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and thus arose the second part of the instrumental work known under the name of" Wellington's Victory in the Battle of Vittoria," to which Beethoven subsequently added the second part, the "Battle of Vittoria" (see Op. 91). On his side, Malzel constructed four acoustic machines. Beethoven found that only one of them was of any use, and employed it for some time in his conversations with the Archduke Rudolph, as the stream of conversation would have been too greatly impeded by writing everything down. In December 1813, the "Battle of Vittoria" was repeatedly performed (see, for the details of the important political circumstances of that time, Op. 91). Beethoven had unsuspiciously left the arrangement of the concerts to his so-called friend—a Viennese friend (Beethoven's own expression), Malzel. In the concert bills Malzel entitled the composition h\&property, and in reply to Beethoven's protestations against this pretension, declared that he attached the work for the acoustic machines and for fifty ducats he had lent Beethoven. The latter, who never allowed his scores to go out of his possession, and was even accustomed to keep an anxious watch over the parts when copied out, would have had no occasion to fear any loss, had not Malzel found means to procure copies of the orchestral parts, with which he made off, by way of Munich, to England. When intelligence was brought to Vienna that Malzel had already had the "Vittoria Music," although in a mutilated state, performed as his own property, in Munich, the comb of the excitable Beethoven swelled up, and he took the first legal steps in the matter. It appears from Beethoven's deposition, which unfortunately has only been preserved in a fragmentary form, that it was true he had borrowed fifty ducats of Malzel, but with the proviso that he should return them in Vienna, or give an order on a publisher of the " Vittoria Music." In a public letter, addressed, through the medium of the papers, to all the musicians in London, Beethoven warned them against the mutilated work — to which Malzel, not having been able to procure the whole of the parts, had caused a great deal to be added by some profane hand—and declared the performance in Munich to be an act of deception towards the public as well as towards the composer. This occurrence increased Beethoven's distrust, originally arising from his defective hearing, of those around him, and of mankind in general. The most disastrous effects upon both soul and mind, as upon his artistic activity, were the immediate results. Instead of living for art, and realising the ideas existing in his elevated mind, Beethoven now anxiously, and often pettily, controlled his copyists, whom he would not allow to work anywhere but in his own house. Henceforward the artist's clouded soul — a picture of deeply-moved disquiet, which was with difficulty combated—beat about upon the black waves of unthankfulness and hate, without any guiding star whatever. It is to this period, also, that we must refer the occasional cantata— a most insignificant work for the composer of Fidelio—written at the order of the municipal authorities of Vienna, for the Congress in the autumn of 1814, "The Glorious Moment,"* (Letter e, 3rd section of the Catalogue). For this weak production, written on the shortest notice, Beethoven received what he had so long deserved, an honorary diploma as a citizen of Vienna. Yet he had already presented the city of Vienna with an "inhabitant without an equal, " when he gave them the Sinfonia Eroica!

Mr. Hekrt Leslie's Cboir.—The Second Subscription-Concert was particularly interesting, as it included two works, either

* Der glorreiche Augenblich.

of which well executed would be attractive to connoisseurs of partsinging. Mendelssohn's Psalm for an eight-part choir, "Why rage fiercely the heathen?" given for the first time, is a composition worthy of the author of St. Paul and Elijah, and, although presenting many points of no ordinary difficulty, even for practised singers, was, on the whole, executed in a manner which will decidedly increase the fame of Mr. Leslie's Choir. Equal in importance was the motett for double choir, by John Sebastian Bach, of which we had occasion to speak in our notice of the first concert. It is sufficient now to say that it was sung with unswerving steadiness and precision. The first movement, "I wrestle and pray," with its constant reiteration and masterly treatment, the chorale for soprani alone, and final chorale for all the voices, " O Jesu, Son of God," were all unexceptionable; and the applause which followed manifested the thorough appreciation of the audience. Mr. Leslie contributed three of his own part-songs, " The troubadour," with its sparkling melody and capital harmonisation; "The flax spinners" — animated and tuneful — enthusiastically encored; and the taking "We greet thee, merry spring time, which terminated the concert. Amongst other noticeable features, we must particularise the part-song from Robin Hood, "Now the sun has mounted high, which has never before been so well sung in public, Mendelssohn's "The deep repose of night," and Mr. Henry Smart's charming "Cradle song." The choir seems to be in a higher state of efficiency than ever, thanks to Mr. Leslie's unsleeping energy. The pianists, as upon the previous occasion, were Miss Catherine Thomson, and Miss M. A. Walsh, the first of whom gave a barcarolle of Stephen Heller's, and a valse of Chopin; the latter, Nos. 1 and 3 of Mendelssohn's Lieder ohne Worte, both performances being well received.

Adelpbi Theatre. Le Gamin de Paris, one of the best-known pieces on the French stage, when it was associated with the inimitable Bouffe, has been newly rendered into English by Mr. Boucicault, with the title of the Dublin Boy. Several years since, while the original piece was still fresh in the public mind, an earlier version was produced, in which Mrs. Keeley sustained the part assigned to Bouffe, but Mr. Boucicault has given an entirely new tone to his adaptation of an old story, by a transfer of the scene to the capital of Ireland, and the endowment of the principal character with Irish peculiarities. It may be as well to remind oar readers that the boy who is the hero of the tale is the orphan son of a soldier who was killed in battle while saving the life of his general. He lives with his grandmother and sister, and is to hopelessly idle and mischievous that it is predicted by every one, save his fond grandmother, that he will come to some disgraceful end. His better qualities are, however, called forth by the discovery that his sister has lent too ready an car to the flatteries of a young gentleman, who visits the house, disguised as a humble artist. Without a moment's hesitation he proceeds to the honse of the seducer's father, an old military officer tormented by the gout, and obtains matrimonial reparation of his sister's honour, partly by the force of that plebeian eloquence which has long been popular on the stage, partly through the circumstance that the gouty old man is the very general whose life his father preserved. The story is very pleasant in its Irish dress, the dialogue having been well seasoned with characteristic pleasantries by Mr. Boucicault, and Andy, as the "gaming" is now called, is played by Mrs. Boucicault with a great deal of spirit. She does not, indeed, completely convert herself into a " lubberly boy," but she depicts the hearty love of fun, the sensitiveness to dishonour, and the strong affection which are the attributes of Andy's nature, with a force that does not lose its efficiency through the gracefulness by which the part is somewhat idealised. The old general, now called Daily, with his benevolence, his irascibility, and his gout, is played by Mr. Emery in his best style, and stands out highly coloured without caricature. Mr. Stephenson, celebrated as Father Tom in the Colleen Baton, displays to advantage his Milesian peculiarities as the butt of Andy, and Mrs. Lewis looks the complete picture of a doating old grandmother. The piece is thoroughly successful.

Crystal Palace.—The favourable impression created by Mr. Howard Glover's operetta Once too often, during its performance at Drury Lane, was fully confirmed on Saturday last, when some 4000 persons were attracted to Sydenham and highly gratified, despite the' inevitable drawback which a work of this character had to contend with in being givon in the great transept, where even monster orchestras and gigantic choruses fail to make themselves distinctly heard for any distance in the vast building. Add to this the disadvantage which must always attend theatrical representations in broad daylight, when the

bright rays of the sun so pitilessly expose the stage effects and render the actor's make-up no longer a matter of mystery, and it must be owned that a production must have no small share of intrinsic merit to pass muster with credit under such circumstances. That the efforts of Mile. Jenny Bauer, Miss Heywood, Herren Reichardt and Formes were thoroughly appreciated, no less than the merits of Mr. Howard Glover's score, however, was amply testified by the frequent applause of those who were sufficiently near to understand what was going on; but to those less fortunate the operetta might almost as well have been performed in dumb-show. Marsillac's charming romance, "A young and artless maidenj" Pompernik's essentially "jolly" song, when disguised as the monk; the tender and delicate air of Hortense, " Love is a gentle thing;" and Blanche's no less elegant ballad, " The love you've slighted," were one and all received with favour.

Monday PoruLAB Concerts.—The programme of last Monday (tenth concert) was selected from various masters, the instrumental portion including Mozart's string Quintet (No. 4) in D major, Beethoven's Sonata Pastorale, Boccherini's Sonata in A, for violoncello and pianoforte, (first time), and the never-tiring " Kreutzer "—the last "by unanimous desire:" there was consequently no " quartet." Messrs. Sainton, Hies, Webb, Hann and Signor Piatti being executants, the quintet "went" to perfection, the adagio coming in for the warmest approbation. Nor was Mr. Charles Halle's rendering of the " Pastoral Sonata " less cordially admired, the rondo especially commanding the admiration of bis hearers. Signor Piatti's marvellous playing in the sonata of Boccherini raised an enthusiasm which would hardly be satisfied by his returning to the orchestra to acknowledge the compliment. Mr. Lindsay Sloper's rendering of the pianoforte part was no less admirable. The accompaniments and the songs were also given by this gentleman in his best manner, which is equivalent to saying "on ne peut mieux." Miss Palmer and Mr. Weiss shared the vocal music, the lady being heard to the best advantage, both in Mozart's " Addio" and Mr. Henry Smart's plaintive song, "Sleep heart of mine;" while Mr. Weiss's noble voice and thoroughly artistic delivery produced a marked etlect in a manuscript song also by Henry Smart — "Star of the Valley" (another genuine inspiration) and " Per la gloria" of Buononcini. The very few who did not remain until the end missed a rich treat in the " Kreutzer" Sonata, the performance of which by MM. Halle and Sainton was such as to delight all present. At the next concert Cherubini's third quartet (in C) will be given for the first time, and Mr. Sims Beeves make his first appearance this season.

The Seventy-fourth Monday Popular Concerts. —" The concert of last night in so far as the instrumental portion was concerned, was selected from the works of Beethoven. There were two of his quartets —that in the key of C, No. 9, one of the ' Rasoumoff~ky ' set, and that in D, Op. 18—both played by Messrs. Sainton, Ries, Webb, and Pnque; and there were two of his pianoforte sonatas—the' Sonata Appnssionata' in F minor, played by Miss Arabella Goddard, and the Sonata in E flat (one of the set dedicated to Salieri). for the piano and violin, played by Miss Goddard and M. Sainton. The quartets, both of them well known to amateurs, are two of the finest specimens of Beethoven's style at different periods. The Rasoumoffsky Quartet, written when his powers were in their zenith, is full of beauties from beginning to end. The romantic and melancholy andante in A minor, the minuet, so flowing and melodious, and the final fugato, so fiery and impetuous, keep the listener's mind in a constant state of excitement. The other quartet is an equally fine specimen of. his early manner, when he copied Mozart in form and construction, preserving the simplicity and symmetry of his model, in conjunction with his own original inspiration. The execution of these great works was most excellent. We have no finer quartet-player than Sainton: were he coming among us as a wandering star, only now and then, he would be regarded as a star of the first magnitude. His three coadjutors, M. Louis Ries, Mr. Webb, and M. Paque, are masterly performers; and their clearness, spirit, precision, and perfect unity, had an effect, not only satisfactory, but delightful. But the great features of the concert were the piano performances of Miss Arabella Goddard. Whenever this lady appears, such is always the case. Of all our renowned instrumental performers she is certainly the especial favorite of the public. Her mere name, whenever it is announced, draws a crowd, and her appearance in the orchestra at once inspires the audience with enthusiasm. They listen with breathless expectation, for they are sure that they will not be disappointed. Miss Goddard, to use a phrase of the day, may be said to have her own peculiar 'mission.' She is the interpreter of Beethoven. She conquers the great master's greatest difficulties, dispels the clouds which hang over his wonderful conceptions, clears up his intricacies, teaches the general public to understand what even the educated amateur has hitherto deemed unintel

ligible, and evolves power and beauty out of seeming confusion. The 'Sonata A'^passionata,' which she performed last night, is not one of the last and most obscure of the master's works. Nevertheless it is full of profound thoughts, which are lost unless the fullest expression is given to them; and we felt, as we listened, that we were receiving new lights, and enjoying beauties which we had never clearly felt before. The pleasure derived from her second performance—the sonata for the piano and violin—was of another kind. Here all was simplicity and clearness ; and the enjoyment lay in the exquisite grace and delicacy which the two performers threw into every passage, every phrase of the music. The singers were Miss Banks and Mr. Weiss. The former gave a canzonet of Dussek's— one of those pretty things which have been revived at the Monday Popular Concerts—and Henry Smart's new and beautiful song,'Dawn, gentle flower.' The latter sang Macfarren's air from Don Quixote,' When Bacchus invented the bowl,' and 'The Wanderer' of Schubert, the list of which was encored"—Daily News, Feb. 4th.

ROYAL ENGLISH OPERA.

Mr. Benedict's new opera, The Lily of Killarney, has now been given six times, and abundant opportunity has been afforded of testing it upon its merits. The reception of a new opera on the first night of performance constitutes no basis on which to form a correct judgment. Friends muster in crowds anxious to applaud; good nature is rampant for the occasion; and at no other time is forbearance so strongly manifested. A week makes all the difference. Six consecutive nights bring the audience to their senses, and criticism takes the place of eulogy. We cannot say we have heard the Lily of Killarney six times, but we have heard it three, and were more pleased with it the second night than the first, and more the third night than the second. From these three impressions, and, moreover, a careful perusal of the score, we have no hesitation in pronouncing Mr. Benedict's new opera a veritable masterpiece, and the work alike of two profound artist and an original thinker. If the composer has been occasionally restricted in his aspirations by the somewhat conflicting elements of the story, and the special character and colour locale of lowly Irish life, he has in many instances triumphed over all obstacles, and literally competed with the old Irish composers themselves in the sweetness, wildness, and plaintiveness of their melodies. In the two ballads of Eily, "In my own mountain valley," and "I'm alone," Hardress Cregan's ballet "Eily Mavourneen," and Myles's "Lament," in the first act, Mr. Benedict has caught the very spirit of Irish melody. But the music is all beautiful. Our columns, this week, are so full, that we have only space to record the increasing success of the opera, and the deep impression it has made on musical London. Next week we shall give a lengthened review of the music.

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ROYAL ENGLISH OPERA. At present we can do little more than chronicle the brilliant reception accorded on Monday night to Mr. Benedict's long-expected opera, The Lily of Killarney, and append a brief sketch of the manner in which Mr. Boucicault's unprecedentedly popular drama has been recast in the shape of a musical "libretto." It would seem that we are never to hear the last of the Colleen Bawn; and certainly the music with which its vividly drawn characters and romantic incidents have inspired Mr. Benedict is a new and legitimate'element of attraction, much more likely to endow it with fresh vitality than to hasten its demise, even supposing such a catastrophe impending, which few playgoers will assert to be the case.

The first act of the opera begins with a scene not found in the original drama. A large party is assembled in the hall of Tora Cregan, to celebrate the approaching marriage of Hardress Cregan with Anne Chute, the introduction mainly consisting of a jovial chorus (interspersed with recitatives and solos), in which the health of the bridegroom is proposed, and the latter responds with a song. The guests shortly disperse to witness a steeple-chase by moonlight between two of their number, who, in the course of the introduction, have nearly quarrelled about the respective merits of their horses. Mrs. Cregan, now left alone, is visited by Corrigan, who informs her (i:i dialogue) of the attachment of her son, Hardress, to an unknown beauty residing on the opposite side of the lake. During their conversation Danny Mann is heard, behind the scenes, singing a song—"The moon has raised her lamp;" upon which they conceal themselves, in order to watch proceedings. The song being intended as a signal by Danny, the second verse is taken up by Hardress, who enters tho room, and, by means of a lighted candle, makes signals to Eily across the lake. The situation gives rise to a concerted piece—sung, on the one hand, by Hardress and Danny, prior to their departure in the boat,—and on the other by Mrs. Cregan and Corrigan, who have observed all tbat has taken place. In the next scene the original drama is closely followed. Corrigan, meeting with Myles-na-Coppolcen, extracts from him (in ft short dialogue) the secret respecting Eily O'Connor; and Myles, when left to himself, indulges in a characteristically quaint and half-comic ditty ("It's a charming girl I love"), a revelation of his hopeless passion for the Colleen Bawn. Next follows the well-known scene of the "Cottageinterior." Here Eily expresses her love for Hardress, through a plaintive romance ("In my wild mountain valley"), and takes part in the "Cruiskecn Lawn," which is given in orthodox fashion by Myles, Father Tom, Sheelah, and herself—the original words, as well as the original melody, being retained. A brief concerted piece takes the revellers off the stage just as a snatch from Hardrcss's song, already mentioned, announces his approach. The no longer ardent lover has come to demand Eily's marriage certificate, and this prepares the finale, in which Hardress, Eily, Myles, and Father Tom are engaged, and which terminates with a concerted piece for the four characters, where the priest compels the kneeling girl to swear that she will never part with the certificate but with life. The first scene of the second act takes place in the hunting grounds of Tom Cregan. A chorus is vociferated by a party of huntsmen, who are presently joined by Anne Chute—now seen for the first time. When alone with Hardress, Anna reproaches him for his coldness in an air, ultimately resolving itself into a duct, in which Hardress earnestly vindicates his constancy. The next piece is a trio for Mrs. Cregan, Hardress, and Corrigan, the son, indignantly opposing the upstart lawyer's addresses to his mother while the lawyer oxults in the equivocal position of his adversary, of the secret of which he is possessed. The situation in which Danny Mann obtains the glove from Mrs. Cregan is elaborately worked out— first in a duet, and afterwards in a grand "scena" for Dav-ny, who gives alternate expression to his determination and his remorse, to compassion for his intended victim and unscrupulous devotion to his master. A new scene is here introduced, in which Eily sings a song, " I'm alone, I'm alone," indicative of her forlorn condition, and receives a visit from Myles, who, in the course of a duet, warns her against Danny Mann. The finale of the second act is devoted to the business of the watercave, in which the Adelphi precedent is exactly followed, while a chorus is supplied by the party of Killarney boatmen, who, in the far distance, chant unseen the praises of the mythic King O'Donohue. The third act, which is much shorter than either of the preceding, opens in front of Myles's cottage. Myles sings a serenade to the concealed Eily, and the consignment of the Colleen Bawn to the care of Father Tom forms the subject of a trio. The scene changing to the interior of Castle Chute, where the guests are assembled to witness the union of Anna and Hardress, a bridal chorus is introduced; but the bridegroom soon enters alone, in melancholy mood, and in B song ("Eily Mavourneen") gives utterance to his grief and unabated love for the lost "Colleen." The entrance of Corrigan with the soldiers, followed by the arrest of Hardress for murder, is the subject of a somewhat complicated concerted piece; after which the appearance of Myles, accompanied by Eily herself, restoring the general happiness, is expressed in a short finale, including (as a matter of course) a brilliant vocal display for the heroine.

From the foregoing it will be seen that the "scenario" has been effectively laid out for the composer, and with as few important deviations as possible from the original, inasmuch as, though the words of the songs, duets, and concerted pieces are from another hand, the construction of the drama and the whole of the dialogue are Mr. Boucicault's own. Of Mr. Benedict's music we must be content to say that it is not only dramatic and beautiful throughout, but invariably and in an eminent degree the work of a master — worthy, indeed, of a pupil who when under the guidance of Weber was, although so young, regarded by the author of Der Freischutz (as his published correspondence has shown) as much in the light of a friend as of a disciple. That it is also instinct with the more popular elements of attraction was plainly demonstrated on Monday night by the enthusiasm of the audience, which was carried to such a height that no fewer than eight pieces were encored, six of which were repeated, to the satisfaction of all present. These last were the overture; the serenade and duct for Danny Mann and Hardress (" The moon has raised her lamp above "); Mylcs-na-Coppolecn's ballad, "It's a charming girl I love;" the Cruiskeen Lawn" (quartet for Eily, Myles, Sheelah, and Father Tom); Eily's song, "I'm alone, I'm alone;" and Hardrcss's ballad, "Eily Mavourneen." The two pieces encored, but not repeated (thanks

to the well-timed discretion of Miss Louisa Pyne and Mr. Santley), were Eily's romance, "In my wild mountain valley," and the slow movement of Danny Mann's scene (" The Colleen Bawn, the Colleen Bawn "), which, nevertheless, would have been heard again with at least as much pleasure as any of those that were actually given twice. The performance was generally too excellent to be dismissed in a sentence. The principal singers—Miss Louisa Pyne (Eily), Miss Susan Pyne (Mrs. Cregan), Miss M'Lean (Anne Chute), Mr. Harrison (Myles), Mr. Haigh (Hardress), and Mr. Santley (Danny Mann), all did their very best. They were supported with commendable zeal by Messrs. Dussek (Corrigan), Patey (Father Tom), and Lyall (O'Moore), every one, even to the representatives of comparatively insignificant characters like Hyland and Sheelah (Mr. Wallworth and Miss Topham), being "word and note" perfect. The chorus was all that could be wished, the band irreproachable, and Mr. Alfred Mellon, the conductor — as usual on these important occasions — vigilant, active, and intelligent. No pains have been spared on the mise en scene, which, both as regards scenery and costumes, is appropriate and beautiful. In short, The Lily of Killarney fairly earned the unequivocal success it obtained. That the principal singers should be repeatedly summoned forward was a matter of course; and that the same compliment should be paid to Mr. Benedict at the end of the first and last acts, and tq Mr. Alfred Mellon at the conclusion, was no more than just. Seldom, however, has a well-merited tribute been rendered with more genuine heartiness by a theatrical audience. The house was crowded to the ceiling.—Times.

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The Liverpool Philharmonic Concert of Tuesday (the 11th inst.) seems to have been R brilliant affair. We extract the following from a very long report which appeared in the Liverpool Daily Post of Wednesday morning:—

"The only vocalist was Mlle. Titiens, always a favourite from the fine quality of her voice and her spirited style. She sang most charmingly an air fromXe Nozze di Figaro, Arditi's waltz,' La Stella' (encored), amid enthusiastic applause, ' Volta la terra,' from Un Hallo in Maschera (in which, once or twice, we thought her hardly well in tune with the orchestra), and Beethoven's charmingly fresh and beautiful song ' Gesang nus der Ferne,' which she gave with exquisite taste and a thorough appreciation of the author.

"The instrumentalist of the evening was Arabella Goddard, indisputably our queen of pianists. Whether we look to the varied character of the music performed, the equality of excellence shown in interpreting each style, or the executive dexterity and thorough command over her instrument which she displayed, we must admit her performance to have been of the very highest order. Her rendering of Mozart's glorious Concerto in C major was a perfect treat, and proved her to be everyway an artist of the most refined taste. Her sympathetic touch in cantabile passages, her facility of execution in the difficulties which met her in every page, were alike entitled to the highest praise. Liszt's elegant fantasia on the grand quartet from Rigoletto was most admirable in her hands, and the way she sustained the melody was in every way artistic. In the second part she played Benedict's fantasia on Irish airs, entitled 'Erin,' which being encored, she introduced ' The last rose of summer,' creating quite a furor.

•' The chorus gave several madrigals with their wonted ability, and a chorus by Bishop 'Loud let the Moorish tambour sound.' This was redemanded, and repeated.

"The overtures, including Weber's Ruler of the spirits and Mendelssohn's Jiuy Bins—both well played. The accompaniments to Mozart's concerto and the march from Athalie were capitally given, and the fragment from Beethoven's symphony in A was equally well played, the audience, to their credit be it said, not availing themselves of the obliging arrangement of the committee, which gave them the opportunity of being 'played out' by such n masterpiece. The hall was well filled, and the applause testified to the truth of our remarks, that two really good performers are worth any amount of ■ padding.' Had the symphony in A been given in its entirety the whole concert would have been richly entitled to the best praise we could bestow." J. B. C.

The remainder of the article is taken up by a severe rebuke administered to the committee of the Philharmonic Society, for giving a fragment intead of the whole of a symphony. We may possibly find room for this in our next.

At the 17th (last but three) of Mr. Charles Halle's Concerts in Free Trade Hall, Manchester, Beethoven's Pastoral Symphony was performed for the second time "by desire." Add to this the andante with variations from Haydn's Symphony in E flat (Letter T), with the overtures to La Chasse du jeune Henri (Mehul—first time); Tannhauser and La Gazza Ladra, and the rich orchestral treat may be well imagined. Then Mr. Halle played once more (as might have been expected) the delicious Serenade and Allegro Oiojoso of Mendelssohn for piano and orchestra, besides giving solos of Stephen Heller (who, by the way, is in Manchester, on a visit to Mr. Halle), and was present at this concert, and Chopin. There was also a solo for the oboe, composed and performed by M Lavigne. The singer was Mad. Guerrabella, who sang the Cavatina from Ernani, the Poldcca from I Puritani, the Cavatina from Beatrice di Tenda, and "Kathleen Mavourneen." The Guardian says of this lady :—

"Mad. Guerrabella more than confirmed the favourable impression she made on her first appearance. Both the cavatinas, but especially that of Bellini, displayed artistic qualities of the first order. The Polacca was brilliantly hit off; and the ballad was sung with so much refined pathos that the audience would gladly have had it repeated."

A Letter Pbom Mcnster (Jan.21, 1862).—" All last week the musical circles of this city were in a state of joyful excitement. Whenever the lovers of music met, they greeted each other with the exclamation: 'He has consented; he will cornel" Their whole conversation tamed upon this simple and yet so significant theme. Who then was the person expected with such great satisfaction? Who could it be but Joachim, who, at the request of Herr J. O. Grimm, our musical-director, a friend of his, consented, in the most kindly manner, to conjure up for us, in the midst of cold winter, a real spring evening, graced by the song of the lark and the plaintive note of the nightingale? He arrived yesterday, but not alone. He brought with him for his work of enchantment, Herr Johannes Brahms, the pianist, from Hamburg, who happened to be staying in Hanover. The concert, or rather, the festival, took place "in Gerbaulet's Booms, which were crowded by inhabitants of the town, as well as by visitors, who had come from Hamm, Soest and Dortmund, for the purpose of hearing the celebrated artists. Never before, perhaps, had such a numerous and brilliant company been assembled in the same rooms. After Cherubini's overture to Anacreon, performed, by way of introduction, under the direction of Herr Grimm, and well received, Herren Joachim and Brahms played Beethoven's Sonata for violin and pianoforte, Op. 47. Herr Brahms then gave Schumann's Pianoforte-Concerto in A minor, and Herr Joachim, Beethoven's Concerto for the Violin. In breathless silence did every one present listen to the wonderful and magnificent play, in which German art celebrated one of its greatest triumphs. Tumultuous applause after every movement announced the overpowering impression produced upon the audience, until, at the conclusion of Beethoven's Violin-Concerto, an enthusiastic call burst forth, amidst the braying of trumpets and the rolling of kettle-drums, and appeared as though it would never end.

"When Joachim plays, we forget composition, artist and instrument, to enjoy pure music, with a total unconsciousness of the material means by which it is produced. Just as the fountain bubbles up, from springs which are out of sight, Joachim's strains proceed from his inward soul, and awaken 'the power of those dark feelings, which sleep so wonderfully in the heart' His manual dexterity is so great that we forget, while listening to him, that what he plays is difficult. In the Concerto, he introduced a cadence, which, with its double thirds in the countermovement, made us think the performer must possess a pair of hands more than ordinary mortals. Yet his playing did not, in the slightest degree, produce the impression that he wished to show off his own skill; far from it; the cadence is conceived in the most noble style,and blends with Beethoven's work into one whole, as though it had been written by the master himself.

"In the person of Herr Johannes Brahms, we made the acquaintance of an admirable pianist, who displayed great mastery both in his playing together with Herr Joachim, and in his execution of Schumann's Concerto by himself. There is one thing in which he particularly excels, and that is in imparting to his tone great and wonderfully beautiful variety of character, just as though he were playing upon different manuals. His execution reminded us vividly of that of Herr Franck, Musical-Director in Zurich." F.

[The foregoing enthusiastic epistle, evidently the production of an amateur, is addressed to the Niederrheinische Alusik-Zeitung. "Herr Franck of Zurich" owes him a wax-candle.—Ed.

Olmdtz.—Meyerbeer's Dinorah, so long and so anxiously expected, has, at length, been produced — it is almost superfluous to add, with complete success.

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N B The two Albums de Danse comprise a complete collection

all Music requisite for the Ball-room.

CHAPPELL'S CHBISTY MINSTREL ALBUM,

Containing 52 Songs, with Choruses and Pianoforte Accompaniment.

N.B.—This collection alone contains various popular Songs, including "I'm leaving thee in sorrow, Annie," " Friends of my Youth," '' I'm returning to thee, Annie," " Rosaline," &c.

Price 4s. bound, with gilt edges.

CHAPPELL'S SACRED VOCAL ALBUM

Contains 36 Songs and Duets, by Handel, Barnett, Glover, the Hon Mrs. Norton, Smart, Abt, Moore, Marcello, &c.

Price 4s. bound, with gilt edges.

CHAPPELL'S ITALIAN SONG BOOK,

Containing 32 Italian and German Songs, by Verdi, Mozart, Flotow, Schubert, &c, all with English as well as the original Words, and Pianoforte Accompaniments.

Price 4s. bound, with gilt edges.

LONDON:

CHAPPELL & CO., 50 NEW BOND STREET.

NE W EDITION.

THE VOICE AND SINGING

(THE FORMATION AND CULTIVATION OF THE VOICE FOR SINGING), By ADOLFO FERRARL

WHEN this book first appeared we foretold its success; our conviction being founded on the author's freedom from conventional trammels, the strong good sense of his opinions, the novelty and yet evident soundness of his precepts, and the conciseness and practical value of his examples and exercises, of which every note is dictated by a clear and definite purpose. The influence of Signor Ferrari's method of forming and cultivating the voice, as it is explained in this treatise, is enhanced by the efficacy of his personal lessons in his practice as one of the most eminent teachers of the day ; and this work has consequently come into general use as a manual of vocal instruction, not only in the metropolis but throughout the kingdom.

In this new edition the author has made various important additions to the work, especially to the Exercises. Formerly they were confined to soprano or tenor voices ; exercises for the one voice being also available for the other. But, for the contralto, or the barytone, provision was not made. This desideratum is now supplied, partly by means of entirely new exercises, partly by giving the old exercises likewise in transposed keys, and partly by adapting the soprano exercises also to the contralto or barytone, by the insertion of alternative passages in small notes. By these means the utility of the work is very greatly increased.

We have said that the remarkable qualities of this book are the author's freedom from conventional trammels, the strong sense of his opinions, and the novelty yet evident soundness of his precepts ; and this we will show by quoting, unconnectedly, a few passages which cannot fail to strike every reader.

"Voices are too often ruined by giving pupils difficult songs, in order to gratify their vanity or that of their friends, before they have acquired the power of sustaining the voice, throughout its natural extent, with a firm and clear intonation. When it is recollected that it has taken years of application and study to enable professional singers to execute properly the songs we are accustomed to hear attempted by almost every young lady who is requested to sing in a drawing-room, the absurdity of the prevailing system becomes self-evident.

"I strenuously advise all who wish to sing not to defer the commencement of this study, as is generally the case, till the pupil arrives at the age of J 7 or 18, by which time young ladies ought to be good singers, but to commence early, at about 13 or 14 years of age, and resisting the gratification of singing a number of songs for the amusement of their friends (the word may be taken in more senses than one), to devote sufficient time to what may be termed the drudgery of singing, so as to enable them to acquire the power of sustaining the voice, easily to themselves and agreeably to the air.

"Many young ladies now-a-days speak habitually in a feigned voice. Here lies the greatest difficulty in teaching, or practising singing; for should neither the pupil nor master know the real tone of the voice, the more earnestly they work together the sooner the voice deteriorates. In my experience I have found this difficulty most easily overcome by making the pupil read any sentence in a deep tone, as though in earnest conversation, beginning two or three notes below what they consider their lowest notes j but, as the lower and richer tones of the voice are generally objectionable to young singers, all of whom are ambitious to sing high, it requires much firmness and some coaxing on the part of the master to get the pupil to submit to this exercise. I cannot advise too strongly the greatest attention to the free and natural development of the lower tones of the voice : it is to the stability of the voice what R deep foundation is to the building cf a house.

"In conclusion, I must add a few words on a subject of great im portance to the pupil who makes singing a study. I mean the spirit in which instruction is received. Every emotion of the mind affects the voice immediately ; therefore it is of the utmost importance that the pupil should receive the lesson with the mind entirely unprcoccupied by other matters, and v. a perfect spirit of willing submission to the teacher's corrections, however frequent, and however unimportant they may appear; for it is simply by the constant correction of little nothings that beauty of intonation and elegance of singing are obtained."—Daily News.

London: Published, price 12s., by
DUNCAN DAVIDSON & CO., 244 Regent Street, W.

AIRS AND BALLADS IN THE OPERETTA

"ONCE TOO OFTEN."

COMPOSED BY HOWARD GLOVER.

"THE LOVE YOU'VE SLIGHTED." Ballad. Sung by

Mile. Jenny Baur 2s. M.

"LOVE IS A GENTLE THING." Ballad. Sung by

Miss Emma Hetwood 2s. Gd.

"A YOUNG AND ARTLESS MAIDEN." Romance.

Sung by Herr Reichardt 2s. 6d.

"THERE'S TRUTH IN WOMAN STILL" Romance.

Sung by Herr Reiciiardt 2s. 6d.

"THE MONK'S WERE JOLLY BOYS." Ballad. Sung

by Herr Formes 3s. Od.

"Last week we mentioned the successful production of this operetta at Drury Lane, and spoke with just commendation of Mr. Glover's music. The most favourite pieces have been published, and are now before us. Their perusal strengthens the agreeable impression we received from their performance on the stage. 'The love you've slighted still U true,' sung by Mile, Baur in the character of the heroine, is a very pathetic song ; we have seldom found so much melody and expression conveyed by a few simple notes; while, simple as these notes are, they derive novelty and interest from the very happy modulations in the second part of the air. 'Love is to gentle thing' is a lighter and more lively strain, but of the same simple and natural character—a character which pervades all Mr. Glover's music, and gives it a peculiar charm seldom possessed by the most elaborate productions of the art. It is a charm, indeed, which is the effect of consummate art It is a mistake to suppose that it is easy to write simple music. 'Ah !' said Carissimi, the most melodious of the old Italian masters, —' Ah, guesto facile, quanto e difficile I' In this difficult facility Mr. Glover is not excelled by any melodist of the day. 'A young and artless maiden' is a romance for the tenor voice, full of tenderness and passion. In the concert-room or private circle this little romance will always be charming. 'The monks were jolly boys' is a good comic song, which Formes sings with considerable humour. There is something amusing in the mock solemnity of some of the passages; and several of the progressions of harmony have an antique quaintness which is pleasant. These songs are worthy of the author of Ruy Bias, one of the best works of the modern English school "— The Press.

"Mr. Glover's operetta is a decided, and, what is better, a legitimate, 'hit.' The songs before us have already attained a well-merited popularity. 'The monks were jolly boys' is as racy as the best of the old English ditties, harmonised with equal quaintness and skill, and thoroughly well suited to the voice of Herr Formes. 'The love you've slighted still is true' (for Mile. Jenny Baur) has a melody of charming freshness. Not less a model ballad in its way is 'A young and artless maiden ' (for Herr Reichardt), which sets out with an elegantly melodious phrase. Perhaps more to our liking, however, than any of the foregoing, excellent and genuine as they are, is 'Love is a gentle thing' (for Miss Emma Heywood), which enters the more refined regions of the ballad-school, and attains an expression as true as it is graceful. The opening holds out a promise which the sequel entirely fulfils. We shall look with real interest for the remaining pieces of Once too Often." Musical World.

I NAVIGANTI (The Mariners).

BV ALBERTO RANDEGGBR.

This popular Trio (for soprano, tenor and bass) sung by Miss Anna Whitty, Mr. Tennant and Herr Formes, on their tour through the provinces, and by Madame Rudersdorff, Mr. Dunn, and Mr. Weiss at the Cork Festival, is published, price 4s. by Duncan Davison & Co.

"In the composition of this unaffected and graceful trio (which is inscribed to those excellent professors of the vocal art, Sig. and Mad. Ferrari), Mr. Randegger has shown not only the melodic gift, and the knowledge of how to write effectively for voices, but B thorough proficiency in the art of combination, and, as it were, a dramatic spirit, which might win favour for an opera from his pen. Each voice (tenor, basso, and soprano), in the order in which they enter, has an effective solo, followed by an ensemble (or'tutti') for the' three voices in the major key (the trio begins in C minor), the whole terminating with a coda, 'sotto voce,' the effect of which, if smoothly rendered by three good singers, must be as charming as it is new. The more of such terzettiuos ' the better." — Musical World.

London: DUNCAN DAVIDSON & CO., 244 Regent Street, W.

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