap*Al., and a kiss for Miss Fleece. Believe me, dear Ap'M., 
yours as till now. THsonoaa Papbb Bbowk. 

PooUeap Lodge^ November 0. 

' Dr. Wind woold ask whether the excavation was a post office in 
Haydn*s time-^md if so, why did the letter remam there till 
now?— and if it remained there till now, how did it reach the 
'* exalted personage?*' Dr. Wind does not put these questions 
lightly, inasmuch as the letter has bng been known to exist by 
him (Wind), who is also aware that it was addressed to the Prinz 
C. Ansehn von Tour und Taxis, about whom he (Wind) has often 
heard Mr. Ap'Mutton talk— as he (Ap*M.) has often talked of 
Joseph Haydn — as oi a close friend. Moreover (and this is a 
poeer for Herr Schlangemtab), Dr. Wind possesies a copy of a 
certain book intitled liistory of the Music of Eatishon, which was 
expedited to him (Wind) by its learned auth<v, Dr. D. Metten- 
leiter, with the following invoice : — 

•• To S^timus Wind, L.L.D.D.-^from D. MetUnleiter, in tohm of 
regard if not of esteem — this volume." 

Furthermoreover (and this is t^ finisher for Herr Schlangenstab) 
the self -same letter of self -aame /oseph Haydn to self -same Prinz 
Anaelm von Tour und Taxis is published in self -same History of 
Music of Ratisbon, How then about the excavation ? What 
Mr. Ap^Mutton— who posMsses scores of autograph letters from 
Haydn, to whom he (Ap'M.) imparted certain mysteries of Fugue 
— ^will say on his (Ap*M.'s) return from the Vatican (unless that 
Paper Brown has been hoaxed bv Schlangenstab), Dr. Wind does 
not greatly care to conceive. He (Wind) thinks it superfluous to 
publish German original of letter, finding SchUngenstab's transla- 
tion (printed literatim) all that is requisite for Muttonianian 
purposes. Let Mr. Paper Brown excavate himself as well as he 
may. That is his (P. B.'s) affair, not his (Wind's). 

Haydm's Fibst Symphomt. 

DeabDb. Shob,— Can you, or the respectable Mr. Ap'Mutton, or one 
of hu respectable staff, inform nie when Haydn's first wife died, (a 
mother of how many brats '?), when and where his first qrmphony was 
performed, and how many times his house was burnt down, by whom 
(and how often) rebuilt, and when his oratorio of Toby was composed ? 
if so 1 shall feel extremely grateftQ, as my friend, Herr von Bismark 
ban a bet about it with His Majesty the King. Yours humbly. 

Berlin-^Sehloes £»el, November 8. A. Lokobais. 

Dr. Shoe might or might not have been able to settle these 
questions. About Mr. Ap*Matton's possibility there cannot be a 



suspicion. Hapnily Dr. Wind (in tiieir absences) is abb to blow 
into the ear of Mr. A. Longeara the knowledge which it niMS to 
be the receptacle of conveying to that worthy genuenaaa's 
capacious skull. Haydn^s wi&— to whom, according to his 
(Haydn's) declaration, ^* it was all one whether her hnsbuid was a 
cobbler or a composer of music^— died in the summer of 1800, at 
Baden near Vienna (bratlesB). His (Haydn*s) first symphony, 
commencing : — 



m 



m 



t==^ 



^^ 



was written when he (Haydn) was Concertmeisier to Count Marzm 
rthe Count with the beuitif ul wife, whose handkerchief, one day 
falling off, discomposed the ccMOpoaer at the harpaicbord) — about 
1760, near Pilsen, in Bohemia. Haydn*s house was twiee set on 
fire (and twice built up again by his friend, patron and master. 
Prince Nicolai Esterhaqr^ who died in 1790, and on the subject of 
music was bj no means '^ha^^'*). His (Hajdn'a^ oratorio of 
Tody— or, reverentially speaking, // Ritomo di Tobut — ^waa com- 
posed in 1774. 

For the subjoined arch»ological scrap Dr. Wind is indebted to 
his doct and lexicographical friend, Dr. ()tto Beard, whose masteriy 
digest of Albrechtsberger is the admiration of acoosttcal philo- 
sophen. 

Two LxAVBs rsoM tbs Last Cebturt.— In the chronicle of the 
sequestered Benedictine Convent, (Jpper-Altaich (in Lower Bavaria), 
by Hennauer, printed in Straubing, 1731, the author says of Uaria 
auf dem Bogenberg (a place near btraubing, visited by 'numbers of 
pilgrims) : — 

** Wir tlnnB ra D«la«a U>b9 Tsf vnd Naeht : 
Ut, R«, Ml, Fft, Sol, La, Moendit f loria Matrls, 
La, Sol, Fa, Ml, Ra, Ut, daaaaodit f ntia Matrls.'* 

In Haydn's Chronicle (1782), of the also sequestered convent, Lower- 
Alcaioh, it is nid in praise of the Abbey, which he calls - a moral 
Libanon." — *« It was there a continual 'merry Muaioke-making. a 
constant singing and ringing, but such a one as St. Paul writes of to 
the Ephe^ v. 19. This diversion of singing and dulcet musik of tliis 

* moral Libani ' one -has not only heard in the choir and the churches, 
but everywhere did one hear them ; the Benedictines sing the pni»e 
of God per pradiealionis euavitatem. To those little ones they ssng 
at the chancels the Diseant ; to those more experienced pn^a in the 
way of Ood, they everywhere sang the Alt : O Altitude dtntiarum ; 
to those running the erroneous way of sin, they sang the Tenor, iji, 
tenorem poenitentite Judieii intemi ; to those desponding onea they suig 
the Bau : Ckristue^ passus est,'* 

Dr. Wind here takes occasion to say, that^-in the absence of Mr. 
Ap'Mutton manv of the more recondite sluices of infonnation bdiig 
inevitably dosed — all such parcels of learning and research are 
welcome. The following comes from Mr. Table (a freqnent, 
though humble communicator) : — 

Da. Liszt avd Pius IX.— A vapid anecdote about these two well- 
knowu characters has lately been going the rounds of the contincnul 
prew. It in reducible fo the mere iact that the ex-(iianp-virtQo«o has 
again been playing to his Holiness. Tliat such an event should ba 
judged worthy of the flourish of trumpets with wliich it has been 
announced to the worid is abaurd. enough, but it is sorpasnd in 
absurdity by the deUils. Plus IX, we are informed, begsed Usat to 
play " some lively piece by way of a change," on which Xisst, «with 
an amount of tact which does him honor, chose the melonthely melodv 
of * Casta Diva' from Bellini's Norma," The Pope, we are ftirthcr- 
more told, was so " carried away " by tliis that, •• with his sonorous 
voice," he sang the words, though the cavatina, be it remembcared, is 
written for a soprano. This is the sort of rubbish which continenUl 
paper*, large and pmall, with scarcely an exception, pubtiah in all 
seriuusness. — S. T. Taslb. 

Oddly enough Dr. Wind has just received a letter from the 
Vatican, from which he takes occasion to extract the subjoined :-> 

" Db. Wind,— Thanks for your careful invei»tigation of Ap*M.*s pw- 
rogative. Fish has written for his (Ap'M.'s) pardon and got it by port. 

♦ • • ♦ • He (Ap'AL) affecU his (F&h's) new woid, ** pcnnyaUner," 
but should affect it deeplier with the sixth letter omitted. * ^v % n 
Tou will see an anecdote about Pio. IX. and Friar Lint. It contains 
only two-thirds of the truth. Stopping at the Vatican for the fbllowing 
reasons ♦ ♦ ♦ ♦ ♦ (^j)r. Wind keeps these to himself) Ap'M. naturally 
smokes his (Ap*M.*s) evening pipe with the Pope. HIsUoIinen 
indeed wont let him (Ap'M.^ get out of his (His Holiness's) sight, and 



Digitized by 



Google 



November 12, 1864.] 



THE MUSICAL WORLD. 



731 



haa offered him (Ap'MJ ^^^ command of * * * * Being on wann 
term*, however, with Lamorici^re, he (Ap*M.) has declined. The 
"Uveljr piece Friar Liast played by way or a change*' was not " Casia 
Diva," hut '* Po-->r Mary Anne." . Nor waa the Pope ** carried away " at 
all; nor did he dns the worda of anything of the sort. He 
merelv muttered (melodioQsly), throogh his teeth, aa foUowa— ao well 
aa Ap'M. can reoal :-* 




^ 



Kon pos - sa - mnSi non pos - so- arasi non pos - sn - mus. 

— dwelling emphatically, and with a smile of placid irony, on the last 

3 liable, Mua, aa one who woold insinnate that the <* Convention " after 
I w£Q tnm oat no better than a ridkului mui. Whereupon Friar Lisst 
pUved one of his own symphonies. Whereupon both the Pope and 
Ap*M. fell on sleep and their pipes on the floor. Indeed, since Ap*M. 
haa been at the Vatican, the signal for his ordinary night-cap has oeen 
one of Friar Liszt's performances of one of his (Liszt's) own recent com- 
positiona-^which remind him (Ap'M.) of Bichard Wagner (whose best 
work is the book of a Datch captain) bit by a tarantnUf. ^ « ^ Salu- 
tatioria to Shoe, and inform or apprise him (Shoe) of Ap'M.'s speedy 
reapparition ♦ • * 

Vatictm, Jfqff. 2. / 

After whiQh Dr. Wind ho^ the sab^^diion of papen will not 
repoduce the anecdote, *^ Liszt and Pins," without dusting and 
reimpbsing it. He (Dr. Wind), nevertheleBB, is at loss to appre- 
hend the subjoined,-* throBt into his bag at a late hour, just as he 
(Wvad) was distancing Air Street : — 

A RuiHED Castle. 

BiaraoTsn Sib. — The revival of the CattU of Andaitma at the 
Haymarket Theatre proved a failure. The opera, or lyric melodrama, had 
aearoely had a fidr chance, seeing that much of the musie written for it 
wastomitted, and that several modem ballads, quite out of charaeter 
witib the rest, were interpolated. It may be urged, however, with some 
force, that the piece has always been played as d^pastieeio, and with still 
greater foroe that it does not signify now it haa been played. It is, in 
act, a helplessly imbecile cohcoction, and it is evident that the time 
for such ** operas ** . haa long since gone by. As aA entertainment, the 
CoMtU 0/ Andahma haa completely eehouS ; but ita revival haa had some 
interest Ibr playgoers aa an index of the progress of taste. 

I am, re^)ected Sir, your obedient humble servant to command, 
Jcuus AcovsTus HoHAOs Habut Matbkw. 

To Da. Sbob, A.S.S. 

Dr. Shoe, Mr. J. A. H. H. M. is reminded, is not A.S.S. but 
LS.D. Wliich reminds him (Wind) of a note from Herr L^Engid 
— fortanately not mislaid, bemg (soberly) appellant, egoistic and 
eieulpatoriid : — 

DaiB Sib,— Will rou oUige me by oorreoting a etatement of your 
ram •* Fi^ " who. In his report of a Brighton concert, savs thai I 
played my own harmonium arrayenmU of th$ **(Hribaldi March." 
Permit me to say that the Garibaldi March which I played ia not an 
arrangement either of the Garibaldi Hymnal leave that to my brother 
harrel-organista-^nor an arrangement whatever, but an original com- 
position of ndne, about whidi you could read a very interesUng 
aneodote in the Brighton Oatette, if any editor would ever read another 
4dltor^s paper. That ArabelU Goddard played divinely, and that 
wuUr ktt fUigon my duo on the F/vphit$ was a ** real bit ** 1 have 
reason to admit. Suum cuique and aaiis rmeune^ Tours, &c., 

81, Orcntiwr Strut, Orowenor S^yart, L'EveBL. 

Dr. Wind has much pleasure in statins that Mr. Coventry Fish 
would be the last wiUin^ly to hurt Herr L*£ngel*s fedings, or 
(soberly) those of any of his brother barrels. 

But place for an old if not distingoished communicant, who 
asks mai^ questions :— 

Bib,— "Please ■■ at your earliest convenience, or inconvenience, it is all 
one to me— tell me, l«f, Who wrote a song eontmeacing aa follows, 
and where is it to be obtained? 



^ 



s 



When alkali 



we three 



meet 



a - gain? 



%nd. What haa become of the Bach Society? 8rjf, Why do the 
staUa erected Ibr the vendition of comestibles at the Grystal PaUce 
psndst in an unvaried programme, of bread more or less stale, of eheese 



more or less Dutch, and pica more or leas pork ; and would not aa 
attentive pernsal of the musical colomna of tne Athenenm induce the 
proprietors " to widen their repertoo* ?" ^^^t Have you heard the 
golden voice of Signor Mario since his departure on a tour, and rejoiced 
to know that his voice was never finer? 5M, Do you fail to appreci- 
ate the sempitemally grand manner of Madame Grisi, and. 6M, if so^ 
why ? 7(A, Can anything be more ingeniously put together than M. 
Sainton's /an^Mta on Fautt; or, Sth, played in more thoroughly mas- 
terly style ? 9th, Is not Mr. Patey a clever and rising nhser with a 
good voice? lOth, Is not Madame Sainton as remarkable for the 
unvarying excellence of her repertory : giving a fresh modem beauty 
to HandS's songs, lending dignitjr to the balUds of our davs, and 
charming us every were, as her angmg is for its never-failing (^kill and 
perfect daboration ?— R.S.y.P. Tidbuby How. 

All which questions hare been f orwaided to the Vatican and 
will doubtless DO solved by Mr. Ap'M. on his (Ap'M.lt) much 
coveted reapparition. 

.^tr 8lr$et, November II. Sitf&ttM VSxtdf* 



Beblin.— Herr Ernst's quartet in B flat (No. 1) has been ^per- 
formed here (Herr L. fiiea being fiist Tiolin) with distinguisned 
suoceM. 

Mabamb Gcbbabilla, we underaland, will not appear thia season at 
the Boy«l English Opeia, the negotiations with the Opera Company 
not having oome to a satisfactory oonolusion. 

Ma. Costa's Kaamab.— Mr. Costa, at the desire of her Majesty the 
(^een, haa dedicated his oratorio of Ifaaman, performed for the first 
time at the late Birnungham Festival, to the memory of the late Prince 
Consort, who, it is said, took great interest in the seleoliou and treat- 
inent of the theme. 

Tbb Obioikal Opbioleidb.— a curious specimen of earthenware of 
the flrteenth century has just been discovered in the village of Ozon, 
near Chattelerault ( VienneV It ia an ophicleid, the body of which is 
made of the sort of majolica for which Tuscany waa so celebrated 
about the year 1500. The three letters A B O are barely distin- 
guishable on the inside of the instniment ; the other letters are almost 
completely obliterated. The keys of the instrument are made of wood 
hardened at the fire, and the mouthpiece ia made (>f a metal much 
rvsembling aluminum. 

Mb. Aouilab's MATiNBK8.**At his third matm^e, on Thursday, Mr. 
Aguilar was assisted by Miss Aguilar, his daughter. The following 
was the programme: — Sonate FaUUti^ue — Beethoven; Noetwne — 
Aguilar; Foloiwiee in A flat — Chopin; "Evening" jromance^ — 
Aguilar; Lieder ohne YTorte^BIendelssohn ; Sonata in G — ^Aguilar; 
Traneeriitum of '* The stars are brightly shinins " — Aguilar ; Fantatia 
on La rraviata ; Gavottir^, S. Bach ; ** The Laat Bmc of Summer" 
—Aguikr; •« The birds at sunset*' and «« Jkum dee Xa^im "—Aguilar. 
The audience was not more numerous tlum appreciative. 

M. Gbobocs PrairPBR was lately married atl'Eglise d'Auteuil, Paria, 
to Mdlle. Thea Lemoine. Bosdni and M. Wolff-Pleyel were the 
attesting witnesses. Several of the profeasors of the Ooneervatoire 
asidsted at the ceremony, among whom were Signor Delle Sedie, 
Mdlle. Wertlieimber and M. White, Signer Delle Sedie sang an air 
bv Stradella, and Mdlle. Wertheimher an ** Agnua Dd,*' M. White 
' playing an andante by Beethoven ; M. Lavignao an mproimtu, in which 
were introduced several extracts firom the compositions orM. Pfeiiibr. 

Bbtobtoh. — The Sacred Harmonic Society gave their first concert on 
Thursday week, when Spohr's Laet Judgment^ the oratorio selected for 
the occaaion, waa very creditably performed. Herr Kobe has been 
giving his annual series of recitals of Pianoforte Music and has been 
honon^ with crowded audiences on each occasion. Madame Arabella 
Goddard is announced by Messrs. R. Potts it Co. for a pianoforte 
recital next Thursday at the Pavilion. Mrs. Fanny ETemble is 
announced also for six '* readings,*' so that the winter season may be 
said to have commenced in good earnest. 

Leiobsteb. — (From a Oorreepondent), — The second of the concerts 
organi|ed bv Messrs H. and A. Nicholson took |Jaoe on Tuesday 
evening. T^he spacious music hall waa crowded with a fashionable 
audience evidently delighted with a well-arranged programme. The 
principal performers were Mi!« bubbach and Mr. Santley ^vocalists). 
Miss Deacon, for whose benefit the concert was announced (pianoforte)^ 
Mr. H. Nicliolson (flute), Mr. A. Nicholson (oboe), and Mr. Lazarus 
(clarionet). The well drilled chorus of the New Philharmonio 
8ociet)r contributed some part songn, madrigals, and choruses. The 
solo singers were most successful. Mr. Santley, who had to 
repeat aU his songs, waa in splendid voice, and achieved a genuine 
trtomph. 



Digitized by 



Google 



732 



THE MUSICAL WOSLD. 



[November 12, 1864. 



THE HABP. 
To ths EiUor oj the Mosioae. Wobld. 

Sib,— I hope that what I have written concerning the ** harp of the 
Hebrews," will not be so far mls-confltrued by any of your readers, as 
to cause them to imagine that the wonderful effecu that haye been 
ascribed to the tones of the harp, is that small instrument made gene- 
rally of iron, shaped as a lyre, supplied with an elastic tongue, and 
played by being placed between the teeth, and which is commonly 
designated the Jews' harp. 

Lord Bacon says of this peculiar instrument ^f the juTeniles, '*as 
for the Jews' harp it is a sharp percussion ; and, besides, hath the 
advantage of penning the air in the mouth. Therefore as the subject 
upon which I am engaged is net pLiyed *' I' th* mouth," I will proceed. 

Papias and Dn Cause after him assert that the harp took its name 
fh>m the Arpii, a peopU of Italy, who were sappoeed to have been the 
first inventon^ and from whom* they say, it was borrowed by other 
nations. Menage, Ssc derive the word fh>m the Latin harpa, and from 
the German hirp or harp ; others bring it fix)m the Latin carpo, because 
touched or thrummed with the fingeiv. 

Dr. Hiokes derives it from harpa or hearza, which signifies the same 
thing ; the first in the language of the Cimbri, the seoond in that of 
the Ans^o-Saxon. 

The English priest who wrote the life of St. Dunstan, and who lived 
with him in the tenth century, s^ys, cap. ii n. IS, tungmt ueum ex more 
eitharum ntark quam paterna lingua hearpa voeamue; which intimates 
the word to be Anglo-Saxon. It is supposed that the kinnar is the lyre 
or ancient harp, 

^ Mr. Bmoe tells us that he saw on one of ^e Thebian monuments a 
figure, in/res60, of a man playing on the harp^ supposed to represent 
the Thdnan harp, about the time of Sesostris (B.C. 1722), and it is of 
beautiful workmanshia affording proof (continues Mr. Bruce) " stron|fer 
than a thousand (ireek quotations that geometry, drawing, mechanics, 
and music were at the greatest perfection when the haro was made." 

From the royal sepulchres, west of Thebes, and the Temple Teutyra, 
Mr. Denon took drawings representing a group of three females, one 
playing on a theorba like a violin, tuned with pegs, and played with 
the fingers; the second blows a wind instrument, and the third touches 
the harp ; she is in a kneeling position, and striking the harp with both 
hands ; it rises considerably above her head, and has fVom fifteen to 
twenty strings. 

Another harp^ sketched, had^the arch on the back part, the form of 
a serpent, surmounted by a human head. Another represents a man 
playing on an instrument like a half moon, with nine strings from the 
two extremes of the crescent. 

Fetis, the learned B<dgian mosieal critic, alludes to the harp, which, 
he says, is represented upon the most ancient monuments amongst the 
Hebrews and other eastern nations, also in Egypt. 

The trigone or eambugne *^was nothing more than a harp,** This 
writer further adds, that ** a learned commentator on the poems of 
Callinachus has proved that all the instruments with oblique strincs, 
such as the fuMum, the barbitoe, the magade, the paaUerium, and the 
eambugne^M named in the Holy Scriptures, and in the writings of 
antiquity, •• were varieties of the harp,'* and were of " Phoanician, Chal- 
daic, or Syrian origin." The Cinnara of the Romans was a harp, like 
tlie kyniwr or Jdimar (before mentionod) which is the name given in the 
Bebretp text to Damd'e harp. 

The harp solaced the hours of the Greek heroes. 

The delegates from AgamemiK}n to Achilles found the latter playiag 
on thkt instrument as thus described by Pope : — 

" Amos'd at ease the God-lika man thej foond* 
Pleased with the sokmn harp*t harmonioiis sound: 
With this he soothes bis angry soqI, and sings 
The immortal deeds of heroes and of kings.'* 

With your permission I will send an account of the eruU or Irish 
harp next week. 

Meanwhile, I am, yours faithfully, A.J.P. 

Belgravia, Nov, Sth, 1864. 



Liverpool — Mrs. Scariskrick's benefit concert, at St. George*s Hall 
on Wednesday evening, was very successful. •* The Minstr^ Boy," in 
which she was encored, she substituted " Home. Sweet Home," which 
pleased quite as ninch. Mr. Scarisbrick gave Signor Arditi's popular 
song, " Tlie Stirrup Cup," and sang a duet with Mdile. Enequist, the 
Swedish vocalist, who, in addition, sang some of her National airs with 

freat applause. The other vocalists were. Miss Edith Wynne, Mr. Allan 
rving, and Mr. Frank Elmore (encored in " Alice where art Thou " ) 
Mr. EmUe Berger, the pianist, wasencor^ in an agreeable composition 
of his own. During the course of the evening Mr. H. Vandenhoff 
recited the histoiy of " Mary Queen of Scota," 



MUSIC RECEIVED FOB REVIEW. 

Nomui A Co.— •• A Rook of Common Pndss,** by n. O. HallMrly, Mas. B. 
SaimiBO.-*** Mnslo to a Book of Common Praise,** by 0. O. Hatbsrly, ICasi B. 
8aiw ft Co., (Paternoster Row).— •« A Seieetton of PSalms aad Hymm,** by tbe Bcr. 
Ckarles Kemble. The Mnsle by 8. 8. Wesley. 



BiBKKiniBAn. — ^A large, commodious, and handeome theatre, boilt 
by a joint stoek company, was opened here on Monday night with 
great ielat. The lessee is Mr. Henderson of the Prince of WaW 
1 heatre, Liverpool. The " star " on the opening night and dming 
the week has beea Misa Lydia Thomson, her first appeaiance in pnhlio 
since the melancholy and fiital accident to her husband* A veiy witty 
and pointed address by Mr. W. Brough was spoken on the opening 
night by Mr. Henderson. 

LiTiBFOOL— Q^tMn ouroum Corrs^wufenO*— Mr. Skeaf samntallMiiefit 
took place on Wednesday night at St. George's Hall. There was a 
numerous and respectable audience. The principal attraction was 
Madlle. Louisa Van Noorden, a vocalist who has bsen h»lihr spokn 
of by the London critics. Mr. Skeaf was also assisted by Mr. Inkemll. 
Mr. Foulkes, Mr. T. J. Hughes, and Mr. Lander, of Chester Oithedid. 
vooUisU; Mr. Powell, solo cornopean, and a chorus selected from the 
musical socieUes of Liverpool. The band of the 4th brigade of Lanca- 
shire Artillery Volunteers was also in attendadte. Mr. Geoiige Ddby's 
Grisi and Mario party appeared at St. Geoige's Hall on Saturday 
evening, and on Wednesday evening' a oomnlimaikaTy benefit oonoert 
was given in the same locale to Mrs. Scarisbrick. A new dimBDa by 
Watts Phillipi^rAe ITcMMiimifdiMfOnWhlohMr.SoiheiiiwiUaM^m 
the spring at the Haymarfcet), ie shortly to he nrodnced at oar Ainoe of 
Wales Theatre— a iavoorite establishment with **itars" for "airiog" 
their new characters. 



^trfrertxsementfte 



DS. STOLBEBG'B VOICE LOZENaS, 
For invlflontlBg and enriching the Toioe, and veaMfftBg 
from the throaty 

a AS maintained its bigli character for a quarter of a 
oentary; and the flatterlnf teiUmenials reoelved from Ortsl, Persltt, 
«be: and many of the Clervy and Stateemen ftiUy^estabUsh Its gr ea t vlrtaie 
No Voeallst or publio ipeeker eboold be wlLhoat tt. To be obtaiaed eT «U 
Wboletale and Betall CbemlsU in the United Kln«dom. 



Jnet pobUshed, priee 3s., 

THE LANOASHIBB WITCHES 

POLKA MAZURKA, 

FOR THE PIANOFOBTB. 

CoifPOSED BT CHARLES FOWLER, 

London: Ddsca* Dinsnv A Co., SU Regent Street, W* 



Jnst pnbUihed» piiee 4s., 
PUyed everywhere end nlwsye eneored, 

"WAVEBLBT/* 

FANTASIA ON SCOTCH AIRS, 

FOB THB PZAHOFOBTB. 

Compoeed ky- SMILB BBRGBR. 

London : Dvvoi* Dinsoir A Co., 944 Regsnt Stiest, W., 

Where msy be obtained the s^ore Composerli popular Moroeea de Coaesrt, 

« Let Ecfaos de Londres,** price 4s. 

Just Pnbltohed. Priee 4s. 

YABIATIONS ON "THE CARNIVAL OF TEMIGB," 

IS so»es(t « 

KOLLR. CARLOTTA PATTI. 

COMPOSIB ST 

JUIiBB BBBTBDICT. 

London : I>iniOA« DAnso* A Co., S44 Regent SInel; W. 



OABLOTTA PATTI. 

"I WOULD HEAR YOU, WARBLER" 
(L'TTsignnl— The Nishtiiiffale) . 

Snng by XdUe. Carlotta Pattt with disttnrnlshid sosoess. 

Composed by B. MUZIO. 

Prioe4s. 

With a Portrait of MdUe. Carlotte PsttL 

! ViumeM Ihxmm » Oo.»ai* R s fwt fllns^ W; 



Digitized by 



Google 



November 26, 1864.]^, 



THE MUSICAL WORLD. 



765 



ONE YEAR, 

(A YiLLibi TiLi), 
CompoMd bf MB8. JOHN MAGFARREN, and mng wttb iiiim< 
MISS BANKS. 

Price Si. 6d. 
FoniB A Kixo, 223 Rtgtnt Street 

It BMxoB as if to me «A« made 



The rooks are cawing in the elms. 

As on the very day, • 

That sonny momioic, mother dear, 

When Looy went away ; « 

And April's pleasant gleams have come, 

And Aprirs gentle rain ; 
Fresh leaves are on the vine, hat when 

Will Lnoy oome again ? 
The sprliii; is as it nsed to be. 

And all mast be the same. 
And yet I miss the feeling now 

Tnat always with it came. 



The sweetness of the year ; 
As if I coold be glad no more. 

Now Lucy is not here; 
A year— It seems but yesterday. 

When in this rery door 
Ton stood ; and she came raaniag back 

To say good-bye once more ; 
I hear your sob— yonr parting kiss— 

The last fond words yon said ; 
Ah > llUle did we think— one year. 

And Lncy would be dead ! 



Jnst published, price 3s., 

"WHITHER AWAY." 

SONG,. . ' 

Composed by 6£0RGE B. ALLEN. 
London: Dnraiii DAnaoar A Co., 2M Regent Street, W. 

Just published, price 8s., 

MARY, 

BONO. 
C01IF06BD BT JOHN JACKSON. 
DuyoAN DAnsox A Co., 244 Regent Street, W. 



Jntt published, price Ss., 

"HOPE ALWAT,'' 

SONG FOk A MEZZOSOPRANO VOICE. 

Written by HINNIfi, 

Compoaed by EMANUEL AQUILAR. 

London : Duxdav Divnov A Co;, 244 Regent Street, W. 



HABTMAN'S WALTZ on Aaoher*8 celebrated Boxnanoe, 

"ALICE, WHERE ART THOU?" 

At Performed at the Lord Lieutenant's Boirtes, the HorUonltural Show, the Dublin 
CasUe Balls, Ao., by the Band of the loth UiaMare, under the direction of the Author, 

HERR ERNEST HARTMAN. 

Arranffed/or tht Fiaru^crU, 

Priee 4s. 

Ijondon: Dovoah DkYOoH M Co., 244 Regent Street; and of all Ifoslcsellert in 
Town and Country. 



Just published, price Ss., 

.«*THE OCEAN QUEEN," 

SONG, 

Sung by MI38 ANNIE BARTON 

At the Concerts of Thi Glii ako Opkea Umion; 

Worda by O. H. Wood, E8q.| 

MUSIC BY BENNETT OILBERT. 

London : Dusgav Datison M Co., 244 Regent Street, W. 



Just Published, price 3b., 

''WHERE IS HE;*' 

80NQ, 

Composed by RALPH WILKINSON. 

London : DmrcAX Datison ft Co., 244 Regent Street, W. 

Just published, price Ss., 

THE ROSEBUD, 

HELODT FOR THE PIANOFORTE, 

Dedicated to Hiss Catherine Matilda Blackburn; 

CoMFoeED BY CHARLES FOWLER. 
London: Duxoah Datibov ft Co., 244 Regent'Street, W. 

■ - - — r 

Just published, price ISs., 

SONATA, 

No. I.fiMrUM 

PIAXOFOBTE AND VIOUN (in Score), 

DSDIOATIO TO 

HRR IMPERIAL HIGHNESS PRINCESS WILLIAM OF BADEN { 

CoxposiD BT CHARLES FOWLER. 

LoDdm OmMAvDATSMR* Co., aUBectat Street. W* 



CHAPPELL & Co. s 

3sr:E3-w 

KENILWORTH. 

NOW READY, 

The New Cantata composed for and perfonned at the Bir- 
mingham Festival Words by H. F. Chorley, Esq. Music 
composed by Arthur Sullivan. Price complete 12s. 

THB FOLLOWIKQ ABE PUBLIsaXD gEEABATSLT :— 

I have Slept beneath the Water - 28. 6d. 

Sung by Madame Sherrington. 

I am a Ruler on the Sea * - 2A. 6d. 

Sung by Mr. Santlet. 

DUET— How sweet the Moonlight 
Sleeps 3s. Od. 

Sung by Mr. Cmoimas and Madiuue Shebbikotoh. 

a Brisk Dance, for Pianoforte Solo 2s. Od. 
A Slow Dance, ditto ditto - - 2s. Od. 



MW f lUrOFOKTE PIEGHS ISM 

« FAUST." 

Callcott's Beauties of Faust, 1 & 2 
each - 5s. Od. 

Callcott's Beauties of Faust, Duets 
each 6s. Od. 

Callcott's Kermesse Scene, con- 
taining the Celebrated " Old 
Men's Chorus," as a Duet - - 3s. Od. 

Callcott's Soldier's Chorus - - 3s. Od. 

As perfonneil in the Opera. Duet S6. 6d. 

Osborne's Grand Concertante Duet 

for two Pianofortes - - - Ss. Od. 

Osborne's Grand Concertante for 

two Performers on one Pianoforte 6s. Od. 

Benedict's Morceau de Salon - 4s. Od. 

Favarger Fantasia • - - 4s. Od. 

Ascher Fensee Dramatique - - 4s. Od. 

OSI^I'IPCEIXiri <5c CO., 

aO| KEW BOND 8TBBBT. 



Digitized by 



Google 



766 



THE MUSICAL WORLD. 



[November 26/4864. 



'S 



iEW PIECE, 




am of 
the Past" 



NOCTURNE, 



FOR THE 



PIASOFORTE. 



PBICE 4b. 



ASHDOWN & PAREY, 

18, HAN07EB SQUABE. 



THE 



LETBACH NUMBEB 



OF 



■••SET'S 

lUSICAl CABIEI, 



No. 87, 



18 



NOW READY. 



CONTENTS. 

1. Sonnambnla 

2. Puritanl 

3. Senzieiiie Eeveiie 

4. Premiere Idylle Eustigne 
6. Eeverie) Op. 12 

6. Eantaisie Theme AllemaMe 

PKICE ONE SHILLING. 



Tlie above Pieces may also be liad 
separately at tbe usual non-copyright 
prices. 



BOOSEY & CO., 



, EriAtod lor lUsDSBMjf. 



■oy, Bait, and ^sarov, at No, 7?, B«rMn Stmt, Oxford ttrMk, In tbo Pariih of lUrrl^ono, In tho Coufty of 
PaUiilMd tf WiULUx DvtOiJi Paymwi, at tht Qgoo, U4 Bogt Wrii l d a ilw ^ i» ,W Wiira», ItM, 



Digitized by 



Google 



% 



miml 




'Tm WOBTB OF AST AFPKAB8 HOST KMHTEZIT OT MuSIC, SUTCB is SBQUntn VO UHmaJLLf VO lUBJBCr-lCJLTTSB, WB08B XFFBCT 

KiTir ■■ DBDucno: rr n wholly fobm Aam powbb, and it BAisn akd BnropLM wkaxsvik r WKnBmKmJ*'^QMe, 



8X7B8CBIFTION, FBSB BT POST, SOt. FSB AmUM 

Payable im advanoe by Caah or Post-Offloe Order to DTTITOAN DAVISOir ft CCX» 944^ Baicent 8treet» London, W. 

[^Begittered for TrcMmiuion Abroad,] 






VoLj 42— No. 49 



SATURDAY, DECEMBER 3, 1864. 



^{SgrJuSsr- 



HSm XAJESTY'l THEATSE. 

SOLI ICaxigbb axd DniOffOK, IdDi. W. HARBISON. 

' Miss Louni Prxi. Hlia HiLit, IfMdMS* BraRnrGTov, Hlif Cottbill, 

iflM £. BurroK, and Mist Buiiii Galtov (her first app«annoe V 
Mr^ Swift . Mr. PumA . Mr. 0. Hovit . Mr.TBBior. . Mr. T. Roqbb, 
Mb. MiBOiBfi and Mr. Sua Bbbtbs. (potittfsly hii Uit four nlgfata). 



Ckmdoetor— SiovoB ARDITI. 

▲ BBANOBMBHTB FOB THB WBEKr 
OsMaXOAT and fTwrKUrhtdorlBftlM Week, at 7 o'clock; 

**YOU KNOW WHO." 



On MONDAY, Dm. 6th, WEDNESDAY fth, and FRIDAY 9th, at 8 o'clock: 

LA SONNAMBULA. 

Evmo , Mr. BwifT. AmxA . Mue BvaAV Giltov (her first app«ara&oe). 

On TUESDAY 6tb, THURSDAY 8th, and SATURDAY 10th, at 8 o*oloek: 

•'PAUST." 

'A . Mas LoHU Ptvb. Faust . Mi. Sinn, and Mb. Sues Riiyis. 



Do^rHfm at Mt^'POii J3Uf. Comm m et at Stvm, Optra at EigM, 

Box Ofltoe open dallj iMn Ten till Fire. Ho charge tar booking places. No ftei 
to bos«.keopen. 

PriTwte Boxes, frealMfM.; Stalls, fs.; Dre« Cirde, §•.{ FInt Oirole, 41.; 
Upper Boxes, Ss.; Pit, 3s. 6d. ; GiOlery, Is, 

ATATIONAL CHORAL SOCIETY, Exeter HaU.— 

lAI Conductor, Mr. O. W. MAJiZIN.-FIEST CONCERT of the FIFTH 
iBASON, Wedaesdar, December 14, ELIJAH. Hits Loolsa Pyne, Mr. Sipas 
Reeves. Organist, Mr. John O. Boardman. Band and ohoms 700. Tickets, as., 
Ss. ; numbered stalls, 5s., lOs. 6d., 2Is. Immediate application necessary. 



MUSICAL SOCIETY of LONDON.— Seventh Season, 
I8M.~The foUowiag b the SCHEME fbrltM ^-ConTersasione at St. Jamee's 
Hall, on WedneedaT EYealng, January 25th. Four Orchestral Concerto at St. 
James's Hall, on Wednesday Evenings, March 20th, May 3rd, Jane 7tb and 28th. 
Two Orchestral Trials of New Composltioos, at the Hanover Square Rooms, on 
Wednesday Evenings, February 15th and November 22nd, (1885). The use ot the 
Society's Library : open on Tuesdays and Fridays, from 2 till 4. Conductor of the 
Orchestra, Mr. ALFRED MELLON. Annual Subscription, payable in advance. 
One Galnea. Reserved Seats for the Seriee of Concerto, 10s. 6d. each extra. Ticketo 
are now ready for delivery at Messrs. Cbaicbb A Co. (limited), 201, Regent Street, 
where every information relative to the admission of new members may be obtained. 
CHARLES SALAMAN, Honorary Secretory, 
X se, Baker-street, Portman'Square, W. 

Society's Rooms and Library, 

17, Edwards-street, Portman-square, W. 



MENDELSSOHN SCHOLARSHIPS, for the 
jrratnltons education in Music of Studento of both Sexes. The Committee 
ai e in a position to elect another Scholar. Candidates roust send in their applications, 
endorsed * Mendelssohn Scholarships,' and accompanied by testimonials to musical 
ability and character, on or before Deo. 14th, to the Honorary Secretory ; of whom, 
as W61I as of the principal Musicsellers, the Rules of the Foundation may be 
obtained. 

CIPRIANI POTTER, Chairman. 
^ ^_., „ LINDSAY SLOPER, Hon. Sec., 

70, Cambridge Terrace, Hyde Park, W. 



THE C. C. C. CHRISTY MINSTRELS.— St. James's 
(Lower) Hall.— Last Week.— In consequence of the hall having been pre- 
viously engaged, these celebrated minstrels, notwithstonding their unprecedented 
SQCoeas, are very nluctontly compelled to announce next week as the last The 
ininaitable comic scene " Dooral Mac Dill Darrell,'* being received with the most 
Tai>tarona appUnse, will be repeated every evening, and on Saturday afternoons. 

y®«**%^i; S-**?*'*°2 "-1*° **• oW«»i"«d at Austin's Ucket.offlce, St. James's 
Utdl. — r. W. Matthews, Secretary. 



ROYAL ENGLISH OPERA, 

OOVENT GAHDUN, 

(OPERA COMPANY. LIMITED.) 
ARRANGEMENTS FOR NEXT WEEK. 

- On MONDAY next, (instead of Jt aVcMtfoft at annooneed) 

THE BBIDE^ OF SONG, 
LA 80NMAMBULA. 

On TUESDAY, THURSDAY, and SATURDAY next, 
THE BBIDE OF SOB'a, 

AXD 

H08E» or liOVE*8 RANSOM* 

On WEDNESDAY and FRIDAY naxt, 

n. TBOVATOBB, 

Preeaded by the Orertore to Wbbbb*8 roiii«nlio Op«a, 

FSECI08A. 

> CondnoCor, Mr. Altibb Milloii. 

Oommenot mt Hiar-past Sorsn tmaej Bveniog. 

QACRED HARMONIC SOCIETY, Exeter HaU.— 

O Condaelor, Mr. Oocta.— Fridaw naxL Decendier 0th, JunAB Maooabacs. 
Principal vocalisto at ' pr ess n t engaged :— Madame Lemmens-Sherrlngton, Madame 
Salnton-Dolby, Mr. Sims Reeves. Friday, December 10 and 23. the Thirty-third 
Annual Christmas performaaoai of Mbssui, MadaoM Panpa, Madame Sainton- 
Dolby, Mr. Sims Bmvw. 

The Band and Choras, the most complete in every depMtaMit, and tha largest 
available in Exeter Hall, conslsto of nearly 700 perflmners. 

Ticketo, 3s., 6s., and Its. 6d., now ready for each performance. 
TNoto.- The iMue :of ticketo for sale to Yery limited, consequent upon the large 
subscription for the new season ; early application is essential. Post-oi&oe Orden 
for 6s. and lOs. 6d. ticketo only will be received, payable to Mr. James Peck, Charing 
Cross oOce. 

TO COMF08EB8 ABOUT TO PUBLISH. 
rpO MUSICSELLERS, COMPOSERS, &c.— Works 

. Engraved and Printed, in the best style, at very modcrede prices, by 
BO\VCHER, 3 LitUe Marlborough Street. 



ITbi 



TTTANTED, a YOUNG MAN of genUemanly address 

V V Bod appearance, as* ASSISTANT in a Masic Warehouse at the West-End 
of London. Be must have a knowledge of Ptonoforto playing, and be well up In the 
various musical catologuee. Address, stating age, terms, references, Ac., to Messrs. 
Cock, Horcaoros A Co., 63, New Bond Street, London, W. 



M' 

AOAHS 



R. CHARLES ADAMS.— It is respectfully requested 

that henceforth all Communications respecting Engagemento for Mr. Ohas. 

lAiis be addressed to Mr. Jomr Rubsbll, Acting Manager, Royal English Opera, 
Oovent Garden. 
December 1, 1864. 



W 

Croyd< 



R. W. H. CUMMINGS will sing at Glasgow, 

_ _ December 3rd, 0th and 10th ; Falkirk, 8th; Leeds, 14th ; Worcester, 15th ; 
iroydoD, 20th; Bristol, 23rd; Manchester, 24th; Bristol, 26th. Address— Fern 
Yilto, Forest Hill, 8.E. 



W 

Decemi 



ISS FLORENCE DE COUREY will Sing " Hark ! 



THB Bblls abb RnfODfo,'* at Westboume Hall, December 13, and Abingdon, 
iber 19. 



MR. SIMS REEVES will sing " The Message," com- 
posed b^ BLVifBiTBiL, at Reigato, on Monday, December , 



Digitized by 



Google 



768 



THE MUSICAL WORLD. 



[December 3^ 1861 



IT is respectfully announced that the following eminent 
Arti^tf win make a PROVINCIAL CONCElTr TOUR dnrinff Uw months of 
Jannaiy and February next :~ 

Madame FIOBENTINI, 
Prima Donna AMolata of the Liooo Theatre, Barcelona, 

AXD 

Mademoiselle IjIEBHABT, 

Kammer fUlncrerin and Prima Donna der K. K. Hofoper, In Vienna, and Her 

Majeety'i Theatre; Her first appaaranoe In Uie ProTincee. 



TENOR : 

'Blgnor AMBONSTTI, 

HIa flrtt appearance in the ProTlncca. 

:BARIT0NE : 

Mr. WINN. 

CONTRA-BASSO : 

Blgnor BOTTSeiNI. 

GORNET.A-PtSTONS : 

M. LEVY. 

PIANOFORTE. 

Mr. J. li. HATTON. 

AU Letter! to to addrened to Hr. gHirPiu), 4, Cobarg Plaoe, Bayswater Road, W. 



MRS. CAMPBELL BLACK, Vocalist (Pupil of Br. 
Feascis RoBunoN, Vicar Choral of the Cathedral of Chriit's Chnrch and St. 
Patriok'i, in the City of Dublin), elngt in Italian. German, and Frenek. She stnca 
alto all the popular English, Scotch, and Irish Melodies, and has carefully studied 
Sacred Music. Mrs. Cimpbbll Black accompanies herself on the Harp, Pianoforte, 
and Qnitar. All oommunlcatloos respeotingr engagements to slog at Concerts, Ac., 
to to addressed to her at 7, Well Walk, Hampstead, N.W. 



R. VIOTTI COOPER is engaged for the Third 

TiMB by the West London Sacred Choral Society, Mnsic Hall, Store Street, 

Bedford Square, Monday evening, Deoemtor 6th, 1864, when he will sing the Tenor 
solos In Jackson's (of Masham) oratorio, Jtaiah. 



M 



SALVATORE C. MARCHESI. Communications for 
Concerts and Oratorios to to addressed to him at Her lii^esty*s Theatre, 
Haymarket 



MASTER PAPE wUl perform at the Free Trade 
Hall, MAHCHBtrBB, every Monday during the present year. For Engage- 
ments, address as usual, 9, Soho Square, London. 

MR. FRANK ELMORE will sing "Are they meant 
BUT to DBOBITB VB S** COmpOSCd bj ~ 

Greenock, Deoemtor 12 ; Hamilton, Deoemi 



BVT to DBOBITB VB s** composcd by A. Reichardt. At Newcastle, Deo. 6 ; 
* ~ ■"-■■' ~ kberU. 



MR. J. G. PATEY will sing "In Sheltered Vale " 
(by Formes) at Weymouth, Decemtor 16. * 



M' 



[R. J. G. PATEY begs to announce that his present 

L engagement will terminate on Deoemtor 9rd. AU communications res- 
pecting oratorios and concerts to to addressed to him, Adelphl Chamtors, f , John 
Street, Strand. 



Price 3d. ; by Post, 4d. 

rpHE CHOIR AND MUSICAL RECORD for Novem- 

X ber oontains :— Notices of Choral Festivals, Reviews, and the Musical News of 
the Month, with 

FOUR PAGES OF MUSIC. 

** O happy he who liveth,** a Part Song of the Sixteenth Century, adapted by E. F. 
RlHBAULT, LL.D. 

SubtcrfyHont eon cMmtnet at my Htm, 

••• Notice.— On Dbobxbbe Ist will to published a DOUBLE CHRISTMAS 
NUMBER, containing EIGHT PAGES of seasonable Mnsic, ftc. Price 6d. 

Mbtzlbb ft Co., 36 to 38 Great Maritorongh Street, W., and of all Book and 
Moslc-sellers. 



CHRISTMAS DOTTBIiE NUMBEB. 

THE CHOIR and MUSICAL RECORD for December 
contains an interesting article on Christmas Carols, all the Musical News of 
the Month, Reviews, Ac, and 

Bight Fages of Muaio. 
Christmas Anthom : ** Behold I bring you glad tidings **— and two Christmas Carols, 
" In EzceUU Gloria,** and " Sing we Merry Christmas.** all arranged for four voices, 
with Organ or Pianoforte accompaniments.— Price Sixpence, by Post, Sevenpence. 

Mitzlbb a Co., 35, 36, 37, and 38, Great Marltorough Street, London, W. 



TABANTHLIiA, by WALTEB MACFABBBN. 
n^HIS popular Morceau for the Pianoforte, played with 

X such distinguished success by the Composer at his Concerts at the Hanover 
Square Rootaos, is published, price 4s., by 

DuiroAv DAViaoic ft Co., 244 Regent Street. W. 



HENRY SMARTS 
"BRIDE OF DUNKERRONs" 

A DRAMATIC CANTATA. 

Pianoforte and Vocal Score, handeamely bound, toUh QltutraUd 

TiOepage, 18s. 

The Chorus and Orehestn Parts can to supplied to Sodettss on noderste tsna, 
or lent for the occasion. 

Mktxlbb ft Co., 3S to 38 Great Marltorough Street, 



HENRY SMART'S 
''BRIDE OF DUNKEBBON." 

The FuU Orchestral Score wlU to published as soon as a sofldsnt nambcr of 
Bubscribers* names are sent In to the PnbUsheit. - 

Priet to aubtertben, 16a ; to Mn-Subaeribare, Sis. 

Mbtblo ft Co., 35 to 38 Great Maritorongh Steest, Londcn, W. 



ONE YEAR, 

(A Yillaob Talb), 
Composed by Mis. JOHN MACFARREN, and song with 
MISS BANKS. 
Price Ss. 6d. 
FosTBB ft Kixs, 2S3 Regent Street 

It seems as if to me sk# mad^ 



The rooks are cawing in the elms, 

As on the very day. 
That sunny momiof;, mother dear, 

YHien Lucy went aWay ; 
And April's pleasant gleams have oome. 

And Aprirs gentle rain ; 
Fr««h leaves are on the vine, hot when 

Will Lucy come again ? 
The spring is as it used to to. 

And all must to the same. 
And yet I mlM the feeling now 

Tnat always with it came. 



The sweetness of tto year ; 
As if I oonld to glad no more. 

Now Lacy is not here. 
A year»it seems bnt yestarday. 

When in this very door 
Ton stood; and she came nuudag teet 

To say good-bye once more ; 
I hear voar aob->yoiir partiag km— 

The last fond words you said ; 
Ah ! little did we think— one yesr, 

And Lucy would to dead ! 



M 



ABIE D'ANNETTA'S DANOE MUSIC 



Charaoteilslically lUnstiated. 

** the Lily of the Thames QuadriUe,** with comet acoompanlnsent ... 
"What Next QuadrUles "^Robln*8 Last), with comet aooompanlmeDt 
*« The Spirit Rapping Polka,** dedicated to all Splrit-Rappers' Mediams 
•• The Llewellyn Walts,^ dedicated to Mr. Baekwell, B. M. 3rd B. W. |C 
"Beaotlihl Spirit Waits,** dedicated to Mons.LoaisJttlUso ... ^ 

London: DomAV Davisoh ft Co., S44 Regent Street, W. 



Just PublUhed. Prioe4s. 

YABIATIONS ON "THE CABNITAL OF VENICE; 

AS snro BT 
MDLLE. CARLOTTA PATTL 

COMPOSXO BT 

JULES BEITEDICT. 

London : DimoAv Davisoh ft Co., 344 Regent Street* W. 

Just published, price 3s., 

MARY, 

SONG. 

CoxFOsxD BT JOHN JACKSON. 
London : Duboav Davisoh ft Ca, 244 Regent Street, W. 

Just published, price 3s., 

THE ROSEBUD, 

MELODT for THE PLANOFORTE, 

Dedicated to MisB Catherine HatUda BlacUnim; 

CoMPOBBD BT CHABLES FOWLER 
London: Dukoah Davisoh ft Co .« 344 Regent Street, W. 



Jut published, price Ss., 

" MT HEABT'S IN THE HIGHLANDS." 

C* Mein Hers Ut im Hochland.**) 

COMPOSBO BT 

ALEXAITDBE REICH ABDT, 

Composer of ** Thou art so near and yet so tar.** 
London : Dukcah Davisoh ft Co., 344 Regent Street, W. 

Just published, price 38., 

ALLEQBETTO QBAZIOSO, 

FOR THE PIANOFORTE, 

Dedlatedto Miss Jessie Blhmond; 

GoimwRO BT CHARLES FOWLEB. 

London : Dqxoax DATiaoi Bad Co., %U Esfsat Street, W. 



Digitized by 



Google 



December 3^ 1864.] 



THE MUSICAL WOKLD. 



769 



MUSIC AT FLORENCE. 

(From our oten CorrespondenL) 

The autaznn season is the oBly one which in Florence is looked 
forward to with much interest by the musical public, for during the 
Carnival and sping every one goes to the Pergola-r-the '*grandes 
dames," by exhibiting the last toilettes their Parisian modistti have 
forwarded to ezdte envy in the hearts of those of their female friends 
and acquaintances who happen to be less wealthy; the fashionable 
young men, to flatter the said " grandes dames," or to " lorgnon " the 
exceedingly pretty ballet-girls ; and the general public, to gaze upon 
those ladies and gentlemen to whom for the time being scandal has 
given a certain notoriety — or for any other purpose, except to listen to 
the music, so that singers not much above mediocrity are tolerated, 
and anything — forgive the expression — ** goes down." However, it is 
not so during that season ^hich usually commences just at the present 
time and continues up to Christmas, for then superior artists are en- 
gaged, and operas of more merit— or at least, operas less hackneyed 
than those which in the present degenerated state of musical taste in 
Italy, enjoy the greatest popularity — are produced. In the last few 
yearsy for instance, during tne autumn— ^r, as it is styled here, the 
"ffrande stagtone" — the JluffuenoU, Semiramidet Le Proph^U^ MtfUe^ 
Robert^ j'C, l^*> ^^^ ^^^d represented; and La Pergola was the first 
theatre to introduce to an Italian audience M. Flotow*s Marta, as it 
was just this time last year the second to do the same for M. Gounod's 
Faiat \ and certainly in no theatre in Italy now can operas by Meyer- 
beer and others, who make the orchestra play as prominent a part as 
i\i^ prima donna, be so satisfactorily produced. The orchestra of the 
Pergola can now justly claim to be regwded as one of the best afler 
those of Covent Garden and the Conservatoire of Paris. This is say- 
ing a great deal, and will doubtless be astounding news to those who 
remember what an execrable thing it was lees than ten years ago. 
But, nevertheless, it is true, and I believe I am not wrong in attribut- 
ing the great advance that has been made of late years in orchestral 
playing in this city to the excellent concerts of classical music estab- 
ished here in 18d9, to play at which seems the goal towards which 



most instrumentalists aim, and which seem likely to rival in popu- 
larity Mr. Chappell's Monday Evenings at St. James's Hall. Great 
attention is now paid to both the bana,ai)d chorus of the Pergola, and 
it is satisfactory to find that Italian audiences are beginning to under- 
stand the value and importance of these adjuncts, and are not carried 
away alone by a tender tenor or a dashing /?rtma donna, 

Afler what I have said of the character of works usually produced in 
the autumn, your readers will be surprised to hear that this year the 
season commenced with the everlasting Trovaiore; but I am told that 
the choice of this done-to-death opera was caused by the rupture of the 
engagement of the Mdlles. Marchisio, who were to have appeared in 
Smiramide, and also by a stipulation in the agreement of the prima 
donna, to make her dAH as Leonora — Verdi's, not Beethoven's. How- 
ever, although there could be no excitement to hear the Trovatore in a 
town where I am assured it has been done upwards of a thousand times, 
yet the opening night of the autumn season of '64 was by no means 
devoid of interest. First and foremost there was Madame Medori, 
concerning whose merits there are such wide differences of opinion — 
that lady whom the Vienna Press writes up to the skies, and who had 
Buch extraordinary success at Naples, but who, on the other hand, 
never has managed to please the Parisians, and not very long ago was 

00 unoourteously received at Milan, tliat, before the close of thoj first 
evening's performance, she tore up her written engagement, and made 
a present to the occupants of the pit of the fragments— a just rebuke, 

1 must confess, for they were so unfair as to refuse to grant her a 
hearing and commenced hissing before she had commenced singing. 
8ec«n£y, a young man, a tenor, whom report declared to be of more 
than orJinaiy promise, was to appear for the first time before an audi- 
ence capable of estimaing his talents at their proper worth. Next, the 
part of the Count was to be sustained by one who seven years ago 
followed the highly honorable but not aristocratic *< metUr " of relieving 
the Amo of its superfluous mud, and who then was unable either to 
write or read, but who now has gained a high reputation as a singer ; 
and last, though by no means least, we were to hear and see for the 
first time a young lady— judging by her name, a fair daughter of 
Albion — who, though of a good and rich family, it is said, had forsaken 
home and friends in order to come to Italy and cultivate one of the 
mofit magnificent contralto voices it has ever been the lot of woman to 
possess. 

Considering her age, Madame Medori retains in a wonderful degree 
the brilliant voice and execution for which in some operas she is so 
remarkable ; yet the faults and peculiarities of her style are still pro- 
xniDent, and it does.not appear she cares to soften them down. How- 
ever, I must give her her due, for in parte of Leonora she was 
admirable. In her acting she is decidedly impressive and dignified, 
and she gave the air in^^the last act with a deep and quiet pathos and 



a delicacy of tone which astonished all who heard it, while, in the sub- 
sequent duet with the Count, her well remembered brilliant notes 
came forth with an aplomb and effect that called forth the loudest 
applause. Of Miss Chambers, the new contralto, I am happy to be 
able to speak most favorably. At the present time our stage contraltos 
are decidedly on jlhe decline — or rather, they all want to become 
" mezzo sopranos*' — why and wherefore, I never could conceive. The 
first nighi---doubtless suffering from tremor and emotion — Miss Cham- 
bers was unable to do herself justice ; nevertheless, she gave evidence 
of great musical feeling and seience, and of the possession of a* voices 
which, though somewhat unequal in point of tone, possesses notes of 
remarkable sweetness and of a most touching quality. On the second 
occasion she had completely recovered her s^-possession, and there 
was no difficulty in forming a correct judgment on her merits, which 
are undoubtedly of a high order. No one who hears her can doubt 
for a single moment that she is a first-rate musician, or that her genius 
is unquestionable. The hearer is as much astonished by the extent of 
her register as delighted by the indescribable charm of her voice, and, 
when she has a passionate sentiment to deliver in the lower portion of 
the register, she never fails to command the sympathies of her audi- 
tory. Although her talent is apparent in evei^ thing she sings, 
I am inclined to think that the part of Azucena is not suited to her, 
and that she will be heard to greater advantage in Lucrezia Borgia, 
which is said tq be in rehearsal. The new tenor — ^like Miss Chambers 
on the opening night — was paralyzed with fear, and, though proving 
that he possessed a dear, sweet, sympathetic voice, conveyed but an 
inadequate idea of his resources. He then gave no idea of the impas- 
sioned feeling and the dramatic power of which he is capable, while 
his lovely voice had not nearly the fulness or the force of which he 
has since shown it to be possessed. Of all the *' unknown tenors '' I 
have heard during the last four years in Italy — with the single excep- 
tion of Signer Bignardi — ^he is decidedly the most promising. Although 
he has not the enthusiastto energy which characterizes Sig. Bignardi's 
singing, and he does not sufficiently keep his voice in reserve, so that 
at times it fails him in moments reqmring a special effort, yet his 
range of notes is extensive, and in all parts perfect; and his singing 
belongs to that more serious and conscientious modem school of art 
which never suffers a fioriture to interfere with the dramatic purpose of 
the mnsio, and which employs none of the *' clap-traps " by which so 
many artists have been able to extort appUuse, even while their pur- 
pose was to conceal defects. He is truly a delightful singer, and hav- 
ing the advantage of youth he will daily make still further advance in 
his artb I should add, that in addition he possesses that qualification 
which, if not essential, yet greatly adds to the effect of dnimatic per- 
formances, ** good looks." Signor Mazzanti, the baritDne, has a most 
wonderfal voice, and your readers will understand what the character 
of his sineing is, when I t^ them that although he sings '^11 balen" 
with mudi taste and expression, yet he produces his great effect and 
is almost nightly enoorea in the boisterous second movement, " L'ora 
per me fatale." In a word, he ia rather an energetic than a refined 
singer. 

As the chronioler of musical events in this city, I must not conclude 
without mentioning that the Teatro Nazionale is now open with opera 
and ballet ; the latter not exactly on the scale of grandeur to wnich 
La Scala haa accustomed me, but the admittance to all parts of the 
house being only fourpence, one cannot well complain. I will not 
inflict on your readers an account of the performances, for I cannot say 
that I was struck by anything except by the pretty looks and winning 
ways of a very young and inexperienced prima donna, and the remark- 
able l»dness of the conglomeration of instruments which were supposed 
to represent the band. 

If the first opera produced during the autumn season of '64 was 
uninteresting "per «0,'^ the same charge could not be laid to the second, 
which was Verdi's Macbeth^ihe least known of all his works. This 
opera was written for Varese* — that great artist to whom I have often 
alluded in these pages, but who unfortunately was never heard in 
England until this year — expressly to display his vocal and hiatrionio 
powers, and wks first performed here in '47, when, as subsequently 
throughout Italy and Spain, it created an unprecedented sensation. It 
haa always appeared to me incomprehensible how this opera with a 
subject as familiar as household words, has never been produced in 
England ; but doubtless managers — there as well as here — ^plead the 
difficulty of finding a vrima donna who not only must be a mistress of 
her art, but also should be a tOLpc actress of the highest order ; and a 
baritone, who to the gifts of an mtelligent actor, should unite the pos- 
session of immense compass of voice, and, moreover, be a singer 
capable of giving expression to the most varied emotions, I am not a 
sufficiently profound musician to enter into a learned critique on the 
merits and aefects of this opera, but I may be permitted— having heard 

* It was for Varsse also that Maria di Rohan was compofled, and not for 
Bonconi as is constantly asserted in England.— A. S. C. 



Digitized by 



Google 



770 



THE MUSICAL WORLD. 



[December 3, 1864. 



it some ten or twelve times — to make a few remarks, and to express an 
opinion that it does Verdi more credit as a musician than any other 
work he has produced. The general remark that Verdi's operas rather 
strike the car of the amateur than satisfy the judgment of the pro- 
fessor, cannot be applied to Macbeth. This work professes more nicet}' 
of thought and conception — the situations are dramatic, and give scope 
for the composer's genius — the immense superiority of the libretto 
giving great advantages in its favor. The music throui^hout is admir- 
able, rising with the dramatic situations in intensity — the third act, in 
which occurs the scene of the apparitions, being as fine as anything 
can be in the way of fertile imagination and elaborate treatment. 
Here thb composer's poetical imagination advances in a reiharkable 
manner with the subject — his harmonies are pidturesque and animated, 
his melodies sparkling and original, and his orchestral working brilliant 
and effective in the high€^t degree ; and, though I cannot deny that 
those eternal unisonous effects to which Verdi has accustomed us 
are to be found in the score, and that in parts it is noisy and vulgar, 
yet there is a dramatic coloring in the ensemble which tells upon the 
audience, and, in my humble opinion, I must say that I consider it 
superior to any other of his works — l/n Ballo in Mase/ura, perhaps, 
excepted. In a word, whatever severity of criticism may be exercised 
in the analysis of Macbeth^ it is impossible not to come to the conclusion 
that Verdi is a composer of eminence of whom Italy may well be 
proud. To those who never witnessed the performance of Mad. Ristori 
as Lady Macbeth, doubtless that of Madame Medori would be accept- 
able in that character, for her bitterest enemies must acknowledge that 
sHe is, on the whole, a fine actress, although, like all mortals, she is by 
no means perfect. Her acting has still all those extravagant gestures, 
and that excess of energy which so greatly deteriorates from its effect, 
and which although repeatedly warned by well-meaning friends she 
seems not to care to soften down ; yet she certainly has moments of 
passion and fire in which she awakens an answering chord of sympathy 
in the hearta of all her listeners. Her eye is aho very remarkable, 
and she has the faculty of expressing varied emotions with aston- 
ishing facility. In a musical point of view I can scarcely say that 
her performance is satisfactory — the faults and peculiarities of her 
style beingj more prominent] in this opera than in the Trovatore 
These, I think, arise ^from an exuberancis of energy and life- 
running often to waste and to unprofitable excess. Study and practice 
do not seem to have taught her to prune away whatever was super- 
fluous. There are still those sudden bursts and sinking of the voice 
which, except when they add to the effect of the music, are unmeaning 
and not artistic. However, she dashed off with great effect, and was 
loudly applauded in the cabaletta of the *' Aria d'intrata " and the 
"Brindisi,'* both of which, though brilliant in the extreme, are 
loaded with difficulties which overtax the executive powers of most 
singers. As I said in my last letter, so I now repeat, Mazzanti, the 
baritone, has a stupendous voice, but he is totally inadequate to per- 
form a part requiring such histrionic excellence as that of Macbeth, He 
is no actor, and with his truly magnificent yoice and all his energy and 
good will, he is no more fitted to play such a part than Miss Louisa 
Pyne, with her refined vocalisation and her long stage experience, is to 
appear as Norma or Donna Anna. Signor Mazzanti's voice is 
remarkably full, round and clear, but wanting in a quality, for which 
I know no appropriate term but the French word mordant ; it does not 
lack vigor and nerve, but is deficient in coloring and delicacy of modu- 
lation. His singing, though disfigured by a taint of exaggeration, is not 
devoid of feeling, and, though by no means an actor, when excited by a 
strong dramatic situation, he is effective ; indeed in the scene where 
Macbeth is urged by his " eara tpota " to murder his royal guest, he 
produced an electrical effect, and was admirably seconded by Mdme. 
Medori, whose dramatic genius here displayed itself in a remarkable 
manner. 

A performance for the benefit of the poor, on which occasion 
a selection from Semiramide was performed, gave the new contralto 
whom I mentioned in my last letter an opportunity of displaying her 
▼ocal powers in a school much more adapted to her refiped style than 
that of Verdi, and also of exhibiting her person in a costume more 
becoming to a young lady, who has not numbered very many more 
than twenty summers, than the Italian stereoty^d dress of a gipsy 
quean — which, to say the least, is hideous. As every woman is more 
or less vain, and doubtless Miss Chambers is not an exception to the 
rule, it must have been gratifying to her to appear in a costume so 
becoming to one of her pertonel — for she has the small foot of an 
Andalusian, the hand of a duchess, together with the most perfect 
symmetry of those lower extremities, about which, in the costume 
usually worn by ladies, we of the sterner sex have no opportunity of 
forming an opinion. She is rather above the middle height, with— like 
Alboni — no inconsiderable embonpoint. Her face is full of intelligence, 
her eyes expressive and beautiful, and her deportment easy and 
elegant. It ia difficult to describe the beauty of her organ ; 
it comprises upwards of two octaves in compass, combined with 



rare flexibility, and is one of those Toices which at once go to 
the heart and produce an irresistible emotion. Her qualities are 
certainly of the rarest kind, her style is refined, and her expression 
truthful. Her pathos, sensibility and energy are alike remarkable. 
It is quite marvellous with what ease she conquers the most 
difficult divisions in bravura passages, and by her performance in 
this new part, in which she lias shown herself to be possessed of so 
much taste, skill and impassioned feeling, she has raised herself ioi- 
fold in the opinion of the public I can only trust that the £ivor 
with which she has been received will not turn her head — and like so 
many others — once able to win applause — abandon study — for at 
present she is by no means a perfect mistress of the art of vocaltsfttioD, 
but having the advantage of youth, and being possessed of such a 
magnificent voice, and so great a natural taste for music, I am con- 
vinced that by assiduous application to her studies and perseveraiioe, 
she may attain to the highest position in her profession. 

Martha has just been given with Signor and Mdme. Tiberini — the 
latter known in England as Mile. Ortolani — and it is said that these 
same artists are about to appear in Matilda di Shabran, and the now 
almost forgotten Slraniera, At Bologna, Faiut has met with great 
success. The principal singers are Mdme. Lotti della Santa, Signors 
Stigelli and Atry. A. S. C. 

Florence^ November 16. 



[EprrAriiiuM."] 

LUDOVICUS VAN BEETHOVEN. 

' Nat. 1767. Ob. 1832. 

" Non lo conobbe il mondo I'^—Peirarca. 

ILLUM, QUI REOIO AB 8TIRPE DICBBATUB OBItmDUll, 
NUMEN DnriNUM 

Diynro imprkssit maytw sioillo tsqksji. 

MIRABILE BED QUASI INCOXPBEHENSIBILE, QUOD UNA IK 

MKNTB HUMAKA, TANT^ REyOLyBBANT IDEiE — 

MUNDUS QUASI ESSET, CRBATIO DTTEORA SENTIMEXTI 

8UBTILISSIMI, FBNSAMBNn ET FANTASIA PRODIGIOSf ; 

MODO ASCENDENS ALTE AD ASTRA, OAUDII ET PLEHUS 

EZULTATIOXXS ; MODO AD PROFUNDA A^'SRNI 

MEROENS TRISTITIA, 

MELANCHOLIA PROFUNDA ET DOLORE ! 

MODO INFANS LUDBNS ET RIDENS, 

MODO JUyENIS PLENUS AMORIS ET AFFECmONIS, 

MODO yiR SBRENUS PENSEROSU8 ET FORTI8, 

SENEX DEIN ABSORBTUS MEDITATIONS DrVINA. 

TALES MAONI RRANT HARMONIC LUDyOVlCI, NUNQUAM 

MORITURI QUOU8QUE yOX AUT MUSIGA EXISTENT 

HUMANA IK'MUNDO — 

VIENNA yiVENS SUB TTRANNIDE FRAKCI8CI ET 

METTKRNICHII, 

IPSEBfET AUTEM ADDICTU8 FIDEI " OUBERNATIONlS 

RATIONALIS " — 

NBOLECTUS ET QUASI EVrTATUS NISI AB PR. ET 

PRINCIPESSA LICHNOWSKI, QUI ILLUM HOSPrTAUTER 

8USCEPERUNT IN DOMUM. — 

AUDrrUS SENSI QUOD OLIM ILLI 8UBTILISSIMUS, REPENTISX 

PRIVATUS. 

PAUPERTATB AUT yERA AUT IPSI CREDITA OPPRESSUS, 

INFEUX POSSET PUTARI, SI NON NATURA ILLUM PULCHRjB 

CONSOLUERIT AUSTRLS. 

MONTES ET VALLES SILVAS ET RUPES AMABAT, BRUCK 

AM OERUroR, BADBNiE TUERMAS, IBI IMMERSU8 

QUASI IN PENSuVMETIS VAGRAVIT SOLITARIU8. — 

MORBO PAULUM SERIOSO AFFECTUS, SOLUS, NBOLECTUS 

DERELICTU8 FERE AB OMNIBUS MORITUR — 

TESTIMONIUM OBLIVIONIS ET NEGLIOENTLK DIVITUM 

Hujus (et OMNIS FORSITAN) JEyi. 

SED POPULU8 yiENNEKSIS MORTB TALIS INTIME COMMOTUS 

CiyiS, FUKUS EJUS '^ TRIOINTA MILLLA NUMERO " 

CONCOMTTAyrr ; 

NATURA TANDEM PORTENTOSA PROCELLA ET TEMPESTAT« 

TERRIBlll 

ULTIMUM BEETHOyENi DESIGNAyiT DIEM. — 

POPULU8 MAGNUS ANGLICANUS NUNC, TRIGINTA FERE 

POST ANNIS, 

MBMORLAM ET GENIUM ILLIUS INCREDIBILI POPULARITATE 

ET AMORE yiNDICAVIT, 

ACNE HARMONLA AUT 8ENTIMENT0 MOTUS OCCULTO] 

Londinit 1864. Dr. Lotskt, fee. 


Lisbon. — The senrices of Madame Borghi-Biamo have been tecorod 
for next season. 



Digitized by 



Google 



December 3, 1864.] 



THE MUSICAL WORLD. 



771 



HAYMARKET THEATRE. 
I Mr. J. V. Bridgeman, the translator and adapter of Mosenthal'a D^ Son" 
rwnwendhof, entitled, in its new form, Sunny Vale Farm^ has discharged his 
duty in a conscientious manner. To he snccessful in the first capacity necessi- 
tates the original dramatist's language being preserved in Ha integrity ; while 
to be equally happy in the second particular deoiands the exemse of mnch 
discretion, and that rare tact as a playwright, which long acquaintance with 
the stage alone can give. The ordinary responsibilities of anyooe preparing a 
literary work for representation, are increased tenfold when the materials are 
not his own. This is, of coorie, assuming that the adapter is impressed with 
the justice of adhering as closely as possible to his origins], instead of ignoring 
all sach considerations in the porsuit of self-exaltation. From the care and 
fidelity shown by Mr. Bri^geman in transcribing the' play, it is clear the 
honourable feeling we haye suggested was constantly present to his mind. 
The weight resting upon an indiTidual who undertakes the abore duties is by no 
means decreased when condensation of incident is needed, and the events of 
five hanre to be presented in three acts. Such is the case with Sunny Vale 
Farm ; and, for an acute sense of the obligations previously mentioned, Mr. 
Bridgeman is deserving of very high praise. An Englishman arranging a 
foreign production for the national stage is nnquestionably at liberty to alter, 
or even omit, whatever he may feel sure will run counter to native prejudices, 
especially ivhen they spring from moral and religious convictions. On these 
grounds, two incidents of the German play have been very properly excised in 
the adaptation. We allude to a card-playing scene, between a priest and the 
villain Matthias ; and the fubstitntion of a withered tree for a cross, as the 
accidental instrument of the aforesaid villain*s death. The scene opens at the 
farm, in quiet possession of Monica (Miss Snowdon), a widow, whose late 
husband's brother, Matthias (Mr. Howe)j returns to claim half the emoluments 
of the estate. He is a wild, dissolute, wicked man, who, ten years previously, 
was driven from home. As an ordinary workman he quarrelled with the pro- 
prietor of Ilsang forge, and set fire to it ; but was paralyzed by the gaze of a 
child, whose father was the suspected incendiary. This fancied detection of 
his crime haunts every moment of Matthias's Ufe, and increases the savage 
moroeeness of his disposition. He instals himself at the farm, where Hilda 
(Mdlle. Beatrice) is employed as a servant. No one knows ^e is the sus- 
pected ** fire raiser's " child. She outlives various evil reports spread about 
her by a malicious old domestic, Dorothy (Mrs. E. Fitzwilliam) ; but is pers^ 
cuted by the unlicensed passion of Matthias, who, when repelled, accuses her 
of selling some milk which she charitably gave to a young ^rl. Matthias, 
before seeing the child, had resolved to reform ; but, as she approached the 
farm gate, the terror of his life again oppressed him, and, in det^peration, he 
relinquished his good impulses. Hilda, under this chai^ is shielded by 
Valentine (Mr. W. Farren), the young farm superintendent, who is the widow s 
prot^gi^ and already chosen for her second husband. He, with a perversity 
common to mroUgea^ loves Hilda^ who is sent to tend the cattle up in the 
hills, while Dorothy is turned away from her old Home. The young man 
confesses his love, both to the object of it and his mistress. Matthias in- 
fluences Monica's jealousy, by telling her of Valentine's journey to Hilda's 
mountain hut. Monica tries her hardest to separate them, but at length 
magnanimously gives up all idea of Valentine, who wUl not cease loving 
Hilda, though she is the daughter of a reputed incendiary. A storm is 
raging on the mountains, when Mattiiias visits Hilda, and proposes, with 
her help, to fire Monica's farm, he having been legally expelled therefrom. 
The scene at the burning forge is now more distinct than ever to her 
imagination, apd she hurls the accusation of incendiarism at him. He 
admits his guilt, and, to quiet her demmdations, tries to stab her. This, 
is prevented by Valentine. Blattbias rushes to the edge of a predpieoe, when, 
clinging to a tree, it gives way, and he thus meets with instant death. 
Dorothy, in concealement, has witnessed this scene, and so can afBrm Hilda's 
name is without blemish. Upon this climax, ar.d the bethrothal of the lovers, 
the curtain falls. It will be seen the pUy is one of more equalized interest 
than very many produced for a dramatic star. Mdlle. Beatrice in making this 
selection for her third assumption in London was, to say the least, unfortunately 
advised, if advised at all. The peculiar excellence supposed to be exemplified 
in the young lady's performances, had, in this play, but little chance of de- 
velopment. We refer to the Udy-like bearing and peculiar refinement of man- 
ner which won for her sucK general praise in her opening character. Mdlle. 
Beatrice was perfectly at home in realizing the "patient Grissel" tone of the 
part, and dearly obtidned a firm hold upon the sympathies of the audience in 
those passages expressive of a gentle sorrow and suffering resignation. The 
strongpr sitnationa, as for instance, that in which she sdzei a hatchet and 
dares Matthias to molest her, were destitute of the force required. Mdlle. 
Beatrice has apparently someUiing to learn in those observances of probability 
which proclaim an intimate knowledge of the dramatic art, and long practice 
therein. Without being hypercritical it may be argued that a wandering out- 
cast would hardly cross a range of snow-covered mountains with no covering 
on her head; nor would she perhaps be able to indulge in the vanity of a satin 
apron. A reasonable regard for these dramatic nidties, or a partial forgetful- 
nesa of them, proves an individual to be dther an art'ist or a#oomparative 
aonateur. Wlien an actor can by the force and truthfuhiess of his performance 
■ecure applause in st^ch an ** uphUl " part as Matthias^ it most be accepted as 
a oonduaive proof of his talent. Ko one could s^nupathize with a brutal re- 



probate such as the prindpal male character in this play, but that the intelli- 
gence and earnestness of a practised actor are always sure of recognition, was 
proved by the reception accorded to Mr. Howe's consdentioos, forcible, and 
picturesque delineation. At the end of the piece a general cill was made for 
him. Miss Snowdon was somewhat out of her element as Monica ; and but 
one requisite was wanting to make Mrs. E. Fitzwilliam's Dorothy perfect. 
Persons of Dorothy's age seldom preserve their blooming appearance to such 
an extent as the countenance of this valuable actress exemplified. The con- 
trast between the old farm-scrvaut's mischief-making manner when high in 
ofiice, and the emotion when leavmg the farm, was admirably given. Mr. W. 
Farren, as the devoted lover, had an important share fn the play, and sup- 
ported Mdlle. Beatrice with his usual energy. A kind of underplot is carried 
on by Miss Marie^ formerly Miss Marie Harris, as Frauzl, a young peasant ; 
and Mr. Coe, as Wolfgang, her admirer, both of whom aflbrded considerable 
relief to the play. Mr. Clark and Mr. Braid were efficient representatives of 
Fritz, a tinker, and Father Ernst, the parish priest. The first named vcva 
especially effective. Mr. John O'Connar may be regarded as one of the 
cleverest scene-painters of the day, and, in conjunction with Mr. Morris, has 
furnished some uncommonly well executed tableaux for this play. The scenes 
of the farm, and the hut on the mountains, were most charming spedmens of 
stage effect. The Stvrilin dresses are also highly picturesque. Miss Virginia 
Gabriel supplied the incidental music. At the end of the play Mdlle. Beatrice 
received a most flattering ovation, and was led on by Mr. Howe ; and Sunny 
Vale Farm was announced for repetition by Mr. Farren. 



"THE BRIDE OF DUNKERRON" AT LIVERPOOL. 

{From a Correspondent), 

The Liverpool Fhilhannonic Society has been the first of the 
large choral bodies in the provinces to present to their Subscribers 
Mr. UeniT Smart^s admirable cantata, the genuine success of 
which at the late Birmingham Festival has been duly chronicled in 
these columns. At their Eleventh Subscription Concert on 
Tuesday evening last, the 29th, the first part of the programme 
was devoted to The Bride of Dunlxrron ; the solo singers being 
Madame Rud^rsdorfP, Mr. W. H. Cummings (as at Birmingham) 
and Mr. Lewis Thomas for basso. The orchestra and chorus were 
very efl&cient, under the able conductorship of the composer, who 
had been expressly invited to superintena the production of his 
work. The most striking numbers were those which also made the 
greatest effect at Birmingham ; the tenor air ^* The full moon is 
beaming,^* with its delicious *^ Moonlight '* accompaniment, was 
excellently sung by Mr. Cummings ; the splendid baias soag ^^ Th3 
sea rules all '* was done full justice to by Mr. Lewis Thomas ; and 
Madame Rudersdorff .quite outshone herself in the two duets with 
Dunkerron, and in the elegant melodious cavatina *^ Our homo 
shall be on this bright isle." The vigorous and highly dramatic 
choruses oi storm-spirits were very well rendered by the choir, 
and the popular sea-maiden*s chorus, ^^ Hail to thee, child of the 
earth,'^ was rapturously encored. The entire performance was 
most satisfactorv, and produced a genuine effect, on what is 
usually a somewnat apathetic audience. The composer was over- 
whelmed with plaudits at the conclusion, and hopes were warmly 
expressed on all sides that the Bride of Dunkerron would be soon 
repeated. The [distinguishing feature of the second part was the 
plaving of Madame Arabella Goddard in Mendelssohn's Rondo in 
£ flat (with orchestral accompaniment), which, for combined vigor 
and delicacy, could not be surpassed or even equalled. In 
Thalberg^s Lucrezia Borgia Madame Goddard again delighted her 
audience by her brilliant playing, and, ii^ answer to a most marked 
encore, gave the same master's ever popular variations on ** Home, 
sweet home." 

» 

St. Leonard on Sea. — ^Herr Wilhem Coenen, the eminent Dutch 
pianist from Lodood, gave a concert in the Assembly Room last week, 
assisted by Madame Lemmens Sherrington, M. Lemmens (harmonium), 
and M. An tone (violin). Herr Coenen opened the concert with a 
sonata by Beethoven; M. Lemmens followed with two of his own 
compositions for the harmonium — '• Invocation " and '* Fanfare ; " M. 
Antone then gave one of Beethoven's romancos for the violin; Madame 
Lemmens the grand air from Mr. Macfarren'a I/elvellyn; Herr Coenea 
ending the first part with his fatUaeia (for the left hand) on two 
national airs. The second part opened with a Freludum by Bach, 
arranged as a quartet for voice, violin, harmonium, and pianoforte 
(^ladaine Lemmens, M. Antone, M Lemmens, and Herr Coenen) which 
was greatly applauded. The concert terminated with Herr Liszt's 
arrangement of the Valse^from M. Gounod's Fauet^ played with great 
spirit by Herr Coenen. 



Digitized by 



Google 



772 



THE MUSICAL WORLD. 



[December 3, 1864. 



ARABELLA GODDARD'S PIANOFORTE RECITAL. 
{From " The Brighton Guardian.*') 

ThU much anticipated musical treat took place on Thursday last, at 
the Pavilion, in the presence of the most numerous and brilliant 
audience of the season. The queen of pianists was welcomed, on her 
appearance, with enthusiastic ap^use, which was renelved at the 
conclusion of each performance. We have recently spoken of Madame 
Arabella Goddard on the occasion of Messrs. liletzlerand Vicker's 
concerts, so that we shall not require to enter into elaborate criticism ; 
suffice it to say, that she was in magnificent play, and surpassed herself. 
We cannot pay her a greater compliment than to say she played her 
very best, the " best ** being, perliaps, beyond the reach of any other 

J)iani8t. The selection of music was, of course, entirely classical, as 
^ladame Goddard never condescends to play anything less worthy of 
her interpretation. She began with Mozart's sonata in'A major, which 
introduces a TurkishaMarch, and this she played with the chasteness 
and purity and absence of all affectation for which she is so eminent. 
Kot an embellishment was introduced, not a note altered. As Mozart 
wrote, BO did the fair pianist play. Can any praise be higher? Next 
we were treated to Bach's prelude in C sharp major, which was given 
with so much clearness, the principal subject so well marked as to be 
intelligible even to amateurs unacquainted with that school of music. 
Next followed Handel's SuiU de^ea, concluding with the •• Harmoni- 
ous Blacksmith." It was an irresistible performance, which quite 
electHfied the audience. The encore was so rapturous that Uie fair 
pianitit could not help repeating this piece, so well known to all lovers 
of pianoforte music. Who would not have been delighted to lieten to 
such a performance, even a third time ? The great event, however, of 
the recital was Beethoven's sonata appasionata in F minor. Beethoven 
himself might^have played it as Madame Goddard did, but certainly 
no one else could have ever surpassed her or even have played it so 
well. The first and last movements were given with so much fire and 
spirit, all the passages being performed with so much rapidity of 
fingering as to render the execution truly marvellous. The andante 
con moto w?b rendered with deep feeling and exquisite expression, the 
phrasing might have been a lesson to any vocalist. ^ The whole perfor- 
mance of this splendid work was absolute perfection. Benedict's 
*' Where the bee sucks,*' which, evidently, Madame Ooddard plays eon 
amore^ brought this interesting recital to a brilliant conclusion. It was 
loudly encored, but greatly to the disappomtment of the audience the 
enchantress did not again come forward. The pianoforte was one of 
Broadwood's concert grands. It was worthy of the great performer ; — 
wo can pive it no higher praise. Fratlleiii Mehlhorn contributed some 
vocal meces with her accustomed good taste, and she was greatly 
appIaiMed. 

ROYAL ENGUSH OPERA. 
{From the ''Daily Telegraph.") 
'* It's an ill wind that blows nobodv good." Whatever the eventful 
result may be to the directors and snareholders, the opening of two 
rival theatres for English opera must benefit our composers. The laws 
of supply and demand hold good in art as in commerce. So long as 
operas are required to feed the English public, composers will be per- 
fectly willing to write them. Whether the public will benefit in the 
same degree as the composers may, perhaps, be open to question. We 
tiiink they will — ultimately. At all events, the constant production 
of novelties of home manufacture must throw some light upon tlie 
question whether or no the English possess creative genius in nmsic. 
In reply to the sneers of foreigners, we have hitherto maintained that 
our composers had no cliance of achieving distinction. This excuse 
we can no longer bring fon;vard. We are promised a long succession 
of operas from the pens of Englishmen, known and unknown to fame, 
and the public will soon be in a position to judffe what native musicians 
can, and what they cannot do. We fancy the result of the inquiry 
will Ihs that there is very little diflference between the natural capa- 
bilities of Englishmen and of foreigners. Here, as abroad, we shall find 
hosts of talented men whose bright and sparkling fancies may be the 
delight of thoumnds ; here, as everywhere, we shall find that the men 
of genius, whose imagination ** bodies forth the form of things un- 
known," arise but once in a generation, perhaps but once in a century, 
to be the wonder and the worship of centuries to come. One reason, 
we opine, why English opera has hitherto been unsuccessful, and why 
Englihh musicians have been unjustly depreciated, is that the men of 
talent have insisted on grappling with subjects which none but men of 
genius should attempt to illustrate. Every novice who has the chance 
of coming befoie the public will set to work on the writing of a grand 
0(>era, stnving with his unpractised hand to fill a canvas the vast pro- 
jKn-tions of which need the fertility of invention and resource of a 
Meyerbeer. If the repeated production of novelties with varying success 
only tends to convince our' composers that the less pretentious their 
works the more they are relished by the public the rival operas will 
not have run a risk in vain. 



DEATH OF MR. DAVID ROBERTS. 

On the afternoon of Friday last an elderly gentleman walking in 
Bemers-street fell down in a fit of apoplexy. To the people who went 
to his rescue he was able to utter only two words — Fitzroy-strcet ; he 
never spoke afterwards, and he died at 7 o'clock on the evening of the 
same day. It was a Royal Academician — David Roberts; a kindly, 
canny Scot, well-to-do, amazingly clever in his own sphere of art, and 
l^ed by all who knew him. Born four years before the dose of the 
last century, he began his active life as a house-painter in Edinburgh; 
he rose in 1822 to be a scene-painter in Drury-lane Theatre, along with 
another Academician, Mr. CUrkson Stanficld; after that he began to 
exhibit in the Royal Academy ; he travelled in Spain and in the East, 
and published more than one fine series of (-ketches thus obtained, 
which gave him a great public reputation, and which entirely justified 
his election into the Academy in 1841. He was certainly the best 
architectural painter that our countrv has yet produced. In this 
department of art, indeed, he stands almost alone among us, the artist 
who comes next to him being Samuel Prout, the water-colour painter, 
who died in 1852. Probably the chief reason why he stands bo ncariy 
alone is, that the artist whohas an eye for the picturesque in architec- 
ture naturally becomes an architect, and will not be content to make 
pictures of architecture. Mr. Roberts had a wonderfully quick eye for 
all striking eflfects of architecture, and transferred them to his canvass 
with great ease. Nothing can be more effective than his views of 
cathedral interiors lit up with the magnificent pageants of Roman 
Catholic religion. He gave a grand, broad effect, a truthful general 
result, and did not much trouble himself with minuteness of workman- 
ship, in this respect one is apt now and then while looking at his 
pictures to remember the scene-painter ; but, in point of fact, minuteness 
of work would be misplaced in an architectural painting, and ihere if 
anywhere the artist may be allowed to generalize. In this broad style 
of treatment Mr. David Roberts was particularly happy, and he could 
be very prolific. He painted quickly and he painted much. His 
pictures were snapped up at heavy prices. If he fell short of genius he 
was, nevertheless, a man of rare ability, of sturdy industry, and of ad- 
mirable tact. Like many Scotchmen, he spoke slow with a broad accent, 
and gave one in conversation the idea of a slow-working intellect In 
his art, however there was nothing slow or drawling. Whatever he 
did he did quickly, sharply, and with marked vigour. Apart from the 
interest which attaches to him as an artist, and which is to be measured 
by the amount of his actual achievement, there is another interest 
wliich belongs to his career, and which is to be measured by the amount 
of difficulties he had to overcome. He who began as a humble house- 
painter and ended as a Royal Academician has not a little to boast of. 
Ho too belongs to that proud phalanx of men whose biographiee UmA. 
most keenly all young ambition, — the self-made men who from tamXL 
beginnings have fought their way upwards to fame, to wealth aod to 
station. 



Ma. Clejiow last week resumed his readings to Uie pttienti at 
Bethlehem Lunatic Hospital, the selection being as follows : A Misad- 
venture at Margate (Ingoldsby Legends); The Shooting expeditkn 
(Pickwick); The valuable young lady (Jane Austen); Sister Sals 
courtship (Sam Slick) ; The Grandmother (Tennyson) ; and the trill 
scene from Pickwick. The whole of these were listened to with the 
greatest attention, and the sanest audience in existence could not 
possibly have shown a more thorough appreciation than thai esliftitv^ 
by the 200 patienta who were present. Dr. Hel^ the reiliMi* phy- 
sician, speaks most highly of the benefit effected by these readings. 

The Winter Exhibition. — The committee of artists and connois- 
scurs, namely, Mr. E. M. Ward, R.A.. Mr. PickersgiU, KA.,Mr. 
Redgrave, R.A., Mr. Lewis Pocock, Mr. Tom Taylor, and Mr. J. 
Brunton, who had accepted the duty of deciding the claims to prizes 
in the Winter Exhibition of Pictures at the French Gallery, Pall 
Mall, have pronounced their judgment, by which the first premium oi 
£100 is awarded to Mr. Orchardson, for his picture of ** The 
Challenge," and the second of £50, to Mr. H. W. Davis, for hU 
" Moniing on the Salais^ of Boulogne." An extra prize of £50 is 
given by Mr. WalUs, to Mr. John Morgan, in recognition of the high 
merit of his picture, •♦ RaiHing a Church-rate." The commitiee, 
within a very few days of delivering their judgment, lost one of their 
body in a very melancholy manner. Mr. I>srid Roberts, R.A., was 
proceeding to the gallery in Pall ^1^11, to keep an appointment with 
His brother Academician Mr. Ward, when he was seized with an 
apoplectic fit, and died very suddenly. It may be mentioned that the 
opinion of Mr. Roberts was entirely concurrent with that of the whole 
committee in the distribution of the prizes. Since his lamented death, 
one of his latest and best pictures, the Church of Santa Maria dtlla 
Salute, at Venice, has been added to the Winter Exhibition, where it 
will be a conspicuous adornment. 



Digitized by 



Google 



December 3, 1864.] 



THE MUSICAL WORLD. 



773 



GREAT ORGAN OF ST. STJLPICE .♦ 

COMPOSITION DE8 JEUX; DE3 REGISTRE8 ET DES PEDALES 
D£ GOMBINAISON. 



Clatibb DC PbdAli 

on FlOALIBR 

Dm A ri, SO Nona. 



I PilDcI|»l-BasM.»... 39 

3 Gontr».BMM U 

, 3 8oa-bute 16 

i Floto ....A 8 

6 Violonoello...^ . ... 8 
6 Plate 4 

Jtux de CombinaUen, 
1 CUriftii 4 

8 Ophicleide 8 

9 TrompettB 8 

10 Baason 16 

11 Bombarde 16 

12 Centre Bombarda 83 



Pbbmxbb Glatxbb 

Graxd Cbokub 

Dibt a Sol, 66 NotbI. 



1 Balldoiua 8 

3 OeUre 4 

3 Groase Fonraiture 4b. 

4 Groaae Cymbale ... 6r. 

6 Pleln-Jea 4b. 

6 Cornet 6a. 

? Ire Trompette 8 

8 2e Trompette 8 

8 Clarion 4 

10 Clarion Dooblette 2. 

11 Baaaon 8 

13 Baaaon ' 16 

13 Bombarde 16 



Pbdalbs i>% CoMBixitaosr. 



1 Oraire 

3 Ttraase Grand- Chcear 
A Tiraaae Grand-Orgae 

4 Aochea Pedale 

6 OctAvea Gr»n4 Choenr 

6 OctaTea Grand-Orfne 

7 Oetavea Bombardea 

8 OctaTea PoaiUf 

9 OctaTea Recit 

10 Apohea Grand- Orgne 



U Anohea Bombardea 

12 Anohea Poaltlf 

13 Anohea ^tedt 

14 Copala Grand Choenr 

15 Copala Grand-OrgnO 

16 Copala Bombardea 

17 Copala Positif 

18 Copala Recit 

19 Tremblant 

20 Bxpreaafon 



Dbuzxbmb Clatibb 

Qbaxo-Obgub 

DtBT A Sol, 66 Notbs. 



1 Prinoipal-harm. 32-16 

2 Montre 16 

8 Bonrdon 16 

4 Plate ooBiqna 16 

6 Plate harmonlqae 8* 

6 Plate Tnyeraiere 8 

7 Montre 8 

8 Bonrdon 8 

9 Diapaaon 8 

10 Plate k fkvillon ... 8 

11 Preatant 4 

12 Groaae Qninte 6} 

13 Doubletie 2 



RBGianiBa db CoxBiHiuoir 



1 Comb. Pedale G 

3 Do. Gr-Orgne ... G 
8 Do. Bombarde G 

4 Do. PosHIf. Q 

6 Da Reoit G 

6 Do. Pedale D 

7 Do. Gr.-Orgne... D 

8 Do. Bomberde D 

9 Do. Positif D 

10 Do. ReeSt D 



Tboibibxb Clavibb 

Bojibabdb 
Diet a Sol, 66 Notbs. 



1 Hou-baaae 16 

2 Plate Coniqae ...... 16 

3 Principal 8 

f4 Plate harmonlqae... 8 

6 Bonrdon 8 

6 Gambe 8 

7 VIoloncelle 8 

8 Kerattlophone 8 

9 Plate oetaTiante ... 4 

10 Preatont 4 

Jettt d€ CombbutUon, 

11 Groaae Quinte 6| 

13 Groate Telrce ^ 

13 Qointe. 3| 

14 Octave 4 

15 Octavin 2 

16 Comet........ 6r. 

17 Trompette 8 

18 Clairon 4 

19 Baryton 8 

30 Bombarde 16 



QoATBiBXB Clatibb 

PooiTir 

Dibt a Sol, 66 Notbb. 



CiMQOiBMB Clavibb 

Rbcit. Ezr. 

Dibt a Sol, 66 Notbs. 



1 Violin Basae 16 

2 Qaintaton 16 

3 Qttintaton 8 

4 Plata traveraiere ... 8 
6 Saliclonal 8 

6 Viole de gambe 8 

7 Unda marls 8 

8 Plate donoe 4 

9 Plate octavlante ... 4 

10 Daloiana 4 

Jeux di Combbied'on. 

11 Qalnte 2| 

13 Doublette 3 

13 Pleln-Jen barm. ... 3-6 

14 Tieree If 

15 Larlgot ij 

16 Ploolo 1 

17 Trompette 8 

18 Clarlnette 8 

19 Clairon 4 

20 Eaphone 16 



RaonrBBS Acobssoibbs. 



1 Sonnette dn Hant G 3 Sonnette da Haat D 

2 Sonnette da Baa G 4 Sonnette da Baa D 



1 Qnlntaton 16 

3 Bonrdon 8 

3 Violoncclle 8 

4 Preatant 4 

6 DoaMette 3 

6 Foamitnre 4r. 

7 Cymbale 6r. 

8 Baaaon et Hantboia 8 

9 Voiz hamalne 8 

10 Cromorne 8 

11 Cor AnglalB 16 

13 Voiz celeate 8 

Jeux de Combinaison. 

13 Plate harmonlqae 8 

14 Plate octavlante... 4 

15 DnlcUna 4 

16 Nazard 2% 

17 Ootavin 3 

18 Cornet 5 range ... 8 

19 Tronu>ettO 8 

30 Trompette barm. 8 

31 Bombarde 16 

32 Clairon 4 

Retume, 
100 Jeaz. 118 reglatrea 

20 pedalca de oomblnaiaon. 



MAKGHEffTKB. — The direcion of the Monday Evening concerts have 
been unfortunate as regards weather. We fear this circumstance will 
effect thebi in a pecuniary point of view, for the ecale of admission is 
fixed at so low a rate that the concerts cannot be remunerative unless 
the hall is absolutely filled; indeed, considering the excellence of 
the performances, we consider the prices too low. Hitherto the 
directors have relied on local talent, bat last evening they engaged 
blaster Willie Pape. the celebrated American pianist. Master Pape is 
a youth of extraordinary muaical acquirements. His age is, we believe, 
only thirteen ; yet we have before us a list of nearly sixty pieces which 
he is able to play from memory — a repertoire of compositions recently 
offered to the Prince and Princess of Wales for selection when Master 
Pape performed at Marlborough House. The list includes four of 
Beethoven's sonatas, besides brilliant nwrceaux firom Mendelssohn, 
Weber, Herz, liazt, Thalberg, &c Last evening his selection com- 
prised one of Beethoven's sonatas (Op. 29), Thal^rg's arrangement of 
•' The Last Rose of Summer," " Jt- rusalem »' (paraphrate de Concert), by 
Liszt, and a fantasia on American national airs ; all given with won- 
derful power, and received with unbounded applause. Master Pape 
could not evade the poseing demands of the audience, which elicited, 
in addition to the pieces set down for him, Thalberg's " Home, Sweet 
Home,'* and fantasia on Mose in Egitto, The vocal selections were 
given by the soloists and chorus who ha^e afforded so much satisfaction 
at these concerts. Miss W inward, Mrs. Brooke, Mr. N. DumviUe, Mr. 
Wroe, and Miss Lomax were the chief singers. The choruses were 
under the direction of Mr. D. W. Banks. 



• Parte— Bollt by CivallW CoL 



Madrid.— The Theatre Boyal rd-opened, on the 17th inst., with 
Meyerbeer's Rd>ert. 

MtwicH.— The first performance of Herr Richard Wagner's Fliegender 
Hollander was fixed for the 19th. Probably, however, it will not have 
taken place until a later date. 

Aix-LA-CHAPKLLB.--The membcrfl of the Concordia Association of 
Male Voices celebrated its five-and-twentieth anniveraaty on the 20th 
and 2l8t ult. One great attraction on the occasion was the playing of 
Herr Joacihim. 

MiiJks.— A new opera, entitled Werther, and from the pen of a young 
composer of the name of Gentili, has, ai^er numerous delays, been pro- 
duced with moderate success only. It had been previously represented 
and received much more favorably at Rome. 

St. Pbtebsruroh.— The Musical Society of Russia inaugurated 
their winter series of concerts with the following programme : Beet- 
hoven's Sinfonia JSroiea ; Meodelssohn's overture to A Midsummer 
NighCs Dream; Schumann's overture to Julius Casar; selections 
from Alozart's Idomeneo, and from La Fuite en £^te, by Hector 
Berlioz. 

Dresdek. — Die Nibelunffen, by Herr Dom, is in active preparation.— 
The JsiederUtfel celebrated their 25th anniversary on the 9th and 10th 
inst., by two concerts and other festive proceedings. . The programme 
consisted exclusively of coqipositions by the Masters of the society, of 
whom the following -is a chronological list: — C. G. Reissiger, 1839 ; 
Julius Otto, 1840-48, 1849-1851, 1856-1868; F. Adam, 1842 ; C G. 
>Naumann, 1848-1860; Richard Wagner, 1843-1845 ; Ferdinand HUler 
1846-1847; Robert Schumann, 1849; C. Kreba, 1852-1856,1860-1864 j 
Robert Pfretzschner, 1859 ; and Friedrich Reichel, 1860-1864. 

McxicH. — The'King is never tired, it appears, of giving fresh proofs 
of the high regard ho entertains for Herr Richard Wagner. His 
Majesty has now resolved to found an operatic school, where aspirants 
of both Betka may go through the necessary course of instruction 
under the direction of the Musician of the Future. Herr Friedrich 
Schmit of Frankfort, formerly a singer himself, and now well-known 
as a teacher of the vocal art, will be appointed one of the professors. — 
Herr Peter Cornelius of Vienna, a,zealous Futurist, has been invited 
to accept a post in the Conservatory. The King, with a degree of 
consistency which must be charming to all who love that quality quanil 
mdme, b certainly " going the whole hog." 

Deal. — Mr. Harrison gaVe a concert on Tuesday evening, the 22nd 
ull., in the new Assembly Rooms. All the rank and fashion of the 
neighbourhood were there, as a mark of respect to the professor, who 
opened the new rooms for the occasion. The vocal star of the 
evening, Madame Alexandre Newton, was encored in " Una Voce," 
when she gave Ardili's well-known *' II Bacio '' with great effect. 
Mr. W. B. Harrisen sang with Madame Newton the duet ** Crudel 
Perche, also unanimously re-demanded. The performances of Mr. AV. 
Harrison on the pianoforte, of Mr. Aptommas on the harp, and Mr. J. 
Harrison on the violoncello, afforded a genuine treat to the lovfrs of 
instrumental music. The duet for harp and piano elicited universal 
approval. Mr. W. B. Harrison's solo on the piano, and Mr. Aptommas's 
on the harp commande<l, as they deserved, plaudits long and loud from 
the audience^ The choruses with which the evenings amusements 
were interspersed, were admirably rendered. There were nearly 500 
persons present. -<-• 

Brook Green. — An evening concert was given at Eagle House last 
week for the benefit of distressed families. The large room was tilled, 
and thanks are due to Miss Elizabeth Stevenson and Madame Henrio 
(under whoso direction the concert tOok place^ for their exertions. 
The artists who assisted were Miss Eleonora Wilkinson, Mr. Trelawny 
Cobham, Herr OberthUr, and an amateur choir. Miss Wilkinson was 
encored in Gounod's romama^ " Le parlate d'amor," and in Signor 
llandegger's cradle-song, ** Peacefully slumber," was deservedly ap- 
plauded. Mr. Trelawney Cobham pleased very much by his delivery 
of an air from M. Ambroise Thomas, " Un eonge d'une ntdt dC6U^' and 
by the manner in which he gave lierr Reichardt's Lied ^ Thou art so 
near." Herr OberthQr played with Miss Stevenson his duet for harp 
and piano, on airs from Lucrezia Borgia, and two elegant pieces also of 
his own composition — ^Meditation " and ^^ Fairy Ije^md" as well as his 
" Bonnie Scotland," which were greatly admired. Miss Stevenson, 
besides joining Herr OberthUr in the duct above mentioned, gave an 
excellent reading of Chopin's *' MarchefuMre " and a Lied okne Worte 
(No. 6, lx)ok 5) by Mendelssohn. Madame Henrie's principal^ngs 
were " My home in cloudland," from Mr. Benedict*s operetta or The 
Bride of Song (the harp accompaniment admirably played by Herr 
OberthUr), and the " Inflammatus " from Rossini's Stabat Mater. In 
the last she was supported by the amateur choir, which also joined 
Miss Wilkinson in the solo and chorus, ** Giulia eentil," which was 
encored. Miss Elizabeth Stevenson accompanied tae vocal music on 
the pianoforte. 



Digitized by 



Google 



774 



THE MUSICAL WORLD. 



[December 3, 1864. 



irOTIOEB. 

To Adveiitisbrs. — The Office of The Musical World is at 
Messrs. Duncan Davison k Go's., 244 Eegent Street^ comer 
of Little Argyll Street (First Floor), Advertisements received 
as late as eleven o'^Cloch a.m., on Fridays— ^ut not later. Pay' 
ment on delivery. 

To Publishers and Composers— J/taic for Eeview must he for- 
warded to the Editor f care o/Messrs. Duncan Davison & Co., 
244 Regent Street. 

To Concert Givers.— iVb Benefit^Concerl^ or Musical Perform- 
ance, except of general interest^ unless previously Advertised^ can 
he reported in The Musical World. 

LONDON: SATURDAY, DECEMBER 3, 1864. 



'^ Copfutatis," alone there are parts for the wind instroBieiitB. 
This attempt at instrumentation is remarkable for the nenrous- 
ness evident in the rhythms of the accompaniment, in the 
distribution of the harmony, and so on, and we can eaeilj 
understand that it was abandoned from want of power to cany it 
out, and that the completion of the work was, without anj 
importance being attached to this first attempt, confided to 
^Mozart's pupil, F. SUasmayr, as being far more capable d 
executing the task. It is probable that the Abb^ Stadler and 
Eybler, both friends of Mozart, and desendng praise f^ whit 
they did in the matter of the papers he left behind him, reodTed 
from his widow the autographic sketches for the score of the 
itequiem^ in order, perhaps, that the ** secret^* concerning its 
completion might not be betrayed too soon. 

The second of the docimients referred to is entitled : A true and 
detailed Account of the ^^ Requiem'^ of W. A, Mozart^ from ikt 

Tnri ir* n • i-v v j i x i i-« 1.1 • i. x* Origin of the same in the Year 1791 to the present Time: 1839. Bh 

HE Vienna Recensionen pubhshed lately a highly mtcrestmg , ^ /_ ^..,t^. • oiti^. . ^ %, . r 

-*• 1 V TT T rr- L 1 ir -j.» D • on." Anton Herzog. Principal District School Director, and Master of 

article, by Herr L. von Kochel, on Mozart's Requiem. The ^^y ^y, . , Kir- ir j. rm. • x • * j^ / 



following is the substance of it : — 

After long and sharp literary as well as non-literary disputes, 
the most important historical facts connected with the origin 
of the Requiem were graduaUy brought to light, as is set 
forth in O. Jahn's Mozart^ Vol. IV., p. 565 et seq.y and especially 
at pp. 775-790. There have still remained, however, certain points 
of the affair which it is interesting to the investigator to have 
cleared up. Through the kindness of Herr J. von Pfusterschmied, 
of Vienna, Herr von Kochel was favored with two documents 
relating to the points above mentioned, and, moreover, allowed, 
to make use of the documents. One of them is the following 
declaration of Herr Joseph Eybler, who was subsequently Imperial 
Chapelmaster, and died in 1846 : 

"The undersigned hereby acknowledges that Mad. Constancia Mozart, 
widow, lias entrusted to hira the Requiem begun by her late husband for the 
undei signed to finish; the UEdersigned engages to have it completed by the 
middle of next Lent, and, at the same time, pledges himself both that no 
copy shall be taken of it and that it shall not be given into the hands of any 
one save those of Mad. Mozart, widow. Vienna, the 2l8t December, 1791. 
— Joseph Eybler.'* 

This determines at least one of ** the numerous masters " whom, 
according to Siissmayr ♦ Mozart's widow requested to complete the 
Requiem J though they did not do so after all. No name, however, 
is given by Siissmayr. The document quoted induced Herr von 
Kochel to examine again repeatedly Mozart^s original score of the 
Requiem in the Imperial Library, with especial reference to those 
portions contributed by some one else's (and not Mozart's) hand. 
As we are all aware, on the finding of the autographic manuscript 
of the Requiem^ it was remarked, and emphatically asserted by the 
Abbe Stadler, that, in the autographic sketches of the score for the 
**Dics Irae," "Tuba mirum," "Rex tremendae," *» Recordare," 
and " Confutatis," the vocal part and some hints for the instru- 
mentation belonged to Mozart ; these parts were separated from 
the rest for publication in Andre's edition of the ** score of the 
^Dies Irse,* etc., as having been written by Mozart's own hand and 
copied by the Abb6 Stadler," while the instrumentation written by 
some one else^s hand into the first sketches of the work were en- 
circled with a pencil mark. After a most carefid comparison of it 
with several autographic scores, Herr von Kochel felt convinced, 
without the shadow of a doubt, that this instrumentation written by 
son* other person and not Mozart was in Joseph Eybler's hand, as 
well as the two bars in the vocal part of the ** Lacrymosa " (comp. 
Otto Jahn, p. 693, obs. 30 and elsewhere). This instrumentation 
does not extend beyond the "Confutatis," and, as a rule, is 
restricted to the stringed quartet ; in the " Dies Ir« " and the 



♦ Letter to Hartel, of the 8th Feb., 1800. 



the Choir in Wiener-Neustadt, — The manuscript was intended for 
press. It was, however, never printed. The author was, in 1790, 
and some subsequent years, a teacher at Klam, a school of which 
the patron was Count Wallsegg, who ordered the Requim. 
Herr Herzog acted as musician generally in the Count's orcheEtia, 
mostly an extemporised one, and more particularly at the fini 
performance of the above composition. The facts stated in this 
"Account" bear inward and outward marks of truth, and 
deserve to be better known, both on account of many traits they 
contain characteristic of him who ordered the Requiem, as wdl u 
on account of several circumstances which happened at the firet 
performance and after the work appeared in print. We omit the 
Introduction, and those portions in which the author does not 
speak from his own actual knowledge, but we subjoin the hisUmcal 
narrative in his own words, merely adding some few obeervatioiB 
of our own now and then. 

'* Franz, Count of Wallsegg,* proprietor of the Lordships of Schottwein, 
Klam, Stuppach, Pottschach and Ziegersberg in Austria unter der Enns, 
situate in the Circle unter dem Wiener Walde, resided, after his marriage with 
Anna Edlen von Flammberg, in his ca^^tle at Stnppach, as a tenda husband 
and a true father of his dependents. He was passionately fond of mnsk and 
the stage. In consequence of this, on the Tuesday and Thursday of tnrj 
week, quartets were played for quite three hours, while, eveiy Sunday, tkn 
were theatrical performances, in'which the Count, the Countess, and the latttr's 
sister took part, as did, also, all the persons employed on the estates, and tbe 
members of the very numerous 4iousehold, everyone according to his capadtr. 
For the quartet performances, the Count retained two disUngubhed artists, 
Johann Benard as violinists, and Louis Prevost as violoncellist. In the ricfin 
quartets, tho Count played the violin, and, in the flute quartets, the flute— I 
generally playing the second flute or the tenor.'* 

"In order that there might be no want of new quartets in consequence ef 
the frequency of the conceits, the Count not only obtained all the pnblisbcd 
compositions of this description, but, although always without mefUvming to 
name, maintained relations with several composers, whosent him in works of tbeii^ 
of which he kept the whole and sole right, paying the composers liberaDy for it. 
Hoflineister, for instance, furnished many flute-quartets, in which the {»rt bs 
the flute was very easy, while the three other parts w^re exceedingly difficult, 
so that the performers had to exert themselves to the utmost, at which tb 
Count was accustomed to laugh. The scores thus mysteriously fonranfcd to 
him he generally copied out with his own hand, and then gave them out, so 
that the separate parts might also be copied. We never saw an origmal scow. 
When these quartets were played, we had to guess who was the author. As 
a rule, we guessed it was the Count himself, because he really did oompcM 
some trifles now and then; hereupon he would smile, and felt dclightti 
because, as he fancied, he had mystified us ; we, however, laughed to tiaak )»e 
should believe we were so credulous. In this fashion, the ^rstem of mutMl 
mystification went on for some years. I consider it necessary to mention these 
facts beforehand, in order to be the better able to give an opinion on what is 
called the * mysterious' circumstances connected with the origin of the Beqtnm." 

"On tho 14th February, 1791, death deprived the Count of hisbdotrd 
wife in the flower of her age. In honour of her memory he conunisrioiKd his 
agent. Dr. Johann Sortschan, *o order a costly tombstone, and of Moart a 

♦ Ha died on the llth November, 1827. 

Digitized by V^riOOQlC 



December 3, 1864.] 



THE MUSICAL WORLD. 



7T5 



Bequien\ of which, as he did in other caaes, he reaerred for himself the 
ezclTiaiTe right. * * * After the Count had received the score of the 
.Requiemt he made a dean copy, according to his costom, note for note, and 
gaye it, in portions, to his violinist Denard, for the hitter to write ont the 
aeparate parts. While this was being done, I often sat for hours bj Benard's 
side, and followed,^ with constantly increasing interest, the course of this 
admirable work, for, at that period, I was perfectly acquainted with the whole 
transaction concerning the Requiem^* my informant b^ng Herr Leutgeb, the 
upper bulil^ who had to pay tbe price agreed on out of the monies accruing 
from the sale of gypsum in Vienna. After all the separate parts were written 
out, the arrangements for the performance were made at once. Aa, however, 
it was not possible to procure in the neighbourhood of Stuppach all the musi- 
cians required, it was resolved that the iirst performance should take place in 
Wiener-Keustadt. The selection of artists was made in such a way that the 
solo and most important parts were assigned to the best musicians, wherever 
they could be found. The result was that the soprano Ferenz, of Nenstadt ; 
the alUsh Kembeiss, of Schottwem ; the tenor Klein, of Nenstadt ; and the 
bassist Turner, of Gloggnitz, were secured for the solo parts. The rehearsal 
was* held on the evening of the 12th December, 1793, in the choir of the 
Cistercian Chapter* Church, at Weiner-Neustadt, and, at ten o'clock of the 14th 
December, a funeral nfass was celebrated in the said church, the famous 
liequiem being perfonned for the first time on the occasion with the object for 
which it was written.f Count Walsegg himself conducted the whole. On the 
14th February, 1794, on the day of the Countess's death, the Requiem was 
performed in the church of Maria Schutz am Semmering, of which the Count 
was the patron. From this time forth, however, no further use was made of 
it by him, sa%*e that he arranged it as a quintet for stringed instruments, of 
which quintet I had the score some years in my custody. The score of the 
Requiem^'unA to be written in Stlssmayr's hand,| neither I nor any one else 
except the Count ever clapped eyes on ; we were not even aware what the 
Count did with that any more than with the other original scores of various 
kinds in his possession. The score, however, which the Count gave me for 
the singers to study their parts from, was written in his own hand, and I 
should know it again at a glance. I have not seen the score acquired by the 
Imperial IJbrazy, but I am inclined to believe it is that ii^'ritten out by the 
Count, because that score is said not to have been found among his music 
after his decease. § 

^^ It may be easily imagined what an impression was produced upon the 
Count, when he heard that the score, which was his property, had been printed 
and published at Leipsic. He really felt at first inclined to take serious steps 
against >Iozart's widow ; but he was restrained by his kind disposition, and 
the matter was afterwards amicably settled. He was not, by the way, quite 
sure how far Mozart's own work extended ;|| he thought it went to the 
*' Agnus Dei.'* This is evident from the following fact : — I subsequently 
caused, for my own use, the separate parts to be copied out from the score 
published at Leipsic, and begged the Count to favor me with the Organo of 
his Requiem, It was not figured in the printed score, and I wanted to bg 
saved the troubling of figuring it. He said in reply that I should not be able 
to use his organ part entirely, as he had .a different ** Agnus Dei.** I, how- 
ever, convinced him of the contrary, because I was acquainted with every noto 
of his Requiem, That be should wish to have an " Agnus Dei " in his score 
different ftom that in the Leipsic score was a fact he endeavored to make us 
regard as natural by always saying that he was a pupil of Mozart's, and had 
f»rwarded the score, piece by piece, to Vienna for Mozart to look through. 
He asserted that, after Mozart's death, the Requiem had been found from 
the beginning up to the ^ Agnus Dei," and people fancied it was Mozart's 
composition, because their two handwritings (that of himself, the Count, and 
that of Mozart) were wonderfully alike. He had then, he continued, finished 
the Requiem by the addition of the *' Agnus Dei " and the rest. Stlssmayr, 
however, — according to the Count— had completed the work with additions of 
his own, and thus it came to pass that the Count had an ^* Agnus Dei ^ diff- 
fering from that which appeared in the Leipsic score." 

It was thns that Count Walsegg endeayoured to deceive people 

♦ The fact of the Requiem having been ordered of Alozart. 
t KrUchtcn's account (Cdct7ta, iv, 806; and vi. 217, 221, e< teq.^ does 
not tally with this. According to KrQchten, the rehearsal took place in the 
house of a physician called Obermayr, whose eldest daughter sang the soprano 
part, both at the rehearsal and the performance in the Cistercian Chapter* 
Church. Krtlchten is evidently wrong in assigning the year 1791 as the date 
of the first performance, and appears not to have taken down correctly Ober- 
mayr's statements regarding it. At any rate, Herzog, who was personally 

T^ in the performance, is more deserving of credit. 
The greater portion is so, but the "Requiem" and ^'Kyrie" arc in 
Mozart's hand. 

§ The author is mistaken in this particular ; the copy mode by the Count 
was, af er hb death, in the possession of the Countess Sternberg, his sister, 
and bore the inscription : *^ Requiem composto dal Conte Walsegg. 

II Count Walsegg must have known, from the Abb<S Stadler's negotiations 
with Sortschan,~how far Mozart's share m the Requiem extended ; he would 
not, however, divest himself of his borrowed gloxy in the eyes of his own 
people. 



about the Requiem ; yery dififerent motives induced the partisans 
of Mozart's widow to withhold and distort the real facts, the 
result being that the public mind was utterly confused, until after 
nearly forty years of feuds, and the death of most of the persons 
implicated, the truth has, bit by bit, been brought to light 



VIENNA. 



r' is reported that Herr Salvi, the manager of the Imperial 
Opera bouse, has gone to Graz, in order to see the mode in 
which Dinorah to put upon the stage there ; and, also, to bear 
Madlle. Klettner, who sustains the part of the heroine. I can 
believe that Herr Salvi may desire to form an opinion of the young 
lady^s talent, if she have any, but it strikes me as very unlikely 
that the manager of the Imperial Operahouse in the Austrian 
capital should make a long journey to See how things are done in 
Styria. I should as soon expect to see Mr. Bnckstone taking a 
l^lson in the art of mounting a piece from the manager of the 
theatre royal, Gravesend, or Mr. Benjamin Webster running over 
to Dublin to learn from Mr. Boudcault's Arra na Pogue what the 
ezpreesion : mise-en'Scene really signifies. I give the report, how- 
ever, as I heard it, and may add that Herr Salvi is furthermore 
said to have offered the ktdy just mentioned an engagement, which 
I make no doubt she will accept, supposing the statement be true. 
Some one ought to be engaged at any rate, and, perhaps, at any 
price, for the programme of the week has frequently to be changed 
in the most unexpected manner, simply because mn Sg-and-so, or 
Madame This-or-that is either really ill, or simply indisposed — ^to 
sing. At present, it is Madlle. Wildauer who isunable to appear. 
Her illness is the result of a mental shock. Tliere was a perform- 
ance of Robert le Didble lately. Herr Ferenczy enacted the un- 
scnipulous gentleman from Normandy in the most careless and 
indifferent fashion it is possiUe to conceive. You may suppose, 
perhaps, the andieace hissed him ; but they did not. A number of 
them reserved that mark of their favour for Madlle. Wildauer, 
who had certainly done nothing to deserve it. She felt so surprised 
and hurt that she forthwith had a fit of hysterical sobbing. Medi- 
cal aid was procured, but in vain. The young lady could not 
proceed with her part, and Madame Hoffman-Schiiffer was kind 
enough to nndertake it, literally at a moment's notice. Madlle. 
Wildauer is still unable to leave her bed. Persons who are well- 
informed say that they know by whom the dastardly attack upon 
her was prompted. Perhaps the amiable individual to whom tiiey 
refer will find himself, one day or other, hoisted by his own petard. 
The above anecdote will enable you to form some notion of the 
state of matters at the Impmal Operahouse. Verily, if the birds 
and beasts constituting the ^* Happy Family," which, when I was 
in London, used to be stationed at one end of Waterloo Bridge, 
had not agreed better than the members of Herr Salvias company, 
the proprietor would have been under the necessity of providing 
fresh inmates for lys cage pretty often. — ^The Society of the Friends 
of Music began their season the other day with a perfonnaoce of 
Handel's Jndaa Maccahasus, You would fancy the result could not 
be doubtful ; that the oratorio would please everybody. But this 
was far from being the case. The choruses, it is true, were pretty 
well received, but the audience thought nothing of the solo music ; 
it was not to their taste ; so much the worse for their taste. — Our 
quartet entertainments are progressing bravely. The other day 
Herr Hellmcsberger opened his winter campaign in the most tri- 
umphant manner. The pieces most admired on the occasion were 
Mendelssohn's B flat major quartet, and Bach's trio for Flute, 
Violin, and Pianoforte. Herr Laub's second Quartet Soirde 
took place on the 17th ult., when the programme ccndated of 
Beethoven's stringed trio in G major; Mozart's sonata for Piano 



Digitized by V^riOOQlC 



7T6 



THE MUSICAL WORLD. 



[Decembers, 1864.^ 



and Violin ; and Schubert's D minor quartet. There have been 
many other concerts lately, but none of them are worth re- 
cording, if I except one as the last ever to be given by Herr Carl 
Maria von Booklet, the only survivor of Carl Georg Hummers 
xontemporariesj and the kst recipient of what is known as the 
Egriny Fund. As Charles V. resigned the imperial crown^ and 
retired to the convent of St. Just, so does Herr von Booklet wisely 
disappear from the concert-room, and leave it to younger men. — A 
certain Herr Sipos, a pupil of liszt^s, has arrived. It is stated that 
he intends giving a series of concerts. Another little item of 
intelligence is that the well-known Herr Johann Strauss has 
returned here with his wife. He is in a very bad state of health. 
— From an occasional Correspondent. 



' THACKERAY. 

THE arrangements have now been completed for the erection of 
a memorial to Mr. Thackeray in Westminster Abbey. The 
Dean and Chapter have granted tar this purpose a site in wUch 
lliackeray's bust wUl appear ili companionship with those of 
Addison and Macaulay. The commission for the bust has been 
given to Baron Marochetti, who had the advantage of being his 
intimate friend. It has been calculated that about £600 will be 
required, of which a third part will, according to rules of long 
standing, go in fees to the Chapterhouse. Subscriptions for the 
memorial may be paid either to Messrs. Robarts, Lubbock k Co., 
the bankers, in Lombard Street, or to any of the following gentle- 
men ; — Sir C Aries Taylor, Sir Joseph Faxton,.Mr. Anthony 
TroUope, Air. Robert Bell, Mr. Shirley Brookes. 



TWO UNPUBLISHED LEITERS OF MENDELSSOHN. 

Dear Sir, — I have much thought of the proposal you majle in 
your last letter, and determined to accept it. I shaJl be very happy 
to write an opera for the English stage, of course the ** conditis 
sine qua non " is a good libretto, which strikes me as good, and fit 
for me ; I should wrong the poet, you, and mysdf , if I was to 
undertake it without that feeling. Mr. Planche would surely find 
one quite suitable to our nurpoee. I have no predilection for any 
subject, only I do not wish it to be with fairies or other romantic 
modem spirits. I wish it very substantial and human ; historical, 
or else fictitious — ^but at all events lively and dramatic in every 
little part. In fact I wish for a libretto which gets we into magic 
at once« not one which I must set first ; and now I hope you may 
find such a thing for me. Hoping to hear from you very soon, 
I am. Dear Sir, Yours very truly, 

Fklix Mendelssohn Bartholdt. 

Ijeipsifft December 26M, 1837. 

Mr Dear Mr. BARmoLOMEW, — Have my best thanks for the 
great pleasure which your translation of the Antigone has 
afforded me. Indeed, I do not know how to express sufficiently 
the admiration for the wonderful task you have performed, and the 
gratitude I feel for the most valuable assLstanoe which you have 
given to the cause of my music — or rather the cause of the King 
of Prussia, whose idea it was— or rather the cause of old Sophocles, 
whose idea the whole was. A thousand most heartfdt thanks for 
all you have done. I am sony I have not received the whole of 
the music, with your translation, to it, and hope the rest is at 
present on its way to Leipsic. Should it not, and should this 
arrive in time, pray Mr. Buxton to let me see the rest also, before 
it 18 published. In those books I have seen, I took the liberty of 
pointing out a few passac^eB where I could have wished an 
alteration in the words. I marked those passages thus^x ?). 
It is particularly the case when there are ayliables to the notes I 
liad slurred, and where I would wish them to remain slurred if 
possible. Will you excuse this, and the few questions which I 
wrote on the Margin. Do you call the earth TeUa in English, and 
the family of the Edonen ** also with our German termination." 
I sent the metronoDlies to Mr. Buxton, but could not get the 



business of the stage, which I have written at greater length in 
my letter to Mr. Buxton. And now once more ^ve my onooert 
tlutnks ; present my compliments to the Misses Mounsey, whose 
organ playing I always listened to with so much pleasure, and 
b^eve me always to remain 

Yours very truly, Felix Mendelssohn Bartholdt. 

PARIS. 
From our own Oorrt^ondenL 

The festival of Saint Cecilia took place at the Church of Saint 
Eustache on Tiiesdav week, the 22nd instant, when Beethoven's 
Mass in C major (Op. 86), was executed by a band and charas 
under the direction of M. Fasdeloup. The Mass in C had been 
performed last year at the same anniud solemnity without creatizig 
any remarkable effect ; but the Committee of the Association di 
Mttsictanft-- under whose superintendence the performances of then 
festivals are given — considmd, and shrewdly, to my blinking, that 
the Mass should be heard more than once to be thorougblj appre- 
ciated and understood, and eo introduced it into this year's 
programme as the piece- de-resistance. The solo executants were 
Mdflles. Wertheimber and Leveilli, MM. Warot, Alard, Fatire and 
Batiste. The Bishop of Tulle delivered the discourse. The whole 
affair was an eminent success and [the Charity — the festivals are 
given on behalf of poor artists — will be largely benefited. All the 
placers and singers gave their services gratuitously, and the most 
eminent performers from the different lyric theatres assisted in the 
orchestra. 

If I am to credit all I hear in this voluble and hyperbolixing 
city — ^which, I assure you, I do not — I should be compelled to 
believe that Roland it Roncevauz had been the greatest saooesB at 
the Opdra since Robert le Diahle. Ko ! — ^I wrong the mmouren. 
*^ Greatest success'' was- not the word, or words, but ** Greatest 
receipts." ** Factolus is flowiog into the doors of the Opera ;*" 
*^ Manager Perrin has found a new California ;" ** The Academie 
Lnperial de Musique et de danse is being insensibly converted into 
a Bank ;" ^* The success of Roland h Roncevaux must iiievitably 
postpone the production of the Africaine to an indefinite 
period " — such are some of the many expressions hazarded about a 
work which, in honest truth, has not more to reoommeifd it than 
one of Mr. Balfe's second rate operas — and that is paying the 
composer of Roland a compliment. It is openly given out that the 
sum nightly received at tne Op^ra, when Roland a Ronccraux is 
performed, is between ten and eleven thousand francs. In the 
meanwhile, not at all involved in the vortex of enthusiasm which 
seems to have drawn aU Paris within it— or is made appear to draw 
— I went on Sunday the 20th, to hear Guillaume' TelL, and came away 
from the performance, if not thoroughly satisfied, ten nullion times 
more pleased than if I had been listening to M. Maillart's 
uninspired and arrogant music. Hie grand ballet La Maschera^ 
by MM. de Saint- Georges, Kota and Gioza| considerahlv abbfe- 
viated and modified, is in active preparation for MdUe. SalvionL 

At the Italiens II Trovatore and the Ballo in Maschera have 
been given with Madame Charton-Demeur and Signor Fraaduoi. 
The Leonora and Amalia of the lady are both fine perfbmuuioeB, 
the former more especially, which comes thoroughly within her 
means. Mdlle. Brigni was exceedingly attractive as the Pace in 
Un Ballo in Mixschera, I was sorry I could not attend the 
representation of Marta on Sunday last, as Si^or BrignoU made 
his first appearance in the part of Lionel. Opinions differ widdy 
about him, so I shall miuke it a point to be present at his next 
performance and tell you what I think of him. Moreover, by not 
eoing to the Italiens that evening, I lost seeing Mdlle. Adelina 
ratti in one of her most captivating and finished achievements, 
the Lady Henrietta. I consider it high time that M. Bagier should 
think of procuring a better contralto thaii Madame Meric-LahJacfae 
for such parts as Kaucy. Signers DeUe«Sedie and Scakoe 
sustained respectively, and, I have no doubt, respectably, the 
characters of Plumkett and Lord Trt.-tan. lAnda di CkamtHini 
and La Gazza Ladra are announced for La PattL Who is to 
personate the father in Rossini's opera no one can guess. For- 
merly all barytones could sing florid music. Now not one in a 
hundred can fairly execute a passage. What a change must have 
come over singers, singing and operatic music, to prodnoe this 
lesnltl 



Digitized by 



Goo< 



December 3, 18e4J 



THE MiraiCAL WORLD. 



TIT 



Madiyne Ugalde has penuaded henolf that her voice is a con- 
tralto and not a soprano, and so she is about to undertake all the 
contralto roles at toe Th^Htre-Lyrique. She has already played 
Maddalena in Bigoktto to Mdlle. de Maesen's GUda — ^what rare 
condescension ! — and is, I hear, studying Azucena, Nancy, and 
Siebel {Faitsf) in the low register— the register of Mdlle. IVebelli, 
Madame Nantier-Didiee and Mdlle. Gross!. Some unkind per- 
sons suggest that Madame Ugalde undertakes characters with low 
notes ^ause her voice has no longer any high ones. Talking 
of Faust^ one of the most ipiportant alterations made by M. Gounod 
in Mertillt is restoring the heroine to life in the denouement, 
and marrying her to her lover. If I remember rightly, this was 
the way in which the opera terminated at Her Majesty's Theatre, 
so that M. Gounod is indebted to Mdlle. Tietjens or Signer Arditi 
for an idea. M. Gounod having beaten Spohr out of the dramatic 
field with his Fatist, is now busy writing an opera on the subject 
of Romeo and Juliet, that he may send into utter oblivion Zinga- 
relli, Bellini and other Italian composers. Romeo and Juliet, 1 
understand, is being written expressly for the Thd&tre-Lyrique. 

At one of the lat^t performances of Le Songe d'une nuit d*ete\ at 
the Op^ra-Comique, M. Achard was taken suddenly ill, and the 
role of Shakespeare was undertaken h Vimproviste by his brother, 
M. Charles Achard, who acquitted himself wonderfully well under 
the circuigstances. Indeed, so decided was the impression he made 
that the management a few nights afterwards entrusted him with 
the more important part of Horace in the Domino Noir, Madame 
Cabel has followed up her triumphs in Galatee with success not less 
decided in La Fille du Regiment and La Dame Blanche. Capitaine 
Ilenriot — the new work of MAI. Sardou and Gavaert — is being 
rehearsed in earnest, and it is fully expected will be ready for 
public representation in about a fortnight. The cast will include 
the names 'of Mesdames Galli-Mari^, Beli2i, and Colson ; l^IM. 
Achard, Couderc, Crosti, Fronchard and Prilleux. 

*^ Acting on ftie proposition of M. the Senator Count de 
Nieuwerkerke, SupNerintendant of the Fine Arts " — I quote from 
the official authorities — ** His Excellency the Marshal Vaillant, 
Minister of the Household of the Emperor and the Fine Arts, has 
ordered M. Chevalier to execute in marble a medallion of the 
maestro Rossini.** The medallion, it is supposed, is intended for 
the foyer of the Op^ra, where already there is a magnificent full- 
length statue in marble of the composer of Guillaume TelL 

A Concert Extraordinaire was given on Sunday last in honor of 
Meyerbeer by the Society of Concerts of the Conservatoire. The 
programme gave the following morceaux : — Symphony in D — Beet- 
noven ; Chorus" from Marguerite d'AnJou — ^Meyerbeer ; Overture 
to the Pardon de Pfe^'nue/— Meyerbeer ; Air, sung by M. Faure ; 
Fragments from the 63rd quartet, executed by stringed instru- 
ments — Haydn ; Scene of The Benediction of the Poignards from 
the Huguenots — Meyerbeer ; Mardi from A Midsummen' Night's 
Dream — Mendelssohn. 

The programme of the sixth Popular Concert of Classic Music, 
given last Sunday, was as follows : — Symphony (I^o, 51) — Haydn ; 
Adagio from quintet in G minor for stringed instruments — ^Mozart; 
Overture to The Isles of Fingal — ^Mendelssohn; Air from the 
ballet (rigodon) from the Opera Dardanus—Ji&me&VL ; Symphony 
in A — 'Beethoven. Montague Shoot. 

Paris, November 30. 

Ernst has quitted Paris for Nice. 

Mdlle. Tietjeks has commenced an engagement at Hambourg 
with Fidelio, * 

A Tremendous Tenor. — A Maraeilles journal thus writes of M. 
Lefranc, the tenor, apropos of his performance of Arnold in 
Guillaume TeU : — " W% are bound to state that, during the few 
months he has been absent from the stage, M. Lefranc has made 
great and notable progress. The word cannot sound ill in the ears 
of the excellent tenor, since he knows well that in fact Art can 
always progress and that one has never done with learning. In 
full possession of his means, M. Lefranc'electrified the audience. 
Not a single hesitation — not a single failing — all was perfect. 
Tlie i^nmd trio and the final air obtained for the favorite artist 
one of those successes the remembrance of which can never be 
effaced. Bouquets, crowns, and laurels were not provisions for an 
entertained display, but the natural obbligato accompaniment to 
enforced manifestations.*' 



LETTERS TO THE EDITOR. 



THE HARP. 



Sir, — In my last letter I left oflf rather abruptly, and with a promise 
to send a description of the " very interesting moDuments " mentioned 
in Mr. Bunting's \vork, which goes to prove '• how long anterior to the ^ 
Anglo-Norman invasion " the Irish had been in possession of the harp. 

.'* The first of these (monnments) is the ornamented cover or «theca' 
of an Irish MS., preserved in the library of the Duke of Buckingham, 
at Stowe, which cover appears, from inscriptions remaining on it, to 
have been made and ornamented prior to the year 1064. 

Among these ornaments are five delineations of the harp of that 
period, containing, however, two pairs of duplicates, fac-similiea of 
which are given m the second volume of O'Connor's Berum Btberni- 
carum Scripiores Veteres, 

Now, in the first of these ornaments it appears that the method of 
holding * and playing on the harp had altered nothing from the prac- 
tice of the time of Cambrensis, and both harps correspond in their 
general form in a remarkable manner with the harp of Arthur 0*Neill, 
one of the last of the Irish harpers. This carries it back more than a 
century beyond the Anglo-Norman invasion. 

The other monument is a sculptured cross at UUard, in the county 
Kilkenny, which, from the style of the workmanship, may be safely 
assigned an antiquity of 1000 years. Speaking of a representation of 
the harp on this monument, Air. Ferguson remarks, that **itis the first 
specimen of the harp without afore pillar th€U has been hitherto discovered 
out of Egyptr 

I almost repent me for having commenced those series of letters upon 
this Bubjoct, as I find that one of the two gentlemen mentioned in my 
first letter had already published in New York a History of the Harp, 
in which he pretends to give a comprehensive view of its ** origin and 
progress.** Now I beg to say (particularly as I am extremely nervous), 
that I do not presume to enter into the arena with antiquarian gladiators 
upon these matters; I merely give (as I said in a previous letter) ex- 
tracts or quotations from works that have passed the ordeal of criticism, 
and that are recognised as good authorities to extract from. 

The account of the two monuments so well described by Mr. Fer- 
guson, this modern author (of the history of the harp) ascribes to Mr. 
Bunting, and says of the latter learned antiquar}% that he " makes the 
startling turmise that the Irish harp was derived originally from Egypt, 
which presumption is founded upon the circumstance of their being a 
representation of an ancient harp in one of the ornamental compart- 
ments of a sculptured cross, at an old church in Kilkenny, which in- 
strument is described as the only specimen ever known out of Egypt 
as having no pillar." 

The author of the History of the Harp has the presumption to doubt 
such an excellent authority as the talented Mr. Fergufson, for he says 
in reference to one f (only one) of these monuments : *' but the worn 
condition of the architecture might easily have given it such an ap- 
pearance, and thus give rise to the speculation." Now mark an extra- 
ordinary parallel — this gentleman's name fully convinces us that he is 
of Welsh origin (just the same as the name of Mr. Ap'mutton does); 
being convinced of this fact, we have a natural desire to read what he 
has written concerning the Welsh harp, and see if he doubts any of iHe i 
authorities upon the " origin and progress" of that institution. Certainly 
not. How could we expect such a thing ? Is not ** posterity always 
ready to believe anything that retiects honor upon its ancestors ? " 

Most decidedly, and very naturally so. 

Well, I turned over the pages of this book to see what he had 
written concerning *' The Harp in Wales," and found the following 
very interesting particulars : — ** Diodonis Siculus* description of the 
Hyperboreans (or Britons|) will suffice to substantiate completely the 
assertion, that the Welsh were acquainted with the Harp previous to 
every other nation since the commencement of the Christian era." 
SVriting forty-five years before Christ, he says: — •* There is an island § 

* I am extremely sorrj that Mr. Ferguson docs not say which sJumlder the 
han> should be rested or held against. . 

T ^Vhv does he not speak of the Stowe monument? 

X The Hyperboreans were equally Irish as Britons, because the ancients 
denominated those people and places Hyperborean which were to the northward 
of the Scythians. They had but little acquaintance with these H^'perborean 
ivgions ; and all they tell us of them is very precarious and much of it false. 
Diodoros Siculns says, *'*' The Hyperboreans were thus called by reason they 
dwelt beyond the wind Boreas." This etymology is very natural and plawdblc. 
Herodotus doubts whether or not there were any such nations as the Hyper- 
boreans. Strabo says that Hyperborean means most northern ; so that the 
Hyperboreans of our present day are those Russians who inhabit between the 
Volga and the White Sea. 

§ Wales (it is almost unneoeasary to say] ia not an ialand« 



Digitized by 



Google 



778 



;the musical world. 



[December 3^ 18ffl 



over acainst Gaul, the size of Sicily, under the Arctic Pole, where the 
Hyperboreans inhabit, so called, because they lie far north. 

They say that Latona was bom there, and therefore, that they wor- 
ship Apollo al)Ove all other gods ; and they daily sing songs in praise 
of this god, ascribing to him the highest honors. They say that there 
is a city, likewise, there consecrated to this deity, whose citizens are 
most of them harpers. They use their own language ;* but have of 
ancient time had a special kindness for the Grecians, and more espe- 
cially for the Athenians and the Delians. Some of the Grecians passed 
over to the Hyperboreans and left behind them presents inscribed with 
Greek characters. Aboris formerly travelled thence, and renewed the 
ancient league of friendship." 

This authdr, after making this long extract from a work I am sorry 
to say I am not in possession of, deduces the following [whether for 
our information, or whether with the idea that ** posterity is always 
ready to believe anything (no matter what rubbish) that reflects houor 
upon its ancestors," 1 cannot say.] *' These quotations show the 
r^rce from whence the Welsh derived their knowledge of the instru- 
ment, which they claim the honor of transmitting to the period now 
under consideration." 

If the " Welsh were acquainted with the Harp j^reviout to every 
other nation since the comuiencement of the Christian era," why did 
that wise monarch of Britain, Alfred the Great, ** voluntarily retire to 
Ireland, and for fifteen years engage in a life of philosophical tran- 
quility, and progressive improvement" — Turner HUU Ang, Sax. Bk. 3), 
"during which period he studied the \\%t^ with which he obtained 
access to the camp of the Danes in Somersetshire," when Wales was so 
much nearer ? 

1 feel impelled to ask you to allow me to write a few more words 
upon the Cruit or Irish harp anon. l^Ieanwhile, believe me to be, sir, 
yours faithfully, A. J. P. 

JBtlgravia, Nov, 28^A, 1864. 

•• FAUST " FROM A STOCKPOBT POINT OF VIEW. 

Stookpobt, ApTU 26tA, 1864. 
Sin, — If it were my good fortune to dwell in the great city of 
London, I should be mos( regular in my attendance at the oratorios, 
the oi)era, the symphony, and the Monday Popular Concerts. When 
I read thorexcellent desciiptions which the i/iwico/ HV^from time 
to time gives, I long to be one of the listeners. Whenever there is an 
opera company down in these districts I embrace the opportunity of 
hearing and seeing their perfonuanaes. 1 had the pleasure of being 
present at the firbt performance in Manchester of Gounod's Fauit, I 
made a few notes at the time which I send you, and '* Believe me, I 
speak as my understanding instructs me, and as my honesty puts it to 
utterance." Gounod's Favat was performed in the Theatre Uoyal, 
3Ianche»ter, for the first time to k Manchester audience, December 
IGih, 1863. MdUe. Tiiiens, Mdlle. Trebelli, Signor Bettini, Mr. 
Saiitley and Signor Bossi performed the principal characters. 1 
obtained a front seat in the first gallery. From this position I could see 
and hear as the scener}' and uiumc rolled along. The opera opens 
with an introduction, which is well scored for the orchestra; this 
led me to think that Gounod had paid the greatest attention >o the 
instrumentation. There are some good ideas worked together, which 
are in keeping with the subject he had to compose his music to. In 
tiiis piece of writing, there u a singularity of wildness wliich prepares 
the mind for the poetical effects which are produced as the opera goes 
on. The opera contains five acts, and each act contains much which 
is striking, and new. In my opinion, the third act contains the best 
music in the whole opera; the melodies of this ac.t are exquisitely fine. 
The orchestra in many instances enhances a beauty to the melodies 
which are pleasing to the ear. Fauit is without doubt a work of art ; 
it is written in a style which is new to me. In listening to 
this musical work, I was much struck with a straiigencsi in its 
melodies : they do not roll along like the themes of other tnaestrost 
neither do they possess that charm upon the first hearing which takes 
you by storm, so to speak, and nenetrates the soul, so that they after- 
wards spring up in one's mina in fragments, like those of Alozart, 
Itossini, Weber, Bellini and Verdi ; yet they are sweet and graceful. 
Gounod shows a masterhand in the instrumentation of the work; he 
exhibits great skill in scoring for an orchestra, as is evident to an 
attentive listener, for as the various scenes pass along, you may notice 
many striking features of his abilities by the different instruments 
{lOuring out sweet bits of melody, which increase the beauty of the 
V ork and fascinate your attention from the beginning to the end. In 
some parts the violins accom()any on the G string with great power 
until the strings vibrate against the finger board, which produces a 
curious effect of wildness; again the altissimo notes are written for the 
violin, which produce a still wilder and more weird effect and sound 

* b'o / think according to what I have read. 



unnatural ; but still they are in keeping with the libreUo, and (^ey podir- 
tray the superhuman character Mephistopheles, who ezhibtta a predo- 
minating influence throughout. In some of the chomsea, I noticed 
discordant effects which were anything but pleasant ; whether this it 
done designedly by the composer I cannot say, but they sonnded like i 
great strain which was unable to produce the effect desired. It ii 
evident that Gounod cannot harmonise his voice and instraioen- 
tation with such melodious skill as Mozart haa done in all of his 
operas, nor even with such taste as Rossini. He cannot produce those 
grand combinations of melody and harmony which Weber ud 
Meyerbeer produce, yet there is much which is praiseworthy and 
couimendable in Gounod's Fauat, which entitles it to be ranked as a 
great work of modem art. I remain, yours truly, T. B. B. 

18, Warren Street^ Stoefyort. • 



DON GIOVANNI A PARIS. 
Au Ridactew du ** Musical Wobld." 

MoNsiEUB,— II n'y a rien de plus beau au monde que le Dor Jwn 
de Mozart. II n'y a rien de plui mauvais auz Italiens que co m&me 
Dm Juan, C*est une cr^tion divine ; c'est une ez^ution navnnte. 
C'est le chef-d'ceuvre de Mozart, et peut-Atre de la musiqne UDivcr- 
selle; c'est le d€.«spoir et la perte des artistes qui a*/ prodnieeRt 
Tons les ans, depuis plus de diz ans, le public demande k pxaods crii 
qu'on lui rende Don Juan, U lui &ut Von Juan ou la t^te da direc- 
teur qui ne donnerait pas Dm Juan au moins trois foia dana la niaoi). 
M. Bagier, Tann^e deitti^re, avait esquiv^ cet abime. La repr^sentatica 
d'avant hier donne raison ik son abstention blam^e de Fannie deniere. 
Voulez-vous 6tre d^gout^s m6me des chanteura que vous applaudisRs 
dans d'autres operas, allez les entendre dans Dm Juan; Toyez4es 
r^duits au' role de cariatidea impuissantes, ^cras^s sous le poida d'oa 
monument trop lourd pour leurs ^panics. J*ai tonjours tu le renoo- 
veler le mSme espoir, le mdme empressement suivis de la ni^me d<6ee|>- 
tion : on court i Don Juan ; on en sort la mort dans Time. Lt'mum 
est immortelle. EUe est mortelle ^ presque tons les chanleara qui y 
touchent. Ne touchez pas h la haehe / Ne touclfez paa il Don Ju&m, 
Don Giovanni ]ui-m6me, quand il a livr^ sa main & Tetreinte de la 
main du commandeur, ne sent pas courir en ses veines un mal plus im- 
placable que celui qui desole la salle attentive a ce massacre ordinaire 
de I'opera de Mozart. Peut-^tre vaudrait 11 mieuz avoir le boo seas 
de renoncer h la partition sainie, si Ton n'est plus digne de ae mesnrer 
avec elle. *' ]^Iais qupi !" — nous objectent comme un aeul homme les 
directeurs qui se sont succ^d^s dans ces denneres ann6es au Tb^tre 
Italien — " le public veut son Don Juan, On le lui donne oooime on 
peut." J'admets le raisonnement, mais je n*en deplore fma moias la 
profanation qui en est la con^^uence. Voil^ une m6daille dcvant 
laquelle tout antiquaire intelligent se met 4 genouz dana son sanetii* 
aire, et Ik la fa^on dont elle est ddfigur^e chez vous, un oocfaer de fiacre 
la refu^erait pour priz de sa course. On peut encore oomperer cea re« 
prdsentations douloureuses ik ces duels mortels des deuz parte ok les 
adversaires s'embrochent et s*enferrent r^ciproqnement. Ceci tue eda 
et cela tue ceci. Mozart tue ses interpretes, qui le lui rendent Ucn. 

Voil^ le r<$bultat general de U bataille. II y a eu cependant de bril- 
lants Episodes. La merveille Adelina Patti n'a jamais ea et jaeiaia 
m^rild plus de succes. Costum^e comme un ange (une iinproviaatioii 
de Worth I ), vive comme un d^mon, mu»cienne oomme ik musiqiie, 
telle s'est montr6e Zerlina. J^ n^ parle pas de sa voiz ; oe n'eat qu'cr, 
perles et diamants, on le salt de reste. Mais il fiiut I'avoir entendiie, fi 
3' a dcuz ans. dans ce mdme Don Juan et I'y retrouver aujoncdliQi pour 
appr6cier les progres qu'elle a faits. Son style est devenit plua eleT6 ct 
plus pur. Zerlina est Ik present son triomphe le |dus noble. 0& lee 
antres succombent, elle a em port € sa plus belle couronne. Le poUie a 
tr^s spirituellement pris son parti des mdcomptes da reste de U lepr^ 
sentation eu se fait^nt, pour compenser ce qui manquait au r^al, ti 
pour ren^)lacer les plats manqu^^, ser\'ir deuz fois tout ce qui 6tait ex- 
cellent. 11 a biss^ tous les morceauz de Mile. Patti qui s'est prite£ ieet 
exigences reduubl^es avec uno bonne gr&ce infatigable et charmaote. 
11 a voulu entendre deuz fois dire d Delle.Sedie sa s^r^iiade: ** ileh ! 
vieiii alia finestra," le seul morceau du role de Don Juan, avec le due 
non moins &menz, «* Ia d dan-m la niano T' qui aoit dans lei mojeaa 
de I'habile baryton. II a pasp^ condamnation sur le reste. Ce n'est 
pas la faute de Mme. de La Grange, que j'aime et qae jlioBote tii»t 
ponr ma part comme femme et comme artiste, si le trio des maaqoea a 
absolument manqud fon eflet. Cetle vaillante a en de beaux 6Ubb» 
comme toujours et son grand succ^s ne lui a pas fait d^&ut plus qii*a 
I'ordinaire. Mai^^ que faire tout seule? Je ne vondrais rien dire de 
p6iiible Ik un artiste dont j'ai eu souvent plaisir Ik enoourager le tale»t 
dans des roles de sa comj^tence. Ottavio n'est point le fait de Buag£. 
Avec sa voiz tremblottante, c'est vraiment un sontien trop vadUsBl 
pour les deuz dames, Elvra et Anna, auzquellea il lert^de earafifr. 
Je ne dis rien de I'air : " II mio teaoro ;" mettona qu*il n*a pas M c' 



Digitized by 



Google 



December 3, 1864.] 



THE MUSICAL WORLD. 



779 



La meoaet n'a pas M djmt^ non plai, on ee qui est pis, n'a pas ^t^ 
danstf 6% rnesnre. Mascarille et Jodelet, dans les Pricieutet ridicutu, 
n'ont paa plus de peine ik attrapper la caden.ce des violons lorftqu'lls 
attaqnent leur courante, pour les beaux yeux de Caihos et de Madelon. 
On ne doit rien Meier en ce monde, ni un sonnet, ni un menaet, «t I'on 
▼oit trop k Tez^cution da menuet en question que les danseuses ne sont 
demeoreei au'un quart d'heure A I'^tudier. On a en sans doate une 
rtfp^iitioD. II en aurait fiUlu ilx, pour le motns. Je suis, monsieur, 
▼otre fort humble et fort ob^tsaant serviteor, h. de Pins. 



To OwAiN Ap'Muttok, Esq. 

8n, — Sig. Mario, as Faust, is very unfairly treated by the critics. 
They insist upon praising him. Now I have heard Gounod's work in 
almost every city where it has ever been performed. 1 love the music, 
and beca^9e I love it, I know every note in the opera. And I affirm 
th4t of all the FamU I have heard, Giuglini is the best, and ^lario 
(vocally) the very very worst. Even of the minor theatres abroad, 
1 have never heard the part so badly sung (with the sole exception of 
the duet trio) as it was oy Mario on Thursday night last I can make 
eveiy allowance for physical infirmity, but I cannot excuse, misinter- 

C-eting music. To cite but one example, the opening phrase of the 
vely duet, as song by Mario, was hardly recognisable. How 
differently MdUe. Lucca sang the same phrase. Pauline Lucca is the 
very best Marguerite that the musical world has ever listened to. I 
thought so when I heard her in Berlin. I think so now more than 
ever. She is the first who ever gained an encore for the Jewel song in 
this oountry. Faure, to my mind, is magnificent as Mephistoph^es. 
I like him better than Attn, on the whole. There are two tenors in 
the Covent Garden company who ought to sine in Fatut I mean, of 
oonrse, Naudin and Waditel. The former of these gentlemen, would, 
I feel convinced, achieve a great success in the |^. The latter, 
could he but gain style, would distance all conipetitors. In 
condnsion, Sir, can Mr. Gye be aware of the existence of such artists 
as Sig. Moneini, Sig. G. Bettini, Sig. Fraschini, Sig. Carrion, and 
Niemann? When are we to listen to the exquisite voice of the last 
mentiooed world-renowned tenor? • 

Your obedient Servant, An Oocabional CoBBBBFOHDEirT. 

[It 18 really unfortonate that Mr. Ap'Motton should have re- 
turned to the Vatican. He would have giren *' An Occaaional 
Correipondent *' a shake. It may not now be too iate.] 

D. Petebs. 



To OwAiN Ap'Muttok« Esq. 

Sm, — ^BeiQg a permanent (free list) subscriber to the Sacred Har- 
monic Society, I was of course present at St. Paul last Friday, and 
was better pleased with the performance than any I have jret heard ot 
the work in London. Having been recently at the Vatican, perhaps 
YOU can inform me why the gangway >of the stalls should giadualty 
become small by degrees and anything but beautifully lesa I am not 
an obese personage, bat my wife, like the rest of her sex, wears a crino- 
line, and complains ^adly, and justly, of the *' narrow way which 
leadeth to destruction'* of her skirts. Remedy this, and oblige 

« DaiNKWATBK Hard. 

[Mr. Ap'Mutton has returned to the Vatican. D. Petebs.] 

Cbtstal Palace Cokcebts.— The following was the programme 
for the last concert (Saturday afternoon) : — 

Overtiirs, /'^ro— Mozart; Aria, "Ah, fors* • Ini," Traviata—YeT^— 
MdUe. Slnioo; Capriccio brilliant, (B minor) — Mendelssohn — Pianoforte, Mr. 
Bannrenther ; Seronata, Fauat — Gounod — Signor Bossi ; Symphony No. 8, in 
F — Beethoven; Canzone Spagnnol^ **La Gslesera'* — Yradier — Madame 
BodendoriF; IXoet, "La d daran," Jhn Crtcwaimi— Mozart— Mdlle. Sinico 
and Signor Bossi ; Finale to the Opera of "Lorelei" — Mendelssohn — Madame 
fiodersdorff and Chorus; Bolero, "Leggero invisibile" — Arditi — MdUe. Sinico ; 
Maiche et Cortege, La Stine de Saba — Gonnod. A. Manxs, Condnctor. 

The whole programme was heard with delight by an audience 
that nearly filled the concert room. 

Nxw Philhabhonic Societt.— The seventh soiree musicale took 
place at St. Jameses Hall. The novelties were a trio for piano, 
violin and Tioloncello, composed by Miss Alice Mary Smith, which 
-was much applauded, and a duet for piano and harp by Duasek, 
^well plaved by Miss Fanny Baker and Mr. T. H. Wright. Messieurs. 
TVitt, Wiener, Webb, Aylward and Henseler, assSted aa instni- 
ixientalists, the singers being Miss Florella Illingworth and Mr. 
Xlerbert Bond (both members of the new Opera Company), and the 
clioir of- the society. 



SACRED HARMONIC SOCIETY. 

The series of concerts for 1864-5 began on Friday night (Nov. 26), 
with what, in some respects, may be pronounced the finest perfor- 
mance of Meildelsflohn's St. Paul ever heard in London, or, indeed, 
leaving out Birmingham durins the FtSstival, not three months 
since, anywhere in England. The vast improvement in the exe- 
cution of the choruses, of which this great work presents so many 
noble examples, was agreeably felt on the occasion of its revival 
by the Sacred Harmonic Society last season. The singers are 
becoming better and better acquainted with them, and promise 
before long to get them as completely into their heads as the more 
familiar choruses of JElijah, which it should always be borne in 
mind are less idtricate as specimens of part-writing, generally less 
elaborate in construction, and thus more accomodating to the voices 
than those in the younger oratoria The experience of ten years 
sufficed to make of Mendelssohn, with ever-ripening powers, as 
thorough a master of choral writing as Handel, Haydn, or Mozart. 
Happily spared the calamity which afflicted Beethoven, whose later 
vocU writings (witness the Second Mass and the Choral Symphony) 
are fu more trying and far less arateful than his earlier ones, he baa 
gradually acquired the art of produdog the Urgest effects with the 
simplest meana This is continually shown in his Eliiah, and nowhere 
more surprisingly than in the magnificent quartet with chorus, *• Holy, 
holy." But to surmount the choral difficulties abounding in St. Paul 
should be regarded in the light of a duty by the members of the 
Sacred Harmonic Society, towards the prosperity and reu^n of whose 
admirable institution its composer contributed no little ; and that it is 
so regarded may be fairly concluded from the excellent performance of 
last season and the still more excellent performance under |notioe. 
Out of more than 20 choruses exception could scarcely be taken to 
one; while the chorales, more especially the impressive " Sleepers 
wake " — the culminating point of {he splendid scene of Saul's conversion 
— and the truly pathetic •* To Thee, O Lord, 1 j'ield my spirit,'* were 
pretty nearly irrepioachable. The soft choruses — "Happy and blest 
are they,** " How lovely are the messengers," ana ♦* See what 
love hath the Father/' were almost beyond critici/tm, an opinion 
evidently shared by the audience, who loudly applauded aU three, and 
insisted upon a repetition of the second — like its fellows, one of those 
peculiar inspirations characteristic of the genius of Mendelssohn, 
who loved especially to finish and set them off with every grace and 
beauty of detail which taste the most exquisite could. suggest and art 
the most consummate devise. Of the grander pieces, such as *' Oh, 
great is the depth" (only surpassed by ** Thanks be to God," in 
Eliiah) and " Arise, shine, for thy light is come " (only equalled by 
** The night is departed," in the Lobgetang), it is needless to speak. 
These are just the aisplays in which the ** nearly 700 " take particular 
pride ; and never were they shouted out with mere enthusiastic fervor 
and unanimity than on the present occasion. But most gratifying of 
all. perhaps, was the extraonlinary progress revealed in the delivery of 
*< But our God abideth in Heaven " — which has a touch in it of the 
Handelian majesty ; and <* This is Jehovah's Temple," so perpetually 
the subject of unfavourable comment, but now veiy nigh unimpeach- 
able. To cite other examples would be to set forth a catalogue; 
whereas our intention is merely to record, with general terms of praise, 
a marked instance of improvement in a large body of singers whose 
opportunities for assembling together for the purpose of simultaneous 
practice are rarer than might be found desirable, and whose diligence 
IS therefore all the more commendable. 

The principal solo singers were Madame Rudersdorff, Miss Julia 
Elton, Mr. Weiss, and Mr. Montem Smith, the last-named gentleman 
acting as deputy for Mr. Sims Beeves, whose indisposition has also 
deprived Her Majesty's Theatre of his services during the present 
week. On the whole this was a very effective quartet. Madame 
Rudersdorff, an artist of high intelligence and intimately conversant 
with almost every part of importance in the repertory of sacred as well 
as that of secular music, was as zealous and efficient *as she never fails 
to be, delivering her many recitatives like a true mistress of l3rrical 
declamation and giving her solos — the angelic admonition, ^ Jerusalem, 
Jerusalem," and, in another style, the not less serenely beautiful ** I 
will sing of Thy great mercies" — with genuine sentiment and 
expression. Miss Julia Elton, to whom ttie contralto music was 
assigned, afforded entire satisfaction by her careful, correct, and unob- 
trusive style; and so pleased was the audience with her in the 
melodious arioto, *' But the Lord is mindful of His own," that they 
compelled her to repeat it. As the apostle, Paul, Mr Weiss is no less 
at home than as the prophet, EUijah. To go through either part 
uniformly well is a task of no ordinary responsibility — a task, however, 
to the adequate accomplishment of which Mr. Weiss, not for the first 
time by many, proved himself f\illy competent. Rarely — to quote a 
single instance— has he imparted more depth of feeling to the pathetic 
air in which the miraculously converted enemy of Christ's preachers 



Digitized by 



Google 



780 



THE MUSICAL WORLD. 



[December 3, 1864- 



utters his penitence and enfo^ats for merc3r. The tenor music, besides 
the decUmatory recitatives of the martyred Stephen, contains one of 
the most graceful and tuneful songs in the oratorio— the so-called 
"eavatina" "Be thou faithful unto death." This was exceedingly 
well given by Mr.ilontem Smith, and received with great applause, 
not a little of the success being due to the perfect manner in which 
the violoncello obbligato accompaniment was played by Mr. G. GolUns. 
In some of the less imiK)rtant music good service was rendered by 
HessrsL C. Henry and Smithson ; while the charming little duettino, 
** Now are we Ambassadors/' was so well sung by Messrs. Montem 
Smith and Weiss, that the audience were almost inclined to imitate 
the example of the audience at the late Birmingham Festival, and 
" encore " it. 

The orchestra was splendid from first to laAt ; and an enthusiastic 
welcome was accorded to Mr. Costa, to whose iuAnluablo aid so much 
of the success of these performances is due. 

The next oratorio (on Friday. December 9) will be Handel's Judtu 
Haeeabaui. 



Mb. Aouxlab's Matikebs. — ^The following was the programme of 
Mr. Aguilar's last performance of pianoforte music: Sonata in G — 
Affuilar ; Andante— Beethoven ; Caprice— Aguilar ; ** Evening *' and 
"Last Look." 2 romances— -Aguilar ; Sonata in D minor— Weber; 
Xtse/sr (Ane Worte — Mendelssohn ; ** The stars are brightly beaming " 
(Transcription)— Aguilar ; "The Blue Bells "—Aguilar ; Passe Pied 
and Oigue— •!. S. Bach ; '* The Birds at Sunset" and Valse Brillante 
— ^Aguilar. " 

Lyohs. — ^M. Paque, the eminent Belgian violoncellist from London, 
has given two eoncerta at the theatre with gpreat success. The public filled 
every available space, and expressed their satisfaction at Paque's per- 
formance bjT applauding him with enthusiasm. One of the most 
successful pieces was his/aiito«ia on theme from RigcleUo ^accompanied 
bv the orchestra), which produced a marked effect. M. Paque also 
played tL/antana on Martha, and a bolero — ^both of his own composition, 
besides some brilliant variations in the style of Servais. and a caprice 
on Scotch airs. We may hope soon again to hear this ^talented artist 
in Lyons. 

Royal Oalleby of Illustuatiok. — The Opera di Camera entertain- 
ment has been brought to a dose after a successful season, necessarily 
shortened in order to enable Mr. and Mrs. German Reed and Mr. John 
Parry (who have been too long away from the public^ to reappear in a 
series of their most popular ** Illustrations." Tlieir entertainment, 
which commences next Monday evening, will consist of The £ioal 
Compoters ; The Bard and hia Birthday ; and Mr. Parry's descriptive 
song. " The Sea-side, or Mrs. Roseleaf out of Town." The selection 
is eminently adapted to display their talents to the best advantage, 
and will no doubt ensure them a favorable reception till Christmas, 
when we shall have another novelty. 

BaioHTON. — The second concert of the Sacred Harmonic Society 
took place on Tuesday evening at the Pavilion. A portion of the 
oratono of Samwn was given. Miss Foster was encored in the air, 
'* Return. O God of Hosts." Miss Attree. Miss Loader. Mr. Amcombe 
and Mr. Butler were the other solo singers. The band and chorus 
went well except in '* Awake the trumpet.'* Mr. Itoe presided at the 
organ. Mr. Woodin's entertainment, given also at the Pavilion last 
week, was successful. Mr. Kennedy and Mr. Land have announced 
their Scottish enterlainment on Tuesday and Wednesday evening; 
and Messrs. Potts and Co. have engaged if adame Arabella Goddard to 
give a second recital of Pianoforte music next Saturday. 

The CoNSEBVATivE Land Society. — The twelfth annual meeting 
was held on Tuesday, the 29th November, at Exeter Hail. Viscount 
Ranelagh in the chair, supported by the following directors : Colonel 
Brownlow Knox, M.P., the Hon. and Rev. W. C. Talbot, the Hon. R. 
Bourke, Colonel Augustus Meyrick, Captain Jervis, M.P., Messrs. 
Currie, Holmes, Newcomen, and Winstanley. C. L. Gruneisen 
(secretary). The report stated that the receipts for the year were 
£81,242 15s. 3d., an increase over the previous year of £548 98. lOd. 
The grand totals were £782,889 13s. lOd. The sale of land £368,800 
18s. lOd. The total withdrawals were £231.487 I7s. The society 
has acquired 55 estates in 21 counties, that 21,228 £50 shares had 
been issued, representing £1,061.400, and that the reserve ftind was 
now £11,000. A dividend of 5} per cent, was declared. The 
following members of the Board were re-elected : The Earl of Bectirce, 
M.P., the Hon. Robert Bourke. Col. Augustus Meyrick, Sir Lawrence 
Palk, Bart., M.P., and N. Winstanley, Esq. The purchases of the 
Deal Navy Yard, the Sandown estate. Isle of Wight, and the Wood 
Green estate near the Alexandra Park, were announced. Tke new 
railroad lines were developing several estates t)Oth in town and country. 
The society's claims in the Registration Courts had been generally 
successful. The report was unanimously adopted, and votes of thanks 
were siven to the £!xecutive Committee, the auditors, and the officers 
and clerks of the society. 



At Messrs. PcmoK & Simpson's sale of Messrs. Cock, Hutehingi. 

and Co.'s copyrights. *'The Ship-boy's Letter" was knocked down for 
£132, and '' Katey's Letter"' for £210, to Mr. Hutching*. 

The C. C. C. Christy Minstrels, who have been attracting large 
audiences to St. James's Hall during the past month, have announced 
next week as the last of their stay in that locale. Every one should go 
and hear them as they are a very clever troupe. The comic scene 
" Dooral Blac Dill Darrell " creates roars of laughter every night, and 
indeed their whole entertainment is extremely amusing. 

Maoame Yolpini at Lisbon. — The Chromca dot Theatrot writing of 
Madame Volpini as Qilda in RMetto says : — ** Madame Vcipini is the 
most charming and seductive Qilda we have ev^ seen at the Teatro 
de S. Carlos. Beautiful in person, full of talent, indeed, we may ay 
of genius, her flashing eyes, her ardent and youthful spirit, make her 
the veritable impersonation of the ill-used, passionate and unhappy 
daughter of JOgoletto, Her silvery and sympathetic voice haa all the 
freshness of the rose on a lovely summer morning. Her ardent 
nature, bom under the burning sun of Spain, and bom of a race with 
whose blood is mingled that of Arabia. Madame Volpini poMesses the 
power of feeling her art. and imparting it to the public in a way that 
elevates and renders it sublime. 

ANciENif Musical Instrdments. — The Quebec ChronieU describes 
two violins and a violoncello, recently sold by the nuns of the Genecal 
Hospital in that city. They are the oldest musical instraments in 
Canada, and were imported many years before the conquest of tlut 
Province. They were used in the convent choir long before the 
appearance of or^^ns or pianos in the new world ; and the vioUos seem 
to have been originally used as viols or seven^stringed instruments. 
Their form as well as that of the violoncello, is peculiar in the extreme, 
and highly suggestive of their antiquity. They appear to be in very 
good condition notwithstanding their age. The violoncello bears Uie 
maker's name. ** NkhaU Bertrand, a Pari*" with the date " 1720.** 
One of the violins is marked " Fait par Garciy — 1734," and another 
bears the name '' FtUatime— Z^flnrvioaiMf— 1743." 

YAk. — The first concert of the York Choral Society was given in 
the Festival Concert Room, on Wednesday last, the selection hoag 
Mendelssohn's oratorio, Elijah, which was produced in very good style. 
The principal vocalists were Miss Fitton. Mrs. Raddxffe. Miss Newall. 
Mrs. Gill, Mr. Pattinson, tenor, and Mr. David Lambert, bas& Mr. 
Shaw was leader, and Mr. Hopkinson. as u^ual, filled the post of con- 
ductor. Mr. Lambert's voice told well in the recitatives and ain 
allotted to Elijah, and Mr. Pattinson sang the tenor airs creditably. 
MissFitton gave some of her pieces with good effect. The choruses were 
well done, and the instrumentalists got through their work in a 
praiseworthy manner. It was evident that much care and patience had 
been exercised by Mr. Hopkinson in the rehearsals. 



MUSIC RECEIVED FOB REVIEW. 
HoasAT (Albemarle Street).—** The Maslc of the most Ancient Nstiont.'* by Cart 
EngeL 



g^trhiertisjemients. 



DR. STOLBEBO'S VOICE LOZENGE, 

For invigorating and enrichhig the voice, and removing aflhctlowt of 

from the •throat, 
TTAS maintained its high character for a quarter^ of a 



century ; and the flattering teetimonUls reoelved from Orisi, PeniaB, 

, and many of the Clergy and Statesmen ftxlly r '^"^ " ' ^^ - 

No Vocalist or pablio epeaker should be wiihoat It. 



Lablaohe; 



maoy of the Clergy and Statesmen fhlly establish its great riruies 

jr pablio speaker should be without It. To be obtained of aU 

^Vholosale and Betall Chemists in the United Kingdom. 



Just Published, price 2s., 

•«MAIBIiUMCHBN»» 

(Tbs Lrmji Mat FLOVxa^i 

MELODY 

FOB THE PIANOFORTE, 

Composed by FRANZ ROSENFELD. 

London : DuMCAV Datisov & Co., 244 Regent Street, W. 



rPHEN, FAREWELL, WE PART FOR EVER. 

I Mr. Alfrbo Mbllom*b last Ballad. Snog by Mdlle. Caalora Path at hi« 
Cuncerts, Uoyal Italian Ojicra, Covent Garden. 

Published by Boosbt & Co., 28, Holies Street. 



ANDREW'S NEW ANTHEM FOR CHRISTMAS. 
«*The Earth iB the Lord's;*' to Sabeeriben, Sn Namei nov noolTcd at 
Andrew*! Muic Bepoiitory, l£anohester. 



Digitized by 



Google 



December 3, 1864.] 



THE MUSICAL WORLD. 



781 




CHAPPELL & Co. s 

KENllwORTH. 

NOW READY, 

The New Cantata composed for and performed at the Bir- 
mingham Festiva]. Words hy H. F. Ghoblet, Esq. Mniio 
composed by Abtbdb Sullivan. Price complete 12b. 

THE FOLLOWINe ASM rOBUBHBD S01BATELT : — 

I have Slept beneath the Water • 2s. 6d. 

Sung by ludame SBEBBraoTOK. 

I am a Ruler on the Sea - - 2s. 6d. 

Song by Mr. Sabtlet. 

DUET— How sweet the Moonlight 
Sleeps 3s. Od. 

Song by Mr. CmooNQS and Madame Shkbkikoton. 

A Brisk Dance, for Pianoforte Solo 2s. Od. 
A Slow Dance, ditto ditto - • 2s. Od. 



SEW PIMOPORTE PIECES PROM 

" FAUST/' 

Callcott's Beauties of Fanst, 1 & 2 
each 5s. Od. 

Callcott's Beanties of Fanst, Duets 
each 6s. Od. 

Callcott's Kermesse Scene, con- 
taming the Celebrated " Old 
Men's Chorus," as a Duet • - 3s. Od. 

Callcott's Soldier's Chorus - • 3s. Od. 

As performed in the Opera. Duet 8s. €d. 

Osborne's Grand Concertante Duet 

for two Pianofortes • - - 8s. Od. 

Osborne's Grand Concertante for 

two Performers on one Pianoforte 6s. Od. 

Benedict's Morceau de Salon - 4s. Od. 

Favarger Fantasia - - - 4s. Od. 

Ascher Pensee Dramatique - - 4s. Od. 

oi3:-a.:p:pexjXi sc oo., 

60, NEW BOND 8TBBET. 



KUHE'S 

■EW riECE. 

La 
Thniingieime 

VOLKSLIED 



IFOR 



ift^ fmti^crrt^ 



PRICE 4s. 



Duncan Davison & Co. 

244, REGENT STREET. 



Digitized by 



Google 



814 



THI! MUSICAIi WOBLP. 



[PecemberlT, 186i 



THE NEW OPERA, 

ROSE; or, LOVE'S IIA.NSOM 

Wbitten bt SUTHERLAND EDWARDS. 

COls-drPOSElID BIT or. L. I3LA.TT01T. 



OI^INIONS OH^ THE PBfiSS. 



The most brilliant racoets yet Mhiered by the Boy&l Engllth Open Compaoy it 
la oar pleaaant office dov briefly to report. In very troth, the loenes of enthnslMm 
and the sounds of triumph from which we have eseaped only a very short time before 
we must be at pfes«, have left us in a state of oomparatlre bewilderment, which un- 
fits us for the grare obligations of our offioe. Ro$e, or Low's Aoiisoiii— composed by 
a gentleman whose instincts for melody and mastery of the laws of his art are 
second to none of his Eng.Ish contemporaries, and who, though he has done enough 
to create sereral reputations, has yet done so little as almost to compromise his own 
— is, if we mistake riot, a wurk not only likely to become ponular with the masses, 
but entitled to the earnest respect of connoisseurs. The whole production Is marked 
by a freshness, a fireedom, a spontaneity, and an unction, if we msy use the word, 
in which the anatomist mlgh^^ discover fsults, but to the fascination and force of 
which the ordinary hearer will find It impossible not to yield.— Amdoy Tbnts, 

We are particularly glad to record the success of Mr. Hatton's opera, JSoas, or 
Lore's Ransom^ produotd on Saturday night at Govent Oarden. We stated unre- 
servedly our opinion that Ilthaiyn was a quasl-fkllnrs, and we have been Justified by 
the rvsult. The directors of the English Opera Company deserve great credit for 
speedily making another venture, instead of forcing upon the public an nuoongonial 
work, navtttyn was an ambitions fhilure ; Rm« is an unpretentious soooess. Wo 
do but record two ihots, which we leave to speak for themselves. It is scarcely fkir 
to the composer to express's decided opinion on a new opera after a single hearing. 
We may be allowed, however, to state a general Imprsssion, that the flowing melo- 
dies which abound are attractive enough to secure for the work immediste attention, 
and that the exquisite orchestration cannot tsXX to sustain the interest thus early 
excited. Mr. Batton has prodaoed so many charming part songs, that we were quite 
rrepared to find his choruses and oonoertfd pieces admirably written, alike grateful 
to singers and llsreners ; but we were surprised by the masterly manner in which the 
whole work is instrumented fnMB snd to end.— ZM/y TeUffrafli. 

If fhll houses and loud ap^aose may be accepted as warrant, Mr. J. L. Hatton*! 
new opera Is suocessful. Though nowhere strikingly original, occasionally Mr. 
Hatton rises above this level, and shows both ambition and power. Take for instance 
the qoartei in Act 1, " Learned Wisard,** the trio In Act 2, " Hail to the fair Theresa," 
the round iu the JinaU to the same Act, ** Dear Rose, with thy pure breath," and the 
air for Rose, " Oh blessed sleep '* (Act 3), with a rsmarkabl v well-oontrived accom- 
paniment, which are all dramatic, efllsctive, and in keeping— good music. In short, 
however considered. How exquisitely Madame Sherrington can sing a plain ballad 
Is shown in this very opera. Her delivery of the pretty little air, 
** Gentle flower, canst thou tell 
If my loved one loves me well V* 
—the words of which, by the way, are as gracefhl as they are unaflbeted— is absolute 
perfection. No wondw Uiat a spontaneous ** encore ** Is the result. There Is anothw 
jrood ballad—that in which Stephen deplores the impending fate of Rose—** Esrewell, 
farewell, my mountain life.** So well, too, with such genuine taste and feeling does 
Mr. Perren give this, that to have to sing it twice Is a matter of course. Thst the 
new work may prove a real success Is to be wished, for certainly the directors of the 
** English Opera Company (Limited)'* have shown no lack of spirit and tiborallty 
flnce tiie oommeDoemcBt of tnelr enterprise.— l%e Ttmu, December 5, iStfi. 

Mr. Hattpn holds a high ptaca among our English musicians of the time, and this 
work Is worthy of his reputa Ioa« dis czficrlence and skill In writing for the voice 
are apparent in every scene, ta Vbe «irs, c joe^rted pieces, and choruses, the singers 
are never embarsssed by thos» «nvo0Si |»nrAiei or lursh instrumental intervals so 
prevalent in music of the m<^aeru «rerin«n school. Mr. Hatton has diligently 
studied and formed his style upoa tne most classical models— the works of the great 
masteis of a past age. With the music of Mozart and Beethoven ho Is especially 
conversant; and the fruits of his studies ara apaarent, not only in the clearness, 
expression, and vocal character of his melodies, but in the purity aud richness of his 
Instrumentation. Some of the airs are not only beaaiifhl tKit quite appropriate, such 
ss Rose's ** Gentle flower, canst thou tell 7** and ** O blessed sleep I^ which are not 
only delightful on the stage, but will be equally so in the concert-hail or t-hedr»win^- 
reom. But it is hi the concerted music that Mr. Hatton's strength chiefly lies. His 
trios, quartets, and choruses are uniformly admirable ; and the magnlfi jent finale to 
the second act, so masterly in coBstrucUon,^so rich in harmonv, and so full of 
dramatic elllMrt, is not unworthy of the name of Moiart himself.— /r;««<ra<a(< London 
Hews, December 3, 1864. 

After so many tallures and quasl-fhilures in the efforts of naUve musical gsnins, it 
Is pleasant tp record and to acquiesce in the &vourable verdict pronounced on Mr. 
Haiton's new work produced by the Royal English Opera Company on Satarday last. 
Jiose, or Lov^e Ransom, contains some of the best dramatic music from the pen of an 
Englishman that we have heard during recent years. Although Mr. Hatton has not 
achieved the dsMeratum of a thoroughly English style, his opera displays so»much 
refined taste, earnest endeavour and technical skill, thai it deserves a hearty welcome 
after the loose scrambling productions which have of late cast ridicule on the very 
name of English Opera. Mr. Hatton's music will, doubtless, prove as attractive to 
the public as It will certainly add to the reputation of a composer already held in high 



estimation, although oomparativaly imtrisd in dramatie mnsto of aay 
Mr. Hatton 's opera Is a work of greater promise than any similar recent English pfo- 
dnctlon ; and the fhult will rest with-htmself if h« does not make his present dssstni 
success a starting point fyv a creditable career si a dramAtio oompoaer.— £4Nidsa 
ReHeWf December 3, IBM. 

Oar general impression is simply this, that Mr. Hatton is a musleiaa af nrs gifts 
and acquirementt; that he owns a strong and legitimate sympatliy with the grsat 
worlu of the masters whose art he follows, and possesses, ssoreover, a comoAnd over 
technical means, the resources without which not evea the simplest thoagiit cm be 
artistically expressed, which many more gifted composers cannot lay Jost dalm to. 
With all our knowledge of, and love for, the best of ihe best which all coontrlss hsvs 
hitherto produced, we own that a great many pieces in ** Love% Ransom ** plessed 
us very much, and that its author is entttled to rank with the ablest whom nMlen 
musical England, with all IU foreign learning, native inspiration, almost hopaksi 
ambition, and heart-sickening war with Ignorance and prejudice, has shown to ths 
world.— ifomirt^r Post. 

The Royal English Opera authorities have presented another new work from tte 
pen of a native oomposer. Mr. J. L. Hatton's new opera. In three nets, snllnd Rose, 
or Lou's Ransom, produced last Saturday, met with a reception more than oidlittitty 
. r enthusiastic, even for a first night's aodience. Tite overture was taoored Iqfiaela- 
^ mation ; and no less than fbur numbers in the first act were redemanded In a ibrdUe 
manner admitting of no denial. We cannot, on the prasent ooeaslon, spenk ao mneh 
in detail as we hope to do, but by his Istest prodnetion, Mr. Hatton will, no doabt, 
establish himself still mors emphatically in the estimation of oonnoisason ss sa 
earnest, genial, and thoughtftil composer, whose talents are an honor alike to himself 



and the country of his birth. We do not imagine this an opera wUeh will I 
popular among the masses as many of its predecessors, and this propoeltloB la, father 
than not, complimentary to the comp ' — — .. 



popular among the masses as many of its predecessors, am 
than not, complimentary to the composer; for no one kno^ 
himself, that the musical works which have been of late years most vfdeljr known 



; for no one knows better than Mr. Hatton 



have also been, in numerous instances, the most worthless of their olasaw— A^ 
Dcosmber 4, 1864. 

Mr. Hatton*s new opera of Rose, or Love's Rmuom, prodnoed hers with Tcry grsat 
success. Is certainly one of the most charming works that have been given tor many 
years. Mr. J. L. Hatton has long been known as an aocompllshsd maaWan, sad 
4ias prerioosly produced with oonsiderable success an opera at Vienna ; and great 
have been the anticipations of his new opera in musical elrdcs, the singen enagsdl 
in it having spoken everywhere as to its many beauties of meUKly and rtoh nnsKn- 
llke scoring. It is very pleasaiyt to Aud that there are English composers equal ts 
any of the foreign writers, and still more so to find that the new Opera Company are 
willing to bring them forward : and anything more creditable to their ta«e, Jo4g. 
ment, and liberality than Mr. Ilatton's new opera it is diflleult to Imagine. Llgh^ 
sparkling, and smooth-flowing, It is every wav adapted to popularity ; it new sesnss 
to drag a weary length, but fliiws In one continuous stream of clsMmlng aira and con- 
certed pieces, and abonnda in those salient moreeaux that become in time the atapis 
commodity of the mnsicseiler and organ-grinder ; the last. Indeed, bstng the highest 
popularity a composer can obtain, as it is a natural and tmc test of pnhlie opialoa, 
and unforced by a noisy and.vulgar claque. The most salient featnrcs of tbe o psr a 
are the overture, a ballad for Rose, ** Gentle flower, canst thon teH,** Stephen^ song, 
** Free as the mountain air," Theresa's hallsd, ** Uy own, my native vale,** an am- 
dante movement from Rose*s scena (** Kind Meaven, hear piy humble prayer*^, the 
fiMde to the second act, in which occurs some exceedingly melo^Ue passacea, and a 
ver/ elegant duet for the lovers, ** Alas ! they say that time is flset."— Me ef ike 
World, December 4, I8C4. 

The production of an opera by Mr. J. L. Hatton was an event that was sars te 
attract a large audience ; it was not surprising, therefore, that Jlsis { «r jKoc/« 
brought together one of the largest houses of the season. There is, 
English composer who is better known in thi drawing-rooms of "" ' 
modem musical community in general, than Mr. J. L. Hatton. He 
many of the finest and most popular ballads of the jnrseent day. 
any knowledge of the previous compositions of Mr. Hatton would naturally expect 
that he would displsy all the wonderful powers ^of ballet writing by gtvias scRaa 
** taking " melodies,— he has, moreover, shown that he Is as grsat a maatar of the 
powers of the various instruments in the orchestra, and can flimlsh tbesn with masic 
equally as well as for the voice. The opera abouods with intricate paseages, whiflh 
dlspaiy the thorough knowledge of a composer of the highest power. The i-TTtrmanr 
tation Is of the most elaborate character, demonstrating that the ecmpcesr in a eosa- 
plete master of his art, and showing that it was not because he could not write operas 
thtt we have had only two fh>m his pen. There was greet exdtenient in tha theatre 
on the flret night, encores following in quick succession, and the beartlneas of ths 
applause was more like an ovation to an old Ikvourite, than the critical opia&na ef a 
musical audience, nine-tenths of wh'ini were **%»ell up" in music, and empoMe at 
aitpreciating the new work. The popular composer, however, seemed to pnsssiss ths 
sympathies and good wishes of tbe whole house. The opera was an uamtetakaaUs 




success, and we hHve seldom seen greater enthusiasm displayed by erscybudy than en 
this occasion.- TTesitfy Timee, December 4, 1M4. 



ALL THE MUSIC IS NOW BE&DY. 



BOOSEY & CO., HOLLES STREET, LONDON, W. 

rrintea hy Han>iBeo«, Rait, and Fmrros, at No. 23, Bemen Street, Oxford Street, In tbe Parish of Maryiebone, in the Coanty of Mlild^ww^ 
Pablished by Wiujam Doikux Datuoii, at the Ofios, 344 Regent ^tnHU^Saiwdav, B^cfmbfr }7i l«i«> 



Digitized by 



Google 




miml 




^Tum WOBIH OF AbT AFPBARS most BlONUrT Ur MO8ZC, 8DICB IT IUBQUISB8 MO MATKRIAL, MO 8UBJB0T-KATTER, WHOSB XFnBOT 

mnr bb dbduotbdi it n wholly form amd fowbb, jokd it BAigss axd bmmoblbs whateybb rr EzruBssBB.'*— (7dCA«. 

SUBSOBIFTIOir, FBEB BY FOST» 20ik FBB ANNUM 

Payable in advaiUM by Cash or Post-Offloe Order to BUNOAN BAVI80N flp 00^244, ItoRent 8treet» London, W. 

lB£giiUr§d for Trantmiuion Airdad,] 



Vol. 42— No. 51. 



SATURDAY, DECEMBER 17, 1864. 



^-•{SiSSsr- 



HEB MAJESTY'S THEATRE. 

THE LESSEE & DIRECTOR begs to announce that 
he hai entered iato arrangementt for a short toarnido In tho Provinces, eom- 
menoliig the latter part of January, tor vblcb purpose he has ooncloded cnga^ments 
with the foUovtng celebrated artists :— 

MADEMOIEOnU^E TITIENS, 

MADBMOISBliXiS DOBSAiri (Her first appearance hi England;, 

KADXMOIBmili^ SNZQUIST, SIQITOB BOSSI.and 

MOlfffillGUB JOUIiAIN (His first appearanoe la EngliAd), 

SIGNOB PIATTI. 

CoxDncTo»««IONOR BEVIGNANL 

Oommanloationa for Engagements, Aa, to be addressed to Hr. Jarrett, Her 

Majesty'fe Theatre. 



HEB MAJESTY'S THEATBE. 

Maxaois, Mb. W. HARBISON. 



Will be produced, on Hondav CTenlng, December 26th, an lUitirely Original, 
Comical, Hutorical, Fairy Christmas Pantomime, translated flrom and founded on a 
New Comlo Blstorr of England, for the especial gratification of all the Mlrth-Ioring 
Young Maaters and Misses in the Realm, written and hirented by H. J. Btbov, to be 
called 

THE LION AND THE UNICORN 

FiaHTING FOB THE CBOWlSr. 

The Scenery on a scale of Magnificence never before attempted in this Theatre — 
Fairylike and Gigantic Mechanical Eflbcts— Combination of Aerial apd Floral Dances 
— Cottnmcs nf every Period and Clime, utterly regardless of antiquarian research, 
by our own Aathority-^Marches^ Processions — Terrific Combats Fought by Them- 
aelves — -Tricks, Transformations — Harlequins. Columbines, Pantaloon, Sprites, 
Clown ; and, to complete the list of Pantomimic Movcltles, the Wonder of the Day, a 
Qraoeftil and Agile 

ONE-LEGQED CLOWN. 

SPECIAL MORNING PERFORMANCES of the PANTOMIME will take 
place on TUESDAYS and SATURDAYS In each week, the First to take place on 
Tuesday, the 37lh Instint. Children under Twelve Years of Age, Half-price, except 
to the Pit, which will be Is. 6d. ; Large Family Boxes (not limited to the number of 
Admissions), flrom One Guinea. Box-office open dally. 

ST. JAMES'S HALL, PICCADILLY— The Celebrated 
COMMODORE NUTT, the sjiillbbt Uks uvuro!! twhmtt tbars of age, 
TWBWTT-xivB IBOHBB high, and weighing but TWBBrr-rouB poohds, having concluded 
hia Ikmous three years' engagement in America, for which he received fW)m Mb. P. 
T. BARNUM, the munificent sum of THIRTY THOUSAND DOLLARS, has the 
honour to inform the Public of LONDON, that having taken the above-named Hall, 
And made hte FIRST APPEARANCE IN THE OLD WORLD on Mokdat last, 
13th Dbcbmbbb, assisted by the Wonderftil MISS MINNIE WARREN, Sister of 
MRS. GENERAL TOM THUMB, tbb SMALLisf LAor or bbb aob in THE 

WORLD, BIOBTBBV TBABS Old, TWIHTr-FOCB nOBBS high. Weighing mHBTBBM POUNDS 

only — ^A BACHELOR and BELLE of mature age, and mobb ^ban dsual intbl- 
UOBMOB. and weighing, toobthbb, less than an ordlnanr child of tbbbb tbabs— 
If atubb's bmallbbt Bomov OF bbb oboicbst wobks. This Elfin couple will give 
ONB LEVEE DAILY, at 8 o'clock. They will appear In the IDENTICAL COS- 
TUME worn by them at the Marriage of GENERAL TOM THUMB and WIFE. 
OtLAca Cbobcb, Nbw Yobk, as GKOOMSMAN AND BRIDESMAID to that 
tuMtnm couple ; in a most interesting MELANGE of 80NGS, DANCES, DUETS, 
AC, Including COMMODORE NUTT'S celebrated personations, THE DRUMMER 
BOY, SAILOR, PATRICK O'FOGERTY, THE CURB, DRUNKARD, STUMP 
8P BAKER (with ten changes of costume), JIM CROW (in the character of a 
Crow), and his wonderfhl feats of PRESTIDIGITATION, Ac., Ac., and MISS 
MINNIE WARREN in her SONGS, DANCES, and DUETS, appearing in 
THREE DIFFERENT COSTUMES at each Levee, from her oostlt and mac 
vxncBKT wabdbobb. 

There will be a CHANGE OF PROGRAMME at each Levee. 

THE MAGNIFICENT MINIATURE COACH drawn by FOUR of the 
SMALLEST PONIES in the world, the whole a present from GENERAL TOM 
THUMB to COM.viODORE NUTT, attended by ELFIN COACHMAN and 
FOOTMEN in LIVERY, will convey these LITTLE WONDERS between their 
HOTEL and ST. JAMES'S HALL. 

A.DMIS8I0N, 19., 2s. s Reserved Stalls, Ss. ; Children under 10 yean of age, half- 
prioe to the 2s. and 8s. places. 

A SSISTANT WANTED at a MUSIC PUBLISHER'S 

^J^\. in the West End of London. He must be of gentlemanly address, and also 
well sMqnalnted with the various Musical Catalogues. A liberal saUry will be given. 
Addrosi with ipinmon, *o., to Mr. Qat^hiogs, «3 New Bond Street, London. 



PUBLIC HAT.T,, CBOYDON. 
\f R. GEORGE RUSSELL'S ANNUAL EVENING 

lYJ. CONCERT, on TimsDAr, Dec. 20, 1864. To commence at Eight oVoek. 
Foro/Mf— Miss Banks, Miss Wbttock and Mr. W. H. Commimos. JnUrummtaUsU^ 
pianoforte, Mr. Gbobgb Rcsskll ; Violin, Herr Lnowio Stbauss (flrom Frankfort) ; 
Violoncello, M. Paqdb. Conductor, Herr Lbbmstkb. Prices of Admlsslonr-As. ; 
Family Tickets (to admit five), £1 is.; 2s. 6d. ; Is. 

ISS ROSE HERSEE will sing " THE KNIGHT 

AND THE MAIDEN,** expressly composed tbr her by Emui BBBaBB,at 

Windsor, Deo. 10, and Huutly, Dec. 30. 



M' 



R. FREDERIC PENNA will sing, "THE MONKS 

WERE JOLLY BOYS, flrom Howabo Glovbb's PopuUr Operetta, Ones foe 

)/iM, at Kettering, on Tuesday Dec. 20th. 



M 

Often, 



' KB. VAN FBAAG 
T)EGS to inform to his Patrons and^ Friends his return 

from the Continent. All eommunloatlons addressed as herstofbre, at Messrs. 
Davison * Oo.'fe, 244, Regent Street 



Duncan 



M' 



ISS RORERTINE HENDERSON begs to announce 

jYi that she is now at Ilbertv to accept engagements. AH oommnnleatlons re- 
specting Oratorios, Concerts, Mnsloal Solr^, io., to be addressed to her at her 
residence, 10, Newnaan Street, W. 

ADLLE. 6E0R0I and MADLLE. CONSTANOE 

GEORGI having left fbr Barcelona to fhlfil an engagement at the Royal 
k, all eommunloatlons are requested to be addressed to care of Messrs. Dbboam 
Davisox ft Ca, Foreign Music Warehouse, 244,-Regent Street, W. 



TO COMFOBSB8 ABOUT TO PXTBIiISH. 
MUSICSELLERS, COMPOSERS, &o. — Worka 



TO 
Engraved and Printed, in the best style, at 
F. BOWCHER, S Little Marlborough Street. 



very moderate prices, by 



BMOLIQUE'S '* STUDIES IN HARMONY," 7s. 6i 
I KEY to the same, 48. fid. 

" There U no better work of the kind extent.*'— Jrusteol World, 
** A better book conld not easily be named.**— ulM«M«ifm. 

To be had of the Author, 30 Harrington Square ; and at E vbb ft Co., 87 Regent St. 



ONE YEAR, 

(A VnXAGB Talb), 
Composed by Mis. JOHN MACFARREN, and sung with Immeoie soooest by 
MISS BANKS. 
, Price 2s. ed. 

Fobibb ft KofG, 223 Regent Street 

It seems as if to me «A« made 

The sweetness of the year ; 

As if I could be glad no more, 



The rooks are eawlng In the elms. 

As on the very day, 
That sunny morning, mother dear. 

When Lucy went away ; 
And April's pleasant glbams hays oome, 

And April s gentle rain ; 
Fresh leaves are on the vine, bnt when 

Will Lucy come again \ 
The spring Is as It used to be. 

And all must be the same. 
And yet I miss the feeling now 

Toat always with It came. 



Now Lacy is not here. 
A year— It seems but yestetday, 

When in this Very 4ldor 
You stood ; and shjBT came running bB«k 

To say good-bye once more ; 
I hear your sob— your parting kiss— 

The last fond words you said ; 
Ah ! little did we think— one year, 

And Lucy wouU be dead! 



CHBISTMAS PASTOSAIiE, 

"SLEEP, SLEEP, MY BEAUTIFUL BABE." 

SONG FOR MEZZO-SOPRANO. 
The Foetoy flrom an Unpublished Hymn of the Late FATHER FABEB, D.D. 

Th« MuBiOk by WTLHELM 8CHUI/FHE8. 

Price 3S. 
;i40ndoii : DuxoAy PiT^ox ft Co., S44, Regent Strttt, W, 



Digitized by 



v^oogle 



800 



THE MUSICAL WORLD. 



[December 17, 186i 



CHRXSftMAB DOUBLE XTUMBEIL 
rpHE CHOIR and MUSICAL RECORD /or December 

1 •OBtilni Ml inUrwtlDf ftrtiela on CbriitmM Carols, all the Mnalcal Newi ot 
tbi MoBtb, B«rtowi, Ao., and 

Bight Paget of Muiio. 
Clvlataaa Aathtm t ** Behold I bring ron glad tidings **— and two Christmas Carols, 
** In KxMlsis Gloria,** and ** Sing we Merry Christmas.** all arranged for fonr Tolees, 
mplk Organ or P ia noforte aoeompanlments.— Priee BIzpenoe, bj Poat, Serenpeooe. 

MsfSLn M Co., SS, at, 37, and 38, Great Marlborongh Street, London. W. 



OHBI8TMA8 FA8TOBALB, 
'While Shepherds watched their Flooke by ISTight," 

Composed by J. R. 8CHACBNER. 

As a Song, Ss., 6d. Dnet for Soprano and Tenor or Two Soprani, 3s. 

Metiub a Co., 85, 36, 3T and SI Great Marlborongh Street, W. 



HENRY SMART'S 
^BRIDE OF DUNKERRONi" 

A DRAMATIC CANTATA. 

PiamfotrU and Vocal Score, handoomoly bound, with iUuttrated 
TitUpage^ 18«. 

Tht Chonis and Orehestra Parts oan be supplied to Societies on moderate terms, 
6r lent for the occasion. 

MsTUB a Co., 31 to 38 Great Marlborongh Street, London, W. 



HENRY SMART'S 
*«BBIDB OF DUNEEBBON." 

Tht Fnn Orchestral Score will be pabllshed as soon as a safflclent number of 
Subscribers* names are sent in to the Pabllshers. 

iVief to atAurHbtn, ISi ; to Ntn-Subsefibtrt, 2lt, 

MmLn a Co., 31 to 38 Great Marlborongh Street, London, W. 



CHABLE8 FOWLER'S COMPOSITIONa 

••Tha 
••The 
"AMsgwtto GrailoM,** do. 

Sonata for Pianoforte and Violin Price, In Score, 15 o 



!,>* Melody for the Pianoforte ... 
*• The Lancashire Witches,** Polka Mazurka, do. 



A5D 



s. d 

3 

3 

3 



London t DvaoAi Datisom and Co., au Regent Street, W. 



ARIB D'ANNETTA'S DANOE |4USI0 



M 

IVI Characterlstlcallj Illustrated. 
^*The Lily of the Thames Quadrille,** with comet accompaniment ... 
••What Next Qnadrilles ** (Robtn's Last), with comet accompaniment 
•• The Spirit Rapping Polka,** dedicated to all Spirit. Rappers' Mediums 
•• The LleweUTn Walts,** dedicated to Mr. Backwell, B. M. 3rd R. W. M. 
«• Bsantltel Spirit Walts,** dedicated to Mons. Lonls JuUlen 

London : Dovoai Datisom a Co., 344 Regent Street, W. 



t. d. 
4 

4 
3 

3 

4 



^ Just published, price 3s., 

"DISTANT MUSIC," 

MILITARY PIECES FOR THE PIANOFORTE. 

Composed by EMILE BEBGEB. 
London t Dcaoav Datisov a Co^ 344 Regent Street. W. 

Just published, price Ss., 

MARY, 

SONG. 
CouFOSBD BT JOHN JACKSON. 
DviOAB Datisov a Co., S44 Regent Street, W. 

A SONG FOR CHRISTMAS. 



if 



THE 



SKY. 



CHRISTMAS ROSE,' 

Composed by 

W. LOVELL PKTTiTiIPS. 

Price 2s. 5d. 

Just Published. Price 3s. * 

"0 LOVELY VOICES OF tHE 

CHRISTMAS CAROL 

For Soprano, Contralto, Tenor, and Bass. 

The Poetry by 

MRS. HEMANS. 

The Music bj 

a. W. HAMMOND. 

London : DoiroAg Patisom a Co., 244, Regent Street, W, 



SETi'FiOT? Il^EST 



OF 



NEW & POPULAR MUSIC 



PUBUSflED BV 



PURDAY & CO., 

24, GREAT MARLBOROUGH STREET, % 



GIXJUO BEGONDI-SONOS. 

Leave me not lonely 

Lonely Cloud (The) 

Orphan Child 

Parting and Meeting 

Wake her not rudely ... 

The Mermaids (Duet) 

CONCEBTINA SOLOS. 

Concerto in G, composed for G. Regondi — ^Molique .. 

Ditto ditto ditto 
Fantasia on Airs Le Prophete— -Giulio Begondi 



2 6 



2 6 
2 6 

S 



10 ( 
10 6 
9 



QUITAB SOLOS-QIXTLIO BEOONDFS. 
Fete Yillageois, 28. ; first Air yari^e in A 



Introduction et Caprice, 28. 6d. ; second ditto in D 
Reverie 



2 6 
2 6 
2 < 



BOLEYNE BEEVES' MUSIC for the HABP 

Last Rose of Summer 6 

Lrish Fantasia 5 

Marcia Solenno • 6 

Pastorals — No. 1, dedicated to the Lady Uobart ... 4 

No. 2, „ to Miss Samuel 4 

No. 3, Falling Leaves ^ 3 6 

No. 4, ViUage Revel 8 6 

Grand Concert Solo— Der Freischiitz 7 

Sonata Drammatica 10 6 

Studies 1 and 2 each 4 

Scherzo con variazione 6 

Sonata ImpetuoBO 2 6 

BOLEYNE BEEVES' SONQS « BALLADS. 



Appena il giomo muor 
As I laye a thynkynge 
A Voice within my Soul ... 
Beneath my Palm Trees ••• 

Bird and the Bard 

Dear Friends afar 

I arise from dreams of Thee 

I covet Thee 

I shall see mv love to-morrow 

Love me if I live 

Praise of Spring (The) 

Rapt in a (U-eam 

Rin^ out, Wild Bells 

Shed no tear 

Swifter far than Summer flight 

That cold Earth bdow 

The Fugitives (descriptive song) 

The Secret 

The Song of the Stream ... 
When the Star of Morning 



2 S 

2-e 

2 6 



2 6 
2 6 
2 6 
2 6 
2 6 
2 6 
2 6 
2 J 
2 6 

2 6 

3 
2 6 
2 6 

4 
2 6 
2 6 
2 6 



Mr. BouBTRS Reeves' Works are now publiahed ezdnnvelj by 

PURDAY <fc Co., 24, GREAT MARLBOROUGH ST. 



Digitized by 



Google 



D6i5ember 17, 1864.] 



THE MUSICAL WORLD. 



801 



MUSIC IN BERLIN. 
(From our own Correspondent.) 

Great was the crowding to see and hear Herr Niemann during 
an engagement he fulMed lately at the Royal OperahouAe, an 
engagement limited to three performances. Large nambers of his 
admirers were turned from the doors unable to obtain admission, 
and the tbalers must have rattled into the IVeasurer's strong box 
at a most satisfactory rate. The three operas selected by Herr 
Niemann were Tannhduser, Cortez^ and Le Prophete. In the last 
opera, Madlle. Lucca appeared to great advantage as Bertha, and 
Madlle. De Ahna made an excellent Fides. There was a report 
that Herr Niemann would shortly pay us another visit, but it now 
appears that this is as destitute of any foundation as ar^the little 
winged and chubby-faced cherubs whom we sometimes see on 
ancient tombstones, and more frequentlv in old churches. The 
exigencies of the Opera at Hanover render it impossible for Herr 
Niemann to procure leave of absence again for some time to come. 
Another representative of John of Leyden, whom we have heard 
recently, is a certain Herr Ellinger. He was engaged by the 
management to appear in several operas, but after his performance 
in Le Prophete his name was not to be found in the bills. I do 
not think it diflScult to gueas what was the opinion of*his powers 
entertained by the management* I base this assertion upon one 
fact, simple perhaps, but, to my mipd, peculiarly conclusive. He 
has packed up his trunks ana returned to deOght the lovers of 
German opera at Rotterdam. By the way, speaking of Le Prophete 
reminds me of something very sad. Herr Ander, of the Imperial 
Operahouse, Vienna, whose John of Leyden was one of his best 
parts, has 'gone out of his mind. He had obtained unlimited 
leave of absence, in the hope that his health, which, latterly, had 
been very bad, might be restored. His best friends, however, 
entertained grave doubts about his recovery, and those doubts 
are now more than verified. I pity the poor fellow from the 
bottom of my heart, but I cannot agree with the majority of 
musical critics of Germany, and go into ecstacies about his voice, 
or allow myself to become a prey to despair because we shall hear 
it no more. I never thought much of it. Herr Ander, the man, 
has my warmest sympathy, and no one, unless it be a relation or an 
intimate friend, can fed more acutely the terrible calamity which 
has befallen him ; but for Herr Ander, the artist, I cannot say I 
grieve much. A sort of fatality seems to be attached to the 
Vienna Opera. It is not very long since Staudigl, another great 
favorite, cued in a lunatic asylum. I am afraid it is hoping against 
hope, still let us trust that poor Ander may yet recover his reason 
and be restored to the intercourse of his friends. 

A quasi novelty at the Royal Operahouse has been the revival 
of Mendel88ohn*s "piece with songs," Teutonice: "Liederspiel'* 
— Die IJeimkehr au3 der Fremde^ but, judging from the result, 
this production of the great master's is not destined permanently 
to maintain its place in the repertory. The persons entrusted 
-with the custody of Mendelsaolm's papers after his death were 
naturally desirous of giving the world the benefit of the treasures 
confided to them. Die IleSnkehr am derFremde was, consequently, 
produced, in 1851, first at the Friedrich-Wilhehnstadt 'ITieatre, 
and then at the Royal Operahouse. But it did not draw. The 
libretto had been written for a particular purpose : it had reference 
to, and was meant to celebrate the." silver wedding " of Mendels- 
jBohn's father and mother ; it had never been intended for the 
public, and, as might have be^ expected, proved, when presented 
to the latter, much too slight. The music, also, was more adapted 
for a drawing-room than for a stage. Moreover, Mendelssohn 
himself never designed his work for the public at large, and, 
tberdore, did not scruple to use many of the motives in it for 
other productions. Taking all these circumstances into considera- 
tion, we cannot feel very much surprised that the revival is far 
from a decided success. With the exception of the overture, the 
trio, and Liesbeth*s last song, nothing seemed to produce much 
impression on the audience, it is true that the artists engaged 
-were far from being up to the mark either in their acting or 
singing. They got through their parts somehow, and that is 
about all that can be said. 

The other operas produced since I last wrote have been Dae 
Mddchen von Elizondo; Fidelio; Don Juan; Die Zauherflote; 
Jlfdrgarcthe^ otherwise, Faust; Die Capuktti und Montecchi ; Fra 



Diavolo ; 11 Trovatore ; Die lustigen Weiber von Windsor ; Oberon ; * 
Figaro* s Hochzeit ; IMert le DiabU ; La Muette de Portici; and 
Le Lac des Fees, The mode in which thev were performed was 
that ito which we are accustomed here ; neither better nor worse, 
and, therefore, some people would imagine, perhaps, it calls for no 
especial notice. H they did imagine anything of the sort, such 
worthy individuals would make an egregious blunder, a fact 
which I shall endeavor to demonstrate to the best of my humble 
abilities, as far, at least, as the limited period in whidi I -must 
conclude my letter, so that it may not be too late for this evening*t 
post, will allow me to avail myself of them, t.«., the humble 
abilities aforesaid. 

As a general rule, the performances at the Royal Operahouse 
are tame and lanj^uishing ; they are deficient in "go.** This 
arises, in my opinion, from the system of engaging the artists for 
life, or as long, at any rate, as they are supposed abletosing, 
and of pensionmg them off when their voices are used up. Such a 
system may be very agreeable to the artists, whose meani of exist- 
ence are thus secured, but I questi(» whether it conduces to the 
interest of art. As long as Madlle. Siiastimme or Herr Notenkopf 
is striving to obtain a life-long engagement, with a pension 
backed to it, as I have before expkined, either here or at any other 
Court Theatre— for the system is not confined to Berlin, but 
prevails throughout the length and breadth of Crermany — ^both, of 
course, do their utmost to please the public. But durectly they 
succeed in being enrolled as permanent members of a com- 
pany, vocal fixtures, as it were, in a theatre, they begin to 
grow apathetic, and go to the theatre in about the same 
spirit a clerk goes every day to his office. Their profearion 
is changed into a mere money-gaining pursuit with a great 
deal too much of ihQ mill-horse principle in it. There may 
be some who preserve their enthusiasm longer than others, but even 
they grow lisuess in time, and fall under the common kw. There 
is another drawback attending the system. When an artist is en- 
gaged for life, or as long as he can sing, and entitled to a pension 
when he retires, manngers and Intenda^ts are too apt to keep him 
on the active list long after he has ceased to possess a note in his 

ffet, simply that they may not have to engage some one else in 
I^ace, and have another pension to pay. This is false policy, 
even in a pecuniary sense, because it keeps people out of the 
theatre, so that not only does art suffer by the plan now pursued, 
but the treasury is frequently empty when it otherwise might be 
full. That I am not overstating the evils of the present oraer of 
things any diqMissionate person acquainted with thie annals of the 
Operahouse here during the last ten years can testify. I could 
name several glaring instances of artists long past service being re- 
tained for the reason I have mentioned, as weU as on other grounds 
equ^y or more objectionable, but, beong actuated by a desire to 
further the interest of art and not by a wish to hurt the feelings 
of individuals, I refrain, and, for the present, at least, drop the 
subject, though I reserve the right of returning to it at 
some future period, should I seefit to do so. I suppose what 

I have said will not please my friend Dr. H , tne London 

correspondent of the Neue Berliner Musik-Zeitung^ but I cannot 
hdp that. By the way, the worthy Doctor is wrong for once in 
his life. In a letter written by him some short time ago, he ex- 
presses his conviction that the " lieber Yale,*' in other words : mv- 
sdf , would not fail to " pitch into ** him : " Ueber mich recBt 
tiichtig zu schimpfen^* are the ipsissima verba — appropos of 
Madlle. Xucca*s reported return to the Royal Opera, Covent 
Gurden. I can assure the Doctor, I shall do nothing of the kind. 
I shall confine myself—- being of an enquiring turn of mind— to 
ask him what he means by the English finale : " Well, Let him be, 
I can stand it,*' with which he winds up his letter. What " Well, 
Let him be ** signifies, I am at a loss to understand. " Let him 
be '* What ? Blessed— orthe other thing ? Is that it ? Perhaps 
Dr. H will enlighten me on this point in his next com- 
munication. 

There has been no dearth of concerts. The Brothers Muller, the 
most.celebrated stringed-quartet in Germany, have given a series — 
or Cyclus, to adopt the favourite Berlin term — of three concerts. 
The principal compositions selected by them for performance were 
Beethoven's Quartet in F minor ;MendelaBohn's Quartet in £ 
flat, Op. 12 ; Haydn's Quartet in V major ; Beethoven's so-called 
Harp Quartet in C major; and Schubert*s P minor Quartet. A 



Digitized by 



Google 



802 



THE MUSICAL WORLD. 



[December 17, 186i 



goodly amy in lober trath I I am lorry to say that I yn» unable 
to attend any of the aboTe ooncerts, but I console myself with the 
hope of heanng this "band of brothera '* at no very distant period, 
for it 18 their intention, I hare been informed, to give a second 
series. A friend of mine who did hear them, says that thej^ are 
greatly improyed in the delicai^ of their play since they last visited 
the Prussian capital, but he adds that they are now and then some- 
what deficient in vigour. Two works unknown to the Berlin 
public were performed at the second Sinfonie-Soir^ of the Royal 
" Capelle." They were an overture, by Herr Louis Schlottmann, 
to Ritmeo and Juliet^ and Faust^ '* a picture of character,'* by Herr 
Rubinstein. The overture is not without merit, but does not 
contain enough of that quality ever to beoome a classical work. 
Just as '* Quiedam bestbls unum tantum diem vivunt," there are 
many musical compositions, wludi, though not absolutely failures, 
disappear from the concert-programmes nearly as soon as they have 
found their way into them. This is, if I mistake not, the fate 
reserved for Herr Louis Sc^lottmann's overture to Romeo and Juliet, 
I liked Herr Anton Rubinstein's " picture of character " still less. 
It is dull, heavy, and monotonous- Not even the Russian com- 
poser's warmest admirers— at least, not such of them as I know — 
are very ecstatic in their commendations of it. — ^A very interesting 
concert was the first one given by two young artists, Herren HeU- 
mich and Werkenthin, in the large room of the Cngliaches Haus. 
It began with a Sonata, in D minor, by Herr Niels W. Gade, for 
Piano and Violin, played con amort by the concert-givers and vehe- 
mently applauded, though not more than it deserved, by their 
patrons. Herr Hellmich executed very satisfactorily an ^dante 
and Scherzo by David, and Ernst's " Othello Fantasia,'* proving 
himself a very excellent if not exactly first-rate, violinist. Herr 
Werkenthin's oontributioDS consisted of Beethoven's Sonata, Op 
110, and Dr. Franz Liszt's Polonaise in £ major. Herr Werken- 
thin did not make much impression in the Sonata, probably because 
it was a trifle beyond the comprehension of the audience, but he 
wa9 rewarded witii unmistakable signs of approbation for the mode 
in which he rendered the Polonaise. The gentlemen were assisted 
by a young lady, Madlle. H. Hauaen, who sang the rondo of 
Sextus from Mozart's 7Vtt», and also, Schubert's '* Ungeduld " and 
'^ Horch die Lechr ;" She evidently had a great many friends in 
the room, and they did not display too great an amount of judge- 
ment in their indiscriminate applause. Such applause does any 
artist, especially a young one, more harm than good. — ^There are 
still several other concerts whict I would willingly mention, but I 
must reserve them for my n«ct letter, as this one has already ex- 
tended to a tolerable length. 

Before concluding, I must find room for two or three miscel- 
laneous items of cMt-chat. I suppose you are aware that Herr 
Anton Rubinstein is engaged in tne composition of another opera. 
Tlie title of the latter is Roswitha. Who '' Roswitha " is, or what 
** Roswitha" 18, I have not the least idea. When I know, I will 
not fail to let you participate in my knowledge. — ^Herr Adolf 
Stahlknecht composed a Funeral Cantata upon we death of the 
late King of Bavaria. The present King in return, has presented 
the composer with the Golden Medal for Art and Science. Herr 
A. S. better take care. If he does not mind what he is about, he 
will be having some order or other conferred upon him, like poor 
Herr von Hiilsen. who have just received the Stanislaus Order, 
Second Class, with the Star, from his Imperial Majesty of Russia. 

Vale. 

■ 

PANTAGRUELIOME.— No. 1. 

The'doek'of St. Clement Danes was lust striking 7 p.m.,— the 
hour at which the patrons of the Edinourgh CasUe are of the 
fewest, for then have the consumers of the joint eaten their dinners, 
while the devourers of the kidney the sausages, and the Welsh 
rarebits, have not commenced their suppers, neither have the fogies, 
who talk politios over gin (or brandy, or whisky) and water yet 
arrived — ^wnen John, the waiter, who had just been snatching a 
few moments of repose, as an entr'acte in the midst of his usSul 
and virtuous labors, was suddenly startled by a very loud voice, 
which, iMuing from one of the boxes, cried out : — 

** My Johannes, thou shalt bring me an Apician, or rather let 
me say a Trimalchonian repast." 

*» We don't keep it," saia John, rubbin j'his eyes, being on an 



isthmus, as it were, between the actual coffee-room and the Aiea. 
dian crove, which had been the scene of his dream. 

" Hear me to the end," continued the loud voice, beooming con- 
siderabW louder ; *^ Respke Jinem, as Solon wodd have laid had he 
talked Latin." 

** Yniich^he didn't," interposed John ; ^« he would have lud 
rtXȤ TfM 

*' lliankye, my Johannes," proceeded the voice, " though mtn 
both of us getting rather beside our purpose. Thou wilt btiiy 
me a score of sausages, delicatel^r and partially browned, not lo m 
to inclose the unctuous interior m a thick cortex." 

*^ In medio tutissimus t&ur," suggested John. 

** Thanig^e again, mv Johannes," said the voice, '^ I could erea 
say, with (reorgius Cohnannus Junior, *• Thankye, good ar, I ows 
you one.' " 

^*6eorgiu8 Cohnannus? /«, nempe qui Johannem Tawnm 
fabulam ^ecit,^* said John. 

*^ Precisely, but that is not the fable I have more inmiediitdj 
in mind. I am thinking of the tnop«, the pauMr,— Uie—no, it wont 
do. The ancient Romans had no gentlemen, though the modem have, 
therefore are they governed by a pope. Our Latinity failing m, 
let us therefore say, with the Gaul, * Le Gentilhomme pauvn' a 
with the Iberian * El hidalgo pobre^^ or with the Teuton "— 

" Would it not be shortest cut to say. Poor Gentleman right of 
slick ?" enquired John. 

**'I enter somewhat into thy views, my Johannes " proceeded the 
voice, " though I object to th^ * cut ' abominate the * right ofi' 
and find the 'slick ' detestable. But to proceed with the oidtf, 
thou wilt bring nineteen Welsh rarebits, and fifteen kidneys." 

Now during the above discussion, John had been content to re- 
main ensconced in his own sanctum, which, as everybody knowi, 
stands to the left hand of one entering the coffee-room. He had 
been content to oonsiderltthe voice as an order-siving organ, and 
cared but little as to the sort of case in whidi it was endoeed. 
Neverthelen though he had formed his character on those tvo 
well-known Horatian lines : — 

Nil admirari prope ret est una, Knmici, 
Solaqoe quoB possit facere et Benrare beatum. — 
(little heeding by the way, who Numicius waa, and suspecting 
that his name rather encumbered the sentiment, than otherwiK)— 
nevertheless, we say, in spite of John's cultivated idnxiyncracy, 
he felt that a man who could order tw^ty sausages, nineteen 
Welsh rarebits, and fifteen kidnevs, making altogether fifty-four 
objgts de consommation^ was not to be seen every day. He th^ore 
emerged from his sanctum, and approaching the box, whence the 
voice had issued, beheld to his infinite ddight tiie majestic fonn of 
Pantagruel. 

** Gratulor titnfeUcem reditum^^^ exclaimed John. You have not 
been here these four year. (I prefer Uie singular to the plaral in 
this phrase, as being more racy and idiomatic). If the question be 
not indecorous, w£it the dei^ have you bean up to all this hng 
time?" , \ 

'* The question," answered Pantagruel ^^isthe^most indeofvoai 
question, both in purport and form, that I ever heard in ny hfe. 
Nevertheless, my Johannes, thou shalt be enlightened. Since thins 
eyes last beheld me, I have been sitting in the stalls ^ the Lyeeva 
llieatre, witnessing 'the performance of The King*9 Butterfly.'' 

Now by this statement Pantagruel thought to astonish John, hot 
was grievously disappointed, for John having been surprised onoe 
in the evening, by tne unexpected appearance of Pantagruel, vas 
determined to be surprised no more. 

** Ha, indeed," sai4 John, calmly adjusting his white choker. 

*^ Yes," proceeded Pantagruel, '^the first act of that exating 
drama lasted seven months ; then there was an interval of nine 
months before the curtain rose for the second, which lasted about 
six months ; then I gave up reckoning ; but I always knew how the 
time was getting on, for every first of January I ^as presented 
with a new Almanack, fragrant with Rimmel*s scent, lliou viH 
own my Johannes, that the piecp was long." 

*^ Longish," replied John, in the most provokingly, undemoa- 
strative tone. 

«« D thy qualifications," roared Pantagruel ; <* it was long^ 

very long." 

^^ Long and short," said John, *' are merdy relatiTe tenns. A 
republic that lasted only four yeaniroald be aeemed a thort-lind 



Digitized by 



Google 



Deceooiber 17, 1894.] 



THE MUSICAL WORLD. 



8Q3 



state ; an human beinjg; that dies at the age of four' is not cited as 
an example of longevity ; on the other himd, four years consumed 
in boiling an egg would be deemed excessiye." 

*' A thousand deyils take your relatires and your positireB, and 
plunge ihem into the abyss of Tartarus," bellowed Paniagrud ; '* I 
contend that a play which can^t be acted in less than four years is 
a long play." 

'^ Nay," said a remarkably foggy looking penon, who had entered 
the room some minutes before, '* I hare seen a play, called the 
Winters* TaU^ in which as m&ny as sixteen years are supposed to 
•lapse between two of the acts." 

*^ Supposed be d-— — d," thundered Pantagmel, crimson with 
rage. 

'^ Don't you see, sir," explained John, not at all proud of hii 
unexpected ally, ** His Majesty is talking not of years that are 
supposed to elapse, but of years that actuaSy do pass." 

*' Ah," said the foggy person, ** and there is another play called 
Janet JVuie,— aye, in the first act, they left a baby at the Magdalen 
Hospital, fnd in the course of the pece it had grown up to be a 
young woman.'* 

•* What the deyil has that to do with it ? "—shouted PantagrueL 

** Don't you see, sir," said John, in his blandest manner, to the 
foggy person, *^Uie confusion that has arisen in your mind is 
utt^r unworth^r of a rational being." 

*' llien," perusted the foggy person, '* there was a baby in the 
Duke^s Motto y and another in the Bohemian Girl" 

Pantagruel was speechless with passion ; but John, with undimin- 
ished courtesy* went on — ** Sir, tne man who cannot distinguish 
between a real year and a supposed year should rather associate 
with y^getables than with human creatures." 

** Another peoe," proceeded the foggy person ; 

But Pantagruel could stand no more. Taking from his pocket 
his large platina snuff-box, he quickly opened the lid ; then seizing 
the foflny person by the nape m the neck, he thrust him into the 
box, wmch, after smarmy closing the lid, he returned to his pocket. 

** Optiml /actum r cried John, rubbing his hands. 

*^ les," said Pantagruel, **that was a closing argument — a 
closing argument." But John, not admiring the pun, i^ected not 
to hear the remark. 

In the meanwhile Pantagruel had been served, and had now 
commenced eating his meal, taking his sausages one by one, at 
ainffle mouthfuls, when Epistemon stalked into the joom, and 
broke out in this fashion — 

Ah Chlorii, that I now could sit 

Ab nnconcem'd la wlen 
Tour infant beanty could beget 

No pleasure nor no pain. 
When I the dawn used to admire, 

And praised the coming day, 
I little thought the growmg in 

Must take my life away. 

*' Not so bad," observed Pantagruel, approvingly. Epistemon 
went on : — 

Tour charms in harmless childhood lay, 

Like metals in the mine^ 
Age from no face took more away 

Than youth conoeard in thine. 

'' Better still," said Pantagruel ; ^^ but I don't want to hear any 



** I utter those lines," said Epistemon, *' which you parceive are 
impromptu," 

'' Can't say I do," said John. 

** I utter those lines," continued Epistemon, ^^ because yesterday 
evening I was at an abode of debght called the New Royalty 
Theatre, and have become enamourod of the lady who played 
Snowdrop in Mr. Bumand's extravaganza of that name. There is 
a flash and at the same time a persuasiveness in her glance that is 
wery remarkable ; and when she danced among the assassins who 
threatened to take her life, there was a certain movement of her 
foot that suggested to me she had something of a divine nature." 

^*NGt was thy reasoning unsotmd," said Pantagruel, ^' for it is 
Mbid of Venus, '' vera incessu patuit dea" 

** True," replied Epistemon, ^* and this very lady is the Venus 
in another extravaganza called Ixion. Deeply smitten with her 
beauty I gave vent to the just-xeeitel verses, wherein I call her 



Chbris because her name is Nelly Burton, and pretend to have 
known her from a baby, because I first saw her a few weeks ago." 

At this juncture bounce into the room came Panurge, having 
taken a harlequin's leap through the glass door, and alighted on 
the shoulders of Epistemon, where he sat, like the Old Man of the 
Sea, on the head of Sinbad. 

*^ Lying old humbug," cried Panurge, **the yenesare by] Sir 
Charles Sedley." 

SACRED HARMONIC SOCIEfr. 

Judoi Ifaeeabaut has promptly succeeded to St. Paul, with another 
performanoe conferring high credit on this splendidly organized and 
commendably self-denving institution. The disappointment occa- 
sioned by the continued indisposition of Mr. Sims Reeves, who in the 
great parts of Handel's Biblical lyric dramas (as well as in his sacred 
oratorios — the MetnaJi and Itraet), more particularly Sainton and Judat, 
stands idone, was severe ; but as it was duly posted up that he could 
not appear, no one had a right to complain, and no complaint was 
heard. Fortunate that so able a substitute for Mr. Reeves should be 
at hand as Mr. Wilbye Cooper, whose compRretive want of physical 
power, when tested by such a trying ordeal as the martial outburst, 
" Sound an alarm," is made up for in a large measure by a thorough 
artistic training and uniformly true conception of the Handelian text — 
as was advantageously shown in ** How vain is man," an air which, 
tbouffh of an opposite character, is, while less physically exacting, no 
less difficult to execute ilnently than its compamon to declaim with 
befitting energy and spirit. Madame Lemmens-Sherrington, upon' 
whom devolved the most important share of the soprano part, is 
becoming more and more proficient in oratorio; especially in the 
oratorio of Handel and Haydn. Her execution of *'From mighty 
kings " (to cite a single instance) could hardly be surpassed in com- 
bined finish and brilliancy. " Pious orgies,'' the first air of the Israel- 
itish woman, is precisely suited to the gentle, unobtrusive style of 
singing for which Miss Banks, second soprano on the present occasion, 
is admired ; and probably no living artist could so entirely enter into 
the spirit of the contralto music, or give the air, ** Father of Heaven,'* 
with such trae devotional feeling and exquisite refinement as Madame 
Sainton-Dolby, whose jippearance in the orchestra before the com- 
mencement of the second part was greeted with hearty and prolonged 
applause. The second tenor was Mr. Montem Smith, invariably care- 
ful and correct; the bass, Mr. Weiss, who, well versed in all the 
oratorios of Handel, has &irly earned the reputation he enjoys as a 
master of the sacred style. On the whole, indeed, the solo singing left 
very little to be wished. 

Jl general wo(^ of praise for the admirable exectition of the choruses 
must suffice. Some of these — instance, " Hear us, O Lord," at the end 
of Part I. (which must, one would imagine, have been in Mendels- 
sohn's thoughts when composing ** How great are the depths," in St, 
Paul), ** Fallen is the foe," at the beginning, and ** We never will bow 
down," at the end of Part II., are among tne most solemn and magni- 
ficent, some— instance "For Sion lamentation make" and "Ah 
wretched Israel " — among the most pathetic, and some— for example, 
" Tune your harp,*' and the fiimiliar " See the conquering hero conies" 
— among the most jubilant ever produced by Handel, in his moments 
of highest inspiration ; and were there no solo airs, duets, dec , Judat 
Maceabaut, on the strength of its choruses alone, would be imperish- 
able. "See the conquering hero" (by the way, not originally in 
Judaa, but in Joshua') was, as usual, encored and repeated. 

The band was irreproachable, and every one was glad to see M. 
Sainton this time take his place at the head of the first fiddlea Mr. 
Costa conducted with even more than his accustomed vigor; and once 
more the splendours of the ** Jewish oratorio," as it used to be called — 
although, like Glnck's opera, La Oaduta dSs* Otganti, brought out the 
same year, it was written to commemorate the fitmous battle of Cul- 
loden — impressed themselves irresistibly and indelibly on the ear and 
mind of one of those vast assemblies for whose accommodation, alas I 
Exeter Hall — that discredit to the biggest, wealthiest, most populous 
and by no means least musical capital city in the world — ^is tlie only 
available building. 

The first " Christmas performance" of the Messiah was to take place 
yesterday evening. 

0— 

BBioHTONt — The Choral Union Society, on Monday evening, gave a 
very excellent concert. Mr. Edward de Paris was pianist, and judging 
from the warm reception that greeted him he must be a great fiivorite 
with the " Brightelmstonians. Mr. de Paris perfuru^d some Lieder 
ohm WorU, and was honored at the conclu4on with long and loud 
applause. A fantasia (on Scotch airs) exhibited the talent of Mr. de 
Paris as a composer in a no less favorable light. The choir acquitted 
themselves satisfactorily in all the pieces entrusted to them. Mr. W. 
Devin was the aocompanyist. 



Digitized by 



Google 



-804 



THE MUSICAL WORLD. 



[December 17, 1864. 



ROYAL ENGLISH OPERA. 

Another En^sh Terdon of an Italian opera has been added to the 
repertory. IlTrovatare was never played so efiectively by a company 
of English singers; and The Oipty't Vengeance has been honored by a 
reception even more flattering than thai awarded to the Sonnambulitt. 
Both Mdlle. Martorelle, the new soprano, and Mr. Charles Adams, the 
new tenor, are better fitted in Verdi's opera than in Bellini's. Among 
other good analitiei with which Mr. Adams (Blanrico) appears to be 
giiUd are self-denial and willinffness to profit hy experience. The 
ready exercise of these enabled him to avoid certain shoals and quick- 
sands that imperilled the success of his first performance, and thus to 
rendcT hu second in most instances irreproachable. With sach 
genuine feeling, indeed, does he sing the expressive address to Leonora 
Cin Italian ** Ah si ben mio '*), and with such spirited declamation its 
fiery pendent (" Di quella pira "), that there is no necessity whatever 
for him to aim at extraordinaiy physical displays, the inadequate 
accomplishment of which ill compensates for the sacrifice of purity 
and taste. What comes naturally enouch firom Signor Tamberlik, 
and with less artistic calculation from flerr Wachtel, is quite out of 
the sphere of Mr. Adams. Let him rather take for model Signor 
Mario, who, wisely eschewing all such vain attempts, sings '* Ah si 
ben mio." not merely as the composer conceived it, but in other 
respects as perfectly as could be imagined. In the last scene— the 
death scene of the self-poisoned Leonora, which contains some of the 
most touching and beautiful music Signor Verdi has written— the 
acting of Mr. Adams is as manly and impassioned as his singing is 

food. Here the English Manrico finds a worthy partner m the 
English Leonora. By her impersonation of this new character, from 
fiwt to last, Mdlle. Martorelle has more than conSrmed the favorable 
impression created by her Amina. Leonora exhibits the possession of 
a talent which in her Amina was only half revealed. Her acting is 
graceful and attractive, always marked by intelligence, and in the 
more trying situations— such as the scene where Leonora hears the 
voice of her lover from his prison in the tower, the subsequent inter- 
view with the Count di Luna, and the scene of the death already 
mentioned— reaches a hich standard of dramatic expreshion. The 
music, too, as we have hinted, suits her better than that of Amina, 
and thus her performance is from either point of view satiufactory. In 
the •• Miserere/' the little change she makes in the received version to 
which Mdlle. Titiens and others have accustomed us, and which may 
or may not be the strict original, in no way deteriorates the effect, 
and the whole is so well delivered by herself and Mr. Adams, that the 
encore it elicits may be pronounced no less genuine than unanimous. 
In nhort Mdlle. Mariorelle's new essay is a legitimate success. Madame 
Fanny Huddart (to whom the part was previously familiar) is a careful 
and thoroughly eftlctive Azucena ; Mr. Alberto Lawrence-rwhose 
romance (" 11 balen," dec.) as a matter of course has to be repeated, 
although It might be nung with more refinement— a Count of vigorous 
denionstrativeness. Even the subordinate characters of Ferrando and 
Ruyz are tfficiently represented by Messrs. Aynsley Cooke and Charles 
L\all; and. what wiih Mr. Gye's decorations, the mise «i sr^n< of Mr. 
Augustus Harris, the dancing of Mdlles. Duchateau and Bonfanti in 
tlie dherlistement (the music to which must not be attributed to Verdi), 
and the general excellence of the chorus and orchestral accompani- 
ments, unUer the able direction of Mr. Alfred MeUon, the performance 
of Jl Trovatore at the Royal English Opera is well worth witnessing. 
Tlie overture too, which precedes the opera— Weber's quaint and 
characteristic prelude to the gipsy drama of Prrcibw- is in itself an 
attraction to amateurs. 

Mr. Benedict's graceful operetta. The Biide of Song, continues to act 
as a charming *• lever de rideau " on the evenings devoted to Mr. Hatton's 
new oi>t:ra— whicli last by the way has had to submit to some curtail- 
iiient*j, hardly attributable to the composer himself, seeing that they 
include some of the n.ost carefully written parts of the mu^c, and 
among the re«t Hose's air " O blessed sleep." As the audience, how- 
ever, seem as pleased as ever with "Gentle flower" (Madame 
LemmenH-SJierriugton); Jacques's contemplative soliloquv, "The 
years roll on " (Mr. Weibi*); and Stephen's "adieu" to home and to 
love. "Farewell, farewell, my mountain home" (Mr. PerrenV— each 
of which they iiihist u|)on hearing twice, besides applauding other 
things — Mr. Hat ton may fe.el contsoled. 

Jl Trovatore, followed by the third act of Maeanullo, has been given 
three limeH during the present week; The Bride of Song, wiih /?©*«, 
or Love't Rarntom once; and ITelvellyn once — from which it may 
be gathered that fordgn adaptations are found more attractive 
than native^riginals. Nevertheless operettas by Messrs. Frederick 
Clay (who, though an amateur has shown himself a pretty good 
njusician) snd Frank Mori, with operas by Messrs. Henrv Leslie 
and George Osborne, are accepted. M. Gounod's comic w-ork, Le 
if«?(/ettn Malgri Lui, adapted for the English stage bv Mr. c'. L 
Kenney, which was to have been produced before Christmas, is 



wisely, we think, postponed till after ** boxing night," and this fordgn 
adaptation is to be immediately followed by another (by the same 
adaptor^— M. Fdliden David's Lalla Rookk, so fisvorably regarded at 
the Pans Opera Comiqne. Should these prove successful, it is to be 
feared the promised English works will at the end be driven into a 
comer. Meanwhile the directors of the ** English Opera Company 
(Limited) " may justly be complimented on their enterprise and ifsiit. 

KOYAL SOCIETY OF FEMALE MUSICIANS. 

The customary annual concert of the above institutioo did noi take 
place during the season for reasons which have not traDsptred. 
Although waiting until the very close of the y<*ar, it is gratifying to 
find that the friends of the society, or the committee of nianagenient. 
have exerted themselves to good purpose, and that the cause of 
benevolence has not suffered. The concert given on Tuesday night at 
the Hanover Square llooms, under the direction of Professor Sterodale 
Bennett, was a thorough success. The room was3 crowds, and the 
performance of almost unvarying excellence. Although wanting in 
the essential element of a grand concert, an orchestra, the programme 
included some instrumental chamber pieces of the highest importanee, 
foremost of which was Beethoven's Trio in E fiat ((^. 70), for piano- 
forte. Wolin and violoncello, admirably played by Mr. Otto Qoidflchmldt, 
Herr Ludwig Straus, and ^. Daubert. The performance was received 
with prolonged cheers. Herr ^Ludwig Straus is a vicdinist of the first 
order, and the solo introduced by him in the course of the evening, 
Ernst's ** Papageno," showed him no less expert a manipulator in the 
brilliant school than a profound exponent of the classic. We are 
glad to find that Herr Straus is .engaged at the first Monday Popular 
Concerts, which recommence on the 16th of January. Another instru- 
mental performance entitled to mention was Robert SchumanD*8 ^ Thau 
and Variaiione " for two pianofortes, executed by Mr. Otto Goldschmidt 
and Mr. W. O. Cusins. The last-named gentleman, too, deserves 
notice for his performance of Thalberg's Mote in EgiUo^ which was 
loudly appbuded. Mr. John Thomas (Pencerdd Owalia), the eminent 
harpist, played Parish Alvars' •*Imitazione del Mandolino'* with excd- 
lent effect. 

The vocal music seemed in a special degree to afford pleasnre. 
Mdlle. Liebhart obtained an enthusiastic encore in Bevigtiani** new 
Guards' Waltz, "Perche non vieni ancora," which she sang with 
great brilliancy, and substituted Arditi's •' Bacio," which was equally 
well received. Another success for Mdlle. Liebhart was Abt'» song, 
•• The Cuckoo," written expressly for her, and also encored, bat in 
this case the compliment was merely acknowledged. lo a very 
opposite 4tyle of smging. Mdlle. Enequist, the Swedi^ vocalist, was 
to be commended for her delivery of •* Bel raggio " from Semmtwd^, 
a performance which went far to prove that the Udy would distingmsfa 
herself on the stage. Madame Sainton-Dolby introduced a new song 
by Herr Meyer Lutz, called *'The CarrierDove," a clever composi- 
tion, sung to perfection and loudly applauded, and encored though noi 
repeated. Encores were also awarded to Mr. Winn in Arditi's 
" Siirrup Cup,* and to the Orpheus Glee Union in Becker's part song. 
**The Little Church" — exquisitely sung. The other singers were 
Miss Eliza Hughes and Mr. Allan Irving. 

Cheltenham. — Mias Rose Brinsmead, from London, has been giving 
some performances of pianoforte music daily at Messrs. Hall and Co-'s 
New Booms on the Promenade, before numerous and^ fashionable audi- 
ences. The fair pianist has also been playing duets for piano and 
harmonium with M. iMathias von Hoist. The Philharmonic Society's 
concert last week was well attended. M. von Hoist conducted, aM 
the whole performance went olf with del at, Mr. Kennedy, accom- 
panied by Mr. Land, announces for a morning and evening perform- 
ance of his *« Scottish Entertainment " at Messrs. Hall and Co.'s Kew 
Booms. 

Bradford— (/Vom a Corr€9potident).-'MT. O. B. Allen's Jletrcegt 
Home seems to produce as genuine an effect on an audience in a manu- 
facturing town as on a bucolic population, to whose sympathies it 
would be supposed to appeal more directly. After perfomiances in 
various parts of England and Scotland, invariably attended with good 
results, it has found its way to the Bradford Festival Choir. At their 
second concert this season, held in St. George's Hall, UarveMl U< i 



encored and repeated. Ttie part-song, '^The Autumn Sun," was 
elfectively sung by the choirs and, in rtiort, the whole work was giri n 
with care and thoroughly appreciated by a very large audience. Visa 
Virginia Gabriel's Vreamland has alfo been lately given at Bra d& id 
by the Musical Union, to whom credit is due for banging forward i ew 
works of merit. 



Digitized by 



Google 



December 17, 1864.] 



THE MUSICAL WORLD. 



605 



A CONCERT AT FLORENCE, 

(^From a Correspondent), 

Flobxsos, Dec, 7. 
A grand vocal and inatramental concert was given at the Fftlazzo 
Binuccini, on Thurtdav last, in aid of the poor who suffered by the 
recent inundations, and was attended by a crowded and brilliant com- 
pany of the Florentine aristocracy and the principal foreign residents 
m the city. The Marchesa Maria Piccolomini, whose name and 
charming telent the opera-goin^ public of England have certainly not 
forgotten, and Madame Albertmi Baucarde, an English lady, whose 
singinff is also remembered by the andiences of Her Majesty's Theatre, 
and who has now become Italian by marriage, generously contributed 
their valuable services to the cause of charity, and were greatly 
api^uded and admired. But you will be glad to hear that the highest 
vocal honours of the evening were attained by a young fellow-countryman 
of ours, who some two years since resigned an appointment in the Civil 
Service to seek his fortune on the lyric btage. The profession of the 
stase, and of the lyric stage mere particularly, is one of many blanks, 
and of a few prizes ** beyond the dreams of avarice." It may be said 
of that road to fame and fortune that it is a steep and sudden ascent; 
a road through brakes and thorns and wildernesses of neglect and 
obscurity to an eminence crowned with flowers and radiant with 
celebrity and success. But a durable success in this career, as in all 
others, is not to be achieved without a sustained effort of resistance to 
temptations, of painstaking ambition, labour, and self-denial, of which 
the world before the curtain, who only see the success, know nothing. 
It is hit or miss ; and for a young English gentleman of good education 
and position in society to miss the highest place, is to fall to the lowest. 
Mr. Tom Hohler has been handsomely endowed by Nature ; he has 
good looks, a tall and manly figure, a frank and easy bearing, and last 
not least, a pure tenor voice, of a rich and rare quality, that reminds 
you of Mano in his prime, and sometimes even of Rubini ; a voice at 
once virile and tender, sweet, resonant, full. It is not a " robust " 
voice, I am happy to say — (robust voices are as common here as 
costermongers in Tottenham-court-road) — ^though strong enough, 
under good training to fill the largest theatre ; but a graceful, flexible, 
•uave, M/Hmtaneoua voice — a voice for which a Mozart or a Rossini might 
have written before the present *• robust " generation of tenors bawl^ 
themselves to pieces in revolutionary shouts and squalls. Mr. Uohler 
has, it seems, been studying uninterruptedly for several montlu under 
the venerable Ilomani, and his method of delivering the voice from 
the chest, of taking breath, of graduating the transition from the lower 
to the higher part of the register, his exquisite tmorzandOf betray 
sufficiently the discipline of tliat celebrated master. His singing of 
Donizetti's lovely air, " In terra ci divisero," fairly surprised an audience 
by no means uncritical or facile; it was rapturously redemanded, and 
the singer was twice called for and enthusiastically applauded. 

In the duet "Sulla Tomba" from Lucia Hn the first part of the 
concert), which he sang with an American lady, he had already come 
and conquered ; but in the solo in the second part his triumph was 
complete ; and the young English tenor was all the ** rage." 

Now, will Mr. Hohler be satisfied with his early Liurels ? Let us 
Iiope not ; he has all the world before him ; youth, energy, intelligence ; 
let us hope that he will accept these first honours as an incentive to 
modest #and sincere perseverance in the study of his art, and to the 
patient cultivation and improvement of his rare natural advantages. 
In tlie present lamentable dearth, not so much of good voices as of 
highly cultivated and intelligent singers, I have thought it worth 
while (from no mere impulse of national vanity or any purpose of 
vulgar poffery) to record the appearance of a new Engliiih tenor who 
is autually ttudying his art, ana who not only has a fine voice but 
knows bow to use it. What qualifications or dispositions Mr. Hohler 
possesses as a dranutic artist I have not heard; he has, it seems, 
performed in private operatic theatricals in London ; but '* that's not 
much.*' Six feet and upwards are perhaps something too much for a 
tenor who was to make love to pnma donnas (soprani are almost 
always short, as contralti are almost always fat) of four feet four or five; 
but this diiBctilty is not insuperable ; and such a voice, with such a 
style and (I may add) such a start^ should be worth a California to 
oiir young fellow-countryman. Mr. liohler, I hear, is to make his 
debiU at Venice this Christmas. Maete novd virtule ! 

Hamburgh. — lAsA. Clara Schumann has been playing here. 
Professor Andersom^s performance on Saturday morning at St. 
James's Hall was attendrd by upwards of 600 children from the 
various Metropolitan Charity Schools. St. George's, Hanover Square, 
•ent 200; The Hanover Branch. 250 ; St. Peter's National (Belgravia), 
162 ; and Parmities Charity, Bethnel Green, 2(>— together 63d. Ail 
the children were evidently delighted with the Professor and his 
clever daughter. 



MILAN. 

{From our own CorreiponderO.) 

1 told you in my last that La Traviata had taken the place of /sa- 
bdla d'Arragona, and it still keeps its place in the bills of the Regio 
Theatre * * Canobbiana." But, as usual, the theatre haa bad to be dosed 
many nights on account of the indisposition of the principal artists. 
As I told you, on the second night of its performance it was given 
minus the baritone music, owing to the indisposition of Su^or ColognL 
For two or three nights a baritone was found to supply his place, but 
as soon as he recovered and sane; one night, the Violetta, Mdlle. Elvira 
Demi, was taken ill, and the theatre remained closed several nights. 
In the meantime Donizetti's Maria di Rohan has been brought forward, 
but has not been successful. In fact, on the first night it was quite a fiasco^ 
on the second only a little better ; so it was withdrawn in fiivor of La 
Traviata, The latter opera seems to receive a large amount of patron- 
age from the Mihinese public, as the theatre is crowded to overflowing 
on the nights of its representation. Mdlle. Demi as Violetta appears 
to great advantage. Her Interpretation of the music is charming, and 
her acting that of a true artist It is by far the most succeseful char- 
acter she has esaayed in Milan. Mdlle. Deini is a great favorite here, 
and made her reputation principally by her performance in this open* 
which she sang first at the Carcano last winter. The Alfredo is Sig- 
nor Vicentelli, a ^instaking tenor, and a really good artist. Another 
point in his favor is that he is never indisposed, therefore is invaluable 
to managers. He was engaged vice Antonio resigned, and will appear 
in Gentiu's opera, Werther, 

Among other operas for the carnival at La Scala, VEbrea {La Juive') 
by Hal^vy is announced, as is also M. Gounod's Fauei, Two new 
operas are mentioned. 

The •* Carcano," after undergoing redecorations (which, by the way, 
it was very sadly in need of), will open about the middle of November 
with Uh BaUoin Maeehera^xu which Mdlle. Siebs will play the page Oscar^ 
Signora Ponti dell' Armi, Amalia, Signor Ponti dell' Amii, Kic- 
cardo, and Signor Baraldi, Renato. I had almost forsotten Madame 
Lemaire (an old London acquaintance), who will be the Ulrica. 
Meyerbeer's Roberto il Diavolo wiU also be revived ; and a new opera, 
written expressly for this theatre, will be given in the coune of the 
season* 

At the " Teatro Re " Signor Rossi still attracts large audiences to 
witness his very striking p^ormanccs of Hamlet and Othello, and Uso 
his performance in a new and successful piece, written expressly for 
him, entitled Un Vizio di JBdu^azione. His season finishes to-morrow, 
and the theatre will be occupied by a Roman Dramatic Company under 
the direction of the actor, Signor Belotti. The Teatro Radigonda if 
occupied by a wizard and the ** ghost ;" and the Theatres Fossati, 
Stadera, and Nuovo Re are in full swing. Also tlie Teatro Gerolamo, 
where you have a most amusing marionette performance. Weather 
very usettled, and for the last twelve days incessant rain. Aaoua. 

Borffa di Porta Vinezia, Milan^ Oct, 81. 

[Although dated anterior to the letter which appeared in oar 
last, this oommunication from our Milan cotreepondent wUl be 
found of sufficient interest to justify its insertion, — ^Ed. M. YK] 



Chelsea. — Mrs. John Macfarren's second evening at the pianoforte 
in the Vestry Hall, King's Road, came off brilliantly on the 18th «lt. 
and her interpretation of certain masterpieces of the great pianoforta 
writers was listened to with marked appreciation by an audirnoa 
crowded to excess. The vocal pieces with which these were diversified 
wore entrusted to Bliss Blarian Walsh, who was encored in *'Tha 
beating of my own heart," and in Mrs. John Mac&rren's ballad, '< One 
Year." The &ir pianist was greeted with unlimited applauaa 
throughout the evening, and called upon to repeat Brissae's •' Rose, 
Thistle, and Shamrock" and " The babbling brook," but aooeptedtha 
com(diment in the former instance only. 

Eton. — On Tuesday evening memben of Eton College Husicat 
Society (with sanction of head master) gave concert at Mathematical 
School, placed at disposal by Rev. S. Hawtrey. Conductor, Mr. 
J. Foster. Room crowded with large audience, among whom many 
college masters and scholars. Programme, comprising choice 
selections sacred and secular, commenced with chorale ** Sleepers 
awake " (St, Paun^Mendelssohu. This was followed by solo «• Let 
people praise thee,' by Hon. S. G. Lyttelton, and chorus. Mr. Gambier 
sang solo " Jerusalem thou that killest," dbc, Mendelssohn, and duet 
*' Lord is man of war," Handel, was executed by Mr. Parry, and Hon. 
S. G. Lyttelton. Some of secular music was good, part song 
"Orpheus with lute" (Mac&rren), solo (pianoforte) from SonmtunbuU 
(Leybach), by Mr. Gosselin, song " Che faro ' (Olttck), by Hon. E. 
H. Primrose, marking attention and care which had bestowed 
preparation. Concert clos^ with National Anthem. — T. Duff Sbobt. 



Digitized by 



Google 



806 



THE MUSICAL WORLD. 



[December IT, 1861. 



MONDAY POPULAR CONCERTS. 



THE SEVENTH SEASON 
will CommeDM 

XONDAT ISTENTNO, Jantuury le, 1865» 
At ST. JAMES'S TTATilLi, 
Aiid the Oonoerto will be Continued evnj Ifonday until Xutev. 



OTsr 



CHAPPELL * Co., »0, NEW BOND STREET. 



T •HISTOIRE de PALMERIN d'OLIVE filz du Rot 

I i FLOEKVDOfl de MiOKDoRs et d0 Li BcLLK Gnivi, fllle de Remlofnt, Emperear 
de Contuntlnople, hy IAN MAUGIN, dlt le PETIT ANQEUIN. A perfect eopy 
of Ihle eztreinely rare Romftnee to be sold for Six Guivsis, (no diminution ofprloe). 
Enquire of DtJiroAi Datuok A Co., 241, Regent Street. 



NOTICES. 
To Advertisers,— -STAe Office of TheIIusical World is at 
Messrs. Duncan Davison k Go's., 244 Regent Street^ comer 
of Little ArffyU Street (First Floor), Advertinments received 
as late as eleven o^ Clock A.M., on Fridays — hxU not later. Pay- 
ment on delivery. 

To Publishers and Composbrs— J/iwtc for Review must he for- 
warded to the Editor^ care o/Me88R8. Duncan Davison k Co., 
244 Regent Street. 

To Concert Givers.— iVb Benefit-Concert^ or Musical Perform- 
ance^ except of general interest^ unless previously Advertised^ can 
he reported in Tati Musical World. 



Cfe« 



re SBttskal Math. 

LONDON: SATURDAY, DECEMBER 17, 1864. 

To the Editor of the Musical World. 

SIR, — ^The knowledge having been acquired, in ffti early period 
of the history of musical discorery, that intervals were capable 
of addition and subtraction, the mathematicians of the period under- 
took to search for some particular interval, as acommon measure^* in 
terms of, or in the multiples, or the aliquote parts of whose dimen- 
sions they might accurately express the magnitudes of all the other 
intervals ; and Aristoxenus (who was a contemporary with Alex- 
ander the Great) flattered himself in thinking that the yV^d part of 
the octave might be thus used ;— but it happened about half a century 
aftorwards, when the natmre of musical ratios, and the properties 
of numbers had been further inquired into, to be demonstrated by 
Euclid, that in mathematical strictness, neither the octave (having 
the ratio ^), the major fifth (}}, the minor fourth (}), or the 
difference of these last (}, called the major tone), could be applied 
as such common measure ; for that no two of l^ese ratios, respec- 
tively, could possibly have any exact common measure between 
them ; they being ratios, prime to each other, or incommensurata 
This circumstance seems, through a very long period to have 
deterred mathen^ticians fxom the attempt at discovering some other 
aliquote part of the octave than y^^d, which might approach 
much nearer the truth than Aristoxenus had come to, and near 
enough to it in all the useful cases, for answering the ends of 
practically measuring or defining the different intervals of the scale. 
After the invention of logarithms, toward the latter end of the 
17th century, Nicholas Mercatorf happily discovered (as Dr 

♦ See the ■rticle, Common Measure of Mnsical IntenralH, in Dr. Brewste/s 
'* Edinburgh Encj-clopedia,** which article is understood to hare beeu written 
by Mr. John Farey, nen., whose son is better known than his father, as an 
artist and writer on mechanical subjects in this axd dthcr Cjdopedias now 
publishhig. 

t Not the mathematician who effected so great an improvement in nautical 
charts (whose name was Qerard Mercatcr). but one who lived more than 
a century later, although Mr. Farey, in Dr. Brewster's Cyclopedia, has fallen 
|nto the mistake of confounding these two persons. 



William Holder tells us in his Treatise on Hdrmony^-ptuM in 
1731-^page 79) that the ^rd part of the octave, which he denomi- 
nated an artificial com/na^ might be considaed as a common 
measure of aU the intervals larger than a oonmia; bat this was not 
proving to a sufficient degree of exactness for the practical repre- 
senting and calculating of temperaments ; it was perhaps for this 
reason, as well as for ooimeoting the common logarithms the mon 
evidently with the intervals of the scale, that M. Sauveor, m the 
Memoirs of the Paris Academy for 1701, proposed to divide the 
octave into 301 equal parts, which he called Eptamerides^ but the 
aliquote parts and multiples of which, for want of their poneBBuig 
even so much of agreement and consistency as the smaller nomben 
of Mercator when applied extensively in the additioiMuid subtrac- 
tion of the larger intervals, has occasioned these Eptameridei not 
to come into use. 

Thus the subject stood until 1807, when Mr. John Farey, sen., 
re-discovered the numbers of Mercator (who never publii^ied Im 
mode of deriving them) and showed how they are naturally pro- 
duced. He discovered also, by the same pioceas, a far more 
accurate set of numbers, or artificial commas as he denominated 
them, the mode of discovering which he set forth at the time in 
the Philosophical Magazine, and since then he has enlaiged 
concerning them in the articles Common Measure, Farey^s Nota- 
tion of Musical Intervals, and others in the Edinburgh EncycUh 
pedia, shewing therein that these artificial oommaa are quite of 
sufiicient accuracy for the purposes of defining and calculating 
temperaments of the scale, and for expressing tempered syateais in 
every case which can occur in practice. The octave here is ap- 
posed to be divided into 612 equal parts ; one of these is taken to 
be the common measure of all the other intervals, and is maiked 
with the Greek sigma, or capital S. I am, Sir, Otto Beabd. 



SHALL I, asks a correspondent writing from Rotterdam to the 
Neue Berliner Musik-Zeitung, give you an account of the state 
of musical matters in Holland ? Shall I inform you whether the rqm- 
tation that country enjoys of being the fosterer and admirer of Ger- 
man classical music isfounded upon fact? Whetherits cultivation of 
music is true and genuine and has permeated the masses? And 
what means there are of introducing to the public the works of 
our great masters? My present letter vriU be an attempt to gin 
you, in nuce, answers to these questions, for I have been making a 
tour round the whole of this water-laved kingdom and thus gained 
an insight into its musical institutions, public and private. It is 
an undoubted fact that the cultivation of good, and oMueqaeDtly 
Grerman, music is in the ascendant. With the sole exception of 
the Hague, which, by the way, has nothing of the national type 
about it, but is marked by the usual features of the residence of a 
Court, we everywhere find not only German Opera rep r e s en ted upon 
the stage, but in Concert Rooms and private saloons, also, we meet 
with programmes containing, as a rule, to our delight, the names of 
Beethoven, Mozart, Haydn, MendeLaohn, and Meyerbeer. To 
pay, however, the proper respect to truth, I must tell you that 
Wagner, too, is honored here, and that the easy-going Dutchmen 
are determined not to be behind us Germans in the philanthropic 
acceptance even of those eminent persons who declare themsehres 
as appertaining to the future, and, ergo, not to us. Amsterdam 
and Rotterdam posBCBs German operatic companies. They 
dispatch their disciples to Utrecht and Leyden, and this Dutch 
Quadrilateral is thus the chief seat of the musical Muse. I cannot 
refrain from stating that the impression produced upon me neariy 
everywhere in the two charming emporiums of oommeroe abcive 
mentioned, was that the followers of the creed, of the Okl 
Testament, a class very numerously represented here, are the 
persons who give the principal impulse to the cultivation cf i 



Digitized by V^riOOQlC 



Decemt>er tT, 1864.] 



THE MUSICAL WOELD. 



807 



and thus do a good work, partly from an inborn love of art, and 
partly from an inclination to play the role of Mecsenases. In con- 
Beqaence of the affinity of race between the German and the 
Netherlander, and of the permanent German theatres, the attention 
of the people is directed to German music, and the question 
mooted abore, as to whether daasicism has penetrated the masses, 
may be answered in this wise : Good German music at present 
at^-acts and delights the lower classes as well as the upper. With 
r^iard now to the absolute performance, and the resources necessary 
thereto, the yarious bands, among whom there a great many 
Germans, are, on the whole, very good, and the concerts whidi 
take place in Amsterdam and Rotterdam can bear comparison 
with those given in any of the capitals of £urope. In the two 
cities mentioned the most celebrated artists are engaged regardless 
of expense, and, in conjunction with the local talent, seconded by 
well-selected programmes, give really admirable entertainments. I 
cannot, unfortunately, report in equally favorable terms of German 
opera. In Amsterdam especially we were surprised, or rather 
horrified, at seeing our heroes so shamefully treated. For instance, 
th0 performance of Don Juan was, from beginning to end, a perfect 
libel on that work. When we consulted the bill, to discover who 
were the persons who had taken part in this caricature, we found 
names which, had they not been printed in German letters, and 
had a kind of Grerman sound about them, we should have expected 
to meet with in China rather than on our own native soil. When 
such a wretched state of affairs is the rule, we are not to be 
satisfied by hearing an artist like Tichatscheck. His failing powers 
still afford, it is true, evidence of his being a master, but he alone 
is not capable of averting the universal shipwreck. That such a 
state of things does not exert exactly a beneficial effect upon 
mufflcal progress in Amsterdam may easily be imagined ; but, for 
the hono^ of the inhabitants, I must add that it is everywhere 
deeply regretted, and fervent hopes are sustained of something 
better in future. Affairs wear quite another aspect in Rotterdam, 
where we found a good German company under the energetic and 
excellent direction of Herr Behr, who is well^own in Germany. 
We saw Faust. The choruses and the band were admirable. 
Mephisto was sustained in a masterly fashion, both as regards the 
acting and the singing, by Herr Behr himself. We were delighted 
at the good sense displayed by him in this very difficult part ; he 
carefully presented us with the delicately ironical side in the 
demon's character, and avoided anything approaching triviality, a 
quality unfortunately rendered very prominent by so many artists. 
His fine acting was sitpported by a full and sympathetic voice. 
Madlle. Weyringer, for whose benefit the performances were 
given on the occasion of our visit, pleased us exceedingly as 
GretcheJb, for, though she does not posseas particularly eminent 
vocal powers, what voice she has she manages very judiciously, and, 
in the purely lyrico-idylUc situations, succeeded in enlisting all our 
sympathies. Siebel was sung by Herr Schneider, whom we found 
to be a sensible actor and singer. If I speak last of all of 
Faust, sung, sit renia verbo^ by Herr EUinger, I do so in order 
that I may not spoil until the very last moment the effect of an 
otherwise pleasing picture. Herr EUinger was recently in Berlin, 
80 pray excuse anything in the way of criticism on him.* We 
have heard, also, a splendid concert here, but of that I will speak 
in my next letter. o 

Herr Josefh Joachim, the celebrated violinist, was engaged at 
the third concert given recently by the Gurzenich Society at 
Cologne, and performed Spohr^s concerto. No. 6. His marvellous 
execution and majestic style were duly appreciated and his perform- 
ance altogether created great enthusiasm. * 

■ ' ■ ■ ■ ■ , ■ I -— I ,. . I ■ M l ■ — - ■ ■ I . 

* It will be found, on reference to our Berlin letter in the prraent nnmbcr, 
that Vale also aUudes to the Mine Herr EUinger.^En. Jf. W. 



ROOEES AT HAMBURGH. 

7b the Editor qf the Musical World. 

THE Opera here (at Hamburgh), Schleswig-Holstein, notwith- 
standing, has become the sole talk of the town. Go where 
you will, address "vdiom you will, Titiens and Murska, Murska 
and Titiens only, are the subjects of coa(reitetion. They have 
taken the town by storm, established themselves as Queens, and 
^e with despotic power. A stranger visiting Hamburg would 
imagine that we were a town of songsters ; that such an institu- 
tion as commerce had no existence ; that tallow, hides, com, hard, 
soft, and other wares were unknown and uncared for. During 
the last four weeks we have *^ talked opera,'^ and convinced our- 
selves that we were amateurs and even connoisseurs of music in all 
branches, from the composition to the carrying of desks and in- 
struments. We flatter ourselves we are very difficult to please. 
It may be so. I will not say we are not. However that may be, 
we acknowledge the power of music, especially when interpreted 
by such magnificent artists as Teresa Titiens and lima von Murska. 

One great advantage these artists poBsess lies in the fact that 
you may like them both. You do not admire Titiens one bit the 
less because you appreciate Murska. Their repertories and styles 
are so widely different that their joint efforts help to produce a 
brilliant partnership, instead of unseemly squabbles, as is usual 
amongst rival ** stars." They are Queens both— each in her 
dominion. Since I last wrote to you we have been treated to 
Mozart's glorious opera. Die Zauberjlote. This work, beloved by 
the Hamhurge Puhlikane^ is rarely given in consequence of the 
difficulty of finding a singer capable of realizing Mozart's idea of 
that exceptional and difficult character, Astriaffamente, *^ Queen 
of Night." 

After the triumphs accorded to Uma von Murska in the Sonnam- 
hulay Lucia^ and the Queen in the Huguenots^ a general desire was 
expressed that Die Zauberjlote should be presented ; first, as a real 
musical treat, thrown in, promiscuously as it were, amongst the 
** music of the future;*' and, secondly, as derniere epreuve of the 
extraordinary powers of Mdlle. Murska. That the performances of 
Die Zauberfldte have proved eminently successful for the manager, 
the crowded state of the theatre is sufficient proof. That they 
have firmly established Mdlle. Murska as first coloratur-sanjerin 
of Germany is unanimously admitted by the public. Every 
space in the reserved seats has been secured for the last two repre- 
sentations. 

I understand that Mdlle. von Murska will leave Hamburg for 
Vienna at the commencement of next week. 

Beethoven's Fiddio is announced for representation next week — 
Leonora by Mdlle. Titiens. I wish I were Florestan. I would 
cheerfully %ear the faded dress and endure the inevitable humilia- 
tions of lower-dungeon existence for such a Leonora as Teresa 
Titiens. To get me out, Uen entendu, she is Scbroeder Devrient re- 
suscitated, with a certain womanly tenderness and charm that 
Schroeder Devrient, with all her magnificent qualities, did not 
possess. I did not see the Leonora of Sophie Cruvelli, but I did 
see Shroeder and Malibran, and I place Titiens before either of 
them. - Groker Roores. 

Eamburgt. — Lowt'Eoff—Dsc, 10. 



SiGNOR SivORi, the eminent Italian violinist, has left Trieste 
and arrived at Venice. His first concert in the latter town 
attracted a large public, who warmly greeted him. On the second 
of December Signori Sivori gave a second concert, and announced 
a grand soiree for the following Wedneeday in the Theatre Apollo. 
The great violinist was toj^eave the day after, in order to return to 
Triei^ to assist at Pencana's benefit, and to give a farewell 
concert. 



Digitized by 



Google 



808 



THE MUSICAL WORLD. 



[December 17, 1864. 



MENDELSSOHN SCHOLABSHIPS. 

THE f oOowing roles, approved by the Coimuittee, on the 9th of 
Noyember, were Bubmittted for confinnation at the meetiDg 
on the 23rd :— 

I. Musical studentii, between the ages of 14 and 21, being natives of, 
or domiciled in, Great Britain aod Ireland, are eligible for election as 
Mendelssohn scholars. 

II. The qnalifications of the candidates Dinst be decided talent for 
musie, and the exhibition of a certain amount of proficiency either in 
the instrumental or vocal branch of the art. Precedence will be given 
to talent for composition over every other qualification. 

III. The scholars are elected (after competition) by the majority of 
the committee present, for the period of one year, subject to renewal. 
No person, however, can hold the scholarship for more than three 
years. 

IV. The education of the scholar will be carried on, either in this 
country or abroad, under the control of the committee, and the 
expenses borne by the funds of the foundation. 

V. During the first year that the saccessful candidate shall hold 
the scholarship, he shall not be required to study abroad. 

VI. Pecuniary aid, beyond the educational expenses, maybe afforded 
to the scholars, at the discretion of the committee. 

VII. At ordinary meetings of the committee, three shall form a 
quorum ; but no election or re-election shall take place unless at least 
five members are present. 

The Mendelssohn Scholarships were founded, in honor of the 
memory of Mendelssohn, for the education of musical students of 
both sexes. Mr. Cipriani Potter has succeeded Sir George Smart 
as chairman of the committee. Mr. Lindsay Sloper occupies the 
post of secretary, in lieu of the late &Ir. Charles Klingemann. 


The C C C Christy's Minstrels are announced to appear at 
the Polygrapbic Hall on *^ Boxing night.** 

Herr Jean Becker, the well-known violinist, is undertaking a 
toum'ee through Switzerland. He is ex})ected to arrive in Paris 
shortly for the purpose of giving a series of concerts. 

Exeter Hall. — The Christmas performance of the Messiah will 
be given by the National Choral Society oh Wednesday next. 
Miis Louisa Fyne, whose success in Elijah on Wednesday last 
was so complete, has been engaged by the National Choral Society 
for next Wednesday's performance of the Messiah^ and for the 
Creation^ which will shortly follow. 

Birkenhead. — (Fi-om a Correspondent). — ^The second concert 
of the Wirral Fhiihannonic Society took place at the Music-hall 
on Wednesday, the 30th, the attendance b^ing large and fashion- 
able. The artists were Madame Arabella Goddard (pianoforte), 
Mdlle. Sinico and Signor Bossi, from Her Majesty^s Theatre 
(vocalists). The most remarkable feature of the evening was 
MendelBBohn's Concerto in G minor for pianoforte with orchestra, 
executed with marvellous brilliancy and spirit by Mad. Goddard, 
the refinement and charm of wh'«e style, to mv thinking, 
place her apart from all other pianists I have heard. She was 
well supported bv the band, and the whole performance was a rare 
treat for the Birkenhead amateurs. At the end Madame Goddard 
was caJled and received with a volley of {k{>plause. Her second 
display was Thalberg^s Von Giooamii fantasia, in its way no less 
extraordinary, and creating no less lively a sensation. The audience, 
however inclined, could not well ^^ encore '* the concerto, but they 
took their revenge after the /an/aWa, when the fair young pianist 
returned to the instrument and gave Thalberg^s ^'Home, sweet 
home,'* again delighting her hearers beyond measure. The band 
played the overtures to Don Giovanni^ Egtnont and/Zc Cheval de 
Bronze^ besides the larghetto from Beethoven's Symphony in D ; 
the chorus sang the ^' Alarket chorus " from MasatueUoy and the 
madrigal **Corin for Cleora dpng,*' from Mr. Wallace's Lovers 
Triumph. Mdlle. Sinioo gave the cavatina, ^^ Ah I f ors'e lui,'* from 
Traviaia (encored), and Arditi's valse, *^ l/Ardita ;" Signor Boss! 
^' Non piu andrai " (encored), and the ^* Beer Sone " from Marta ; 
the two joining voices in ^^ La ci darem " and ^^Cunque io son." 
Mr. Samuel Percival conducted. The concert was one of the most 
successful the Wirral Philharmonic Society have hdd in the course 
of four seasons. 



PARIS. 

Ffcm our own Oorrespondent, 

The death of M. Mocquard will, be lamented not only in his 
official capacity as member of the imperial household, bat to a 
certain extent will be felt as a loss to Literature and tbe Fine 
Arts. M. Mocquard was a worshipper of the Muses. He wrote 
a romance called Jessie and supplied certain periodicals frcnn time 
to time with essays and critical discourses. He was also the 
author of several dramatic pieces in conjunction with MM. 
D'Ennery and Victor S^jour. Moreover he reckoned BoasiDi and 
Auber among his friends, was intimately acquainted with M. Emile 
Perrin, took especial interest in the affairs of the Grand Open, 
and was always ready to use his influenoe with his imperial masker 
on behalf of the theatres. For these reasons, as wdl as because he 
was greatly loved and esteemed in private life, M. Mocquard^ 
death will be universally regretted. 

The reprise of Molse at the Op<$ra has been made much more o( 
than the event warranted. In the first place it can hardly be 
called a ^^ reprise ^^ at all, seeing that MoUe was revived last 
January and was played off and on throughout the season. In 
the second place despite what the friends of the theatre affirm, the 
performance is nothmg particular and the singers are unauited in 
the music. Why Mdlle. Marie Battu — for whose especial rentree, 
it would seem, Rossini's magnificent opera has been r^rodnoed, 
Credat Judasus — ^is glorified by the whole press, I cannot make 
out. At the Royal Italian Opera, London, Aldlle. Battu boldB a 
secondary place, and, from what I can make out, she affords modi 
satisfaction. But here she is made a lionne^ and is dubbed a ^ great 
artist." She sings indeed very neatly, has a pleasing voice and 
good looks — voila tout. Her fluency serves her in the music of 
Anfii, or AniUde, and in the air of Uie last act, ^^Qudle homble 
destinde," she deserved all the applause she obtained the other 
evening. If M. Faiire could sing the florid music he would be 
admirable as Pharaon. He looks the character well, adi 
becomingly and takes infinite pains with the perfonnance. To 
those, however, who know Roraini's music, M. Fame's anging 
cannot afford complete satisfaction. M. Obin in his singing 
masters the music of Mo^ better than M. Faure that of Pharaon, 
it being less florid ; but does not make so powerful an impresaon 
on liis audience. M. Warot, as the tenor, is altogether incom- 
petent. Mdlle. de Taisy jdeased much in the character of Sinaide. 
I attended the performance of Molse a few nighta after I had 
heard Roland a Roncevaux, What a contrast ! Darkness and 
Light are not more widely separated than these two works—one 
all labor, the other all inspiration. I have nothing new to say of 
the A/ricaine, except that the rehearsals are about to be tnunsfenrf 
from the concert-room to the stage, lliis means nothing more 
than that the rehearsals will be given with full band. 

Signor Naudin has taken leave of the Italian opera. He Bang 
for the last time this season in the Traviata. Linda di Chamonn 
will be brought out shortly with Mdlle. Adclina Fatti, Madame de 
Meric-Lablache, Signors Brignoli, Delle-Sedie, Scalese and 
Antonucci. Many who take an interest in the Italiens are of 
opinion that the theatre could be managed better than it is. 
Indeed, for my own part, I think M. Bagier by no means turns 
his company to the b4t account. Mr. Lumley, or Mr. Gye, would. 
I am certain, make the performances more attractive and voold 
give greater satisfaction to all classes of the patrons of the theatre. 
M. Bagier talks of doing great things bye and bye. In the mean- 
while the subscribers and the public have to be satisfied with 
used-up pieces and indifferent artists, and the repreaentatioiu 
throw out a 'glow on the nights only when Mdlle. Adelina Patfei 
po^orms. I do not think this state of affairs can last long. 

Two new one-act operas were produced at the Thciltre-Lyiiqae 
the same night— Thursday, the 8th instant. The name of tbefint 
is Les Beqaiements d* Amour ^ words by MM. DeuKn and de Najac, 
music by M. Albert Grisar ; the second is called Le Cousin BahylaSy 
words by M. Emile Caspars, music by M. Henri Caspaia. The 
wit of the fonner consists in bringing together two persona vho 
are afflicted with stammeriug ; the last is a piece of bimooQeiyoat 
of all description. There is merit in the music of both ; but that 
of M. Grisar is far superior. The principal characters in the 
Begaiements d' Amour are sustained by Madame Faure- Lefebvre and 
M. Fromant ; and those in Le Cousin Bahylas by MM. Fromant, 
Wartel and G«rpre and Mdlle. Albrecht. In my next lahaU be 



Digitized by 



Google 



December 17, 18G4.J 



THE MUSICAL WORLD, 



809 



able to render you an account of the new Mireille about which 
every musical person has something to say in the way of speculation. 
A new opera m two acts is in rehearsal at this theatre entitled Le 
Bai CandauU, the verses by M. Michel Carr<^, the music by M. 
Eug&ne Dias de la Pena, a young man not more than twenty-five 
years of age, son of the celebrat^ painter of that name« 

The new hall destined for the series of concerts on a grand scale, 
organised by M. F^licien David, is nearly completed. It is situated 
in the rue Richer and will occupy the actual place of the 
Matjazin des Cohmnes cTHercule, The interior of the hall, in 

£>int of shape, is something similar, I am told, to that of your 
xeter Hall — no recommendation, I need scarcely say. , The con- 
certs are expected to commence about the middle of February. 
The prospectus announces a thousand seats at the charge of one 
franc, fivt^ hundred at two francs, with a row of stalls and reserved 
places at three, four and five francs, llie specialty of these 
concerts will consist in there being no regular, or "titular," 
chef-d^orchestre ; each composer will have to conduct en personne 
his own works. I hear that one of the first novelties to be 
produced is an unpublished mass by Liszt, the partition of which 
IS in the possession of Prince Ppniatowski. I also learn that 
Messrs. Benedict and Costa — your Benedict and Costa — have sent 
ooinpositions to M. F^icien David. 

Tne programme of the eighth concert of popular classical music, 
given on Sunday last, the 11th, was as follows : 

Symphony in E flat, No. 63 - Haydn ; Overture to Leonora^ No. 3 (Op. 
72)— -Beethoven ; Concerto for the violin in B minor, No. 24 — Vlotti j Sym- 
phony in A minor — Mendelssohn. 

M. Levassor, after having visited nearly every town in Europe, 
has returned to Paris, and, stuffed with his universal triumphs, 
commenced his facetious entertainments forthwith. He gave 
a '^ grande soiree houffe^^^ with costumes, yesterday, .at the Salle 
Uerz, transformed en theatre for the occasion, and was assisted by 
Mdlle. Teiaaeire. M. Levassor has brought with him from London 
a new creation called Sir Bull BuU^ a very extraordinary carricature 
of an Englishman, which seems to hit the Parisian fancies to 
a T. The entertainment otherwise is very funny. 

Paris^ Dec, 14. Montague Shoot. 



KiCE. — ^Madame Duprez-Vandenheuvel is singing in the So7i- 
nambula^ at the ItaliiMi Opera, with great success. 

SiGNOK Salvi, director of the Imperial Opera, has returned to 
- Vienna, and has engaged the baritone Herr Eghard, from Gratz, 
for the next season. 

A Hnrr to Managers. — In consequence of the immense success 
of the drama La Liberte des Theatres at the Palais-Hoyal, the 
directors, MM. Cogniard and Noriac, have increased the salary of 
the play^ in the orchestra by one third. 

Madrid. — ^The Italian troupe here are affording every possible 
satisfaction. The revival of Don PasqaaUy with Mdlle. Vitali, 
Signors Coisi, Gassier and Zucchini, has proved a triumphant suc- 
cess. Mdlle. Yitali's Norina is spoken of in rapturoas terms by 
the Madrelene joumaJs, more particularly // Pueblo^ La Demo- 
craciCy and 11 Ciiterio, 

Lisbon. — Mdlle. Volpini *and Signor Moginin, have created a 
furor in Marta, The lady seems to have enchanted all eyes as 
well as all ears, and the gentleman is proclaimed witiiout hesitation 
a tenor '* without a rivd." ** Never at the San Carlos," writes 
one of the local journals, **• has the air, ^ Ove son io, lo sen to * been 
sonff as we have heard it to-day. The public has rendered justice 
to the illustrious tenor in applauding him with enthusiasm. In 
the duo in the second act with Mdlle. Volpini, the great artist 
obtained unanimous and prolonged bravos.** 

Barcelona. — Norma has been produced at the Teatro Lyceo 
with Madame La|^ Rossi, Signors Morini and Bouche. The 
prima donna was somewhat indisposed, but nevertheless created a 
powerful sensation as the Druid priestess. Signor Morini is a 
' great favourite at Barcelona, and has a fine voice and a greats deal 
of talent. The other members of the company are Madame Pozzi- 
Braganti, Signers Bignardi (tenor), Colounese, and Mr. Santley. 
A new opera, by Signor Bottesini, the celebrated double-bass 
player and director of the orchestra at the Lyceo, is announced 
vaaasx the name of Marion Delorme. 



Mr. Ap^Mutton has once more retraced his steps. The Pope 
is well and obstinate. Mr. Ap^M. has declined a pressing invita- 
tion to Complegne, chiefly because his Imperial inviters are im- 
mediately returning to Paris, and, lastly, because of his (Ap'M.'s) 
urgent duties as Public Instructor Chastener and Purifier at 
home. 

Mr. Ap^M. salutes his readers, and seeing he has nobodv to 
thank, thanks nobody — not even Drs. Shoe and Wind for taking 
French leave, in lus (Ap'M.'s) absence, whereby Muttonianu 
was ejected from two, if not three (Mr. Ap'M. thinks two), 
issues. 

From one of the inmost rabbit-holes of his secretary Mr. Ap^j^I. 
has pulled out the underneath : — 



BoTAL English Opera. 



Sib, 

/ am instructed by the Dxreotobs of tub English Opera 
.CoMPAKY (LiurrED), to inform you that they have had the yratifica- 
tion of placing your name on the free list for self and friends, 

lam, Sir, youre obediently, 

J. BUSSELL. 
Royal English Open, Deo. 1, 1861. 



Mr. Ap^Mutton would have preferred self and enemy, having 
more friends than the theatre could acooounodate on ten evenings, 
and only one enemy — himself Teasy to accommodate because spare- 
legged). Moreover, he (Ap*M.) invariably takes a box for the 
season, wherever music is going on, reserving the box for self and 
enemy when a good opera (say Helvelhjn) is announced, bestowing 
it on some of his friends when an indifferent (say Rose) ; uni- 
formly, as matter of punctilio, attending first performances, and 
lending at least one night's ear to every new work — a simple ear- 
ing being enough for him (Ap'M.) to reach a conclusion. 

The envelope, by the way, had evidently been blown open by 
Dr. Wind ; but as it was not superscribed, ** private," he (Wind) 
may have blown it open in the suppositional exercitation of his 
duties, as editor pro tern, of Muttoniana, 

To Da. Taylor Shoe. 

Sir, — Can you instruct me as to the precise day on which HandeFd 
Judas Maecabaeus was produced. You would also oblige by adding tlm 
precise month. The precise year is no object. Herr von l3i^'Inarck 
has made a bet about it with the lying. Yours obediently (when deed 
Mr. Ap'Mutton return ?) A. Longeaiis. 

Sehlots Eselr^Dee, 14. 

Mr. Ap'Mutton is not apprised as to what may be the conditions 
of Dr. Shoe ; but his (Ap'M.'s) conditions are never to answer 
questions deciding wagers, without a preciput. Nevertheless, for 
once in a way, and to oblige his facetious friend Herr von Bis- 
marck, Ml*. Ap'M. will break rule. Judas Maccabxus (or Mac- 
chabmus) was produced at Covent Garden Theatre on the 1st ; — 
that was the ** precise day.'* " The precise month " was April. So 
that the ** Jewish Oratorio " came out on Fools' -day— the diiy on 
which (as Mr. Ap'M. believes) Mr. A. Longears came out and was 
bom. .Mr. Ap'M. presided at the first thirty pei-formances, occa- 
sionally with his royal friend Wales (Prince Frederick), occasion- 
ally with Cumberland (the Duke, his brother), to whom he 
(Ap'M.) had confided a plan for ousting the Pretender, which 
plan was put in act by him (Cumberland) at the Battle of CuUoden. 
This was in the year 1746 ; and the year following saw the birth of 
Judas, Mr. Ap'M. adds so much, not for the information of Vcn 
Bismarck, but to satisfy his own (Ap'M.'s^ sense of completeness. 
]Mr. Ap'^I. remembers on one occasion twitting Dr. Thomas Mor- 
rel about his (Morrel's) book, which greatly diverted Georg 
Friedrich HUndel, the famous composer of the oratorio now in con- 
sideration, besides of many other musicks. On the evening of the 
day of , the twitting, "Mi, Ap'M. attended the first performance of 
Gluck's opera, La Caduta de* Oiganti^ at the King's Theatre, then 



Digitized by 



Google 



810 



THE MUSICAL WORLD. 



[December 17, 186i 



under the management o£ Lord Middlesex, by whom he (AyM.), 
was ihrited, after the performance) to supper, to meet GIuck, who 
just turned thirty, ate with appetite, drank without stint, and 
talked freely about himself and others, but chiefly himself. It was 
to Mr. Ap'M. that Handel made the famous remark about Gluck's 
no knowledge of counterpoint; and he (Ap'M.) remembers well 
Piccini ^or riccinni) thirty years later, at Paris, making a similar 
observation. This was at a supper at the PaLice, to whica Piccinni 
(or Piccini), as wdl as Gluck and others, were invited by the 
Daui^ne, Marie Antoinette, on the 19th April, 1774, the very same 
night on which Iphigenie in AuKde was brought out Gluck had 
just turned 60; and Mr. Ap^M. remembers well that the Dauph- 
me overhearing the remark of Piccini (or Piccinni^, just turned 46, 
complained of it (in an undertone) to nim (Ap'M.), accompanying 
her plaint with an ineffable smile, at tUe same time informing Mr. 
Ap'M. that she (the Dauphine), while at Vienna, had been his 
(Gluck's) pupil; at which he (Ap'M.), being a fast aUy of Piccinni's 
(or Piccini's) as well as a fast friend of Gluck's, and at that instant 
dazzled with the beauty and melted by the graciousness of the 
adorable Dauphine, smiled grimly. 

Mr. Ap'Mutton has cut out the following, from a report of the 
Nineteenth Ordinary General Meeting of the Crystal Palace 
Company, at whicl\ he (Ap'M.) had been invited to fill the Chair, 
but on account of other business couldn't — ^which accounts for the 
Chair being occupied, at his (Ap'M^s) sugaestion, by his very 
capable friend, the Chairman of the Board of Directors, Mr. 
Thomas N. Farquhar, a worthy burgess and substantial president. 
**• The following*' alluded to by Mr. Ap'M. is as follows, and was 
noted by Mr. Ap'M. in his commonplace, as 

A PUXCHEB FOB MuSIO. 

" Mr. Puncher observed, in regard to the expenditure, he thought 
many of the Bpecialties might bd curtailed. For instance, was it 
necessarv to go to the expense they did for music ; and wtiilst on that 
subject, he wished to mention that a report had gone forth that the 
conductor of the last Handel Festival had been paid 5001., and also a 
present of 200^., but he did not say that was trite, although he should 
wish to hear from the chairman. If such was the case he could but 
aay that those were the specialties which caused the small dividends 
(hear, hear), lie did not believe they could have better directors, but 
he did thuik many matters might be curtailed." 

Curtail a specialty r?)— pay a present (?)— curtail a matter (?). 
Pass I — But what should be done withjPuncher ? The concerts at the 
C. P. are, in Mr. Ap'M.'s esteem, its most admirable feature ; and 
he who would deprive his very eager little friend, Auguste 
Manns, of any of his (Manns') resources is not only in his 
(Ap'M.'s) view an enemy of music but an enemy more or less 
copperheaded of the C. P. Had Mr. Ap'^I. been in the Chair he 
would have solicited Puncher to put his hands in his pockets and 
sit down. Where was Geoi*ge Grove? Mr. Ap'M. would suggest 
that instead of being diminished, the resources of Auguste should 
be increased — say by some dozen more strings. There is nothing 
Mr. Ap'M. more deeply affects than the earing of a symphony at 
the C. P. on Saturday. To him (Ap'M.) the C. P. symphony 

** makes Saturday the sweetest of the week " — 
—just as his (Ap'M.'s) old friend, Leigh Hunt's, Indicator made 
Wednesday, to his (Ap'M.'s) other old friend, Charles Lamb 
(Elia). *Away with Puncher ! Happily the actual Chairman had 
something to say about the Handel Festival, which to Puncher was 
as good as a punch. That something Mr. Ap'M. would quote, if 
only in justice to his friend, Michael Costa : — 

** With regard to the festival and Mr. Costa, he did not feel it was 
desirable to go into details, but he could assure them there was no 
foundation for the report alluded to ; but if it was thought that all the 
conductor had to do was to walk into the orche<)tra and wave his baton 
they were very much mistaken, for he had weeks of labor (hear, hear)." 

What, Mr. Ap'M. would ask, is llerr Manns to do, what Mr. 
Costa — when the one shall have to get up his (Mr. Ap'M 's) 
Symphony in G flat minor T written, for the sake of a peculiar 
sonority, in flats^, and the other his (Ap'M.'s) oratorio of Methu- 
selah f ITie Ap'Mutton Festival must sooner or later be a living 
fact; it is already in the womb of time. The midwife shall be 
Mr. Costa, as he (Ap'M.) never conducts his own works. Let 
Puncher take that to heart. 

A Pbotest from Punch. 

Dead Ap Mutton, — Your deputies, Shoe and Wind, have by no 
means paid me that attention which you led me to hope. Several things 



I have sent them have not appeared. I cannot remember hinng 
offended either of those gentlemen. Indeed, Horace Mayhew and th« 
Editor of Lloyd^^ 

(*< Who it not rMkoned A 1 si Lloyds **)— 
told mo that ** though Wind was occasionally boisterous Shoe mi u 
quiet a fellow and as plodding as ever came to foot." Howeter, 1 &■ 
glad you liave left tliat silly old Pope, and walked back to your ahee^ 
among whom not the least docile and confiding is your ancient friend, 
Punch Offiee, 85 FUet Street, Dec, 14. Pckch. 

P.S. — I had forgotten the immediate purpose of my addresang you. 
My current issue contains what I think an admirable hit at Douato of 
the Leg, which is not by Tom Taylor, nor by Shirley Brookf, nor by 
One-who-pays Silver, nor by Percival Le(gh, nor by the late QillMt 
A< Beckett, nor by the present Lord Chief Justice, but which I should 
much like to see perpetuated in Muttoniana, I enclose it. 

Mr. Ap'Mutton finds the ^* hit " striking, and has real gratifica- 
tion in complying with Mr. Punch's wish. Let the ^* hit " make 
its own mane : — 

"Oo rr YE Cbipfles! 

<* The foot-lights at Covent garden are to see a one-legged dasoer, 
engaged by the English Ifopera Company. A perfect step of the 
Directors?" 

The itaUcised ''H" (not italicised by Mr. Ap'M.) is good; 
and so is the *^ step '* of the Directors. Nevertheleas to finish op 
the epigram, Mr. Ap*M. would have added-^** who will jump vita 
joy if it succeeds." Thus we should have a " hop," " step," and a 
*^ jump." Such is Mr. Ap'M.'s inward sense of completeneai, that 
he has taken the liberty of suggesting the above for Mr. Fmichfl 
consideration, should he (Punch) contemplate repeating the " hit** 
in his next issue.— Pkeciput. 

^r. Job Pinchpaunch presents his respectful greetments to the 
learned Editor of ituttoniana and having waged three to tiro that Pro- 
fessor Sterndale Bennett wax bom at Cambridge with Dr. Slime both 
Mr. Pinchpaunch and Dr. Slime have agreed to refer the decision to 
the learned Editor of MuUoniana to whom our combined apologies. 
Short Commons^ llungerjord^ Dec, 1(>. 

How the fiend could Prof eBsor Bennett be bom at Cambri4ge 
with Dr. Slime? Mr. Ap'Mutton, moreover, objects to decide & 
wager without precipat. Predput — preciput — preciputi Sam 
preciput, henceforward, nil 

King and Beard^ Blaekehapely Dec. 16. 

The latb M£TEBBE£B.^Sonie statements have gone the rooad of 
the journals, at home and abroad, that M. Georges Kastner, at the 
personal desire of the late composer, was to write his biography. It b 
quite true that M. Kastner lias commenced his work, which wtU he in 
several volumes, but will not be out for years ; but it is quite notrae 
that he had Meyerbeer's authority in any way. M. Kastner will hare 
no access to any docume<tt beyond those which are open to ur 
biographer. The first English reooid of Mej-erbeer^s career wOl be 
from the pen of Mr. Gruneisen, who was present at the openiog re- 
presenUdons in Paris of Robert U DiabU, the UuguemoU, the PnfkleU, 
ihe BioiU du Nord, tknd the Pardon de Ploermd {Dinorak), hui whose 
long intimacy with the departed genius will enable him to praeot a 
biography highly interesting in original matter. — The Quee/L 

Leeds. — {Fr<m a Correepondent.) — On ^ Wednesday, the seoood of a 
series of orchestral concerts, arranged by a number of amaieart, vas 
given in the Town Hall, and attracted a large audience. The band 
numbered fifYy-five performers, selected from Leeds, Manchester, and 
Liverpool. These were placed under the experienced management of 
Dr. Sitark, to #hom the town is indebted for the finest orchestral ptf- 
formance since the Festival of 1858. Beethoven's symphony in D vu 
played with a precision and finish rarely heard out of London; and never, 
in the experience of musicians, has so much attention been paid to a 
great instruoiental work by a Leeds^mdienoe as on this oocasioD. The 
sign is a cheering one, and must be exceedingly gratifying to thon 
devoted amateurs whose time and money have been geiiMtMMly given 
to brine about such a sesult. Mendelssohn's overture, *' Mduaine," 
received admirable treatment from the band, every member of which 
seemed perfectly at home and safe under the coiwiianding baton of Dr. 
^park. The theme with variations from Beethoven's ^ptuor^ te»tcd 
the iudividual abilitieji of Messrs. G. Haddock, Baetens, T. Haddock. 
Wand, Gladney, Grunier, and Walters, and so admirably did each 
p3rform, that an encore was demanded. Madame Riidertdorff and Hr. 
W. H. Oummings were the vooalisU. and two more finished singsn 
the committee could not find. Mr. Henry Smart's diarming duet 
from the Bride of Dunkerron (" Hark, those spirit voices ") wasvamii^ 
encored. The third concert is announced ibr Januacy 11th, i860. 



Digitized by, 



Google 



December 17, 1864.] 



THE MUSICAL WORLD. 



811 



FISH ON THE. BEACH. 

Anothervisit from the** Lady of the Keys!'* and another "Recital "! 
Mr. Fiah 18 in good luck. He returned to the Sole and Mack^ 
lust in time. Had he been late he would never have forgiven 
iumaelf ; or rather, he would never have forgiven Meflsn. R. Potts 
and Co. for not telegraphing him to Cirencester, where he had 
gone to hot at a steeple, and whence he intended proceeding to 
Tadcaster^on a visit to Dishley (Esq.^ Peters. Fortunately , it 
turned out that D. Peters had suadenly been convoked ; and so 
the Tisit was postponed. 

Mr. Fish came back to Brighton, by morning mail^ on Saturday 
the lOth. No sooner arrived, than Jeremiah Board, the cheerful 
head- waiter, with placid smile and sly wink (as who should say — 
^* I know Tve got a surprise for mm "), put subjoined on the 
lunch-table : — 

ROYAL PAVILION, BRIGHTON. 9 

MADAME ARABELLA GODDARD. 2 

Sumii lianofortt ptM, \ 

Saturday, December lOtli, 1804:, 
mam i/ou>ck. 

VocaHsiy 
MADLLE. ELENA ANGELE. 

PABT I. 

SoBAte In F major, «• Nt pint nltn « (Op. 41).. Wotifi. 

BUlAd— ** My love Is ao olden Story '* A. Sehlotatr, 

Lfedar ohne Worta (« Songt wltboat Worda.") Mtnda$iotm, 

Cavatin*— '*D1 tanU palpltl** R099M, 

Thraa Mosleal Skatehca— *'The Laka,tba Mill- 

atraMn, and tba Fountain ** W, St4ndal4 BmmHi^ 

Tin II. 

Grand Sonata In G miOor (Op. 31, No. 1.) BeelhoMn, 

A SoBir— "Sblp Boy 'i Letter** V. Gabria, 

r Prelude and 8oberxo~(A dae roci) W, Vineeni WMlate, 

Ij) Bong—** Oh ! would I were ft TUlage g\rl ** Randtfffftr. 

& Fuitatlft on tbenea firom Oonnod'i ** Jflrellle ** Lttdtay Sloper, 

/[ MADAME ARABELLA GODDABD. 

A Statu, nil mftfracr a»d rsurttd, 6«. Unr«$entd BmU, 3f . 

To pull out his puree/jplace half a soyereign in the open palm (it 
VM already open instinctively, as if aware of what was coming) of 
Jeremiah fioMd, and tell lum to purchase two stalls, was the work 
ol half a second. An eye- twinkle could not have occupied less time. 
Mr. Fish was determined this once to take Mrs. Fish, who herself 
p]avs|(wiUi) one of Bach's fn^es — ^the Fuga alia Tarantella^ 
which Mr. Fish purchased at Duncan Davison^ 244, Regent 
Street.* 

Mr. Fish was charmed with the whole programme. How could 
he be otherwise? The delicious Sketches of Stemdale Bennett 
were as welcome .'as, recently, at Greenwich, and the phmng as 

Soung and fredi a[nd sparkling. The fantana by Mr. Lindsay 
loper, on the pastoral melodies of MireiUe^ is certainly a hit. Mr. 
Fish fotmd it even better at Brighton than at Greenwich, and 
ooukl not help likening the gentle Arabella — as the passages came, 
now gliding now ripplmg, from her nlastic fingers — ^to Watteaa*s 
prettiest h&rglre in his prettiest woodland tableau^ with a golden- 
toned Broadwood, instead of a lute or a pipe, for her diversion and 
that of Uie bye -sitters. The whole of Woelfl*s sonata was given 
this time ; at which Mr. Fish was glad, remembering that the 
first movement is the best. And how those endless scales of double* 
notes were played ! — ^with what unerring sureness ! — and yet what 
giddy speed ! The variations on ^* Life let us cherish *' were as 
effective as ever, the one with arpeggios (in the minor), best of all. 
The mournful tones of an S^ioxi harp, when the night-wind 
Bweepa its strings, and the cadence rises and falls at fits, is the 

* Cbriatmas is approaching. A barrel of oysters would not be despised. 
^ Oyster for Oyster,** C'Aostna for AoBtria.") Messrs. Pmietn Dayison & Co. 
]iaTe heard of (he sawt 



only thing to which the effect of this variation, as breathed by 
Arabella Goddard, can be compared. The Lieder from Mendel- 
ssohn were admirably selected. The first was the plaintive 
romance in A minor, from Book I— the wail of a forlorn maiden 
(always recalling to Mr. Fish the delicate stanzas of Shelley— 

** A widow bird sat monming for her mate, 
All on a willow tree ")— 

— ^ne of the most beautiful of all ; the second was the one in E 
major, from Book 8, an innocent melodv floating on the bosom of 
a gentle and never-ceasing arp^47/7io— aelicious from end to end ; 
the third was the one in A, from Book 1 — a vigorous, bright and 
healthful strain, reminding Mr. Fiah always of the chase, the forest 
and the open sky. To each of these musical idylls was imparted 
the true poetic character. Of the perfect mechanical execution it 
would be superfluous to speak. Vincent Wallace's two pieces are 
eod-sends in these times of flimsy production. Mr. Fish hardly 
knows which to prefer — the prelude or its companion. Both are 
transparently char ; both show that Wallace has been solacing his 
spirit in the ardent contemplation of Bach; both are Utde 
^^gems.*' Arabella played them con amore Mr^Fish hopes that 
Vincent Wallace's earnest eye may glance at this brief record ; 
he (Fish) being sure that it will console him (Wallace) to know 
how much delight his music gave to all who heard it. 

The Imperial composition, and the Imperial performance, of the 
day was the sonata of Beethoven — a whole world of imagination. 
About this masterpiece Mr. Fish dares utter no word. Enoush 
that the sonata and it£| fair interpretess, who took the great dd 
master under her wing with loving tenderness, were alike appre- 
ciated. At the end Madame Goddard was rapturously called naok. 

A third '^ Recital '* is promised in February. 'Bravissimo ! 

Sole and Mackerel-^December 14. Coventby Fish. 



Herr Ander. — ^The report that the favorite tenor of the 
Imperial Opera, Vienna, had lost his senses is unfortunately con- 
firmed. Herr Ander has been taken to a Maison de Sante, 

Mb. Oharlxs Adams leaves LondoD for Berlin on Monday, and lingi 
tho part of Manrico ( Trovatore) in the German language at tlie Royal 
Opera House on Thursday. 

Edinbuboh. — {From a Corrftpondenl.) — ^l^fr. Halle's first pianororte 
'* recital " took place on Saturday afternoon in the Mukiu Uall, which 
was filled to overflowing. The following was the programme : — 

PiiT L—Sonata, in E flat. Op. 29, Na 3— nt'«lhov«ii ; Sulto Franealse, in G^ 
S. Bach; Serenata, **La notto i plaelilA**— Pedrotti ; Prelude and Paflrne, in E 
minor, Op. 36, No. 1. — Mendelssohn. Part IL — Grand Sonata, In D minor, Op, 49, 
— Weber ; Improropta. in A flat. Op. 143, Na 2— Moment Musical, in F minora- 
Schubert; ** La Chasse," Stuily in C flit— Heller ; Canzone, " L'Orfanellu*'— Ardltl; 
** CmdTe Bong,** in O flat— Ilunselt; Matnrkas, in D flat and C major— Chopin. 

Mr Halle's concerts are now regularly looked forward to as among 
the chief yearly musical events of EklinburJ^h. The accomplishea 
pianist was listened to with marked attention througliout, and the 
applause was unusually loud and prolonged for an audience in which 
the fair sex so largely pro|X)nderated. Air Arthur Edmundi:, who was 
the vocalist, continues to exhit)it the same promise of future excellence 
as he did on his d^hut lai«t year. He possesses a tenor voice of fine 
quality, great compass and' flexibility, and his three songs — one 
given in answer to an encore — were highly appreciated, Mr. J. V. 
Bridgenian played the accompaniments in his usually unexceptionable 
manner. • 

Finis DEXOLrr Opu4. — On Tuesday the complete demolition of the 
grand entrance of the Great Exhibition Building in the Cromwell-road 
was accomplished by the Royal Engineers and Sappers and Mioem, 
under Lieutenant Knocker. There were present — General Sir J. 
Burgoyne, Lord Mountcharles, the Marquis of Salisbury, Sir Charles 
Forbes, Colonel Chapman, Deputy Adjutant General of Boyal 
Engineers, Captain Fowke, JlC, with a larger crowd of spectators than 
on any previous occasion. The grand e:t trance was a structure con- 
sisting of three arches, of between 5000 and 6000 tons of masonry , 
150 feet in length by 63 in height. There were 110 charges, or 
chambers, containing a total force of 181b. of gunpowder, for the pur- 
pose of dinplacing at one coup de main and di«c)iarge this formidable 
mass. At half-past eleven the bugle sounded, and the three batteriea 
were fired, and almost instantaneously the structure crumbled down 
amid the cheering of the spectators, falline within the enclosure and 
scattering the bricks or Mria in the adjoining road, or near the 
neighbouring houses in the Cromwell -road. The d^brit will he re- 
moved to-day, and the entire space cleared and railed in, until it ii 
determined what form the new muBeum on its site ia to assome, 



Digitized by 



Google 



828 



THE MUSICAL WORLD. 



[December 24, 1884. 



MR. MANTAUNI IN HYSTERICS. 

{Fr<m Punch.) 

And has it come to this? We hare lired to be attacked by JUr. Mantalini, 
Even the man -milliner's gentle sonl has been aroused against na. .** The little 
dogs, Traj, Blanche, and Sweetheart," barked at King Lear^ he said, bot 
what a Tflry little dog whines against Mr, Punch. If it were not rather a 
Tnlgar little dog, we should say it was the tiny one which the Prince in the 
fairy tale had to find for his Papa. 

Mr. Manialini (as the other milliners know), when wearied of turning the 
mangle, looked out for other occupation, and ultimately became editor of Le 
Pallet. We knew this, but never told, and we have been very kind to him, 
for the sake of many'merry memories. But we regret to say, that " Alft^ " 
has tamed naughty, and scolds us demnably. He is a very naughty Alfred, 
for he sets out with such a declaration that he wishes to imitate another Alfred, 
now extmct, who presided over " a thousand worlds peopled with millions of 
little opera-dancers." What would Madame ManUdini say to that ? 

Alfred is very spiteftd, and much as we like him, we must a-k Madame 
Mantalini to give him ever so little a rap with a stay- bone on his little 
knuckles, for spoiling so pretty a paper as Le Pollet with this wilful, wayward 
writing : — 

^^ Punch used to be demnably funny, and his pippetty-poppetty pokes made 
one laugh like — like demnation. But what a demed falling off. None but a 
very low and ungenteel mind could have found anything rude in what proceeded 
from our angel of a little gold pen, and perfumed ink (oh, so nice, dem it), 
when we were* writing a Uttle tickley-wickley article about our patronesses, 
the adorned and enchanting ladies of fashion. The rude beast — he shall be 
horsewhipped till he cries out demnably. Our first will not prove to be our 
last word with Punch, though such low company gives us a headache, as if 
fifty thousand bonnet boxes had tumbled down upon our head at once.*' 

Now, Alfred, this is very unkind. When have we been so cruel and wicked, 
dear fellow, as to ftccuse you of meaning anything at all ? And why will you, 
abandonmg your own sweet manner, break ont in the manner of the other and 
extinct Alfired, whose effort in the satirical line, as you say, oansed Mr. Punch 
to leave him thenceforth and for ever in his own cesspool. You ars veiy smart, 
we allow. Tour little onslaught is exactly in the usual gentlemanly style in 
which Mr. Punch is abused. But then, most other people, Alfred, who launch 
these epigrams have, reasons for it. Mr, Punch has either refused their 
rubbish, or castigated their folly, or done them a kindness, or in some way 
justified their spite. But for you, Mantalini^ dear, he has never had 
anytiiing but the prettiest compliments — sugar-plum critiques — rosewater 
crackers. There is a compliment in the veiy article you are pettish about, pet^ 
if you could only understand it. What has gone wrong with the poppet of Le 
FolUt f Has it been eating too many mince-pies for lock before Christmas ? 
That is sad, but Madame must give it some gruel. We cannot be angry with 
our Alfred, but he is a demnation goosey-gander. 

Madrid. — {From a Correspondent). — ^Madlle. Gross! has appeared at 
the Opera here with complete success. The part selected for her 
d^bat was Orsini in Lucrexia Bor^, Maddlle. Qrossi's magnificent voice 
and good singing were fully appreciated and applauded with enthu- 
siasm by a crowded house. The Lucrezia was Madame Penco, a 
legitimate artist in the fullest sense, but hardly in her sphere in a part 
BO essentially dramatio. The part of Geiinaro was well sustained by 
8ignor Niccolini ; that of the Uuke by Signor Selva. Madame Spezia 
and her husband Signor Aldighieri are engaged and will appear in a 
few days. Signor Mario has arrived here from Paris in comnany with 
M. Bs^ior, director of the Italian Opera at Paris, and M. Alary. 
Fauat will be produced forthwith, with Signor Mario as Faust, and 
Madame De Lagrange as Marguerite. 

Madaue Volpiki. — The Prute ThSatralt of Paris has received the 
following tel>'gram from Lisbon, announcing the success of Madame 
Yolpini in the opera of Semiramide: — '* Hier, Scmiramide ; Madame 
Yolpini, ianatisme, couronnes, bouquets. Applaudissements enthousi- 
astes, rappels et ovationa" 

MUSIC RECEIVED FOR REVIEW. 
GuiDi (Florence).— Introduetion S nn noaveaa ,8y>teme D*Uarmonle par Abramo 

BAtevi. 
Lo:f8DAi.K, ** The partincr boar,** son^ By E. A. Smsiniiic. 

Akobbws (of ACanohester), " The Earth Is the Lord's,** verse anthem by R. Ajobsws. 
EuDALL, Ross; CiBTi A Co., ** The Moaloal Directory for 1865.'* 



%)iibtxthtmtntB. 



DR. STOLBERO'S VOICE LOZENGE, 

For inyisorating and enriching the voice, and removing aifecUons of 
the throat, 

HAS maintained its high character for a quarter of a 
century; and the flattering testimonials received from Qrisi, Persian, 
LabUehe: and many of the Clergy and Statesmen ftillv establish Its great virtues 



No Vocalist or public speaker 'should be without it. To be obtained of all 
Wholesale and Betail Chemists in the United JUngdom. 



Ily 4 
it. 



NOW READY. Price 7s. 6i 



HANDSOMELY BOUND, GILT EDGES, 



THE 



Musical Scrap 



Book: 



CONTAININ'Q MORE THAN 



400 PAGES OF MUSIC. 



From the *^ News of the World." 

Messbs. Boosby have the happy tact of strikiog out new ideu tla 
are so good that one wonders that^ like Colambua and the egg, thsj 
were not thought of before. The idea of the nev acnp-book is an 
excellent one ; and it comprises, in a very cheap form, sevenl buo- 
dred of the most popular songs, pieces, airs^ and dances that have been 
written ly the most popular composers for some years past The pob- 
lisliers say, and with truth, that the compilatiou of such a work woald 
cost so large an expenditure of money« time, and experience^ as to be 
almost an impossibility to any one not professionally employed in pro- 
ducing it. 



LONDON : 

BOOSEY & CO., HOLLES ST. 



Digitized by 



Google 



December 24, 1864.] 



THE MUSICAL WORLD. 



CHAPPELL & Co.'s 
KENILWORTH, 

NOW READY, 

The New Cantata composed for and perfonned at the Bir- 
mingham Festival. Words by H. F. Chorley, Esq. Mnaic 
composed by Arthur Sullivan. Price complete 128. 

THE FOLLOWING ARE PUBLISnED 8EPARATZLT : — 

I haye Slept beneath the Water - 2s. 6d. 

Song by Madame Sherrinoton. 

I am a Ruler on the Sea • - 2s. 6d. 

Snng by Mr. Santlet. 

DUET— How sweet the Moonlight . 
Sleeps 3s. Od. 

Song by Mr. CnioaMOS and Madame SHSBSiKaTON. 

A Brisk Dance, for Pianoforte Solo 2s. Od. 
A Slow Dance, ditto ditto • - 2s. Od. 



THI 



MW PIMOFOETE PIECES FEOl 



(( 



FAUST." 



Callcott's Beauties of Faust, 1 & 2 
each 

Callcott's Beauties of Faust, Duets 
each 

Callcott's Kermesse Scene, con- 
taining the Celebrated " Old 
Men's Chorus," as a Duet - 

Callcott's Soldier's Chorus - 

Aa performed in the Opera. Duet Sb. 6d. 

Osborne's Grand Concertante Duet 

for two Pianofortes - 
Osborne's Grand Concertante for 

two Performers on one Pianoforte 
Benedict's Morceau de Salon 
Favarger Fantasia 
Ascher Pensee Dramatique - 



5s. Od. 
6s. Od. 

3s. Od. 
3s. Od. 

- 8s. Od. 



6s. Od. 

4s. Od. 

4s. Od. 

4s. Od. 



CI=Cj^:PI='E31iL <fe CO., 

60, NEW BOND STBEET. 



NEW & POPULAR 

Dance Music 



OF THE SEASON. 



The Punch and Judy Quadrilles . 4s. 

By H. 8. BOBEBTS. 

The Punch and Judy Lancers 
Quadrilles . . .4s. 

By H. S. SOBEBTS. 

The Punch and Judy "Waltzes . 4s. 

By.MABBIOTT. 

The Punch and Judy Polka . . 3s. 

By MABBIOTT. 

The Punch and Judy Galop ... 3s. 

By MABBIOTT. 

The Banting Quadrilles .... 4s. 

By MABBIOTT. 

The Happy Home Quadrilles . . 4s. 

By MABBIOTT. 

The Irish Quadrilles 4s. 

By MABBIOTT. 

The "Sing Birdie, Sing" Valses . 4s. 

On Ganz's' Popular Song. By MABBIOTT. 

All splendidly illustrated in Gold and 
Colours by the first Artists of the day. 



ASHDOWN & PAEET, 

18, HAN07EB SQTJABE. 



Digitized by 



Google 



830 



THE MUSICAL WORLD. 



[December 24, 1864. 



HER MAJESTY'S THEATRE. 

Sole Manager and Directob, Mr. W. HARRISON. 



Honday, December S6th, and TneBdAj, December 27th, tbe performanoea will 
oommenoe at Seren o'clock with 

YOU KNOW WHO. 

To be foUowed by, at Ei^ht o'clock, a Orand Naraery, Veraery, Oomleal, His* 
torical. AUegoricaU Christmae Pantomfane, founded on one of the moat popular 
Infantine Legends, Inrented and written by Henry J. Byron, and entitled 

THE LION AND THE UNICORN 
FIGHTIKG FOB THS CBOWN. 

The Lion beat the Unicom all around the town. 
Some gvre them white bread and some gare them brown. 
Harlequin and Columbine. Pantidoon and Olown. 
The Novel and Magnificent Scenery by Meatn. GBOBGE DAKSOK, THOMAS 
DANSON, and BOBKET DANSON— The Dances Invented and Arranged by M. 
PETIT— Music by MONl'GOMEBY— The Machinery by Mr. SLOMAN— The 
Costumes by Mr. S. MAY and Miss BENNETT— Mechanical Transformations, 
Properties, and App >inlments. by Mr. BRAD WELL, assisted hy Mr. A. J. BRAD- 
WELL— The Pantomime Arranged and Produced by Mr. EDWARD STIBLINO. 
King Boaryborealis the Bampagious (the Usurping Lion King, Monarch of 
all he surreys and a good deal more, who Is at once a King and an M- P. 

BOAB) Mr. ROUSE. 

Flunkebus (his Attendant and Chief Secretary, whose appointment is sealed with 

eyerlasthig whaett) Mr. ENDEBSOHN. 

Bobin (a Mysterious Youth, who poaches and encroaches, who Is A oat, and turns 

out Um S, but who he is doesn't signify for, the present) Miss FURTADO. 

Good Temper (the Genius of Jollity, welcome at all seasons, but more particularly 

at the present one) Miss ELEANOR BUFTON 

(who has kindly undertaken to play the part). 
The Demon Sulks (the foe to all cheerful folks, and the special enemy of 

Bobin). Mr.J.ANDEBSON. 

Bemorse, Despair, Guilt, Betrlbutlon (Inferior Demons) 

By SPIBrrUAL AGENCY. 

Step andFetohit (Bobbins Head Betalneia) Messra DELAYANTI. 

White (a Baker) ^..Mr. J. DELAVANTI. 

Brown (a ditto). Mr. W. DELAVANTI. 

Leo (a Pet of aDenion Cub) Jiaster NEWHAM, 

Policeman of the Time (whenever that may be) « Mr. PAULO. 

Princess Peppermintdrop (Daughter of King Boaryborealia, who doesn't bear any 

resembb^ca to the Lion) Miss OOTTRELL. 

Fairies had in for a nighfun. Demons to make a Demon-stratlon, Guards, Hunts- 
men, Imps, Attendants, Tag Bag, Bob Taa 
Periwig (of the period) and the celebrated Hat-band of Brothers, combined 
witn Supernumerary Force of Auxiliaries too numerous to mention or even 

guess at, 

HOIOQ OF THE DBMON StJIiKS. 
** Give me to drink." The ttdgar demon and the low apiritt. A. letter and a 
double rap, Qood Temper puts in an appearance vad the Demon is put ovt. The 
Compact I Should Robin never Ioh hu tempar titt hU marriage all peneatUon 
ie to eeate, 

BESFLENBENT OBOTTO,or 
HAUKT of the FAIBY PBOTECTOBS of BOBIN. 

GRAND ALLEGORICAL BALLET, 

Bepresenting Engineering Skill and Commercial Enterprise depicted in Blue and 
Bed. The Blues supposed to be one of our huge Bailway Embankments encroach- 
ing on the Sea. (Coasts ; the Beds, the Sea Weeds left on the Coaata, that dance in 
the Silver Wavoa The Embankment is driven off by the Sea, and the Beds (the 
Sea Weeds) enjoy their merry dance ; but when the waves have retired and left 
the Shore the Bailway Embankment (Blues) bind them In. when the Zephyrs dance 
and unite Land and Sea in the Commercial Wealth and Strength of our Nation, 
9y tbe LADIES of the COBPS DE BALLET. 

A PORTION OF THE FOREST, 

How the Princess Indulges in a Sigh, a Soliloquy, and a (}rand Scene, 

ENCHANTED FOBEST, 

Wherein the Lion King Is greatly astonished by 

EIDOS AEIDES. 

NkB.— This entirely New Effect, Invented and Patented tj J. MAUBICE, Esq. 

wherein Material Beings, without moving from the spot, are rendered Visible and 

InvlRible instantaneouMv. 

How the game Is too high for Bobin, who being able to bring nothing down, can- 
not be considered a Bobin good fellow, and who pouches everything— including the 
eggs, and who performs a marvelleus feat by actually making an ogg-tU, How 
the King comee on and goet on, and who talks of pudding his finger hito a^&but 
who is mterrupted in his request for hetf by Robin's calling out for hear. How 
Robin says he is single and ttes King sees double, and how tbe poncher Is carried 
awav with the Princess, who is carried away by the poucher, leavkig the King, like 
Lord Ullln. ** lamenttDg," and how he is pricked by the demons and doesn't see 
the point though he feels it, and how his ^ eyea are made the fools o* the other 
senses " in a manner which 

MUST BE SEEN TO BE APPBECIATED. 

UMBBAQEOnS SOLITT7DE. 

How Flunkebus finds the ••sweets of ofaoe** are occasionally a little KMsr, 

especially when lion cubs have cut most of their teeth. How the Demon finds hi« 

tail would be all the better for a trifling cur-tallment, and he cuts it, rapidly f ol- 

lowed by Leo, who hangs on him like a fast friend. 



A GOBaEOnS FALACE. 

MABCH OF THE UNICOBN GUARDS, 
FAIBY ELVES. Axn na 
SMALLEST DBUMMEB IN THE WORLD! ^ 

How Robin besieges the Prinoess's heart and the King besieges BoUn'i Paliee 
—How Step and Fetchit " speak, yet nothing aay,*' and how hi the ticklish moment 
the Princess comes to the scratch, and how she tenders her tender heart to Bofaia 
—How the Kine discovers Robin to be his nephew whom he has defrudsd, tod, 
not knowing what to do, falls bitck upon the legend of the Nurseiy, deeUm he 
will beat hhn All Arouvd thb Town ! 

BAICFABTS OF THB OA8TLE. 
Ghreat fall (out) in Bread— The rival Bakers, between whom there is no loaf loit 
— " Bread-ren be friends "—Terrific meeting between the BweU and their Uwl- 
— *• Whig torry or death !' 

Tremendous (Flour) MUl between the Unioom Pet and the 

Ifion Bully. 
Resulting in the seicure of Robin by the Executive, and his being maasded from 
head to foot, to the delight of the Demon Sulks, who imagines that ha most have 
lost his temper by this tune aud who is engaged at findtaig he was 
Never Better Tempered in his Life. 
How the King has the will to destroy the vitt, but how good temper leizn tbe 
wUl according to his won't. How Rebln promises no more about it if the KhK will 
give his consent to the match, which is immediately struck. Robhi is 4e4i^Uti and 
the demon disgusted at seeing dtm-om such friendly terms, descends not only to 
low abuse but to regions even lower, and (jk>od Temper having bot one tUng 
further to do, does it, by changing the scene to the joyous and onparaUed Tui»> 
rOBX^nov scene entiUed. 

THE MAZE OF SILVER DEWDROPS, 

RKSPLBNnKVT WITH GLITTKRIirO GtHSL 

Forming a eoupd!'atil of unsurpassing Splendour and Novehv. 
TRANSFORMATldN. 

Columbine Miss DORLING. 

Harlequhia Miss NELLY DAVia 

Harlequin Ms. ASH. 

Pantiloon M PAULO. 

(Jlown Ma. ENDERSOHN. 

Sprites Tub Bkotrbbs DKLAVANTL tad 

The One-IiCgged Clown The Graceful and Agile OAPELLO. 

Prograaune of Fun and Oomio Kalendar for *64 and *5. 
Underground Bailway for Everybody and to Zhrerywhare. 
Tript Harlequin and (^lumbine— Gtood Wine needs no Bosh— Boysl Tletorii 
Sherry— Green Arrivals— Passenger's Tickets— Bass's Act— Orgaak (HuBget- 
Christmas Dinner, the Boast Beef of Old England— A Fast Train, Arrital and D.*- 
jMWure— Alterationa of Trains for 186^^— Look to your Pockets— That's theTKlcet 
—Cupid In away, •'Oh, his Love "—Cabinets of Mystery— Sensatioa o( iheDty 
only a Ghiinea— The Brothers Davenport Outdonew 

8TBESTS OF I^OJSmON. 
Booking not Paying— Flsli not Flesh. 
Trin, Harlequin, Columbine, and Harlequina— Universal Cooking for theHDiioB 
Terrific CSomAof— with Animals from America— North and Soath— Feaoe ud 
Plenty. 

National Hornpipe. 
Soldiers and Sailors— (The Ballet)— accompanied bv 
THE TOM THUMB OF DBUMMEBS I SMALLESTINTBS WOBUX 
A Pot of Beer— Give the Poor Man his Beer— Bare Dish for a New Gookeir 
Book— Clown's Head and. Sauco— Patent Omnibus. to.There and Back AcaiD-€beap 
Fates—** Jarvey, Jarvey,** *• Here am I your Honour "—The Want of the Day. 
The Clowna's Market. 
Qooda for Importation, Exportation, and Embarkation— Tricks of Trade-Bae( 
vertus Pork— A Miser's QolA— Agricultural Show— /Mm /*iV— Wondeifni SpWtnal 
Changea— Horses Inside and Out— Topsy Turvy— Here*s a gc^^MadOx'-Ooo- 
stomation and Combination of Fun. 

WONDER OF THE DAY! 
Oraoefkil Dance by the One-legged Clown, OAFXLLO. 

A SHOWEB OF (K>LDEN BAIN - 
(entirely Novel) Dissolves and reveals the 
FABABISB of FAIRIES and HOMB of tbe 
SIIiVISB ZBFHTBS. 



On WEDNESDAY, December 38, will be produced an entirely New Open, 
hi One Act, entitled 

PUNCHINELLO. 

Libretto by N. Fabsik, Esq. ; Music by W. C. Lam (Composer of •'Faoehette') 
Principal Characters by Messrs. G. Hoxkt, Swm. Bocai, Tbbott; 
Miss (^orraxLL, and Miss Susax Galtoot. 

MORNING PERFORMANCES 

OF THE PANTOMIME 
ISvery TITBSDAT and aATITBDAT, 

commencing Tuesday, December 37th, at Two o'dook. (JhUdno uaderTvelTt 
admitted at Half Price to aU parts of the house, except Pit, whieh wfflhe la <d. 

Stage Manager, Mr. £. SnaLixo. Acting Manager. Mr. JisBtrr. 

Private Boxes, from lOs. ed.; Stafls, 7s.; Dreaa Circle, 6s.:FintCirde, 4s.; 
Upper Boxes, 38. ; Pit, Ss. 6d.; GaUeir, Is. Doors open at Half-past Siz,ptf- 
formances to commence at Seven o'clock precisely, and terminate at ftoreB. Tw 
Box-offlce open dally from Ten till Five. 



Printed by Hihdibsov, Rirr, and Fsirrosr, at No. S3, Bemers Street, Oxford Street, in the ParUh of Marylebone, tn the Ceonty of Middls^s 
Pabllshed by Wilmam Dovcah DAneoy, at the 0«oe, 944 Regent Btreet^BMaraay, Jketmb^ 34, ISCf 



Digitized by 



Google 




**TiIS WOBTH OF AUT APPBABS MOST KMISIEHT XV MuSXO, SDIOB IT BBQUIBSt HO lUTEBUI^ HO BDBJSCT-IUTTBB, WHOSE BFraCT 
VUST BB DnVOTBO: IT IS WHOLLY FOBX AXD POWBB, ABD IT BAI8BS ABD KBBOBUtS WHATKYKB IT SZPBBSBBS.**— CW#< 



•A-f< 



SUBSCBIFTION. FBBB BY POST, 20ik FBB AJSmXTM, 

Payable in advaaoe by Cash or Po8t^O£ELce Order to DUNCAH DAVISOISr ft CO^ S44, Begent Street. LondoQ* W. 

{Rigiitend for TroMmmon Abroad.'] 



Vol. 42— No. 53. 



SATURDAY, DECEMBER 31, 1864. 



«^MI2:S2Ssr- 



HER MAJESTY'S THEATRE. 

Sole llanacer and Director, Mr. W. HABRISON. 
Commence every Eyening ]nrlt]i the BocoeBsful new Operetta, 

PUNCHINELLO. 

Libretto by H. Farnib, Esq. ; HubIc by W. 0. Lkvsy, Euq. 

Prindpal Obaraoters by Mesars. G. Hovey, Swut, Boras, Tsbsotti 

Mi«i CoTTUu., and Misa Suajui Oaltov. 

To be followed by tba new Grand Norsey Chriatmaa Pantomime, entitled, 

THE LION AND THE UNICORN. 

Written by H. J. BYEON, Eaq. 

The New and ICagnifloent Soenery by Messra. GEOBGE DANSON and SONS, 
will inclade a Gorgeous Palace, a new Grand Tranaformation Scene, 

THE MAZE OF SILVER DEWDROPS. 

A SHOWEB OP GOLDEN BAIN. 

FABADISE of FAIBTES and HOMB of the 

BUiVZIB ZEPBYBS. 

Clown 24b. BNDBBSOHN. 

Pantaloon K. PAULO. 

Harlequin Mb. ASH. 

Spritea Thb DELAVANTI PAMILT. 

The One-Legged Clown ... Mr. OAPELLO. 

Harleqnina Miss NELLT DAVia 

Columbine Miss DOBLING. 

Principal Daosenae Madixb. ADKTiTNA THEODOBE. 

Jmrnente racceaa of the last and greatest Wonder in Science, 
EIDOS ABIDSB. 

"" OB, 

Th-e Visible Invisible, 

O ! that this too solid flesh would melt— 
Thaw, and resolre itself into dew. 

Shakespere's impoaibility done nightly in the new Pantomime 

N.B.— This entirely New Effect renders Material Beings, withoat moring from 
the apot, Visible and Inrisible, nightly exhibited in the Pantomima 

Private Boxea, from 10s. «d.; StiUla, 7s.; Dress Circle, 6s. sPirst Circle, 4s.; 
Upper Boxes, 3s. ; Pit, 38. 6d. ; Gallery, Is. Doors open at Half-past Six, per- 
formances to commence at Seren. The Box*olQoe open daily from Ten till Five. 

SPECIAL MORNING PERFORMANCES 

OF THE GRAND PANTOMIME 

Every TUESDAY and SATUBDAY, 

at Two o'clock. Children under Twelve years of age Half Price to all parts of the 
house, except Pit, which wHl be Is. 6d. 

3 no MUSIC SALOON PROPRIETORS, PUBLI- 
L CANS, and Others. Those very commodloos premises, Thb Hoxton Music 
ALL, 04, High Street, Hoxton (licensed for Muslo), with possession ; erected in a 
substantial and costly manner, and appropriately embellished. The Hall is capable 
of seating about 600 persons, with roomy Gallery, Refreshment Bars, Club Booms, 
Hat Room, Ante Boom, Lavatories, Money-taker's Office, Dwelling-rooms, large 
Basement premises. Coal, Wine, and Beer Cellars. Estimated rental valae £300 per 
annum. A most valuable opening is presented for profitable enterprise and invest- 
ment. 

Mnssrs. Tbbb Brothbbs will sell the above, by direction of the Mortgagee, at 
Garraway's, Cbanfre Alley, Combill, Tuesday, Jan. lOtb, 1865, at 1^ for 1 o'clock. 
Particalars of J. W. Smith, Esq., Solicitor. 3, Furnlvars Inn, Holbom ; at Qarra- 
ways ; and of the Adclioneers, 3, Adelaide Place, London Bridge, E.C. Next sales 
Jan. 24th, Feb. 14th, 28th, and March 14th. 

MESSRS. LAMBORN COCK, HUTCHINGS, & CO., 
Beg to inform their FBIEND8, the PUBLIC, and the MUSIC TRADE 
generally, that in consequence of their DISSOLUTION of PABTNEBSHIP as 
MUSIC PUBLISHEBS, Ao.,^ the BUSINESS will be carried on in fhture by 
LAMBORN COCK, at 63, Nbw Boko Strbbt, under the style of LAMBOBN 
COCK, & CO. (Late LEADEB & COCK), and by HUTCHINGS A CO., at 9,- 
CoxDuxT Stbbbt, Begent Street, W., under the style of HUTCHINGS * BOMBB, 
(Late LEADEB * COCK.) 



ROYAL ENGLISH OPERA, 
OOVBNT QABDEN, 

(OPERA COMPANY. LIMITED.) 

Great sneoeit of the GRAND CHBI8TMAS PANTOMIME and the extraordinary 
One-Legged Dancer, SIGNOB DONATO. 

On MONDAY next and during the week, Benedict's Opera In One Act, 

THB BBIDB OF SONG, 

Bbxib, Miss THIBLWALL ; Bbatbix, Mao. FANHY HUDDABT ; Adblbbkt 

Mb. HENBT HAIQU{ and Hakbibal. Mb. ALBEBTO LAWBENCE. 

Condnotor, Mr. Altbbo Mbllob. 



After which (at half-pait 8) the Grand Cemle Chrittmas PantomloM, entitled 

CINDERELLA, 

Or Harleqoln and the Magic Pumpkin, and the Great Fslry of the Little 
Glass Slipper, 

The new and nagnlAeent Soenery by Mr. T. Gbibtb, Mr. T. W. Gbibvb, and Assist* 
ants. Cbaraetsrt In the opening by Messrs. Livobax, E. DAxrtBf, Katlob, F. Patkb, 
and W. B. Patvb ; Miss Claba Dbbvil and Miss Cbatxv. 

BarUanin, Mb: FBED PAYNE. 
ODtemMfis, MoLLB. E8THBB. 
Postaloon, Mb. PAUL HERBING, and 
crown, Mb. HABBY PAYNE. 

Principal Daneeri, Madltoe. Doobatbav, Momtkbo, and BoBf Aim, assisted bf a 
numerous Corps de Ballet. | 

The extraordhiary Artiste, Bigvob DONATO, will perform his celebrated 

Dmu orso Manttau. 

Doors open at Half-past Six ; to commence at Seven. 

A Morning Perfomanoe on Monday next, Jan. and, anfl etery Monday till fiirthsr 
notice. To conmience at Two o'clock. 



(BHnBO.Y BK-EVBELLISEXD), 

KINa STREET, ST, JAMES'S. 

THE BEET HOVEN SOCIETY. 

PROGRAMME FOR JANUARY 7, 1865. 

QUABTETT, No. 4, in C minor, Op. 18, for two Violins, Tenor, and 

VioloMMllo Beethorea. 

1. Allegre ma non tanto. 2. Andante qoasi allegretto. 

3. Minuetto allegratto. 4. Allegretto. 

Mons. Saibtok, Herr Polutbbb, Mr. Dotlb, and Slgnor Pbzzb. 

This Quartett was composed about 1791, dedicated to Prince Lichnowskf , 

and played at his Musical SoinSes by the Schuppanzigh party. 

ABIA, ** Bel Baggio,** Miss Louisa PrxB, Bosslnl. 

BOMANCB, ** Le Vallon," Madame SAiaiTox-DoLBT, . . . Gounod. 
TBIO in D minor, for Piano, Violin, and Viuloncello . . . . Mendelssohn. 
1. Molto allegro agitato. 2. Andante eon moto. 

3. Scherzo. 4. Allegro assal apiialtlonato. 

Mr. John Fbakcih Babmbtt, Mons. Saimtox, and Slgnnr Pbzzb. 
IBI8H MELODY, ''The Harp that once throu;th Tara's HalU." 

Miss LOOISA PVMB. 

ABIA, " In questa tomba,** Madame Saixtom-Dolbt, . . . Beethoven. 
SOLO, Pianoforte, " Betum of Spring," Mr. J. F. Babbbtt, . . J. F. Bamett 

nrrpTTn i " ^o^ f®"^ ***°» I lov« »o truly," Spohr. 

i»UJ:.iiB ■[i.Qrectlng'' Mendelssohn. 

Miss LocisA PnM> and Madame Saibtoh-Dolbt. 

QUABTETT, No. 7, hi F major. Op. 6» Beethoven. 

1. Allegro. 2. Allegretto Tivaco e scherzando. 

3. Adagio molto e mesto. 4. Allegro — Thfeme Busie. 

Mons. Saixtox, Herr Pollitzbb, Mr. Dotlb, and SIg. Pbbsb. 

Conductor— Herr Wilbklm Gabz. 

'^Tht tkmcertt vitt commence ai Sight o'clock preeUeff, 



Tht SECOND CONCEBT wiU take place on Satorday, Janoftry 14. 

Digitized by 



y, Janoftry 14, 

v^oogle 



832 



THE MUSICAL WORLD. 



[December 31, 1864. 



ST. JMIES'S HALL, EEGENT STREET & PICCADILLT. 

PBOnsSSOB AHSBBBOD' must positlTely terminate hla most 
prosperous season on Saturday IText, Jan. 7, 1866, when 

THE WORLD OF MAGIC 

Will lure been perfonned for 130 BepresentatioDi before 260,000 Spectator*, extending 
orer » period of 18 oonsecntlTe weeks, to crowded and brilliant audiences. The last 
pwfbrmancei are arranged as follows :— Monday. Jan. 2, at 3 and 8 ; Tuesday, at 8 ; 
Wednesday, at 3 and 8; Thursday, at 8 ; and Friday, at 8; Saturday, 7th Jan., at 
3 and 8. Grand Gift distribution (torn the Christmas Tree, *' Sant a Clauss.** 

L*'Thi8 i4 the best treat in London for the Children.'* 

Sofk Stalls should be secured at the Hall, and at Mr. Mitcbkll*8 Royal Library 
3S, Old Bond Street. 

A. NncHO, Acting lianager. 

PAGANINI'S GHOST. 

rPHE novel, extraordinary, and artistic sensation. Mr. 

X RiORiRD 0. LiTBT begs to announce to Directors and Managers that he is now 
firee to accept Engagements, in town or country, for long or limited periods. Printed 
Opinions of the Press can be forwarded upon application. Address, 21, Northumter- 
land Street, Strand. 

JIToia.— This ontertaUunent is equally suited for the theatre, concert-room, or draw- 
ing-room. 

MADAME SAINTON DOLBY begs to announce that 
she will retorn to Town for the season immediately after Christmas, when 
her rooal meetings and private lessons will be resumed. 6, Upper Wimpole Street, 
Carendlsh Square. 

ISS PLOEENOE DE OOUROY wiU sing "Habk! 

Tis Bills abs BaSDra," oompond by Hmr Sjubt, »t Eghim, Ju. «. 

■yLLE. MABIOT DE BEAUV0I8IN will play at 

JxL Mr. HowABD GL0Tia*8 Grand Morning Concert, Theatre-Royal, Dmry 
Laue, Jan. 0, and at the Beaumont Institution on the eyening of the same day. 

ADLLE. GEORGI and MADLLE. CONSTANCE 

GEORGI having left for Barcelona to fulfil an engagement at the Royal 
k, all communicaUons are requested to be addressed .to care of Messrs. Duhoaii 
Davibov ft Ca, Foreign Music Warehouse, 244, Regent Street, W. 

MR. J. G. PATEY will sing "In Sheltered Vale" 
at the Crystal Palace, This Day, December 31. 

MB. FRANK ELMORE will sing, "Alice, where 
▲KT Thov,*" by Ascher, at Kirkcaldy, January 4 ; City Hall, Glasgow, Janu- 
ary 14; Aberdseo, January 3L 

[R. WHIFFIN begs to announce that he is now at 

_L liberty to accept Engagements. All communications respecting Oratorios, 
Obneerts, Musical Solr^ Ac., to be addressed to his residence, 44, Upper Charlotte 
attest, Fitsroy Square, W. 



M 



Square. 



SAINTON begs to announce that he will return to 

I Town immediately after Christmas, ff, Upper Wimpole Street, Cavandlsh 



TO COMPOSERS ABOUT TO PUBIJSH. 
MUSIOSELLERS, COMPOSERS, &o. — Works 

raved and Printed, in the best style, at very moderate prices, by 
HER, 3 Little Marlborough Street. 



J<0 
Engra^ 
BOWCH 



Just published, in 1 vol. 8vo. price 14s. doth, 

LOUIS SPOHR'S AUTOBIOGRAPHY. 
Translated tmrn the German. 
London : Lohokah, Gbuh, and Co., Paternoster Row. 

NEW DANCE MUSIC. 

With a Full Length Portrait of the celebrated One-legged Dancer, 
DONATO. 

The JReception "Waltz, 

With Fortraita of Mr. and Mrs. General Tom Thumb, 
Ck>mmodore Nutt, and Minnie Warren. 

THE MU8I0 COIIPOSED AND ABRANOED BT 

LOUIS RfiNARD. 

Price Four Shillings each. 

BixsroBD A Sov, 3, Princes Street, Oxford Circus. 



GOD BLESS the PRINCE of WALES. The New 
National Song. Bmhlxy Riohardb. 3s. Piano Solo, and Duet iiA j. 
Easy Edition, 2s. 6d. ; ditto, Four Voices, 2d. ^ "Q Witt, «sdi u. j 

HAMILTON'S 45lst EDITION of his MODERN INSTRUCTIONS loi Um 

HAMILTON'S Ditto, for SINGING. «8. 
HAMILTON'S DICTIONARY of 3,600 MUSICAL TEBM8. U 
CLARKE'S CATECHISM of MUSIC. 88th Edition. U. 
CLARKE'S ditto, ELEMENTS OF HARMONT. 2s. 
WEST'S (G. F.) QUESTIONS on the THEORY of MUSIC. Si 
CLARE'S PSALMODY. Twelve Books. 3s. each. 

London : Robibt Cooes A Co., New BurUngton Street. 



Price 3d. ; by Post, 4d. Published every Month, 

3nHE CHOIR AND MUSICAL RECORD for January 
L contains several interesting Papers on Music, Notices of Clioral Fettinb ti» 
usical News of the Month, and ™rwHy»B,u» 

FOUR PAGES OF MUSIC: 
A Fugue for the Organ by Jobs Ebhist EBnux. 
Jf.2?.— Subscriptions commencing with the New Year payable in sdnnee.ti per 
annum, post free, may be sent direct to the Publishers. ' 

MsnLsn A Co., 3T, Great Marlborough Street, W. 



CHBISTMAS PASTOBALE, 

''SLEEP, SLEEP, MY BEAUTIFUL BABE." 

SONG FOR MEZZO-SOPRANO. 
The Poetry torn an Unpublished Hymn of the Late FATHER FARES, D.D. 

The Music by WXLHSIjM 8CHULTHES. 

Price 3s. 
.London : DuNCin DavxsoH ft Co., 244, Regent Street, W. 



CHARLES FOWLER'S COMFOSITIONa 



» The Rosebud,'' Melody for the Pianoforte ... 
" The Lancashire Witches," Polka Mazurka, do, 
««AUegrettoGraiio8o,"do 

AKD 

Sonata for Pianoforte and Violin 



3 
3 
3 » 



... ... Friee,in8Gore,l5 

London : Dunoix Davuoit and Co., 244 Regent Street, W. 



MARIE D'ANNETTA'S DANOE 
Characteristically Illustrated. 
** Ttie Lily of the Thames Quadrille," with comet acoompaniment ... 
"What Next Quadrilles " (Robin's Last), with comet accompaniment 
*• The Spirit Rapping Polka," dedicated to all Spirit-Rappers' Medlams 
«* The LleweUyn Waltz," dedicated to Mr. Backwell, B. M. 3rd R. W. M. 
» Beaatifhl Spirit Walts," dedicated to Mens. Louis Jullien 

London : Duhoiv Davisoir ft Co., 244 Regent Street, W. 



MUSIC 



Just published, price 38., 

"DISTANT MUSIC," 

MILITARY PIECES FOR THE PIANOFORTE 

Composed by EMUjE BERQEB. 
London : DxnrciH Divisos ft Co., 244 Regent Street, W. 



A SONG FOR CHRISTMAS. 



**THE CHRISTMAS ROSE," 

Composed by 
W. IiOVSLIi PHUJalFS. 
Price 3s. 6d. 
London: Dp¥CA3I DivaoH'ft Co., au Regent Street W. 



Just Published, price 2s., 

"MAIBIjUMCHEN" 

(Teb Little Mat Flowsk), 

MELODY 
FOR THE PIANOFORTE, 

Composed by FRANZ EGSENFEIiD. 
London: Duvoixr Davibom ft Co., 244 Regent Street, W. 

Just Published. Prioe3s. 

LOVELY VOICES OF THE SKY/ 

CHRISTMAS CAROL 

For Soprano, Contralto, Tenor, and Bais. 

The Poetry by 

MRS. HEMANS. 

The Music by 

a W. HAMMOKD. 

London : DuiKAv Divisor ft Co., 344, Regent Stres^ W* 



Digitized by 



Google 



December 31, 1864.] 



THE MUSICAL WOELD. 



833 



CHRISTMAS WAITS. 

iOoncludedfrom Page 818). 

Either Steele or Addison (to whom the paper has a]60 been 
attributed) says, in The Tatler of Sept. 9, 1710 :— 

" As the custom prevails at present, there is scarce a young man of any 
faKhion in a corporation^ who does not make love with the town-music. The 
Waits often help him through his courtship, and my friend Banister has told 
me he was proficred 5001, by a young fellow to play but one winter under the 
window of a lady that was a great fortune, but more cruel than ordinary. 
One would think they hoped to conquer their mistresses' hearts as people 
tame hawks and eagles, by keeping them awake, or breaking their sleep when 
they are fallen into it." 

The " Hunt's up " or '* Good morrow " was especially expected 
by the fair one on her birthday, and the custom is not altogether 
obsolete, though the name seems to have been forgotten. When 
our present Princess Royal came of age, she was greeted with 
music from the royal band under her window in the morning, but 
the court newsman invented a new French name for it — "a 
Matinale !" In Davenant's Unfortunate Lovers, Rampiro says : — 

*' The fiddlers do 
So often waken me with ttieir gntlng ffridlroni, 
And Good Morrows^ I cannot sleep for them,** 

but this was the Christmas greeting preparatory to a demand upon 
his purse. 

** Past three o'clock, and a cold firosty niomlnir. 
Past throe o'clock, good morroWt Uastert 011,** 

is a pretty air of the London Waits of the time of Charles 11., 
which is included with other wait-tunes ; such as the ^^ Fa, la, la,'* 
by Jer. Savile, Chester Waits, and Colphester Waits in Popular 
Music of the Olden Time, To these several more specimens of 
their composition might have been added, such as WoAsop WaitB, 
Warrington Waits, York Waits, Bristol Waits, &c. ; but the only 
names of wait-composers that have descended to us are those of 
John Ravenscroft, who was one of the waits of the Tower Hamlets, 
and who wrote many hompipMe tunes; and, more eminent far, 
Thomas Farmer, a London Wait, and composer of many excellent 
songs, among which may be particularised that lovely air to Tom 
Durfey's words, " She rose and let me in " (beginning " The night 
her blackest sables wore "), which has been claimed as Scotch ; and 
which, according to Dr. Bcattie, made the tears start from Mrs. 
Slddons^ eyes when he played it to her on the violoncello. Tate 
wTote an elegy on Farmer's death, and Purcell composed the 
music. 

Each ward of the city of London had formerly its company 
of waits — ^perhaps six or eight in number, for, on Charles n.*s 
Tt'storation, he was entertained with music from a band of eight at 
Crutched Friars, six at Aldgate, and six at Leadenhall Street— and 
beyond its boundaries were those of Finsbury, of Southwark, of 
Blackfriars, and of Westminster. They made their watching 
duties as light to themselves as possible, but still they did watch. 
By an order of the Common Council of Newcastle, Nov. 4, 1646, 
the waits were commanded to go about morning and evening 
*^ according to ancient custom;" and an order from the same 
authority, in 1675, enjoined their going about the town in the 
■winter season. (Brand's Hist, of Newcastle, ii. 354.J The 
quotation from Burton's Diary in 1656, which a correspondent of 
Notes and Queries, D. M. Stevens, adduced, proves that in London 
also the waits were then thought to be ^' a great preservation of 
men's houses in the night ;" and to have been so, th^ must still 
have continued their nocturnal perambulations." Let us now turn 
to a humorous description of them in their winter clothing, by Ned 
AVard in The London Spy : — 

" At last bolted ont from the comer of a street, with an ignis fatuus 
dancing before them, a parcel of strange hobgoblint, covered with long frieze 
rugs and blankets, hooped round with leather girdles from their cmppers to 
their shoulders, and their noddles buttoned up into caps of martial figure, like 
a Knight Errant at tilt and tournament, with his wooden head locked in an 
iron helmet, one, armed, as I thought, with a lusty faggot>bat, and the rest 
with strange wooden weapons in their hands in the shape of clyster-pipes, but 
as long almost 'as speaking-trumpets. Of a sudden they dapped them to 
tlieir mouths, and made such a frightful yelling that I thought he would have 
been dissolving, and the terrible sound of the last trumpet to be within an 

inch of my ears * Why, what,* says he, * don't you love musick? 

These arc the topping tooters of the town ; and have gowns, silver chains, and 
salaries for playing LiUi-horlero to my Lord Mayor's horse through the dty." 
Part u. 4th edition, 1719, p. 85, 



The following description is much of the same kind, but 
describes the York Waits at the beginning of the last century. I* 
copy two lines into one to save space in printing : — 

" In a winter's morning, l<mg before the dawning, 
Ere the cock did erow, or start UiMr llgrht withdraw, 
Wak*d by a hornpipe pretty, play'd along York city. 
By th* help ofo'er-night'i bottle, Damon made thii ditty. 
In a winter's night, by moon or lanthom light. 
Through hall, rain, frost, or snow, their roands the music go : 
Clad each In frieze or blanket (for either heav'n be thanked). 
Lined with wine a qnart, or ale a doable tankard. 
Burglars tend away, and bar-gnetts dare not stay ; 
Of claret snoring sots dream, o*er their pipes and pots. 
Till their helpmates wake *em, hoping musioll make *em 
Find ont pleasant ClifT, that plays the Rlgadoon. 
Candles, roar in the pound, lead np the jolly Roond, 
While Comet shrill i* th* middle marches, and merry fiddle ; 
Curtai with deep ham, ham, cries out we oome, we come i 
Theorbo loadly answers, *Thrnm, thrum, thrum, thrum, thrum.* 
But, their fingers frost-nipt, so many notes are o'erslipt. 
That you*d take sometimes the Waits for Minster chimes ; 
And then to hear their musick, would make both me and you sick ; 
And much more, too, to hear a roopy fiddler call. 
With voice as Moll would cry : * Come, shrimps or cockles buy.* 
* Past three ! fldr fh)sty mom ! Qood morrow, my masters all.* ** 

And now as to the constitution of the Company of Waits, and 
the privileges accorded to them by corporations in the last century. 
A book wmch formerly belonged to the waits of Norwich, supplies 
the following extracts : — 

"The Company of Mnsiciana, or Waits of the City of Norwich, Kovemher 
22nd, being St. Cedlia's Day, a.d. 1714, the following persons were chosen 
officers, viz. Thomas Laws, Headman; Isaac Laws and Samuel Suffield, 
Wardms ; John Baker and William Barrow, Searchers,** 

This was the entire Court, and they interchan^^ed the offices year 
by year, so as to exclude others. As to the privileges conferred on 
them by the Corporation of Norwich, we find t^t, on the 2Sth 
November, 1733, at a Court of Mayoralty, it was ordered : — 

" Thai for the future no person or persons be permitted, or do play in the 
streets npon any musical instmment, to any person or persons within this city 
or county (unless it be the Company of Musicians belongmg to the city), 
without the license of the Mayor of the said city. This ordnr not to extend to 
any person or persons that shall be sent for to any private or public house, for 
the diversion of any person or persons of such private family, or at any such 
public house : so as such person or persons do not presume to play at any 
irregular hours." 

This order of the Mayoralty was confirmed in the following 
year, and it seems to have remained in force till 1790. On the. 
14th of January, 1791, '^ at a meeting of ^e Company of Waits, 
or Musicians, being discharged from the Corporation duty, we four, 
whose names are here underwritten, do agree to form ourselves 
into a Company, calling ourselves City Music, for the under- 
mentioned business, viz. rlayin^; [to the Mayor elect. Aldermen, 
Sherifb," &c. But the old waits had also claimed an exclusive 
right for out-door music at weddings, and of '^ playing to persons 
of quality to welcome them to town." The night watching of the 
city had tiU then been kept up from Michaelmas to Christmas, but 
it seems to have been paid for only by gratuities, the collection of 
which occupied much time ; for a member must have been absent 
'^four days" from the collecting, or four days from *'the 
survey," before he was fined. The fine for b^ng drunk and 
incapable, or being absent on a watch night, was severe— 10«. I 
The headman aJso suffered the penalty of U, every time that he 
omitted to wear his chain round his neck while on business. 
And now adieu to the waits. I have ahready gone beyond my 

proposed limit, and leave the derivation of the word to others. 

The views of Roger North and John Cleland upon it are already 
in your columns, and the glossaries will supply the rest. If the 
professed waits of to-day would discontinue their brass instruments 
and revert to the soft pipes which could be heard by those who 
were lying awake, and yet not disturb sleepers, few would object 
to them. Music so heard is rather agreeable in the night tnan 
otherwise. Even if they would awake us at fitting time with 
^' Adeste, fideles " on the Christmas morning few would object. I 
heard that hymn from them last Christmas morning, and daim the 
indulgence of your readers to say a parting word upon it The 
name of '* The Portuguese Hymn " was firet given to it by one 
of the noble directors of the Ancient Concerts, who had heard it 
at the Portuguese Roman Catholic Chapel. It was composed by 
John Reading, author of the Winchester song «^Dulce domum,** 
who had a fancy for composing music to Latin words. 
80, Upper Harley Street, William Chappelj,, 



^^ 



Digitized by 



Google 



834 



THE MUSICAL WORLD. 



[December 31, 1864. 



MUSIC IN FRANKFORT * 

Anyone who had been absent from Frankfort for ten years 
would find a striking difference .between musical matters then and 
now. The theatre, it is true, occupies the same, or rather, per- 
haps, a lower position than it did ten years since. The reason is 
that, despite the establishment of free trade in everything else, 
aught like rivaliy is prohibited as far as the theatre is concerned, 
and three or four patrons render this institution completely sub- 
servient to their own amusement. But a great change has been 
observable in concert-music during the last five or six years. The 
smaller concerto, such as saloon and virtuoso concerts, are becom- 
ing more and more rare ; the public flock in crowds to the grand 
oratorio and symphony concerto. As the Httle concerto die out, so 
also does little music disappear from the symphony concerto, and 
in the way of grand music, people are demanding more and 
more the best historical creations. Up to the present time, we 
have had no virtuoso concert worth mentioning ; the Frankfort 
artisto who used formerly, at the very commencement of the sea- 
son, to announce a series of quarteto, trios, &c., now make no 
sign. On the other hand, the rush to the Symphony Concerto is 
so great than at ^e *^ Museum," though the large hall contains 
more than 1200 numbered seato, over two hundj^ persons were 
refused subscription ticketo, that is to say, were obliged to re- 
nounce nearly all hope of attending the concerto, because, for 
instance, at the performance of Beethoven^s Ninth Symphony, the 
crush was so great to the two remaining galleries, which together 
contain only from four to five hundred persons, that several hun- 
dreds were turned from the doors. For the benefit of those who 
were thus disappointed, as well as of the inhabitanto of the en- 
virons, there was another performance of the Symphony. Again, 
the Symphony Concerto are beginning to be really symphonetic. 
The air, the song, the little bit of pianoforte - strumming, 
and the exhibitions of cadence-fiddling are receding more and 
more into the background, and making room for cantatas, choral> 
compositions, overtures, and other important pieces. How this 
■election works is evident from the continually increasing attendance 
of the public, and the pleasure they take in the performances. 

The greater interest evinced in pieces of importance, and in 
more powerful ideas, is to be explained by the change in political 
sentiment. The people have no longer any toeto for the petty, 
ambiguous policy of diplomatisto, but care only for great evento in 
Hie career of nations. The same is the case in art. This is the 
reason why a taste for grand music has been manifested more 
especially since 1859 and 1860, when the great national struggle 
began in Italy ; the '' SchUtzenfest '' in 1862, and the Schleswig- 
Holstein movement of 1863 strengthened this feeling more and 
more. For the sharper critical spirit now pervading them, our 
concert-public are, on the other nand, indeoted to a man who, 
ever since the year 1850, exerted himself with indefatigable con- 
sistency to impart a critical education not onlv to his own im- 
mediate pupils but to those, also, who attended his concerto. It 
was Friednch Wilhelm B,\ih\ who first freed his pupils from 
following one certain model, from belief in authorities, and from 
false sentimentality, by his theory, which comprehended every- 
thing valuable technic^illy and intellectually; by his thorough 
analysis of works of art ; and by his development of character. 
In addition to his own regjidar pupils, he had always from one to 
two hundred members in his Oratorio Association. These persons 
carried the spirit of criticism among the geneotJ public with a fiery 
zeal which led to the most violent party conflicts. The per- 
formances at his Oratorio-Concerto, however, produced so grand 
an impression that the public were convinced against their own 
win, and applied the sounding-rod of criticism to musicid patch- 
work. Rtihf has not reaped the reward of his labours ; he was so 
prosecuted by envy, ill-nature, and intrigue on the part of the 
whole race of hack musicians, who found themselves surpassed 
to such an extent in everything, that he resolved to excnange 
Frankfort for Ma^ence, the Liedertafel of which pkce had sent 
him a most flattermg invitation to loin them. Another now con- 
ducto his Association, but both in that and the ol^er Associations, 
as well as among the public, there still existo that critical spirit he 
was the first to introduce. 

We will now speak of the various concerto in detail. The 

« From tho Yieima Mecennonen* 



Museum has, up to the present time, given three. At the first we 
had Schubert's Symphonyin C major ; Beethoven's Concerto in 
G major; at the third, Weber's Overture to Rubezdhl; and, in 
addition, airs by Handel and Kossini, and two or three pianoforte 
pieces by Stephen Heller. Schubert's Symphony is noble and 
dignified in its plan, and, therefore, produces, on the whole, a 
grand impression. Looked at in detail, the forms are frequently 
too smaU, not short in a Beethovenian sense, but narrow. Beet- 
hoven's forms are short, but the motives proceed in one direction ; 
by continuation they may be endlessly lengthened, while sharp 
contrasto may be produced by an opposite course. Schubert's 
motives are complete in themselves, because they contain a doable 
movement, or movement and repose (as, for instance, the middle 
group in the Allegro.) Not all the skill for modulation in the 
world can make anything great out of them. Schubert repeats 
them, moreover, innumerable times, and commito'the error — in 
place of the coda, which should correspond with the first motive — 
of at once bringing the development of this second motive into the 
fresh portion of his production and of beginning the second por- 
tion with a fresh development of the same motive. Even if we 
leave out of consideration the deal of petty hopping about, this is 
illogical, for the development should not begin until the funda- 
mental idea has been expressed in all ito bearings, and the excited 
imagination is reveUing in reminiscences of it. — Herr Hall^, the 
well-known pianist, resident in Manchester, played Beethoven't 
Concerto in G major. His manual dexteritv is perfect, and his 
style full of mind and life, both as regards the vi^w taken of the 
composition as a whole, and the working-out of tne details. Two 
or tnree interpolated cadences, however, caused us to doubt his 
critical intelligence. — ^Madlle. Busk, from Baltimore, sang the ain. 
She possesses very fair talent and a good voice, but the latter is 
still m the course of artistic development. 

The second concert presented us with Mendelssohn's '^ Walpur- 
gisnacht," and*Beethoven's Ninth Symphony. The Cecilia Aso- 
ciation took part in the performance of the " Walpurgisnac^t.** 
This cantata is, probably, one of Mendelsshon's most original 
works ; in freshness and natural truthfulness it far surpasses his 
Elijah and St. Paul, The Cecilia Association rendered it with great 
animation, though they did not succeed in producing the powerfully 
demoniacal impression that Riihl used to make with it. The Ninth 
Symphony is so immense a work that a gigantic mind and extra- 
ordinary resoiurces are needed to execute it in perfection. Herr 
Miiller, the conductor of the Museum, is a man of a fervent, tender, 
and kindly disposition. When feelings of this description have to 
be pourtrayed, he is unrivaUed. But he does not sieze the strong 
contrasto of life with sufficient vigour and roughness to make him- 
self altogether master of them. The first movement appeared, in 
consequence, rather mournfully elegiacal than powerful; the 
lament was soft and gentle, but not prophetio^y indignant. 
The second movement was flowing and graceful, instead of 
rough and sturdy. The result was that in the thinl movement 
people did not feel that need of rest, which a profoimdly exciting 
struggle presupposes. It was not till the fourth movement that we 
had the proper fiery energy ; but the impression produced by the 
joy did not carry the audience away, because they had not reallj 
and seriously taken part in the combat. Despite all this, though, 
the Symphony made a grand impression ; the public were so en- 
thusiastic about it that it formed the staple of conversation for some 
days afterwards. Herr Carl Griin spoke publicly of the week in 
the Handelsacademie and in Offenbadi. At the latter place he 
excited such enthusiasm, that crowds of musical amateors came 
over to the second performance. 

At the third concert, we had a " Suite" ^No. 2, in E minor), 
by Franz Lachner; a Yiolin-Conoerto, by Mendeiasohn; Over- 
ture, Scherzo and Finale, by R. Schumann ; a " Chaconne," by 
Bach ; and the overture to Alfonso und EstreUa^ by F. Schumann. 
Lachner, we all know, published a first *^ Suite " in D minor, two 
^ears ago ; critics pronoimced a tolerablv unanimous verdict upcoi. 
it. Though Court joumalisto at Munich pretended to be in such. 
ecstacies as not to be contented with twenty-four variations on a 
movement, but to desire some two or three dozen additional ones, 
people in Frankfort had more than sufficient with only six. Mean- 
while, Herr Lachner wrote a second *' Suite."* It seems as if 



* Played for the first tune in Vieima, and with decided soooeM oa tiM 
27th Kovember. 



Digitized by 



Google 



December 81, 1864.] 



THE MUSICL WORLD. 



835 



R. Wagner's words concerning the Ninth Symphony (** it is the 
last Symphony in the historical development of art, and everything 
after it is nothing more than imitation ") were so branded on Lach- 
ner's soul that he did not dare to write another Symphony. He 
returns, therefore, to the old forms of Handel and Bacn. Lostead, 
however, of studying the nature of dances, which, though unknown 
even to the composers, constituted the foundation on which these 
forms were based, he copies the forms themselves. These he pre- 
sents to us with all the old-fashioned attributes and stiff pathos of 
former days, but in the garb of brilliant modern instrumentation. 
It is just as though we were to see Albrecht DUrer's wood-engrav- 
ings painted up with all the dazzling technical brilliancy of a 
painter, of the present day. Modern instrumentation not unfre- 
quenUy carries off Lachner's imagination to the modem ball- 
room, and, when it does, a lovely mixture of old-fashioned and 
modem dance-rhythms is presented to us in the most charming 
manner. We are acquainted with only one pendant to these 
*' Suites '• and that is the ** Hausmusik" of Riehl (the historian of 
civilization). The ^' Suite ** was executed with all the delicacy and 
attention that could possibly be bestowed upon a new work ; none 
of its attractions remained concealed. The public, excited b^ the 
execution of the dance melodies, many of which are es^eedingly 
pretty, indulged in frequent applause. Mendelssohn's Concerto 
and Bach's "Chaconne" were jjlayed by Herr Lauterbach of 
Dresden. This gentleman is distinguished for a smooth, delicate 
tone, but he is dScient both in inspiration and in conscious deline- 
ation of character. 

But enough, and more than enough for to-da^. I will send you 
an account of Riihl's Association and the Cecilia Association the 
next time I write. 



DES ETRENNES POUR WALLACE. 

Part*, Dee. 6. 
An concert Pafdeloup, ce n'etait pas I'oQvertare de Fidelio en mi 
majeur de Beethoven, ni la Byniphonie de Mozart, encore nouvelle 
Dependant pour ces s^nces, nl le Largo d'Haydn, ni le Sepluor de 
Beethoven, tous morceaax parfaitement ehoifiis, qui nous araieot attir^ 
de pr^ftSrence. Tous ces mattres, nous les avons entondus des milliers 
de fois au Conservatoire et chez Pasdeloup lui m^me, et, grdce au sys- 
i^me en osage dans ces societ^s, nous sommes appele ^ Yes entendre 
bien soavent encore. Nous avions voulu, au contraire, saluer la pr^ 
face d'uoe oouvre encore inconnue ^ Paris et de son auteur, plus in- 
conna encore, bien que dejil son oeuvre soit popnlaire en Angleterre et - 
en Allemagne. II B*agit de Lurline^ op^ra en trois actes de W. V. 
Wallace, qui a M jou€ plus de cinq cents fois ll Londres, et que T Alle- 
magne a applaudi comme on applaudit Toeuvre d'un vdritabl^ maitre. 
C'eet done I'ouverture de Lurline (en allemand Loreley), que nous 
sommes all6 entendre. Kous tenions ^ voir Teffet qae^produirait une 
oeuvre nouvelle, inconnue pour ce public, qui ne connatt gu^re que la 
trilogie de Haydn, Mozart et Beethoven. Disons ^ sa louange et pou 
iaire honneur ll son jugement, que, des les premieres mesures, il a 
compris qu'il etait en presence d'un compositeur de science et de godt, 
pose^dant les connaissances profondes que donneot des dtudes solides 
jointes IL une imagioation fcconde, et une grande habilet^ de main 
pour ce qui touche aux details de Torchestration. Dans cette cuver- 
ture on sent un artiste niattre de ses ressources, alliant dans une juste 
mesure Tclement m^lodique aux combinaisons de I'orchestre, dont il 
accouple avec un art infini les diffi^rentes sonorites. Le» deuins, les 
imitations, malgrd leur abondance, ne jettent jamais aucune confu^on 
dans Tensemble instrumental ; au contraire, tout cela se meut et 8*en- 
chaine avec clart^, et quand arrivent les grands effets des masses, ils 
resaortent d'autant mieux qu'ils ont 6tb menages avec beaucoup d'art 
aa moyen de contrastes prepares avec une grande intelligence de la 
fracture symphonique. 

Pour ceux qui voudraient savoir dans quelle cat^gorie de compost- 
icnrs on pourrait placer Wallace, nous dirons qu'il nous parait proceder 
de Rossini par son abondance m^lodique, le tour suave et brillant de 
•ea periodes chantantes, et que, par son habile accouplement des tim- 
bres, il rappelle tout ^ fait la mani^re si noble et si po^tique de Weber. 
Et cependant il ne faudrait pas croire voir en Wallace un froid imita- 
tenr de ces maltres ; son style et son faire sent bien k lui Plus heur- 
eux que beaucoup d'autres Imusiciens qui, du reste, ne connaissent 
flrn^re lea cBuvres des auteurs etrangers, nous avons vu et ^tudid plus 
d*une foia les operas de Wallace, et notamment Lurlitie ou la Fille du 
Rhin, dont on a entendu chez Pasdeloup Touverture, et nous croyons 
pouvoir afiirmer sans craindre d'etre dementi que cette partition a la 
valeur de la Favorite et de la MueiU, Nous pourrions citer tel directeur 
qui en a entendu en notre pnisence plusieurs morceaux des plus im- 



portants, et qui a regrett^ de ne pas avoir toute rinitlative ndceasaire 
pour la monter sur son thditre. Car, il Paris, nous en sommes encore 
1^ La subvention enchatne encore assez Jea directeura qui la re9oivent 
pour qu'ils soient oblige d'abdiquer leur personnalite et de receyoir le 
mot d'ordre do certains comit^s qui s*entendent tr^s bien & tout, ex* 
ceptd H la musique. 

Notre espoir est que la liberty des th^tres fasae aurgir un jour, chose 
qui n'a jamais exlste qu'il de tr^s rares intervalles, un directeur essen- 
tiellement artiste, pouvant apprdcier personoUement, laimdme, la 
valeur d'une partition, et qui soit en mdme tempa assez libre de aaa 
actes pour la monter sur son theatre. Quand ce jour sera venu I'op^ra 
de Lurline sera un des premiers offerts au public, et on verra si nous 
avons exag^r6 en lui donnant I'importance capitale dea chefs d'osnvre 
auxquels nous Tavons compar^. Quoi qu*il en soit, Pasdeloup a Men 
mdrit^ des amis de la musique en donnant h Wallace une place 
d'honneur sur son programme, et en le faisant figurer it cdte dea 
maitres pres desquels, It notre avis, il n'est nullement ddplac^. C'eai 
en excluant tout parti ^is, c'est en allant chercher toutes les oeuvrea 
remarquables, sans distinction d'^le, qu'il agrandira Thorizon de I'art 
et qu'U compl^tera Tdducation • du public qui suit si volontiera son 
drapeau, qu'il le plante dans la salle de Herz ou du Cirque-Napoleon. 

C'est prlScis^ment paroe ^ue Pasdeloup est mattre aujourd'hui de'aon 
public et que celui-ci le smt avec une confiance aveugle, qu*il doit ne 
pas lui laisser ignorer tout ce que la musique a produit de beau dans 
tous les genres. Du rest^ Pasdeloup a dd voir combien le public lui 
savait gre de cette innovation dans son programme. Apr^s I'ouverture 
de Loreley, qui, on doit le dire h la louange dea ex^cutanta et de leur 
habile chef, a 4t6 rendue avec une vigueur, une precision et un 
ensemble des plus remarquables, des bravos chaleureux et renouvel6a 
jusqu'iL trois fois de suite, ont delate de tous les points de la aalle. 
Nous avons vu I'auteur qui assistait k cette sdance avec aa famiUe, et il 
etait facile de a'apercevoir quil ^tait heureux de so voir si bien inter- 
pr^te, et que cet hommage auquel le vnd public aeul prenait part, lui 
causait une emotion des plus vivos. Puisse la France artistique se 
montrer toujours ainsi hospitali^re envers les mattrea qui ont parfoia 
us6 leur vie dans la meditation et le travail, pour leur offrir des oeuvrea 
gtandea et belles I Que notre patrie soit toujours le neble foyer deaarta, 
la m^tropole de la dviiiaation et du progrba I C'est notre jugement et 
notre gotit qui, en consacrant lea oauvres vraiment artistiquea et en 
dispensant le succt^s, ont engag^ Donizetti, Spontini, Itossini et 
Meyerbeer h nous offrir leurs plus beaux chefs-d'osuvre, et it devenir en 
quelque sorte citoyens de notre pays. C'est ainsi qu'un jour Wallace, 
Balie, B^n^dicl, etc., viendront h leur tour doter nos acbnea de leura 
ceuvres insplr^es et leur l^guerent des tr^ra lyriquea ik ijouter ik 
ceux qui ont doj^ fait leur gloire et leur fortune. 

aYLVAIK aAINT-STISNNB. 

Ff/)BENCE. — ^Signor Guidi has just published the score and band-parta 
of Pacini's Symphony in D minor. The work is divided into four 
parts : '* Hell," *♦ Purgatory," " Paradise," and Dante's *' Return to 
Earth.*' Giraldoni is engaged for the next Carnival season at the 
Pergola. 

RoMa — Such was the eagerneas of the public to hear Let HuguenoU^ 
that, on the morning of the day of the first performance, not a ticket 
viras to be procured. Though the title was changed into JReruUo di 
Oroenwaldt and the libretto terribly mutilated and altered, the opera 
achieved an extraordinary success. — The Pope has bestowed the cross 
of the Sylvester Order upon Professor DSring of Dresden, in considera- 
tion of the services rendered by that gentleman to tiie cause of sacried 
music. 

BoMBAT. — The &mily of the Schotta, the well-known music pub- 
lishers, has just lost one of its members. Adam Schott died here on 
the 3rd August, ailer having, for many years, filled the post of band- 
master in various regiments, both in England and the Colonies. Hia 
life is full of Interest A son of Bernhard Schott, the founder of the 
celebrated house at Mayence, he was bom in 1791, and received a first- 
rate musical education. At the age of 15, he played almost every wind 
instrument, though that on which he particularly excelled himself was 
the clarinet. During a tour with his master, the celebrated Baermann, 
through Germany and a part of France, he fairly divided the laurels. 
In 1822, he founded a branch establishment at Antwerp, and it was 
from this that the firm of Schott Brothers at Brusaells aubaequently 
sprang. His adventurous disposition would not, however, suffer him 
to remain quiet very long. He went to England, and thence to 
America and India, ginng a number of concerta, and, at laat, accepting 
the situation of bandmaster in an English regiment quartered in India. 
On his return to England, in 1848, he was appointed bandmaster in 
one of the Household Regiments. The regular and quiet duUea of hia 
post did not, however, agree with the habita he had contracted in 
India, whither he again returned, and where he died. He wrote a very 
large number of compositiona for military banda, but only a few have 
been published. 



Digitized by 



Google 



336 



THE MUSICAL WORLD. 



[December 31, 1864. 



ARABELLA GODDAKD AT BRIGHTON. 

{Frwn the " Brighton Qazetu:') 

The second ^^ Recital ^* by this talented lady took place at the 
Pavilion, in presence of a brilliant audience. We have recently 
written at such length on her unequalled performances, that a short 
notice must now si&ce. The selection for the *^ Recital " was even 
more interesting than on the former occasion. The first piece was 
Woelfl*s Sonata in F major, Nt Plus Ultra, Woelfi was a pianist 
in the beginning of this century, whose music contained greater 
intricacies than most of the music of other composers of that 
period. In his conceit he gave to his Op. 41 the title, ^* Ne Plus 
Ultra ^^ implying that he out-distanced all competitors in the 
writing ana execution of elaborate difficulties. The piece abounds 
in thii^, octaves, and shakes for both hands. Unfortunately for 
the then generation, Madame Arabella Groddard was not living, or 
the composer would have heard his piece played as he never, 
certainly from what we have heard, was able to play it himself. 
This sonata owes its resuscitation to Madame Goddard, Woelfl^s 
music being now but little known. Three of Mendelssohn's Lieder 
ohne Worte — which followed next — were rendered with infinite 
grace, variety and charm. The great feature of the morning, 
however, was Beethoven^s Sonata in G major, Op. 31, No. 1. It is 
utterly impossible to convey any idea of the grandeur of 
this masterly performance. Each movement of this divine work 
developed fresh qualities in the fair pianist. It was a combina- 
tion 01 everything that is eharming. If we were to single out 
a point it would be the adagio grazioso, the phrasing of which, 
in its deep expression, produced an effect not easily forgotten. 
The audience were roused to the utmost enthusiasm, and insisted 
on recalling the poetical interpreter of the most imaginative 
composer the world has known. The ^* Recital " indud^ three 
musical sketches, by Stemdale Bennett : — 

Andante tr»nqaillo (" The Lake »*)— E major. 
Presto agitato (** The If ill-stream **)— G minor. 
Presto marmurando (** The Fountain **)— B mi^o'* 

No wonder that a man like Mendelssohn was an ardent admirer of the 
writings of our 'great English conmoser. A delicious. Bach-like pre- 
lude and scherzo by Wallace, and Lindsay Sloper's new and extremely 
effective fantasia on Gounod's Mireille (which is going all round 
the coast) were played as incomparably as |only Madame Goddard 
could play them. 

IMPROVISING. 

Many a young pianist, or would-be pianist without labor and 
without price, has a certain trick of *^ improvising," which he 
mistakes for talent. In any way it is a miserable way merely to 
indulge a talent, which you should be educating. Tlie following 
was addiressed to a New York musical paper :^- 

Dear Sib, — I study the Piano and have taken a few lessons in har- 
iitony. But instead of applying myself to my lesaoos, I spend much of 
my time by improvising on the key-board. My teacher grumbles, and 
myti this will do me no good ; but I think that it adds greatly to my 
facility of modulating from one chord into another, that it improves 
my ear, and also my pianoforte playing. What is your opinion ? 

Your case (replies the Yankee editor) applies to a large class of 
young pupils who are ambitious to become artists, but who shrink 
from the labor it costs to deserve this distinction. It is very easy 
to chain a few chords together, especially as it is done in most of 
these cases, without any discrimination and refinement, nay, even 
without knowledge of a correct progression. We know the 
astonishing effects which these so-c^ed improvisers obtain, 
and which mostly consist in giving the melody to the left hand, 
and letting the right hand rattle over the keys in Arpeggio Pas- 
sages or Chromatic Runs ; but if ever Uiere was anything more 
sickening and injurious to the real progress of the pupil, it is this 
practice of sati^ying the very cheap and easy *^ aspirations of the 
soul." It makes him indolent, empties his mind, and kills the 
little talent he may possibly have had before it had any chance to 
develop itself. Even a full grown man of great intellectuality and 
experience will soon exliaust his stock of ideas, if he would under- 
take to live exclusively upon the same ; how much more must this 
he Uie case with a young man in an art which, at least in its first 
rudiments, offers very little food for intellectuality. It is this 



which makes the so-called improvising such a dangerous practice. 
In poetry and literature the smallest attempt at composition anti- 
cipates a certain strainiag of thought and occupation of the mind ; 
but in musical composition, at this early stage, where generally 
such improvising occurs, the pupil has only to know how to handle 
a few forms, and fill them with whatever may pass his mind, in 
order to produce a certain effect upon ignorant hearers. Now this 
constant moving in the same narrow circle is such an enervating 
proceeding, that we can not wonder to see how soon the persixi 
who practices it loses the appreciation of its low and degracling 
nature, and how soon ho becomes really unfit to understand aad 
appreciate anything but his own doings. 

X ou say that it improves your ear. If it does, so much tLe 
better ; but we have always found that persons in your case have 
very poor hearing, for the miding of a melody on the keyboard does 
not facilitate it at all. It would be different if you exclusively culti- 
vated the art of repeating the melodies of others, constantly trying 
to give them correctljf^ and to learn how to immediately know what 
tones are wanted for your purpose ; but this is a regular task ot 
study, and by the very nature of your improvisations you wiQ 
shrink from performing it. It is needless to say that your prac- 
tice will not improve your pianoforte playing ; for a trial wit£ any 
composition by a good master, which does not contain the two or 
three passages you constantly show off, will soon convince you that 
you know very little about playing. Five finger Exercises wi 1 
make you a better performer than all your improvisations. It is for 
these reasons that we would advise you, and all those who belong 
to your class, to abandon the practice of which your teacher very 
justly complains, and to give your whole time — ^your whole mind, 
to the teachings which are laid down in the works of the great and 
good masters who have written for the Pianoforte ; and, after 
having become familiar with them, and, if possible, knowing them 
by heart, and being also fully conversant with the art of composing 
— ^then you may satisfy your ** aspirations of the soul " by impro- 
vising on your pianoforte, and then, only then, it vvill really 
benefit you. 

Cablsbuhe. — The Grand Duke has conferred the order of the Zih- 
ringer Lion upon Herr Franz KUcken. 

MumcH. — On the 11th inst, Herr Richard Wagner got up a concert 
in the Theatre Royal, the attractions being the following compositions 
of his own not preriously performed in this capital i—Faust Overture ; 
selections from Die Meistertinger von Numberg ; from Trittan und Isolde ; 
from Die WalkUre ; and from Siegfried. The concert concluded with 
the Overture to Tannhduser. 

Palebmo. — The Municipality having advertised for plans for a new 
theatre, a great many were sent in. Of these, five were especially 
good. The author of the first received 25,000 francs ; the author <^ 
the second, 16,000 francs; the author of the third, 9,000 francs; the 
author of the fourth, 4,000 francs; and the author of the fifth, 
2,000 francs. The theatre is to hold 3,000 persons, and a million and 
a half of franco are to be expended upon its erection. 

Leipsic. — In honor of the birthday of the King of Saxony on 
the 12th inst., the Conservatory gave a concert at which the 
following works were performed: — Quartet by Beethoven, in D 
major, Op. 18, executed by Herren Friihlich, of Posen ; Deeke, of 
Hanover; Svensden, of Christiana; and Ilofman, of Dresden; 
Air from Mendelssohn's St. Paul, sung by Herr Grebe, of Uikles- 
heim ; Romance, by Beethoven, in F major, Op. 50, and *' Am 
Springquell " for \ ioUn, by David, performed by MadUe. Friese, 
of Elbing ; Variations for Pianoforte solo, in E flat major, by 
Mendelssohn, performed by Herr Kleinmichel, of Hamburgh; 
Trio for Pianoforte and Stringed Instruments, in B flat inajcir. 
Op. 97, by Beethoven, played by I^Iadlle. Goorgiana Weil, of 
London, Ilerren Deeke and ilofman ; Aria from Handel's Jadas 
Maccahxus^ sung by Madlle. Hedwig Scheuerlein, of Hallo ; and 
" Salvum fac Regem," for chorus, composed by Herr Th. Gaugler, 
of Gempen (Canton of Solothurn). — At the tenth Suhscrij^tion 
Concert in the Gewandhaus, the programme included K^iinecke's 
" Belsazar " and Mendelssohn's ** Walpurgisnacht." ITie solos 
were taken by Herren Rudalph, from the Royal Opera house, 
Dresden, Hill, of Frankfort-on -the- Maine, Gitt, of the Leipeic 
Stadtthcater, and Madlle. Pressler, of Berlin.— Tlie Intendant- 
General, Herr von Kiistner, who died here recently, has bequeathed 
the whole of his musical and dramaturcical publications to the 
Stadtthcater, as the nucleus of a theatrical librar}'. 



Digitized by 



Google 



December 31, 1864.] 



THE MUSICAL WORLD. 



837 



THE LATE REV. ROBERT SARJEANT. 

(From the " WorcesUrthire Chronicle.'*) 

It is our painful duly to record, in our obituary of this week, the 
death of the Rev. Robert Seijeant, M.A., rector of the parish of St. 
Swithin, in this city, and also of Spetchley, which took place, after 
a short illness, on Sunday morning last. To the former he was 
presented in 1842 ; to the latter in 1845. The rev. gentleman also 
held for some time a minor canonry of the Cathedral. Mr. Serjeant 
was the youngest son of Mr. Moses Serjeant, a most resi)ectable 
glove manufacturer and old citizen, who long carried on business in 
Sidbury. He was educated at the College School, and afterwards 
proceeded to Magdalen Hall, Oxford (enjoying one of the Meek 
scholarships at the disposal of the school), where he completed his 
education, taking the degree of Master of Arts. The lamented de- 
ceased was efaiinently distinguished by his lonff and intimate con- 
nection with the Worcester Triennial Musical Festivals, for the 
benefit of the Widows and Orphans of the Clergy in this diocese. 
Of these he was the animating spirit and guiding intelligence, and 
to their interests he devoted himself with well-directed energy, great 
self-sacrifice, and unvanquishable zeal. Of six of these musical rS- 
uniorut extending from 1848 to 1863 inclusive, the entire mangement 
may be said to have rested with Mr. Serjeant. Thereby was cast 
upon him an amount of work, anxiety, and forethought, of the bur- 
den of which very few, except those who have been behind the scenes, 
can form an adequate conception. The deceased threw himself into 
the business heart and soul, and grudged no labour or pains to ensure 
the success of the meetings, for the profit of the charity which they 
so mainly helped to foster. He was eminently qualified for the task, 
for he conjoined great skill in music — ^he occasionally, w^e believe, 
indulged in composition — with much experience of the musical 
world, and with the precision, order, and quick intelligence of an 
accomplished man of business. The preparations for our musical 
festivals begin nearly a year beforehand, and firom thence to the 
period when they are fixed to come off, the work to be done 
gradually becomes more in quantity and more urgent of despatch. 
It was of the utmost advantage to the Festivals to have the 
gratuitous services of so able, so ready, and willing a hand, a hand 
in every respect by nature and by acquirements thoroughly adapted 
for the task. The great success of our later meetings, in 
comparison with their predecessors, has chiefly been owing to the 
voluntary, the judicious, and untiring efforts of the deceased 
gentleman. Patient, persevering, and courteous, often under cir- 
cumstances most trying to the nerves, he was enabled to smooth 
over difficulties and overcome opposition, which would have got the 
better of any one not possessing his fine tact and comniand of 
tempr. At the beginning of the year 1855 a handsome testimonial 
was presented to the rev. gentleman in acknowledgment of his 
services in connection with the three previous festivals. The 
subscriptions for that purpose were limited to a guinea each. 
Above £160 was realised, with which sum a superb candelabrum 
and a silver salver were purchased and presented to Mr. 
Saijeant at a meeting of the subscribers held on the 6th of 
January, 1856, a very distinguished company being present, 
including Earl Beauchamp, the Right Honourable Sir J. S. 
Pakington, Bart., M.P., Sir O. P. Wakeman, Bart, the Very 
Rev. the Dean, Mr. Laslett, M.P., Mr. J. S. Pakington, &c. 
The late Sir Edmund Lechmere, Bart., in presenting the testimon- 
ial, expressed, in the course of a justly complimentary address, 
** his own and the subscribers' sense of the invaluable services 
rendered by the rev. gentleman at the three preceding festivals. 
They thought that those services deserved such an acknowledge- 
ment as the present, well knowing that they involved long- 
continued exertion, and much fatigue, mental anxiety, and con- 
sumption of time. There were many difficult and nice negotiations 
to be entered into, and in a variety of ways talent, energy, and 
zeal were required for the task Mr. Saijeant had so kindly under- 
taken, and without this it would have been impossible such 
successful results could have been obtained. They were well 
assured that Mr. Sargeant had not undertaken this office out of 
mere love for sacred harmony, however gratifying that mic^ht be to 
him, but with the higher and nobler object of promoting the sacred 
cause of charity — ^to swell the narrow resources of the fatherless 
and the widow. (Loud cheers.)" While upon this subject we 
must also mention that in getting up a musical performance 
for any other benevolent or charitable object the late rev. gentle- 
man was always ready to take the most active part, and it was 
chiefly, if not entirely, owing to him that Mad. Goldschmidt (then 
Mdlle. Jenny Lind) generously gave her valuable services at a con- 
cert held in the College Hall, when the sum of 840^ was realised for 
the Worcester Infirmary. All the arrangements for that concert were 



made by him, and he exerted himself in ever^ possible way to ensure 
its being the grand success it was. Mr. Sarjeant, at the time of his 
death, was chairman of the Worcester Board of Guardians, an office 
which he had held for many years with great advantage to the 
conduct of public business in that department, and generally to the 
working of the Poor-law administration in this city. His agreeable 
manners, companionable disposition, and the absence of pride or 
stiffiaess in his composition, made him very popular in the social 
circle, and will cause his death to be much regretted. But the 
Worcester Musical Festivals, upon which for sixteen years he had 
bestowed such indefatigable labor, and whose interest lay so near 
his heart, will sustain the gr^te^t loss in Mr. Sarjeant's removal 
from the scene of his well-regulate activity. The deceased was a 
magistrate for the county, naving been appointed in 1848, and 
prindpad surrogate in the Archdeaconry of Worcester. 



The C C Christt Minstbkls.— This amusing <roiiw of trans- 
atlantic-sprung lyric comedians have opened their Christmas campaign 
at the Polygraphic Hall, and attracted numerous audiences during the 
holiday week. They are among the best of those followers of the 
"original minstrels*' who have sought public fayor, and are quite 
worthy the patronage of those who need a hearty laugh after the 
fatigues of business. 

Newbubt (Berks). — Mrs. John Macfarren on Tuesday last gave a 
second Evening at the Pianoforte in the Mansion House. The haU 
was well filled, though, in consequence of recent attractions in the 
town, not crowded to excess as on the occasion of her previous 
performance. The accomplislied pianist roused the sympathies of her 
entire audience by her impassioned interpretation of Beethoven's 
C sharp minor Sonata, and gave unqualified pleasure by her brill- 
iant execution of several highly attractive quotations from Mozart, 
Hummel, Schubert, Chopin, Thalberg, *:c. These were agreeably 
diversified by vocal pieces, given with admirable effect by Madame 
Qlraldoni. The whole entertainment was cordially received, and the 
masterly pianoforte [laying of Mrs. John Macfarren was greeted with 
loud and unanimous applause. 

Glasgow-* Musical Entertainment. — M. M6hul*s second pianoforte 
recitals, yesterday afternoon, in the Queen's Rooms, were well attended, 
and consisted, as usual, of classical and modem music. The Septet de 
Lucie, by liszt : the Ain Rusm, by Thalberg ; and Scenet Garmvaleequee 
by Schumann, were played to perfection, the wonderful mechanical 
difficulties of which were executed with an absence of effort which is 
rare and charming. But in no other piece did M. Mehul please us so 
much as in Beethoven's ** Bagatelles," in which a careful study of the 
music was joined to an exquisite taste in the performance. His own 
composition on the Scotch air, '* Charlie is my Dailing," was received 
with much applause. — Daily Mail, 

Manchesteb Shakespeare Commemoration. — The apparent abandon- 
ment of the proposed national memorial at Stratford-on-Avon, and the 
growth of the local fund at their disposal since last year, have induced 
the ^lanchester Shakespeare Commemoration Committee to reconsider 
their scheme for the permanent recognition of the tercentenary in Man- 
chester. Instead of the one scholarship determined upon in April, to bo 
held alternately by the Free Grammar School and the Owen's College, 
it was yesterday resolved to divide the existing fund (2,0602. net) 
into two equal sums, for the foundation of two or more scholarships for 
the study of English literature, one to be held by each of the local 
institutes above named. 

Durham.— The large hall of the University College, on Saturday 
evening, presented a gay and animated appearance on the occasion of 
the concert given by the University Choral Society. The members of 
the society were assbted by the'following members of the cathedral 
choir :— Messrs. Walker, Price, Whitehead, Brown, and Lambert. 
The pieces most worthy of notice were ^ Adelaida," in which Mr. 
Price's voice told with fine effect. The humorous duet, " Elixir of 
Love,'* by Messrs. Price and L<ambert, created roars of laughter. Mr. 
Walker sang «• Philis is my only joy" in a very pleasing manner. 
The song, " Evening breezes,'* was creditably sung by Mr. Whitehead. 
The beautiful part song, " Soldiers* love," was encored. Mr. Morris 
was encored in •' The last rose of summer." In ** I am a roamer " 
Mr. David Lambert displayed the great command he has over his 
voice, united to an excellent and highly cultivated taste. Mendelssohn 
himself would have been delighted to hear his Pedlar's Song given in 
such a style. Mr. Lambert was heartily encored. The solo part in 
*' The Miller's Daughter " was taken admirably by a member of the 
society. After •' ^l>'nheer Van Dunck " had been sung, the concert 
closed with <* God Save the Queen." The greatest praise is due to the 
members of the society for getting up such ian entertainment, which 
was a treat to all the company. 



Digitized by 



Google 



SZ9 



tHE WfUSrCAL WORLD. 



[December 31, 18G4. 



MONDAY POPULAR CONCERTS. 

ST. JAMES'S HALL. 



ONB kXTNBBED AND FIPTY-SBVBWTH CONCEBTf 

(FlBCT COVCBBT or TBB SlTBBTB SlA802(), 

kONDAT EVENING, JANUARY 16, 1865. 



PART I. 
QUAKTEfi In E flftt. No. 10, Op. U, fbr two Violins, TioU a 
Yloloneello— MM. Ltjdwiq Stbaus, L. Ribs, H, Wsbb^a 
PAQtm 

80NG»«*Vsd^earino**— MIssLounuPm . . . 

SONG FOB CHRISTMAS EVE— Mr. Rbbwicx . . . 
FANTASIAf in C BBlnor, for Planofortealone— Herr Pavbs • 

PART II. 
SONATA, In E flat, Op. 13, No. 3, for PUnoforte mad VioUn— 

MM. Paubb nnd STRiim 

SONG, ** Lft Mondlni in fondoletto "—Miss Louisa Prim • 
SONG, *• The Nlghtlng»l6**^Mr.RB«wicK 

QUARTET, In B minor, Op. 3, for Pianoforte, Violin, Viola uA 
ViolonoeUo— MM. Piubb, Stbaus, H. Wbbb and PAqOB • 



JUefhoten, 
Jiotart, 
JdolpheAdam, 
Mozart, 

SitthovtH, 
Paer. 
Jnary amwrtm 

Ji«tdiUtoh», 



COBDUCTOB 



MB. BENEDICT. 



To commmci at Eight o'clock pneMif. 

NOTICE.— It is respectfUly snggested that snch persons as are not desirons of 
remainlnflr till the end of the performance can leare tUhtr btfort A< commencement 
pf the liut inttntmmtal pieee, or betteeen (my cf the morem*ntt, so that those who wish 
to bear the whele may do so without interruption. Between the last vocal piece and 
the Quartet for Pianoforte and stringed instruments, an interral of fits wnutss wil. 
he allowed. 

Sofii Srnlb. ha. ; Balcony, 3s. ; Admission, Is.^ jTlekets of Austin, at the Hall, 
28 Piccadilly ; Chappell and . Co., 60 New Bond^Street ; snd the principal Music 
Publishers. 



T 'HISTOIRE de PALMERIN d'OLIVE fila du Roy 

IJi Fi.oRRin>os de Maoboobb St de La Bbllb GxrANB, fiUe de Remidus, Empereor 
ft Constantinople, by IAN MAUGIN, dit le PETIT ANOEUIN. A perfteot copy 
of this extremely rare Romance to be sold for Six Ouibbas, (no diminution of price). 
Enquire of Duwoan Datisov A Co., 34 1, Regent Street. 



NOT I CSS. 
To Advertisers. — The Office of The Musical World is at 
Messrs. Duncan Davison & Go's., 244 Regent Street^ corner 
of Little Argyll Street (First Floor). Advertisements received 
as late as eleven o'clock A.M., on Fridays — hut not later. Pay- 
ment on delivery. 

To Publishers and Composers— JfuWc for Review must he for' 
warded to the Editor^ care o/MeBsrs. Duncan Davison & Co., 
244 Regent Street. 

To Concert Givers.— iVb Benejit-Concerty or Musical Per/orm- 
ance^ except of general interest, unless previously Advertised^ can 
he reported in I^he Musical World. 

♦^* The Index and Title Page of Vcdame 42 of the Musics Wokij) 
will be iBflued in an early nnmber. 

\* In the next number will begin a series of artidea, entitled Beethoven 
and the Various Editions of his Works, translated from the German of 
Otto Jahn, by J. V. Bridgeman. 

TO CORRESPONDENTS. 

Le Follet and Punch. — This question, and the communication re- 
ferring to it (from the Editor of Le FolUt\ has been forwarded to Mr. 
Ap*Mutton, to whose especial department it very properly belongs. 

An article on the Christmas Pantomimes will appear next week. 

LONDON: SATURDAY, DECEMBER 31, 1864. 

THE career of Mr. Santley, who at home stands already in 
the foremost rank of hJB profession, and is now honorably 
upholding the musical reputation of his own country abroad,* 
dates no further back than seven years. "We mean of course in 

* Mr. Santley*8 liniDeusc success at the Opera in Barcelona was recorded in 
our last numlier. 



England, his early studies having been pursued, and his earlier 
essays made, in Italy. 

Charles Santley was bom on the 28th February, 1834 (at Liver- 
pool, we believe). During his boyhood he took lessoDs in mvm 
from his father, but with no intention, it would seem, of foUowiog 
it as a profession, inasmuch as he served his time for five yean in 
a commercial house. Shortly after, however, at the age of 21, 
being his own master, he went to Milan, and for two years devotd 
himself assiduously'to the study of singing, under the guidance of 
Signor Gaetano Nava, a maestro di canto of considerable repute. 
In the beginning of 1857 he had made sufficient progress to 
undertake an engagement for the Carnival, at the Theatre Id 
Pavia. Here the beauty of his voice, one of the most legitimate baas- 
barytones ever heard, found a host of admirers ; and his sacoes at 
Pavia led to the offer of a carteUo for the regular season at Milan, 
which was accepted. The more dreaded ordeal of Lombardia vaa 
passed by Air. Santley with equally favorable resolta. NeTertfae- 
less, though propositions now came from all sides, his desire to 
revisit his native country, after three years' absence, was too 
strong to aUow of his accepting any even of the most advaDtageoog 
of them. He returned to England in the autumn of the same year. 

On the 16th of November, 1857, Mr. Santley made his first 
appearance before an English public, and created an impreBsion, 
a prima udienza^ which is still| remembered. The place was St 
Martin's Hall (before the fire), the occasion one of Mr. John 
HuUah's oratorio concerts, the oratorio the Creation^ the music 
allotted to the new and unknown singer that of Adam, in Part m. 
The recitative preliminary to the duet, " Graceful Consort "— 



^=^ 



^^^ 



IZI&f. 



Our du - ty we have now per - fonn'd. 
offered the first opportunity of distinction ; and of this Mr.* Santley 
took such advantage that his position was at once established. 
The opening theme of the duet itself — 



mdti 



t^ 



:t 



4; 



-.iL± 



Grac43 - - ful con - sort, at thy side. . . 

— a large, well sustained cantahile phrase— confirmed bis triumph. 
From tiiat night Mr. Santiey has risen step by st^ through 
l^itimate means, to the very high place he now occapias. His 
co-operation at the great London concerts, sacred and secular, u 
well as at the festivals, the Choral and Philharmonic Societies, &&, 
in the country, soon became a necessity. 

Not satisfied, however, with concert singing, Mr. Santloy ac- 
cepted an engagement, in 1859, with Miss Pyne and Mr. Harrison, 
at the Royal English Opera, and made his debut on the English stage 
as Hoel, |in Meyerbeer's delicious pastoral, Dinorah, In the 
autumn of 1860 he joined the Anglo-Italian company of Mr. & 
T. Smith, at Her Majesty's Theatre, and share I with Mad. 
Lemmens-Sherrington and Mr. Sims Reeves in the memorable 
success of Mr. Macfarren's RMn Hood, Henceforward his strik- 
ing progress as a dramatic smger was constantly remarked, and 
character after character, whether original English opera or 
foreign adaptation, showed his gradual and sure advance as an 
actor. In 1862 he was persuaded by Mr. Gye to represent the 
Conte di Luna, in II Troratore, pending the arrival of Signor 
Graziani, about whom at that time there was litigation bctveai 
the managements of Her Majesty's Theatre and the Royal Italian 
Opera. Mr. Santley played the part twice, and with such snc- 
cess that he was offered an engagement by Mr. Mapleson, for Her 
Majesty's Theatre, the same year, 1862 (the year of the Great 
Exhibition). This he accepted. His first character waaagain the 
Conte di Luna, and again his reception was as flattering aa codd 



Digitized by 



Google 



December 31, 1864.] 



[THE MUSICAL WORLD. 



839 



be wished. From this time, to the great detriment'of our com- 
posers, Mr. Santley, though he has continued to sing in oratorios 
and in performances of secular music (such as the ^^ Monday 
Popular Concerts," &c.,) has abandoned the English operatic 
stage. His popularity, nerertheless, has steadily increased, and 
now may fairly be said to have attained its zenith. 

At Her Majesty's Theatre Mr. Santley has won his most 
genuine successes on' the Italian stage; and among the most 
noticeable of his'assumptions may be mentioned,^en passant — ^the 
Conte Almayiva {Le Nozze di Figaro)^ Valentine (Faust\ Enrico 
(£«cia),^iccolo de*Lapi, in Signer Schira's opera of that name, 
Mr. Ford, in Otto Nicolai's FaUtaff^ Alphonso (Lucrezia Borgia\ 
and last not least, Fizarro, in Fidelio — ^the music of which last was 
probably oerer sung so well before, even by Staudigl himself. 
But these are only a few parts singled out^of a [repertory in 
Italian, German and English, almost unrivalled for variety. A 
consummate musician, no less than a great singer, any music that 
lies tolerably within range of his voice comes easy to Mr. Santley ; 
and it is not one of his least valuable qualities that he can give 
as much effect to small characters — like Flumkett (Martha% 
Nevers (the Huguenots)^ Valentine {Favst)^ and Ourrias (in that 
other delicious pastoral, the Mireille of M. Gounod) — as to 
characters of the highest importance, and that he takes just as 
great pains to do them well. His latest *^ creation,** to use the 
French term, was the barytone part in Mr. Costa's oratorio of 
iVaaman^ produced at the recent Birmingham Festival, and the 
London p^ormance of which is delayed, at the compoeer^s express 
desire, until Mr. Santley's return from Barcelona — ^in the month of 

March. Lavender Pitt. 
o- 

HERR ALOYS AKDER, who recently died at Vienna, was 
bom in 1821, and was the son of a schoolmaster of Lieberitz 
in Moravia. In his youth, he was sent to Vienna, where he 
obtained the position of an — auditor to the board of magistrates. 

Ander possessed a good, pleasing voice, which he did his utmost 
to cultivate and improve. He joined the Men's Vocal Association, 
where he speedily distinguished himself in the solo quartet. Wild, 
then principal stage manager at the Imperial Operabouse, had his 
attention dkected to Ander's talent, and, after having heard him 
sing a solo in the church of St. Stephen, undertook the whole 
charge of his artistic education, which progressed so rapidly that 
Ander was enabled to make his first appearance, as Stradella, as far 
back as the 22nd of October, 1845. lie was perfectly successful, 
and his immediate engagement was the consequence. Tlie year 
1849 found him in the ranks of leading tenors, and when 
Meyerbeer went to Vienna, at the commencement of 1850,* to 
superintend the getting-up of his Prophete at the Imperial Opera- 
house, he entrusted Ander with the principal male part, which 
Ander sustained with great success. 

Ander availed himself of the vacation of 1850 to give perform- 
ances in Northern Germany, where, especially at Hamburgh, he 
created an unusual furore in Lei Prophete. He was, also, 
distinguished by his sovereign, who conferred upon him the title of 
a Chaunber-Singer ; the Grand-Duke of Hesse-Dannstadt gave 
him the Golden Medal for Art and Science, as did also the King 
of Hanover. The King of Sweden decorated him with the Medal, 
** lilis quorum meruere Idbores /^^ a great jmany Philharmonic 
Associations elected him an honorary member, and the Vienna 
Literary Anociation, *^ Concordia,** did the same. The ladies of 
Stockholm, where he sang in the summer of 1857, seut him a 
massive silver laurel wreath. 

^ This was the year in which Hcit Ander was at the Royal Italian Opera 
in London, where he sang Amoldo in GuUlaume Tell and Edgardo in Lucia 
di Lammermoor. 



In the winter of 1862-1863, a falling-oif was remarked in his 
powers. This increased very perceptibly, and became more 
apparent than ever during the performances he gave this year in 
Leipsic and Darmstadt. 

On the 19th September, 1864, Ander appeared for the last time 
upon the boards of the Imperial Operahouse as Arnold in 
GuiUaume Tell. The painful impression produced by this hst 
evening of his artistic career is too recent and too well-known to 
render it necessary for us to dwell upon it. A few days afterwards, 
it was requisite to send him to the watering-place of Wartenberg. 
The hopes entertained of his recovery proved fallacious. Violent 
epileptic attacks brought his sufferings to an end in the night of 
the llth.l2 inst— -Peace be with him! 

T, Duff Short. 



PARIS. 

(From our own CorretpondenL) 

As I prophesied in my last, Mdlle Patti has had an immense 
success in Linda di Chamouni^ and has thereby added a new leaf to 
her laurel-crown. This o^ra of Donizetti^s is endeared to the 
Parisian public by recollections of Madame Persiani, Mdlle. Bram- 
billa, Mario, Tamburini and Lablache on its first production in 
the French capital, and by that of Madame Sontag on her return 
to the stage after an absence of twenty years. Some of the com- 
poser's mcfit melodious music is to be found in Linda, one of the 
two known works written for the Imperial Theatre in Vienna ; but 
he has indicated greater characteristic power in many other of his 
contributions to the stage, and the comic part of the marquis is a 
poor attempt at Rossini's vivacious manner. In the music of Linda, 
however, Donizetti has been eminently successful. The cavatina, 
^*' luce di quest* anima," is oridnal and exquisitely graceful, and 
the air of the mad scene is full of beauty and meaning. The tenor 
has some charming ^^ bits,*' but the music for the bass is not of 
much worth. In fact, most of the interest, vocal and dramatic, is 
centred in the heroine, and Linda is certainly one of the most 
effective of prima donna parts. Why the opera had never pre- 
viously created any extraordinary sensation I take to be attributable 
to the fact of the principal character having been almost invariably 
assigned to a great singer, and not to a great actress. No one, 
however extreme his admiration for Sontag and Persiani, will 
be inclined to call one or other of these renowned vocalists a 
great actress. It always seemed to me that the parts of Linda and 
JNinetta in the Gazza Ladra should have belonged rightly to the 
repertory of one singer, and I could never make out why Grisi 
had not appeared in Donizetti's opera. In saying that Linda harl 
been assigned to great singers and not great actresses, I was not 
unaware that Mdlle. Sophie Cruvelli had played the part at Ilcr 
Majesty's Theatre; but, with deference, this was a hasty and 
unstudied effort of the magnificently-endowed Teutonic prima 
donna, and, whatever it might eventually have revolved itself into, 
and whatever grand momenta it possessed, was not one of her most 
striking and powerful efforts. I argue tlierefrom, that Mdlle. 
Patti is the first accomplished artist — using the term in its widest 
and most significant sense — ^who has yet essayed the character under 
circumstances favourable to herself, for I do think that with all 
her genius Tand she has more than enough to depend on) Adelina 
Patti gives her whole art as well as her whole soul to every perfor- 
mance, and this may account for her success in every thing 
she undertakes. After seeing her in Linda I am satisfied she has 
left nothing undone to give a perfect realization of the character, 
or to sing the music in her best manner. Of her performance at 
the Italiais I can hardly venture to express an opinion. 2^1 y 
motto is that of lago, ^^ I am nothing if not critical," and, in offer- 
ing unqualified eulogy, I fear that you and your readers may set 
my remarks down as puffs preposterous, although I think that 
some of the London public, after the last few years* exhibitions, 
will not be surprised to hear the most exorbitant praises of Adeliiui 
Patti. I will, therefore, tender you some quotations from the 
most respectable and reliable of the Parisian journals, and merJy 
premise that Mdlle Patti's singing and acting in her new character 
surpasses all her former achievements, and that she has created 
•ne of the most genuine successes ever remembered at the Salle 



Digitized by 



Google 



840 



THE MUSICAL WORLD. 



[December 31, 1864. 



Ventadour, From the pen of M. de Villemefisant's thoroughly in- 
dependent and by no means easily pleased musical critic, and son- 
in-law, the redoubtable M. Jouvain, in Le Grand Journal, we have 
the following very emphatic and wholly uncompromising eulogy : — 

'* Ceax et celles qui bo troavaient dimancfao demier an Th^itre-Italien con- 
■erveront loDztemps le Bouvenir de cette soiree. On avait affich6 la repriae, 
on mieuz la raanrrection de Linda di ChamouniXt un op^ra de Donizetti qui 
n'eut jamais grand Bucc^ 2l Paris et qui n'j a pas ^te chants depuis une 
▼ingtaine d'ann^. Linda di ChamouniZj c'est la Grdee de Dieu, resserrfie 
en trois actes, ayec la suppression dii personnage oomique de Chonchon. La 
soiree dn dimanche 18 D^mbre marqnera dans la carriers artisqne de Mile 
Adelina Fatti. Comme chantense, comme tragedienne elle a atteint, ce soir- 
U, anx cimes les plus ^ev^es de Tart Elle ponrra chanter et jouer aussi 
bien ; jamais elle ne^joaera et ne chantera mieuz. II y a, an deuzidme acte, 
nne scSne capitate oh Linda, mandite par son p^re, derientsubitementfolle . . 
...II fallait voir la salle enti^re tr^pigner d'enthousiasme et crier d'admiration. 
On I'a rapell^ cinq fois constentives. Et quacd il songe qne c*est cette meme 
jeune fille qui, la yeille, a jou^ VEHtir^ qui, le lendemain, jonera Don Pas- 
quale, r^criyain renonce 3k p^cher dans son <Scritoire des formules admiratires. 
Si ezag^rds qn'elles fussent, elles seraient au-dessous de la v^rit^. 

''Avoir vingt-deuz ans, dtre dou6e d^une beautd pleino de seductions 
magiqnes, chanter oomme la Sontag et la Malibran, jouer la com^die comme 
Mile Mars, et la trag^die comme BUicheli quelle destinee merveilleuse ! Mais 
aussi quelle injustice de la Providence ! En v^rite, c'est trop pour une seule 
personne. 

vous, les heureuz de la terre, vous qui pouvez paver quinze francs trois 
beures de plaisir, assi^gez le bureau de location dn Theatre-Italien toutes les 
fuis qu'on annoncera Linda di Chamounix. A cdt^ d' Adelina Patti, vous 
applaudirez Brienoli, Delle Sedie, Scalese et Mme de Meric-Lablacbe, par- 
faite dans le role de Pierrotto. divine influence du genie ! U n'est pas 
jusqu'ik Antonucd lui-m6me que n^ait dlectrisd le voisinage de Tincomparable 
Adelina I Ainsi le soleil de juillet fond la neige des Alpes." 

1 have transcribed the foregoing in the mother tongue, and can 
conscientiously subscribe to every opinion expressed therein. In 
corroboration of what M. Jouvain writes, I cite an article from 
a no less astute and independent authority and one ordinarily no 
less chary of praise, — namely, Figaro, on the same performance : — 

" Cette Linda, que Ton pouvait croire morte, enterr6e, oubli^e, la voiU 
miraouleusement ressuscit^e et rajeunie ; elle a juste Tage, le cbarme, le pas- 
sion et la vogue d'Adelina Patti. Le pubUc dans son enthousiasme — ct ce 
mot a bien lei toute sa valeur — n*a peut-etie pas toujours distingn^ entre 
Toeuvre et I'interpr^te ; les melodies de Donizetti, en voltigeant sur les l^vrea 
de la cantatrice de vingt ans, ne lui ont semblu ni moins jeunes, ni moins 
fratobes que cette voiz ezcepUonnellemcnt dou^e, qui sait garder dans lessou- 
rires de la com^die et dans les dmotions du drame son inalterable limpidity. 

Le troisi^e acto de la Traviata avait r^vele, dans les boutades drama- 
tiques de ce charmant enfant g&t^, des qnalites de comedienne passionnee qne 
ne laissaient soupconner ni les espi^gleries de Rosine, ni la malice de Norina. 
La sc^ne de la folic, an deuzi^me acte de Linda, a edaire d'une lumi^re plus 
viye encore cette face si imprevue du talent de la virtuose. La paysanne 
seduite, en apprenant la nouvelle de I'abandou et du manage de Carlo, pousse 
nn cri, 'anquel suoc^de un sourire, navrant d'incredulite sur ces mots : Nan i 
Mro...qni est Tezpression la plus dechlrante d'une grande douleur. Impos- 
sible d*allier. avec plus de force et de charme, ^ la folic le sentiment du de- 
scspoir et le souvenir de Tamour. Apres cette scbne, le public, ivre d'en- 
thousiasme, debout et traduisant par un scul cri formidable remotion de 
quinze cents poitrines, a fait relever le rideau jusqu'Jk trois fois pour saluer la 
petite Patti, dcrenae, dans une soirde, la plus grande comedienne de Paris ! 

Les spectateurs etaient si heury>uz, qn'ils n ont pas voulu s'apercevoir que, 
Delle Sedie ezceptd, dent le role se borne d une sc^e de malediction pariee 
sur un tremolo d'orchestre, Tentourage de la Patti etait...mai8 pourqnoi se 
montrer cruel sans necessite, mSme sans justice, puisque, en disant ce qui pent 
€tre la verite, je fausserais une impression generals ? Bon prince dans cette 
soiree de Linda, le public a encourage et applaud! tout le monde ; cela prou- 
vait que sll j a un mirage pour les jeuz, il y en a un aussi pour les oreilles." 

Mdlle. Salvioni has at last appeared at the Opera in the ballet 
oi La Maschera, which has been shortened, so it is avouched, 
pwposely, that RoBsini's Comte Ory should not have to be curtailed 
as formerly, when it was wont to be made a lever de rideau to some 
three, four, or five act ballet. The authorities now claim for 
themselves no small praise for having bestowed on Rossini^s opera 
greater attention and having treated it with*greater reverence than 
La Maschera, Whatever the cause the public reaps a double 
benefit. Le Comte Ory — a veritable masterpiece of comic writing 
— is presented without abbreviations, and a three act ballet, too 
long Dy two acts, is shorn of one of its three divisions. I need not 
tell the reader of the Musical World who Mdlle. Salvioni is. The 
visitors to the Koyal Italian Opera cannot have forgotten the 



graceful and attractive Fenella of two or three seasons past It ii 
curious that none of the Parisian journals which I have fleen 
mention Mdlle. Salvioni's having been m London. Gould thej have 
purposely overlooked the fact ? or was it not of the sligbtest oonEe- 
quence in their estimation ? The new dancer has made a genome 
success, but the judges (who, entre nous, are particularly innocent 
of the true graces and poetical meaniog of the terpdchorean art) 
have not made up their minds as to whether they will allow her to 
take her place in the constellation with TagUoni, Fanny Elnla, 
Carlotta Grisi, Cerito, Rosati (all Italians, by the way, excepting 
Elssler). In the mean time, while the judges are striving to 
arrive at a conclusion, the public, who visit the Opera, are en- 
chanted with the new danseuse, and applaud her without stint or 
hesitation. Mdlle. Salvioni in reality has made a great hit, as she 
was bound to do with her rare accomplishments and interesting 
appearance. 

To-night, the first representation of the Capitaine Henriol ii 
announced at the Op^-Comique. It is, I believe, after all the 
delays, certain to come off. You shall have a full aoooont next 
week. 

With the exception that a new tenor, young and full of promise, 
by name Huet, has made his first appearance at the Theatre-Lyriqae 
as the Duke in Rigoletto, 1 do not think that any thing more than 
what I have related above has taken place worth my telling, or 
your hearing. 

As my customary finale I send you the programme of the la&t 
popular concert of classical music (the second of the second series) 
given yesterday : — 

Overtoro to Ruy ^^as— MendelssohD ; Symphony in D major (No 2) 
— Beethoven ; Adagio, from Quatuor (Na 36), for stringed instnioieDU 
— Haydn ; Invitation i la Valse (arranged for the Orcheitra by Hector 
Berlioz)— C. M. von Weber; Solo for the Flute— Pratten ; Overture 
to the Flying Dutchman — Richard Wagner. 

Paris, Dec. 26. MoNTAOUB Shoot. 

Her Majesty's Theatre.— -An operetta in one act, entitled 
Punchinello, the libretto by Mr. II. I?amie, music by Mr.kvej, 
composer of Fanchette, was produced at this theatre on Wednesday 
evening with decided success. The principed parts were played by 
Misses Susan Galton and Cottrell, Messrs Swift, George Honey, 
and J. House. Particulars in our next. 

The first performance of the Psahns'^109 and 112, and a "Mag- 
nificat," composed by Signor Roberti, will take place with full 
orchestra and chorus, on Sunday evening, January Ist, at St. 
John's Church, Islington^ 

pROFESsoB Anderson haa announced the last week of his popular 
" Magical Se'ances," at St. Jamea's Hall. The succeas of the profe««« 
has been immense. The '* World of Magic *' haa been given 130 
times, and has attracted upwards of 250,000 visitors. Thisappcws 
incredible, but it is true ; we liave the profesnor's word for it. 

Hanoveb SgoAR* Rooms.— Miss Julia Woolf. the well-kDOwn 
pianist, gave a concert at the above Rooms on Wednesday evening, 
assisted bv Misses Louisa Pyne, Susan Pync, Amclis BeDson, 
Ransford, 'Messrs. Elliott Galer and Wallworth, as vocalUt*, and 
Madame Pratten (guitar), Herr Pollitzer (violin), Mr. Pratten (fluU> 
and Mr. Levy (cornet), instrumentali-sts. Miss Woolfs most ambitiooi 
effort was i\\ Beethoven's sonata for pianoforte and violin, in F inajo^ 
which she played with Herr Pollitzer ; but decidedly her gwatM 
success was a fantasia written by the pianist on " Auld lang Syne. 
The plaudita, no doubt, were meant as a compliment to tho compoier 
as Will as the performer. Ali«s Woolf s other perfonnanc^ were 
Bucherand Benedict's «'Pot-pouri" for flute and piano, plavcd witu 
Mr. Pratten, and two attractive bagatelles, " The Flowing TideVana 
"Tarantella," of her own compoMtion, for piano solus. Miaa wojj 
also supplied a new ballad, " Yes, thou art changed," which, luag ^ 
Miss Susan Pyne, seemed to please univer.-^lly. Further, two aoloaon 
the guitar by Madame Pratten and a solo on the flute by Mr. rvA\^ 
were highly effective performances and loudly applaud<?d.^ Of tnc 
vocal contributions we mav mention tliat Mias Louisa I'y?* *"^ 
"Belraggio^and "Tho power of love," both with great effect, m 
latter, however, being more to tho Uste of the audience; Jif* 
Ransford gave " II Bacio " with much brilliancy ; and Mr. EUioituaw 
was very successful in Ascher'a popular ballad ** Alice, where art 
thouV" In addition the bolero duet from The Crown ^"'"^'^^ 
perfectly sung by Misses Louipa and Susan Pyne and cl^«<^^*^ , "|: 
echo, and the same ladies, joined by Miss Ransford, gave Balfej jno 
" Vorrei parlar." with equal auccess. Mr. Sydney Naylor condnctea. 



Digitized by 



Google 



December 31, 1864.J 



THE MUSICAL WORLD. 



841 



The Editor of the Musical World has beseechod ^Ix. Ap^Mutton 
to take into ruminatioA the rights and merits of a controversy 
now pending, and which he (Ap'M.) would designate as Folly 
V, PUKCH. The Editor of the AL W. has forwarded to the King 
and Beard the documents expletive, which Mr. Ap'M. having 
duly weighed finds duly wanting. lie, nevertheless, consents to 
the perpetuation of the first and briefest of them in Muttoniana : — 
Lk Follet v. Punch. 
Audi attertun partem I 

Yon have found space for Mr. Punch's rejoinder ; in ordinary fairness 
you should give a comer to the remarks which elicited it. 

8, Arffyll Place, Regent Street, Dee, 28th. 1864. 

Mr. Ap*Mutton would fain either crush a toothful, in amity, or 
break a spindle, in open field, with the elderly spinstress who 
edites Lt Follet Which shall it be? He (Ap'M.) is unashamed 
to avow that the article, " Mr. Mantaliniin Hysterics,'^ which ap- 
peared in a recent issue of the London ChavirariwBs his own ; and 
that he composed it at the urgent desire of Mr. Punch, who mo- 
destly declared that a literary rix with an aged female could be 
waged with more sportful, and as it were trickiome, irony by Mr. 
Ap*M. than by him (Punch). Though it did not require Punch's 
argument to convince him of this, he (Mr. Ap*M.) feigned uncon- 
viction ; but ultimately yielding ground, he agreed to tickle Le 
Follet in such a manner as not to hurt it. On seeing his 
article in print he (Ap'M.) was so much pleased with it (the 
article), and found it so humorsome — in Chorleian phrase, 
so " whimsy "—that to reproduce it for the edification of 
the countless readers of Muttoniana ** flashed like an inspira- 
tion on his vacant " — ^no, not vacant — *' brain." The Editor of 
the M. W. on the other hand, affected the article so intensely that 
he begged it might be inserted in the body of the issue — ^to 
which Mr. Ap'M. assented. Moreover, Mr. Ap'M. having repro- 
duced ** Mr. Mantalini in Hystericsy^ because it was humorsome 
and therefore diverting, is, bv pure force of logic, propelled to 
decline reproducing the article in Le Follet^ to which it was a 
retort. The Editrix of Le Follet differs from Sir John Falstaff 
(and from Mr. Ap'Mutton) in thus much — that not only is she 
not ** witty in herself, but the cause of wit in others "—especially 
in Mr. Ap^M. He (Ap'M.) must amuse his readers ; and '* Mr. 
Mantalini in Hysterics " did amuse them, while the other certainly 
wouldn*t amuse them. Otherwise Mr. Ap'^I. might have repro- 
duced it with considerable dissatisfaction. Mr. Ap*M. cares not a 
wisp for what may be the matter, where may be the kernel, or 
whose may be the riyht of a controversy. If he finds a smart 
attack and a dull retort, he strai£;htway '' impinges " (as Dr. Shoe 
has it) the smart attack and holes the retort ; and vice versa — ^if 
vice versdy vice versa. In the instance under hand it was vice 
versd. Being sempiternal and superhuman, Mr. Ap'iVI. cannot be 
■uppoeed to enter spiritnaUy into the bodily disputes of mortals. 

Should not the foregoing explanation be deemed conclusive by 
the Editrix of Le FoUet, Mr. Ap'M. will transmit her a pair of 
hoee. On the other hand, should she still prove restiff, and point 
her spindle in his (Ap'M.'s) direction, let ner beware. In com- 
parison with Mr. Ap'M., Mr. Punch is but an enemy of lath. But 
the Editrix will think better ere doing worse, and hold in mind 
that the fact of Mr. Ap']\I. being conscientiously unable to pro- 
nounce a frank eulogismus in his father tongue is enough to ac- 
count for the occlusion of portals previously patulous. The portals 
of Muttoniana are open to all lively as they are hermeticaly 
sealed to all soporific aspirants. Salon was no goose, although 
there be solar geese. 

Enoel at Madrid. 

Mynheer Van Praag presents his humble respects to Mr. Ap'Mut- 
ton/and encloses an article which he has translated into English : — 

His Majesty thb Eimo has deigned hinnself to receive in prirate 
audience this day the celebrated pianist, M. Luis Engel, of whom we 
liave already made mention, and on whom the Cross of Isabel the Ca- 
tholic has been conferred. His Majesty has been pleased with his na- 
tural benevolence to converse with him during an interval of twenty 
minutei^, and has honored him to accept the dedication of an organ 
method which M. Engel brings to light, and to be published in Spanish 
at one of the principal publishers at Madrid. We know M. Engel has 



been admired not only in the talont of the Baroness Uortega but also 
of the Prime l^Iinister. He was also invited last Sunday at the Duchess 
of Sessa having succeeded to call the extraordinary distinguished 
concurrence and abounded applause. The public can judge at last of 
the rare ability of M. Engel to the instrument, as well as his poetical 
perfection, because he announces a concert on next Monday at the 
Conservatoir, to which we are sure will flock all the delleiantti of the 
Court to enable them the opportunity, vnigue in its class as M. Engel 
has to leave Madrid at the end of this month. 

Mr. Ap'Mutton accepts tho translation of Van Praag, which he 
(Ap*M.) has re-translated into Spanish. 

S. M. el rey se ha dignade recibir hoy en audiencia particular al 
c^lebre pianlsta M. Louis Engel, ^ quien ya, segun anunciamos opor- 
tunamente, se habia conferido la cruz de Isabel la Catulica. S. M. ha 
acogido con su natural benevolencia i M. Engel, conveYsando con el 
durante veinte minutos, y se ha dlgnado aceptar la dedicatoria de un 
nietodo de drgano espresivo que M. Eogcl va It dar i la estampa en 
*' idioma espafiol " en casa de uno de los primeros editores de Madrid. 
Sabemos que M. Engel, que se ha hecho hecho admirar lo mismo en 
los elegantes salones de la baronesa do Uortega que en los del seiior 
ministro de la Gobernacion, fu^ invitado el doniiugo tlltiino por la 
sefiora duquesa do Sessa» habiendo conscguido llainar estradrdinari-i- 
mente la atencion a la dlatingui la concurrencia, que le colind do 
aplausos. El ptlblico, por flu, podra juzgar en breve de la rara habili- 
dad de M. Engel en el instrumento que tan d la pcrfeccion posee, 
porque se anuncia un concierto para el lunes proximo en el Conserva- 
torio, al eual estamos seguros acudir^n todos los dellelta/Ui que la corte 
eucierra, aprovechando esta ocasiou, tlnica en su clase, puosto quo M. 
Engel deba partir de Madrid i fines del corriente mes. 

The following treats of a still graver matter : — 

Enolish Artists and Gebuan Composebs. 

Sir, — Sad misgivings as to tho probable fate of tliis letter overwhelm 
me whilst writing it, and a humiliating presentiment that it will 
figure on a cheesemonger's counter instead of in the Musical Worlds 
prevents me from doing myself justice ; however, when you hear that 
I «im merely asking, like Mrs. Old, ** for information," and that I havo 
selected you because the insertion of that last conundrum in Muttoniana 
proves you to be wholly free from both pride and prejudice, perhaps 
you will think it worth while to give some attention to the following 
queries. 

How is it that the English soloists in the Cryst<il PaLice band are io 
sedulously kept in the background, while tho German perforiuer un 
the clarionet is so prominently brought forward? During tho Ia»t 
three mouths I have visited the Palace ten times, and on each occa- 
sion I have heard a solo on the clarionet. I happen to like tliat 
instrument much, and am quite ready to do full justice to Mr. Papi'a 
ability, but even supposing him to hold the same high rank among 
musicians that the [lartridge does among birds, still " toujou^i perdriz " 
is not found to answer. 

Why do we never hear a solo on the flute from Mr. Welln, on tho 
oboe from Mr. Crozier, and on tho euphonium from ]^Ii*. Pha<<ey ? 
These three Englishmen (espocially the firtit, secoud, and third) rank 
high in tiie opinion of judgen, and yet somehow or other visitors to the 
•' People's Palace " have but rarely an opportunity of hairing a solo 
from either. I speak advisedly when I say that Mr. Wells is called 
u^wn to pLay about once a year and Mr. Piiascy about four times, 
whilo Mr. Papo*s name is seldom excluded from tho programmes 
longer th<an a fortnight, and I confess that I, with many others, have 
frequently felt indignant at what looks uncommonly like unju.nt 
proference on the part of an otherwiso matcha bio conductor. Without 
dimini.'thing the number of clarionet solos, might not we hear a solo 
from some other instrument sometimes ? 

I am now beginning to foel rather frightened, and to wonder whether 
this letter savours of folly, ignorance and insolence; but the rccotlfc- 
tion of that conundrum soothes me, and emboldens me to hope 
that I too may meet with indulgence. Wishing you many happy 
New Years and better conundrums, I am. Sir, Dabtle Old. 

To OwAiN Ap'Mutton, Esq. 

Mr. Ap'M. will write to Auguste Manns, speak to George 
Grove, and expostulate with Rol^rt K. Bowley. What more can 
Dartle Old anticipate? He (Ap'M.) is nor a hypototamus nor an 
an earth-horse. 

* A Shoot at Suoot. 

Sir, — Signor Brignoli is the lui»kiest tenor that ever appeared. He 
has p witively gained the goodwill of your hard-to-please correspondent 
Mr. M. Shoot. It is really most amusing to note the manner in which 
Shoot hits out right and left at many of the most celebrated singers of 
the day. Naudin, b'raschini, Delle-Sedie, Gueymard, Madame De 



Digitized by 



Google 



842 



THE MUSICAL WORLD. 



[December 31^ ISfiJl 



Lagnnga, Madame CarvalhOt Mdlle. Battn and many others come in 
for no small share of abase. In the Ofinion of Shoot not one of the 
above knows how to sing. Poor Nandin is treated the worst of all. 
By implication, therefore, Meyerbeer knew nothing at all about the 
Tocal expression of music. In short, there are but two singers whom 
Shoot will allow to be worth hearing — Patti and Titiens. Poor Shoot 
—low indeed must be his taste. For what is the truth ? Patti can 
sing but cannot touch the heart, Titiens would touch the heart if she 
could but sing. That multitudes run after both only evidences bad 
taste on the part of the multitudes. Seriously, though, Mr. Editor, it 
is such writers as your Mr. Shoot who do more harm than enough to 
the cause of singing. Single out one or two artists, and all besides are 
sneered at. This is not just. Granted that Patti is a wonderful 
singer ; Canralho is equally good in her way. Because Mario (who is 
now simply awful) and Tamberlik (who has only three notes left) ten 
years ago »n^ beautifully, it is no reason why Messrs. Fraschini, 
Naudin, Kicohni, Oueymard, Tiberini, Niemann, Carrion, Mongini 
it Go. are to be perpetually sneered at and cried down. I think, Mr. 
Editor, that, in order to give your readers a correct idea of the Paris 
operas, it would be a good plan to print side by side with Shoot's shots 
a translation from some recognized French journal. I believe it would 
be a profitable plan too. So much for Shoot — ^now for myself. If Mr. 
Ap'Mutton will take as much pains to misprint this letter as he did for 
my last — and if he will add to it some of his amuidng (but of course 
abusing) remarks, I am sure my communication will be converted into 
a fun-affording dish for your readers. My hide, too, is so tough that 
I don't mind how hard the blows are. Besides, when a man is so bold 
as to say that Smith is better than Jones, of course the world, which 
persists in admiring Jones, will immediately hit him (t.«., the man, 
not Jones) in the eye, and otherwise crush him for his impertinence. — 
Your obedient servant. Occasional (and in these slack times of 

Royal Exchange Buildings. course welcome^ 

I^ir. Ap^M. has nor time nor temper to deal with so stark a 
Midas as ** Occasional,'^ whose occasionidity would be more di- 
verting if to any purport. Let ^^ Occasional " take his Naudin, 
his Gue^mard. his Carrion, and snore like King Cole over 
the scrapings of his (Cole's) fiddlers three. Mr. Ap'jM. will have 
no such carrion. His (Ap'M.'s) three fiddlers, or rather five 
fiddlers TMr. Ap'M. has Hwq in his orchestra), shall still be Mario, 
Tamberlik, Ronconi, Titiens (or Tietjens), and Adclina Patti. 
Seriously *' Occasional" will get little by this shoot at Shoot. 
Next year he may look out for a shoot from Montague — an 
expert i^ot of his bullets. 

King and Beards Blaekehapel, Dec. 30. 



LETTERS TO THE EDITOR. 



THE HARP. 
To the Editor of the Musical Wobld. 

Sib, — Harpocxatta, in Mythology^ was the son of Isis and Osiris. This is 
an Egyptian deity, whose distinguishing attribute is, that he is represented 
with the fore finf^er of the right hand applied rertically to his month, denoting 
that he is the god of silence. He had innumerable followers, but, singular to 
say, they were of the class who write an immense deal of nonsense, and, when 
attacked upon certain facts they had distorted and transposed, fell back under 
the protecting wing of their favorite god, and remained silent. Such were 
his ancient devotees, and I am very sorry to say the modems are not much 
improved in their principles. 

I have given ** the author of the * History of tht Harp ' '^ three weeks to 
reply to queries contained in my Isst letter ; he has not thought it worth 
while, I suppose, to correct himself. Therefore I maintain that I am right 
and he is left (I mean wrong) ; and, couseqnentlj, leave him to the tender 
mercies of the Uarpits, and proceed to the subject of my researches — " The 
Irish harp." 

Ont of the esrliest allusions to the harp in the Irish language occurs in 
that very ancient mythological fragment in the book of Lecan concerning the 
Tuatha-de-Daunaus : " Music, melody, and harmony of strings were their 
three harpers.'* 

The Tuatha-de-J)aunaus are said in Irish histories to have come from 
Thrace, and it is worthy of remark that Mr. Ferguson notices the resemblance 
between the harp of the Thracian Orpheus, as delineated on a monument in 
the reign of the Emperor Aurelius, and that of the Irish harp on the theca of 
the Stowe MS. (already mentioned in a previous letter), being the Egyptian 
harp in ita tran.sition state. 

It is also worthy of note that in these Irish triads the harp is expressed by 
a term in the Inah language which identifies it with the Celtic eroda in 
Venantius Fortonatus. 



There exist very few of the ancient Irish harps. A very small one, saii 
(upon the authority of Chevalier O'Gorman, a manufacturer of Irish pedigrees, 
and brother-in-law of the notorious Chevalier D'Eon), to have belonged to tht 
famous Brian Boiromh, King of all Ireland, and still preserved in the museum 
of Trinity College, Dublin. 

The following histoxy and description of it k extracted from the Dublin 
Penny Journal : — " It is well known to all readers of Irish history that 
the great mouarch King Boiromh was killed at the battle of GJontatf, 
A.D. 1014. 

** He lefl his son Donagh his harp ; but Donagh having murdered his brother 
Teige, and being deposed by his nephew, retired to Rome, and carried with 
him the crown, harp, and other regalia of his father, which he presented to 
the Pope. These regalia were kept in the Vatican, till the Pope sent the 
harp to Henry VIII, but kept the crown, which waa of maanve gold. Henry 
gave the harp to the first Earl of Clanricaide, in whose fsmily it remained 
until the beginning of the 18th century, when it came, by a lady of the De 
Burgh family, into that of MacMahon of Clenagh, in the county of Clare, 
after whose death it passed into the possession of Commissioner Mac Nsraan 
of Limerick. In 1782, it was presented to the Right Hon. Wm. Conyngham, 
who deposited it in Trinity College Museum, where it now is. It is 82 indies 
high, and of good workmanship ; the sounding-board is of oak, tho arms of rod 
sally ; the extremity of the uppermost aim in part is capped with sQvcr, 
extremely well wrought and chiselled. It contains a laigo carystsl set in 
silver, and nnder it was another stone now lost. The buttons or ornamental 
knobs at the sides of this arm are of silver. On the front arm are the anus 
chased in silver of the O'Brien family, the bloody hand supported by lions. 
On the sides of the front arm, within two circles, are two Iri^ wolf-dogs, cttt 
in .the wood. The holes of the sounding-boards, where the strings entered, 
are neatly ornamented with escutcheons of brass, carved and gilt ; the larger 
sounding holes have been ornamented, probably, with silver, as they have been 
the object of theft. This harp has 28 keys and as many string-holes, con- 
sequently there were as many strings. The foot-piece or rest is broken 9/S, 
and the pa'ts round which it was joined are very rotten. The whole bean 
eridence of an expert artist" 

The above elaborate description of the harp of the valorous Irish King, wfacm 
the Danes mercilessly slew, is also contained in the tenth volume of Sub fifth 
edition of the Encyclopaedia Britannica. 

The Irish harp seems to have had the power to charm the ean of the great 
English philosopher, Lord Bacon, who does it the honour of mentioning it in 
his celebrated "Sylva Sylvamm, Century- II," p. 38, Sec. 14fi: "An Irish 
harp hath open Air on both sides of the strings ; and it hath the Concave, or 
Belly, not a long the Strings, but at the end of the Strings. It maketh a 
more resounding sound than a Bandora^ Orpharion, or Ciitem^ which hart 
likewise If "ire-strings. I judge the cause to be, for that open Air on hotii 
sides helpeth, so that there be a Concave ; which is therefore best placed at the 
end." 

The Irish harp underwent improvements at various periods. In the fifteenth 
century, it was considerably improved by the ingenious Robert Nngent, a 
Jesuit, who resided in Ireland for some time. " He endoeed the open space 
between the trunk and upper part (or arm) of this instrument, with little 
pieces of wood, and closed it up aflcr the manner of a box ; and the bored part, 
or sound-hole, on the right side, which was formerly open, he covered with a 
latticc-woik of wood, as in the clarichonl, and then placed a donUe row of 
chords on each side.'^ This innovation is described by Dean Lynch in Latin, 
which dead language is (with few exceptions, and perhaps only then for par- 
poses of apt quotations) entirely unknown to modem mnsidans. 

In " Evelyn's Journal,*' published in the seventeenth century, the following 
interesting account appears : " Came to see my old acquaintance, and most in- 
comparable pUyer on the Irish harp, Mr. Clarke, after his travels; sadi 
music before or since did I never hear, that instrument being neglected for its 
extraordinary difficulty; but in my judgment far superior to the lute itself or 
whatever speaks with strings." 

In the elegant lines written in the Dargle, County Wicklow, by Mr. Prpstoo, 
that poet t^cs occasion to exhibit it in " its true light the base policy ef 
Elizabeth." 

The persecuted bards (who were also harpers) are represented as scdcing an 
asylum amid the romantic scenery of that charming locality :~- 

*• For here, In old heroic times, 
The DitPttrel walk'd his lofty rhrmra ; 
ne tan'd his harp^ he bade them flow, 
Attcmper'd to the ttreams below. 
Whon Engrland would a land enthral, 
8he doomed the masses* sons to fall. 
Lest Virtue's hand should string the lyre, 
And reed with song the pstriofs flra. 
Lo ! Cambria's bards her ftary feel ; 
Spe, Erin mourns the bloody steel ; 
To such a scene, to snch a siiade, 
Condemn'd, proscrlb'd, the poet's stray'd. 
The warrior rals'd his buckler high, 
To shade the son of harmony ; 
And wliile he sung with skill profound, 
A grove of lances bristled round.** 



• Walker. 



Digitized by 



Google 



December 31, 1864] 



THE MUSICAL WORLD. 



'843 



From tlilfl period dates tho dedine of the bardic order, and of tho frish haip 
•nd harpers. 

Thej were now obliged to practice the charms of their art in solitude, or to 
seek the more humble and hospitable roof, 

** And tun'd to ploase a peaiant's oar, 
The harp a Kinf had loved to hoar." 

Temputjugit. YoTun faithfully, A. J. P. 

Jlel^avia, December 20lh, 1864. 

THE KIRK ATTUNED. 

Sn,— You will be glad (if not sorry) to hear that on Sunday, in the 
Tron parish church, Glasgow, instmmental music was introduced at all 
the diets of worship in the regular services of the congregation. The 
movement which has led to this important innoyation originated, we 
believe, with the congregation, a generous member of which, Mr. 
Brown, 2, Nicholson-street, presented the session with a hjwdsome 
organ harmonium. The proposal once mooted, the steps necessary for 
the accomplishment of the object were cttfried out in tne quietest and 
most harmonious manner, and without any instigation on the part of 
the minister or session, with a view to ascertain the opinion of the 
members they were visited at their own houses, those who could not 
be readily reached in this way^being requested to leave theimamesand 
addresses, with the words "• for " or ** against," in the plate as they 
entered the church. The result was that out of a congregation num- 
bering nearly 1400 only 89 sisnified their dissent. In the services of 
yesterday the harmonium — splayed by Mr. Gleadhill — was employed 
to accompany the psalmody, ^he instrument which the congregation 
haye been fortunate to obtain free of expense is said to be one of the 
only three of the kind yet manu&ctured— « second being used at the 
Churoh of Notre Dame de Lorette, in Paris, where it has attracted 
much attention. In addition to the harmonium the singing was 
assisted by a small choir recently formed, and which is intended to be 
eoDtinned and augmented. The course followed by the Tron congre- 
ntion in this matter will be hailed by intelligent members of the 
Church of Scotland as a step in the right direction. They are the 
second congregation of Presbyterians in Scotland, and the first in 
Ghuffow, who have ventured to introduce instrumental music into their 
worship. In a week or two the new church at Anderston, of which 
Mr. Lang is to be minister, will be opened with an organ ; and the 
proprietyof carrying out a movement similar to that just accomplished 
in the Tron, is engaging the attention of other Established congre- 
gations in the west end — I am, Sir, yours, 

The Fill Box^ near Dumbarton. Lodomt Calomt. 

NO ENCORES OR APPLAUSES. 

Sib,— I observe that the Newcastle Choral Union, in announcing their 
performance of Sanuon for Wednesday the 30th inst., have requested 
that eneores and applauses be not indulged in. I can assure you, from 
fifequent observations made by parties during these and other perform- 
ances, that this request will meet with very general appro>nad. These 
demonstrations from the gallery are too frequently taken up by a 
number of young men who ought to know better in other parts of the 
hall ; and whilst the performers are doing their very utmost to do 
Justice to the pieces and themselves, that they should be so stupidly 
and ignorantly interrupted only exhibits a want of taste and due and 
interested appreciation of their labours, and does *< seriously interfere " 
with the correct performance of the piece. I have another serious 
objection ; those frequent encores unduly lengthen the performance, 
which, from the liberal programme, is sufficiently long. I would, 
therefore, suggest that the doors open at seven and commence at half- 
past seven ; for whilst we are endeavouring to induce the people to 
attend rational places of amusement, we should be particularly careful 
that they should close so as not to endanger our youth on the street at 
an untimely hour, and thus run a risk of bringing them in contact 
with the prowling eyil disposed characters of our town. 

Dee, 14. Yours &c., Bbowm Bud Beamish. 

Barnard Castle. — The Sacred Harmonic Society gaye a performance 
of Judat MaeeabcBue in the Music Hall, on Thursday evening week. 
The soloists were Miss Whitham, Miss Welford, Mr. Whitehead, and 
Mr. Lambert. Mr. Ainsworth was leader, Mr. Mortimer, organist, and 
Mr. Raper, conductor. Miss Whitham's best effort was in " From 
mighty kings.'* Miss Welford, who has a beautiful voice, sang •* 
Liberty " and *« Father of heaven," with much taste and skill. Mr. 
Whitehead was successful in the tenor music. The rich quality of 
Mr. Lambert's bass voice was effectively heard in *' Arm, arm ye 
brave,** and " The Lord worketh wonders,'* both of which were much 
a|>plauded. The choruses were finely sung. Mr. Raper conducted 
with his usual tact and ability, and to his training may be attributable 
the excelleDoe of the ehota! portion of the ey^bg's performance. 



MANCHESTER. 
{From cur Stoekport CorretpondenL) 

Free T&adk Hall, Mahgsxstbr. — Dee. 22. 

The Messiah was performed at Charles Hallo's eighth concert. The pria- 
oipal vocalists were Miss Looisa Pjne, Miss Palmer, Mr. Shns Beeves and 
Mr. L. Thomas, with fall band and choros numbering upwards of SOO 
performers. The hall was crowded in every department by an appreciative 
andienoe. The Messiah is the king of oratorios. Like the character it so 
beaatifhlly illustrates, it speaks as no oratorio ever yet spoke; it is the voice of 
God pouring divine melody into the heart of man, to soothe the troubled mind, 
and to breathe new hopes that exalt the soul and fill the heart with gladness. 
The echo never sleeps in the ears of those who listen to the sublime harmonies. 
The most pathetic strains thrill eveiy emotion within ns, as though "this 
mnddy vesture of decay" (our bodies) was a harp played upon by the 
melodious winds, set in motion by the Spirit of Handel, and thus penetrating 
the inmost chamber of our imagmations. Indeed, they purify the oells of our 
hearts'from all that is evil and fill>s with holy thoughts. By their mfluenoe 
the soul is wafted through the immensity of space above us. TnUy, the body is 
on earth but the spirit is in heaven, for our emotions are linked with Handel, 
who leads us on through yon casrulean plain, and fixes us in a position where 
our imaginations can dearly trace the way that leads into Jehovah's Temple, 
where praise, adoration, hallelnjahs and anthems are continually riamg to Him 
that sitteth upon the throne for ever and ever. On this sublime eminence 
we fancy the grand oonncil of heaven, so graphically depicted by the ima§^- 
tion of our poet Milton, when the Son of God first promised to take the sins 
of mankind upon Hhnself in order to restore fallen man to the kmgdom of 
heaven. In this snblime conception of Handel's yie can picture to our minds 
the myriad of holy angels celebrating the happy event with acclamations of 
praise ; cherubim and seraphim lead the choirs, for all the hosts of heaven are 
gathered together, rejoicing in their Creator's triumph over shi and the devil. 
Handel's i&itaA is emblematical of our Saviour's glorification on the plains 
of heaven ; it is a mnsical poem that interprets'as far as we can comprehend in 
this life an emblem of the grand festival of angels held in the Holy of Holies, 
where they worship Omnipotence and laud Jehovah with holy song^ of joy 
given out by the chembio hosts and responded to by the heavenly chuirs, untU 
one majestic blaze of melodious harmony rolls through the courts of heaven, 
advancing and reoedmg like the waves of the sea« 

Louisa- Pyne is a Handelian singer of the very first order ; her name will 
most undoubtedly take a place in musical histoiy by the ade of her sisters in 
song — Clara Novello, Jenny lind, and Teresa Tietjens. She declaimed the 
recitatives which follow that heavenly tan«, the ** Pastoral Symphony,** with 
sweetness of voice that captivates and enchants. In the exhilarating joy of 
** Rejoice greatiy" she identified her feelings with Handel's, for she appeared 
as thongh she was inspired ; we felt her power, we breathed as she breathed, 
strain after strain rolled on with the most delightful effects ; our souls enjoyed 
a happiness which may be pronounced angelical ; an exultant joyfhlness per- 
vaded as though we were, for the moment, in Paradise. She adiieved a de- 
cided success by her singing of " I know that my Redeemer liveth,*' a success 
that will immortalise her renown as an oratorio singer. The effect Miss Pyne pro- 
duced in this *' song of songs " will never be erased from a large portion of her 
hearers ; all the b^uties of this sublime air she expressed with consummate 
taste, pathos, snd fervour, steeped as it is with the spirit of Christain faith, 
for each strain is tinted with anticipation of future bliss, enkindling a fiame 
of admiration in our souls, which enables us to feel the truth it asserts : " It 
is the voice of Alpha and Omega, giving consolation to the redeemed fixing 
their thoughts on brighter worlds above." 

Miss Pfdmer has established her reputation in these districts as a contralto 
vocalist'possessing the highest ability as an interpreter of sacred music. Her 
admirable singing elicited enthusiastic applause, especially in the most 
pathetic air in the oratorio, " He was despised," in which Handel fathomed 
the very depth of human sorrow, for our bosoms swell as though we were 
giving vent to intense grief. Her singing of " Thou that tellesv' and " Ho 
shall feed His flock " wafted an odour of gladness and exhalations of comfort 
that cheered the hearts of most present. It would be folly to attempt to laud 
Mr. Sims Reeves' perfect style of singing in the cdunms of the Mueiedl World; 
his abilities are better known to your readers than I am able to describe. It 
sufficeth to say that his singmg of "Comfort ye my people" impresses his 
hearers with a divine consolation which indeed comforts the soul; **Thy 
rebuke *' and ^ Behold and see " he gave with an expression of sorrow that 
makes the heart lament; the energy, fervour, and spirit he infuses in **Thou 
shalt break them" raises our i(pelings to a summit where we can hold commun- 
ion with Handel. We admire tho composer's power ; we feel his thoughts 
take root in our minds ; we feel our heart strings vibrate with grand emotions, 
which make an indelible impression on musicd souls. Mr. L. Thomas sang 
the bass mn with masterly skill, gaining loud applause. 

The choruses were admu^bly given, indeed they were perfection; both 
voices and iostruments contributed then: part nobly in this most excellent 
performance of the immortal Messiah ; their efficiency speaks volumes, and 
proclaims Charles Hall^ to be one of the great conductors of the present time. 

I wish you a many Christmaa firom my heart. 

I am youn tralyf T* B* B* 



Digitized by 



Google 



844 



THE MUSICAL WORLD. 



[December 31, 1864* 



CAsniL.— Herr Reiss, the. Ducal CapellrMitUrt has been gnspended. 

Alexandria. — The Zizania Theatre is to open with Robert U DiahU, 

Milan.— Signor LAmperti, at present the most renowned ringing- 
master in Italy, has been made a Knight of the Order Of St. Maurice 
and Lazarus. 

MAi>BiD.--<i-Tamberlik and Mad. Nantier-Didiee are engaged to sing 
in Le PropK^U next season. According to report, they are to receive 
200,000 francf . 

DABifSTAi>T.-*A handsome monument has been erected to the late 
CapellmeUter, Herr Schindelmeisser. It consists of a medallion of his 
head, carved in Carrara marble, and set in a large block of stone. It 
was solemnly uncovered in the presence of a large number of the de- 
ceased musician's friends, on the 6th inst. 

St. Pstebsbuboh. — The Barhiert^ with Madame Nantier-Didiee as 
Rosins, Signor Everardi, Figaro, Signor Fioravanti, Doctor Bartolo, 
Signor Angelini, Basilio, and Signor Calzolari, Count Almaviva, haa 
proved one of the great hits of the season. Lucia di Lammermoor, too, 
with Mdlle. Fioretti, Signers Giuglini and Graziani, lias achieved a 
triumphant success. 

Arras. — ^A French journal has the following : — " The famous instru- 
mentalist who has done so much, in his foreign travels, for the 
propagation of M. Sax*s instruments, M. Ali-Ben-Sou-Alle, has played 
for the first time at Arras, his native town. He produced such an 
effect that he was compelled to repeat the greater part of his perfor- 
mances." (Prodigious ! — D. Petebs.) 

Vienna. — The exterior of the new Imperial Theatre is just com- 
pleted, and the best artists to be obtained are engaged for the execution 
of the interior works. In the grand vestibule will be placed statues of 
Mozart, Beethoven, Gluck, Haydn and Schubert, and in the saloon 
busts of Rossini, Meyerbeer, Weber, Cimarosa, Auber, Cherubini, 
Spohr, Donizetti, Bellini, Wagner, Nicolai and Verdi. It is the 
intention of the directors to ii)augurate the new theatre with Meyer- 
beer's Afrieaine, 

Barcelona. — {From a Correspondent') — Mia Emily Georgi — 
I beg pEUpdon, Sefioiita Dofia Emilia Georgi — the contralto^ has 
made her appearance at the theatre here, as Maflio Ondni, in 
Lncrezia Borgia^ with what success may be gathered from the 
following notice in the principal Barcelona journal : — 

^ Anoche se ejecato en el Gran Teatro^ del Liceo la inspirada dpera del 
malogrado Donizetti, Lvcrezia Borgia^ en la que se encargo del personaje de 
Orsini la nneva y jdven contralto seflorita dofla Emilia Georgi. A pesar del 
reciente recaerdo de la sefiora Dory, la qne se presentaba por primera vez & 
pisar el escenario, salid bastante airosa de sa cometido. — ^Esta seflorita posee 
una voz estensa 7 de agradable timbre, y canta con buen estilo, por lo que 
auguramos que despues de adquirida alguna prdctica ocnpard un dktinguido 
luear entre los aplaudidos artistas del miindo masical. — FeUcitamos £ la nueva 
dUnUante, la que el ptiblico aplaadid al final del brindU que canto en el tercer 
acto." 

DoSa Georgi's next part was Maddalena, in which her success was 
no less decided. Sefiorita Dofia Constanzzia Georgi, the soprano, 
will shortly make her debut, 

Abditi's Tic-Tac. — A ** proof copy " (writes the Preste Thkitralt) of 
one of Signor Arditi's latest compositions is now the subject of dispu- 
tation amongst music publishers in Paris. The well-known publisher, 
M. Ricordi, of Milan, having bought the right of publishing *< L'Oro- 
loggio " for the continent, has sent a " proof copy " and the right of 
publication to Paris for sale. The popularity of Signor Arditi, and the 
profits realized by ^ II Bacio," cause a brisk demand for all Signor 
Arditi's compositions, A large sum has been offered for this last, but 
we have not heard who is the purchaser. Report says Mr. Flaxland, 
who was so fortunate with <* U Bacio." 

St. Mabtin's Hall. — There was a performance of the Mestiah at 
cheap prices on Christmas Eve at this Hall. The principal vocalists 
were Miss |Anna Hiles, Miss Emma Hey wood, Mr. Coates, and Mr. 
Aynsley Cook. The Hall was crowded, and the people very attentive. 
Miss Hiles sang throughout exceedingly well, and the fine contralto 
voice of Miss Emma Hey wood was heard to great advantage in *' He 
was despised.*' Mr. Coates and Mr. Cook both sang very well. Mr. 
Sidney Naylor ably presided at the organ. 

Brighton.— Mrs. W. Devln's "Invitation" Concert on Monday, 
the 19th inst., was very successful. Meyerbeer's celebrated ^ Wedding 
March " (Quatrieme Marehe aux Flambeaux)^ arranged as a pianoforte 
duct (by £. Wolfi^, and played in concert by eight of her pupils (the 
parts doubled of course), on four pianofortes, produced a great eilect. 
There were several vocal pieces, by Miss Chate, Miss E. Devin, and 
Mr. K. Devin (encorea in the ** Village Blacksmith ;*') M. Gounod's 
^ Meditation " on a 'prelude by Bach was well given, the parts for 
violin and harmonium being sustained by Mr. Stem and Mrs. Roe. The 
concert afibrded satisfaction to all present. The Davenport Brothers, 
Mr. Thurton's " Odd Folka," and General Tom Thumb have been 
exhibiting daring the week. 



WiNDsoB.— The Choral Society began their 24th season the week 
before last, at the Town Hall, with Haydn's oratorio, The Ortaiion, 
Miss Rose Hersee, Mr. Dyson, and Mr. Bamby were the principal 
singers. The* band was led by Mr. Day, and among the orchestral 
performers were Messrs. Horatio Chipp, Rendle, Qiermann, Bambridge. 
Lester, Corden, Marriott, Wheeler, Branson and Borgiai. Dr.Elvey 
directed the performance. 

Leicesteb.— (/Vom a Cor respondent). —-The Messrs. Nicholaon's 
third concert was given on Monday evening, on which occasion the 
Jfessiah was performed, the principal vocalists being Miss Helena 
Walker, Miss Clowes, Mr. Lewis Thomas and Mr. Sims Reeves. The 
band and chorus (which included Mr. Nicholson's well-drilled Philhar' 
monic Society) consisted of 200 performers, Mr. Alfred Nicholson 
conducting. The laige Music Hall was crowded to suffocation, and 
hundreds went away unable to procure admission. The performance 
was excellent in every respect. Mr. Reeves was never in better 
voice, and never sang with more vigor and supreme taste. 

LivEurooL. — On Tuesday, the usual Christmas performance of the 
Memah by the Liverpool Philharmonic Society took place before an 
immense audience. The soloists were Madame Rudersdorff, Madame 
Laura Baxter, Mr. Sims I^ves, and Mr. Lewis Thomas. Madame 
Rudersdorff was very successful iu " I know that my Redeemer liveth.'* 
Madame Baxter's singing of " Take his yoke upon vou " and " He 
was despised" was excellent. Mr. Sims Reeves, who was warmly 
received, nothwithstanding his recent illness, sang admirablj, tod 
received the usual encore after '* Thou shalt break them." The set of 
solos descriptive of the passion of our Lord was as usual sung niih 
thoroughly religious fe^ng. Mr. Thomas was suffering from cold, 
but still produced a fine effect here and there by hia noble voice 
and artistic reading. The chorus has never given a more aacoessfol 
performance of the Afetsiah. " For unto us a child is bom " earned 
the usual encore; but other choruses went quite as weU, aa, for 
instance, " Hallelujah.'' The band was very efficient. Mr. Harper 
was invaluable in the trumpet part. Mr. Hirst, too, gave gnat help 
by his organ accompaniment. Mr. Herrmann conducted.— The third 
of the present series of Classical Chamber Concerts was given on Tues- 
day, before the usual select audience. The programme was as follows : 
— Pabt I. — Quartet, op. 45, No. 2, in E minor — Spohr ; Two violins, 
tenor, and violoncello ; Sonata, op. 58, in D — Mendelssohn ; I^noforte 
and violoncello ; Romance (by desire) — ^in E for the violin— (first Con- 
certo). Part II. — Quartet, op. 18, No. 4, in C minor — Beethoven; 
Two violins, viola, [and violoncello ; Solo pianoforte ; Nocturne 
torale — John Field ; Scherzo, in E minor, op. 16, No. 2 — Mendd^ 
Barcarole, op. 60 — Thalberg ; Quintet (by desire) op. 44, in £ flat- 
Schumann; Pianoforte, two violins, viola, and violoncello. The 
players were, Messrs. E. W. Thomas and C. A. Seymour (violin) ; 
Bernhardt (tenor) ; Vieuxtemps (violoncello) ; and Ernst Fauer (piano- 
forte). The performance gave great satisfiiction. Herr Ftoer was 
encored in his pianoforte fantasia, and played his own ^ Cascade." 

MUSIC BECEIYED FOR REVIEW. 

Hrtslkr a Co.—** L'Or&nella,'* Eamanta, and ** Sara,** BaUata, hj Salvaiob O. 

March Bsi. 
RAKsroRD A Son.— ThoDonato Waltz by Louis Rinard. 

DR. STOLBERG'S VOICE LOZENGE, 

For lAvigorating and enriching the voicei and removing affectioni of 

the throat, 

TTAS maintained its high character for a quarter of t 

JJL century ; and the flattering testimonials received from Grist, PeniRR, 
LablRche; and mftny of the Clergy and Statesmen fally establish Itofrait Tirtoet 
No Vocalist or public s]ieaker should be wiihont it. To be obUlned of all 
Wholesale and Retail ChemisU iu the Uuited Kingdom. 

Just published, price 3s., 

MARY, 

SOKO. 

Composed by JOHN JACKSON. 

London : Duxcam Datisoh A Co., 244 Regent Street, W. 



Just Published. Price 4S. 

VARIATIONS ON "THE CARNIVAL OP VENICE," 

AS SUHQ BT 

MDLLE. CARLOTTA PATTI. 

Composed bt 

JULES BENEDICT. 

Lonaon ; Dowoajk Datiiqb A Co., SU B^gMt Strait, W. 



Digitized by 



Google 



Pecember 81, 1864.] 



THE MUSICAL WORLD. 



845 



CHAPPELL & Co.s 
KENILWORTH. 

NOW READY, 

The New Cantata compoBed for and performed at the Bir- 
mingham Festival. Words by H. F. Ohorley, Esq. Music 
composed by Abthub Sdxliyan. Price complete 12s. 

THE FOLLOWIN0 ABB POBUSHKD SSPABATXLT :— 

I have Slept beneath the Water - 2s. 6d, 

Snng by ididame Sherrikoton. 

I am a Buler on the Sea • - 2s. 6d. 

Song by Mr. Saitilet. 

DUET— How sweet the Moonlight 
Sleeps - - • • - 3s. Od. 

Song by Mr. CmaoHGS and Madame Sherrington. 

A Brisk Dance, for Pianoforte Solo 2s. Od. 

- 2s. Od. 



A Slow Dance, ditto ditto 



MW PIMOPORTE PIECES PROM 

'' FAUST/' 

CaUcott's Beanties of Fanst, 1 & 2 
each 5s. Od. 

CaUcott's Beanties of Fanst, Dnets 
each 6s. Od. 

CaUcott's Eermesse Scene, con- 
taining the Celebrated " Old 
Men's Chorus," as a Duet - - 3s. Od. 

CaUcott's Soldier's Chorus • - 3s. Od. 

As performed in the Opera. Duet 3s. 6d. 

Osborne's Grand Concertante Duet 

for two Pianofortes - - - 8s. Od. 

Osborne's Grand Concertante for 

two Performers on one Pianoforte 6s. Od, 

Benedict's Morceau de Salon - 4s. Od. 

Favarger Fantasia - - - 4s. Od. 

Ascher Pensee Dramatique - - 4s. Od. 

OECj^I^IPEXjIj <Sc OO., 
60, new bond sibeet. 



SEIjEOT XjIST 



OF 



KEW & POPULAE MFSIC 



PUBLISHEP BV 



PURDAY & CO., 

24, GREAT MARLBOROUGH STREET, W. 



GIULIO BEQONDI-SONaS. 

Leave me not lonely 

Lonely Cloud (The) 

Orphan Child (The), Sung by Mias Poole 

Farting and Meeting 

Wake hernot rudely ,. 

The Mermaidfi (Duet) 

CONCEBTUTA SOLOS. 

Concerto in G, composed for G. Regondi— Molique 

Ditto in O ditto F. Bosen .. 
Fantasia on Airs Le Frophete — Giulio Regondi 



2 6 

3 
2 6 

2 6 

3 



10 6 

10 6 

9 



QIUMO KBOONDrS GUITAR SOLOS. 



Fgte Villageoiso 
Introduction et Caprice 
First Air vari6 in A • . 
8ecx>nd ditto in D ... 
Reverie 



BOLEYNE BEEVES' MUSIC for the HABP 

Last Rose of Summer 6 

Irish Fantasia 6 

Marcia Solenne • 6 

Pastorals — ^No. 1, dedicated to the Lady Hobart ..« 4 

No. 2, „ to Miss Samuel 4 

No. 8, Falling Leaves 3 6 

No. 4, Village Revel 3 6 

Grand Concert Solo— Der Freischiitz 7 

Sonata Drammatica 10 6 

Studies land 2 each 4 

Scherzo con variazione 6 

Sonata Impetuoso 2 6 

BOLEYNE BEEVES' SONQS & BALLADS. 

Appena il giomo muor 

Asllayea thynkynge 

A Voice within my Soul 

Beneath my Palm Trees •• 

Bird and the Bard 

Dear Friends afar 

I arise from dreams of Thee 

I covet Thee 

I shall see my love to-morrow 

Love me if I live 

Praise of Spring (The) , 

Rapt in a dream , ., 

Ring out, Wild Bells 

Shed no tear 

Swifter far than Summer's flight ... 

That cold Earth slept below 

The Fugitives (descriptive song) ... 

The Secret , 

The Song of the Stream 

When the Star of the Morning ••• •< 



••• 
••• 



••• 



2 6 

2 6 

2 6 

2 6 

2 6 

2 6 

2 6 

2 6 

2 6 

2 6 

2 6 

2 6 

2 6 

8 

2 6 

2 6 

4 

2 6 

2 6 

2 6 



Digitized by 



Google 



846 



THE MUSICAL WORLD. 



[December 31, 1864. 



mw READY. Prico 7s. 6d. 



HANDSOMELY BOUND, GILT EDGES, 



THE 

Musical Scrap 



Book: 



CONTAINIKa MORB THAN 



400 PAGES OF MUSIC. 



From the " News of the World." 

Messes. Booset have ' the happy tact of strikiDg out new ideas tha 
are so good that one wonders that^ like Oolumbus and the egg, they 
were not thought of before. The idea of the new scrap-book is an 
excellent one ; and it comprises, in a veiy cheap form, several hun- 
dred of the most popular songs, pieces, airs, and dances that have been 
written by the most popular composers for some years past^ The pub- 
lisliers say, and with truth, that the compilation of such a work would 
cost so large an expenditure of money, time, and experience, as to be 
almost an impossibility to any one not professionally employed in pro- 
ducing it. 



LONDON : 

BOOSEY & CO., HOLLES ST. 



THE 

NEW & POPULAR 

Dance Music 

OF THE SEASON. 



The Pimcli and Judy Quadrilles . 4& 

By H. S. KOBESTS. 

The Pimch and Judy Lancers 



By H. S. ROBERTS. 


• AU. 


The Punch and Judy Waltzes 

By MAKRIOTT. 


. 4s. , 


The Punch and Judy Polka . 

By MARRIOTT. 


. 3s. 


The Punch and Judy Galop . . 

By MARRIOTT. 


. 88. 


The Banting Quadrilles ... 

By MARRIOTT. 


. 4b. 


The Happy Home Quadrilles . 

By MARRIOTT. 


4d. 


The Irish Quadrilles . . . . 

By MARRIOTT. 


. 48. 



The "Sing Birdie, Sing" Valses . 4b. 

OuGakz's PopnlarSong. By MAKRIOTT. 

All splendidly illustrated in Gold and 
Colours by the first Artists of the day. 



ASHDOWN & PARET, 

18, HANOVER SQUABE. 



.ftlBttd 



Xff HoDnsoH, Bait, and Fsiitoh, at No. 33, Bsmwi Street, Oxford Street, in the FeiMi of ICaryleboae. in the Con 
PiJ»U*ed bF WiLUAM DmnuiiDAnsoii, it the Otlee, 844 Befent 8<re«t.-MKni<v, JDmmmt ai, 1814. 



in the Cootr of MMdlMtT 



Digitized by 



Google 



Digitized by 



Google 



Digitized by 



Google 



Digitized by 



Google 



Digitized by 



Google 



This book should be returned to 
the Library on or before the last date 
stamped below. 

A fine of five cents a day is incurred 
by retaining it beyond the specified 
time. 

Please return promptly. 



4 



Digitized by 



Google 



Digitized by 



Google