diate process of the formation of Poetry more in detail, and thus

enter upon that portion of our inquiry, anticipated in page 87, reBy Joseph GODDARD.

specting the separate and foreign art-influence which invests it. “ To search through all I felt or saw,

And whether we consider this separate influence with reference to The springs of life, the depths of awe,

former times, or all times, the principles which regulate it are the And reach the law within the law."


same in all circumstances : it is simply the presence in Poetry of

instincts tending and belonging to the other arts, as to Music or Now, in those art-circumstances incident to the times we have

| Painting, but which, through absence of appropriately specific alluded to, before those external conditions essential for the for

demonstrative endowments, or through other and still more exmation of Painting and Music existed, before science had dawned,

ternal desiderata, such as the existence of the arts to which these before the simple and precious ore of Music was separated from

instincts relate at the requisite point of development, the instincts the miscellaneous and earthy materials surrounding it, when it

themselves, in the necessary vigour and ardour, or the domination was scarcely seen to exist, before it was gathered even into the

of the special poetic instinct (the consideration of which, by the vaguest system, whilst it had not conformed a rudiment of its

bye, has not yet been arrived at), which, through some of these science, or assumed a feature in art; and when Painting was sel

causes, have retired from or been baffled in, other art-directions, dom seen, ere any of the sciences and preliminary studies which precede it were begun to be cultivated, the finest and the only

and sought the channel of Poetry, and, whilst adopting poetical general medium of demonstration which man possessed was,-lan

expression, still'influencing and modifying the character of that guage. Consequently in language that high and comprehensive

expression. internal flow of admiration, that abstract rapture of emotion re.

In appealing to language as a medium wherewith to reproduce

some influence of admirution, it is obvious the first proceeding sulting from a keen moral susceptibility, a bright and broad imaginative expanse, a full mental endowment, acting upon all the

would be to adopt that process which involves language only in grandeur, beauty, wisdom and worth of the external world,-sought

its simple application, which employs it in its common and ordiexpression. On language this inherent spirituality in man, this

nary capacity of suggestiveness alone, namely, literal description. eternal sunshine of the mind, poured its lustre and kindled it into

This ordinary use of language would go to form the framework,

the necessary subject-matter of the æsthetic intention; and under song. From the circumstances we have considered, it would appear

the inspiration of the Poet, it would soon be observed to define

the outline of the poetical idea, to pourtray the general material that Poetry, at the period in question, existed to a great extent of

likeness of those objects which lit the fire of his imagination ; or, necessity-that is, in the absence of Painting and Music to divert

if the influences of his admiration were qualities instead of objects the stream of æsthetic expression. It may be observed, however, that it is not here intended to imply that at this period there

or persons,—then this literal description would be observed to pre

pare the essential physical circumstances, by the narration of would be no strong predisposition in some minds to adopt other

actions or events, appropriate for the display of the qualities in art-expression than that of Poetry; but that, however favourably

question. This literal reproductive process alone would be suffi. many natures may have then been in:vardly endowed for demonstrating the arts of Music or Painting, this primary endowment, I

cient to invest with replete form an unpretending poetical idea

to reproduce a simple object of Poetic admiration-and where that from want of the necessary shaping by cultivation, and the essen- i tial guide and inspiration of previous example, besides the minor

| idea unites the qualities of conciseness, originality, with that of not artificial requisites which the illustration of these arts involve, and

involving circumstances or effects lying far without ordinary exwhich can only exist in a rather highly civilised age,-- from the

perience, it suffices to produce simple but very effective Poetry, absence of these outward conditions, the most favourably en

as in the following example : dowed tendencies in the direction of the above arts could scarcely

“ A violet by a mossy stone have accomplished any noticeable result, or conducted the mind of

Half hidden from the eye;" their possessor to any adequate expression of his ideas,--and that these circumstances would tend to drive the mind for expression

But in investigating the component character of poetical reprointo the freer and more attainable medium of Poetry

duction and expression, there is soon seen to manifest itself the The reader is now in possession of the circumstances whence we

instinct of Painting and Music. First, with reference to Painting, derived the conclusion, essayed in page 101, that Poetry was the

| it is soon evident that the poet begins to borrow that richness, primeval art — the commencing link in tbat grand and golden

that beuuty in the abstract, which a vivid and lavish pourtrayal of chain of the fine arts which encircles and adorns life-the first shin.

natural objects and effects can confer upon his literal description. ing herald from the human mind of their bright existence and

The abstract and always mysteriously gratifying influence of future reign.

colour, of light, of space; the influence of form and of natural arHaving now separated the art of Poetry, with regard to its rangement, is evidently understood by the poet, and is highly conphysical constitution from that of the sister arts, Painting and spicuous in all Poetry. This fact is exemplified in that tendency Music, showing that the material of its effect is of a compound

| which prevails in Poetry to adorn its circumstances with all the and negative character, whilst that of the other arts is pure

splendour,-or, on the other hand, gird them in all the glowing and of positive influence; at the same time having shown, on

force, massive grandeur, or desolate picturesqueness—of effect, the other hand, that Poetry, in its effect, is intimately con

which these attributes of the material world, handled by nature, nected with those arts, inasmuch as it absorbs much of the

or by one who understands nature as a painter, can be made to æsthetic instinct, whose pure tendency is in their direction. Hav

convey. This accounts for much of that varied and powerful ing observed that Poetry is the primeval art, that it shines in the

scenic effect in Poetry, for the poetical tendency to clothe perdawn of all art, carrying at this period the whole burthen of that

sons, objects and circumstances in that condensed fulness and wide expression, - bearing in its channel the main stream of that

force of natural colouring-to surround them with that redunfull spring tide of admiration which, inspired by nature, is ever

dant array of natural imagery, beautiful or austere, which is flowing through the mind and from the heart of man, and shining

scarcely compatible with reality. All this is the working within on the record of the world as the one tribute of intelligent nature

the poet of the painter's instinct. to that invisible spring of beauty, “the varied God," on the part

Here is an example of a person thus clothed with, and associated of all nature : the moral stream of art shining to the heavens,

with, a teeming abundance of natural charm, in Tennyson's though within it carrying the images of earth, and bringing down

"Eleanore :" — upon the earth the high glories—and mingling its images with the

“ Far off' from human neighbourhood, deep and bright infinity of the skies. Having observed the cir

Thou wert born on a summer morn, cumstances which caused such an influence to assume the form of

A mile bencath the cedar-wood. Poetry, and Poetry alone, we shall proceed to consider the imme

Thy bounteous forehead was not fanned

With breezes from our oaken glades,

But thou wert nursed in some delicious land * Continued from page 102.

Of lavish lights and floating shades ;

And flattering thy childish thought

lyric numbers-a desideratum too often unsupplied in operatic libretti, The Oriental fairy brought,

our duty in this respect is fulfilled. It is too late in the day to enter At the moment of thy birth,

critically into the literary and dramatic merits of The Colleen Bawn ; From old well heads of haunted rills,

and the question of whether such a subject was well suited for musical And the hearts of purple hills,

treatment is simply one of taste. Whatever objections might be laid And shadowed coves on a sunny shore,

would, in most instances, apply with equal strength to Der Freischütz, The choicest wealth of all the earth,

Dinorah, and other operas of forest, pastoral, or village life. The inJewel or shell or starry ore,

cidents of the water-cave are not a bit more melodramatic than those To deck thy cradle, Eleanore."

of the flood-scene in Dinorah, the only drawback lying in this fact Again, this instinct is visible in Poetry, not only with reference to

that as Eily, Myles, and Danny Mann are not all three brought in face the materials, requisite for natural scenic effect, themselves, but

to face contact, there is no opportunity for such a grand trio-finale as with respect to the manner in which these materials are used, the way

Meyerbeer has contrived for Dinorah, Hoel, and Corentin. Myles-nain which they are wielded, the method in which they are rendered

Coppaleen mistakes Danny for an otter, and shoots him, it is true; but

a trio for soprano, tenor, and bass, with an imganary otter for bass, productive of effect. Thus we may observe in poetical descrip

wonld hardly, we think, be acceptable. As the original play is recontion all that effect which can be wrought by skilful and intelligent

structed, it presents quite sufficient dramatic “ effect,” variety of charac“ touch," that wonderful efficacy, that characteristic expression ter, and hints for local colouring ; and of all these Mr. Benedict has and ultimate aim of effort which is produced through a few | availed himself with the utmost skill. If no one would speak, or rather strokes; and here the presence of the painter's instinct in Poetry attempt to speak, with the Irish “ brogue," exccpt Mr. Dussek, the is more visible than ever; for it is in this faculty of attaining the representative of Corrigan - whose impersonation, by the way, though desired effect—as in many cases only that effect can be attained a little overdone, exhibits a considerable amount of humour — thero by one or a few strokes, where more particularly the artistic genius | would be really nothing to complain of. Allowing for ever so many resides; and no one, not even a painter, will dispute that this | deficiencies, however, the opera has won the ear and the admiration of quality is observable, and to its highest and most meritorious ex- | the public. emplifications, in the works of great poets. In the following ex

The general characteristics of Mr. Benedict's music are precisely what ample the salient features of Rhine scenery are rapidly selected by

we had a right to expect from Weber's most gifted disciple (the late

Heinrich Marschner not excepted), and the author of so many genuine the eye of the bard, and thus projected into a poetical picture:

melodies. It is strange, that since 1846 when The Crusaders, his third “ The negligently grand, the fruitful bloom

English opera was produced at Drury Lane Theatre - a dramatic Of coming ripeness, the white city's sheen,

composer of such eminence should have been neglected by the The rolling stream, the precipice's gloom,

directors of our operatic establishments, and stranger still when it it The forest's growth, and Gothic walls between,

remembered that, in the interim, Mr. Benedict has been constantly proThe wild rocks shaped, as they had turrets been."

ducing works that are now universally praised. To mention no others Here are materials not only for one, but for many pictures ; and it his Undine, as full of dramatic power as of bright tune and harmonious is worthy of observation how finely the different materials of beauty, has been talked of ever since its production at the Norwich natural effect are contrasted in the above example, how skilfully

Festival, and rendered the name of its composer “familiar as a house. and artistically 'they are arranged, as in the passage italicised,

hold word." The fame of this may probably have reminded the spirited where the forest's growth is so romantically associated with Gothic

managers of the Royal English Opera that the musician who wrote The walls. There is, nioreover, visible in the above,-the power of

Gipsy's Warning, The Brides of Venice, and The Crusaders, was still

alive, and still in the undisturbed possession of his inventive faculties. grasping extraordinary breadth of effect, and expressing it in one

The Lily of Killarney is divided into three acts -- the first being the stroke. Thus, what a sweep of natural scenery is embraced in the ex- |

longest and best, the second the next longest and next best, the third expression, " the negligently grand !" What an illimitable array of

the shortest and, on the whole, least vigorous. It could hardly have charm is pictured, when side by side with this is suggested “the fruit

been otherwise. As with the music so it is with the libretto. Mr. ful bloom of coming ripeness." "The white city's sheen," connected Benedict is always equal to the situation he has to deal with ; indeed, by “the rolling stream" with "the precipice's gloom," both in pro. he not seldom rises above it; but he must bend perforce to the absolute priety of arrangement and contrast of effect, is, to say the least, conditions of his libretto. A German in musical taste, although a unexceptionable and most picturesque and graphic, and of itself naturalised Englishman in fact, he has treated his subject just as any of would require more than one picture of the artist for its pour- | his aspiring compatriots would have done (granting them the ability), trayal.

and especially his master, Weber. He has idealised it from first to Besides the substantiation of this truth of the general presence

last. Not alone Danny Mann, but Hardress Cregan, Myies-na-Copof the painter's instinct in Poetry, which examples from the works

paleen, and Eily herself, are raised into a higher region by the wand of of all great poets (of wliich many more might be adduced) supply;

the musical enchanter. On the other hand, with a felicity that very the fact, that it is the continual and general custom of a large class

few German theatrical composers have exhibited, he has caught the of artists to draw the subjects of their pictures from the poet, and

national melody of the country in which the plot of his opera is laid,

and has used it with undeviating propriety as a sort of harmonious literally follow the poet in his projection of natural scenes and

undercurrent. This he has effected by artistic touches here and there, effects, would afford adequate proof of the same ;-of this presence

never interfering with the main design, nor appearing where--as in the of the painter's instinct, his love of nature, his susceptibility to her

higher passages of feeling — the imitation of peculiar turns of melody, varied phases of manifestation and impression, his delicate and &c., would be obtrusive and a mere trick of handling. A thorough truthful discernment of her effects, and his intelligence of the master of all the resources of instrumentation, he has made the orchestra æsthetic principles of those effects, consequently his power of re everywhere subservient to his ends, and by well imagined combinations, producing them or conceiving them-being strongly recognisable introduced at not too frequent intervals, has obtained the characteristic in Poetry

colouring alluded to wherever it was most essential and wherever it was (To be Continued.)

sure not to interfere with any graver purpose -- such as the pourtrayal

of strong emotion or the delineation of powerfully dramatic climax. ROYAL ENGLISII OPERA.

But to leave generalities: the overture is what it should be - a pastorai,

and in its way a petit chef. d'auvre, sparkling, dramatic, full of tune, Sıx representations of Mr. Benedict's new opera have thoroughly and scored to perfection. The introduction to the first act, in which established its success. On Saturday night the house was literally Hardress and his guests are assembled on the eve of the intended wed"crammed;" the opera was listened to with the same lively satisfaction as ding, is alone an ample apology for the interpolation of a new scene, by on the night of the first performance ; the same pieces were singled out way of prologue, into Mr. Boucicault's well-known drama. Nothing for applause and “encores,” alike hearty and unanimous; the principal could be more spirited or more cleverly designed. Hardress's song, singers were recalled after every act; and, at the conclusion, in obedi. “ The bachelor's life,” contrasts most effectively with the choral acclama. ence to a rapturous summons, the composer himself appeared before the tions of his more boisterous companions, besides being genial in itself ; curtain,

while the chorus which brings the introduction to an end—“A race now Enough has been said about the book, and when it is stated that the by moonlight”- delivered first by the men, then by the women, and task of preparing verses for the songs and concerted music, has been then by both simultaneously, is lifelike, animated, and full of the subaccomplished in such a manner as to combine sense and poetry with ject. In the solidity of this introduction, which is not the less brilliant for being well-knit, the German training as well as the German senti- any circumstances, Carolan could never have clothed it in such perfect ment of the composer is manifest; here, in short, Mr. Benedict, notwith- | harmony. There was a time when such an air as this, so beautiful and standing the old English or Irish cut of the tune allotted to Ilardress, so instinct with the Irish character, would in itself have sufficed to make is fairly, if unconsciously, in “Vaterland.” This enlivening commence- | an opera; but the Webers and Rossinis, the Meyerbeers and Aubers of ment is successfully followed up in the cerenade and duet for Danny our day, have taught the public to expect some half-dozen more or less Mann and Hardress (“The moon has raised her lamp above') - the perfect things in every opera - just as it was when Mozart filled all “signal duet" as it is called-a piece which, though not in a rhythmical | Europe with melody, and Cimarosa and Paesiello sang what J. S. Bach sense so entirely original as many other things in the opera, must in- would have called “the pretty Italian tunes," in the favoured cities of evitably attract musicians by its ingenious construction just as much as the South. Happily Mr. Benedict, in The Lily of Killarney, has not it delights the public by its graceful melody and its admirable appro. been reduced to such straits as to make the success of his opera depend priateness to the situation. The quartet (“Oh, never was seen such a | upon one song; but, like his gifted contemporaries, has been able to beautiful star"), in which the two characters already named take the "crowd his score with tune.” Between Eily's ballad and the finale there chief part, while Mrs. Cregan and Corrigan are in the background - is an extremely clever and dramatically conceived duet between the shows Mr. Benedict again in “ Vaterland,” and could only have been heroine and her humble adorer, in which Myles warns Eily against written by one to whoin the music of Weber was as much “ a feeling" | Danny Mann. In this, as in so many other parts of the opera, Mr. as “high mountains" to Lord Byron. Myles-na-Coppaleen's first air is Benedict, while clinging to the traditions of “Vaterland,” evinces a in its way irreproachable. The recitative, in the minor key, is as fluency which can only have been derived from an intimate knowledge plaintive as the air, in the major (“It is a charming girl I love"), is and thorough appreciation of the best Italian models. The music of hearty and tuneful. The burden of this is repeatedly alluded to during | the water-cave scene, in which occurs the incident of the “ leader," and the opera, especially when Myles is soliloquising. Eily's first air is to other points not easily amenable to anything liigher than a purely melothe one already mentioned what the Colleen Bawn is to her unrequited dramatic treatment, has in no way daunted the composer. The introbut constant lover. Just as characteristic as the other, “In my wild duction of a chorus of boatmen, in the distance, was a happy idea, and mountain valley” becomes proportionately more expressive. Myles's is in an equal degree effective, whether as a prelude to what follows or song is the manifestation of a love for one in the same sphere as the as a sequel to the whole, to which its reiteration, as the curtain falls, singer, but Eily's love moves in a higher sphere than her own; and gives a sort of poetical consistency. All the purely melodramatic music there is in the beautiful melody with which Mr. Benedict has been in is excellent — picturesque as well as melodious, the occasional snatches spired by this nice distinction, something of the desire of the moth for of Myles's song, "There's but one Colleen Bawn,” forming another the star' which one of our great poets has apostrophised so eloquently, happy connecting link. For a grand concerted finale there was, as we It is replete alike with dejection and aspiration - the first being con have hinted, no opportunity ; but Mr. Benedict (like Weber in the inspicuous in the opening, which is in the minor key, the last in the cantation scene in Der Freischütz) has managed to create and sustain a exquisite burden

lively interest without this important musical accessory. That the " And, led by my taper's bright shining

dignity of his work in some degree suffers from its absence must be . He comes o'er the waters to me,'

admitted ; but under the circumstances there was no help — "header" - which is in the major. The whole nature of the “Colleen Bawn” and grand finale together being incompatible. is foreshadowed in this and in another song to which we shall presently Act III. begins with a remarkably graceful serenade (“Lullaby") allude. Of the “Cruiskeen Lawn” - arranged in quartet for Eily, for Myles, addressed to the sleeping “ Colleen,” to which succeeds an Sheelab, Myles, and Father Tom (Eily principal) - we can only say admirably written trio for Eily, Myles and Father Tom. We have then that never was national melody (whether Irish, Scotch, or English the wedding music, comprising a chorus with ballet, and a charming and Mr. W. Chappell, an excellent authority, tells us that it is English, address for the bridesmaids ("Let the mystic orange flowers”), all the name of the original tune being “St. Paul's steeple') treated in a showy and brilliant, and like the trio in the legitimate school of Germore discreet, and, at the same time, ingenious manner. Mr. Benedict man dramatic art. The “popular ballad” of the opera, “ Eily mavouragain, by a few artistic touches, has enriched the melody and enhanced neen"-sung by the repentant Hardress, who imagines that Eily is dead its intrinsic beauty. The finale to the first act is in some respects a -is far above the ordinary calibre of such things, being elegant without masterpiece. The duet for Eily and Hardress, with which it commences, the slightest tinge of commonplace. In this respect words and music reveals a touch of Spohr, and is at any rate for the most part essentially are well matched, and might serve as healthy models for the future. German in feeling. The rest is as forcible as it is musicianlike. The The concerted piece which follows, and may be regarded as the comconcluding quartet has, it is true, a strident passage, in unison, of the mencement to the last finale, is ingeniously constructed, and includes a Donizetti and Verdi school; but that is only one element in the general trio for Mrs. Cregan, Anne Chute, and Hardress (“From the window, effect. The situation, the strongest in the opera, could hardly have haste away'), in the shape of a round or canon, which will hardly fail been treated more powerfully.

to enlist the attention and approval of connoisseurs. The final air for The hunting chorus — “Tally ho'oh !" with solos, interspersed, for Eily (“By sorrow tried severely'), chiefly noticeable for its buoyant and Anne Chute, is as bright and cheerful as could be wished; nor from cheerful melody, is, nevertheless, appropriate to the situation, and brings a musical point of view is there anything to be said in disparagement of down the curtain with unmistakeable effect. the florid air for Anne Chute (" The eye of love is keen"), and the duet We have spoken in general terms of the performance, and have only into which it merges ; though it was certainly difficult for the composer to add a word or two about the representatives of the dramatis persona, to make as much of Hardress with the rich heiress as of Hardress with Miss Louisa Pyne, both in a musical and dramatic sense, is an ideal the poor and low-born“ Colleen." The next piece - a trio for Har- “ Colleen Bawn.” About her execution of music the effect of which dress, Corrigan, and Mrs. Cregan (the accompaniment to which occasion depends on fluent and brilliant vocalisation enough, though certainly ally reminds us of Spohr's overture to Faust)-is one of the most not too much, has been written; but in the two songs of Eily, and esstriking and ably-written concerted pieces in the opera. Here once more pecially the last, “ I'm alone, I'm alone," she rivals the sweetest singers our composer is dreaming listlessly in “ Vaterland." The following duet any period and of any climé. More perfect and touching expression (where Danny Mann obtains the glove from Mrs. Cregan), in the first I was never listened to. Mr. Harrison, in Myles-na-Coppaleen, has added movement, again shows Mr. Benedict's predilection for Spohr (whose | another to his recent list of “ genre" characters, in which his stage-tact style he can emulate without borrowing his ideas), and in the last --- a and histrionic proficiency stand him in such good stead. His music, pompous military refrain, in which the purity of the Cregan escutcheon too, suits him entirely, and he delivers it con amore throughout. MISS is duly apostrophised - an entirely independent train of thought, hardly | Susan Pyne cannot make herself look precisely old enough for the of a colour with the rest. Danny Mann's scena- however difficult it mother of Hardress; but what she lacks in age she atones for in de may be to imagine Danny Mann singing it - is another masterpicce. spirited conception of the part. Miss Jessie M'Lean improves, and it Nothing in the whole work is more touchingly expressive than the slow depends upon herself to make further progress. With a voice at once movement, “The Colleen Bawn, the Colleen Bawn !” while the allegro, so flexible and agreeable there is nothing (she herself "willing to fiery and passionate, is rife with the very spirit of Weber, whose name | prevent her attaining an honourable position. Industry and application might have been attached to it without fear of questioning. To this fine will effect all that is required. Mr. Haigh, too, is advancing. On the piece succeeds what, in our opinion, is - to speak in conventional lan- | whole, Hardress is the part in which he has appeared to most advantage. guage —"the gem of the opera." The ballad, “ I'm alone, I'm alone,” | As specimens of his singing, the duet with Mr. Santley in the first act, would seem to have sprung from the fountain head of Irish tune, so anıl the ballad, “ Eily mavourneen," may be cited with special commenquaint is it, so plaintive, and at the same time so spontaneous. Has Mr. dation. To Mr. Dussek allusion has been made. Mr. Patey has an Benedict obtained access to some hitherto undiscovered works of Caro- || ungrateful part in Father Tom, but as far as the music goes he made an ? Yes or no, that Carolan, in his best moments of inspiration the most of it. For Mr. Santley no praise can be excessive. To specity might have produced just such a melody, is as positive, as that, under | what he sings well in the somewhat high-flown music allotted to Danny

Mann would be to single out almost every passage ; but not to

At the next concert, when Mr. Sims Reeves is again to sing, Miss name the scena of the second act, beginning with the slow movement,

Arabella Goddard is announced to play Woell's celebrated sonata di “ The Colleen Bawn, the Colleen Bawn !" as among the finest pieces of

bravura, called Ne Plus Ultra. On the same occasion M. Vieuxtemps

makes his last appearance for the season. The place of the admirable Beldramatic singing that have been heard for years upon the stage, would

gian violinist, however, is immediately to be filled up by Herr Joseph be to leave unnoticed one of the most remarkable features in the per

Joachim. formance of Mr. Benedict's deservedly successful opera. To the chorus,

If spirit and enterprise deserve success, it is unquestionably the orchestra, and Mr. Alfred Mellon, their talented and indefatigable

merited by these entertainments, nothing being left undone to sustain chief, justice has already been rendered. Such auxiliaries in an operatic

the high position to which they have hitherto been indebted for their performance on the grand scale of the Royal English Opera are in

almost unexampled popularity. valuable. They give life and spirit to the whole.- Times, Feb. 17.


(From an occasional Correspondent.) MONDAY POPULAR CONCERTS.

We have lately been in a high state of excitement, musically speaking, Tue concert on Monday night (the 75th) was interesting for several rea- | in this pleasant little capital, this petit Paris, as the brave Belgians sons. The programme contained three pieces which had not previously themselves delight in calling it; so, under the impression that a short been heard_viz., Cherubini's third quartet (in C major), the andante and account of the cause thereof may prove interesting to the readers of the scherzo from Mendelssohn's unfinished quartet (No. 7), and Hummel's MUSICAL WORLD, I have determined to forward you a few lines on the trio in E major, for pianoforte, violin and vicloncello. It was the last subject. appearance of M. Sainton, and the first of Mr. Sims Reeves. M. Saino Sig. Merelli has arrived here with his Italian Operatic Company, ton's engagement has been a legitimate success. The great French from Berlin, and taken up his quarters at the Théâtre Royal de la violinist has shown that his style was neither French, German, Italian, | Monnaic. The first opera 'represented was La Sonnambula, and Mlle. nor Belgian, but cosmopolitan, and that the works of every master came Adelina Patti was the Amina. The house was crammed long before easy to his hand, and lay entirely within the sphere of his appreciation. the rising of the curtain, the most astounding reports of the fair More vigorous, chaste, and unaffected playing could not be wished. stranger's vocal powers having preceded her arrival. Great was the On Monday, as though to give éclat to his temporary retirement, M. anxiety manifested to hear one who may be designated the “girl prima Sainton played, as it seemed to us, even better than at any previous donna," with as much right as Cardinal Wolsey was once dubbed the concert. The quartet of Cherubini-a truly grand work, originally | “boy bachelor," since it required the same amount of precocity in the composed as an orchestral symphony-is a severe test for the most ex- young lady to achieve at her age the position she holds on the lyric pert violinist; and equally so, in a totally different style, are the move stage, as it did in the Ipswich student to merit, when only fourteen, tho ments from the posthumous quartet of Mendelssohn. Both, however, title of B.A. were perfectly executed, the scherzo of Mendelssohn (a thoroughly Public expectation was screwed up to fever hcight, and, in this Mendelssohnian inspiration, full of the spirit and humour of A Midsum- case, it was not disappointed. In Mlle. Patti, Bellini has found an mer Night's Dream) being encored and repeated. M. Sainton's coadju- artist worthy of the gentle production of his brain, and one who tors were MM. Ries, Webb and Piatti-Mr. Webb especially winning won all hearts ere she had half got through the part she selected for distinction in the first variation of Mendelsshon's andante, where the her debut before a Belgian audience. All those who have listened to theme is given to the viola Signor Piatti, who has but lately returned her syren strains declare they never heard a more beautiful, a softer, or from his tour with Mad. Goldschmidt-Lind, remains where he was a purer voicc, a voice which owes more, mayhap, to nature, bounteous at the head of all existing violoncellists. In the quartet of Cherubini source, than to art. She was more especially applauded in the duet of he was a tower of strength ; while the fairy-like passages of Mendels the first act; in the scene of sonnambulism of the second, and in the sohn's scherzo were touched with a delicacy scarcely less ethereal than andante of her grand morceau in the third. I really fancied the public themselves. To Mr. Hallé, the pianist of the evening, was assigned the would never be tired of applauding. solo sonata of Beethoven, Op. 26 (with the variations and funeral Although you in England know all about Mlle. Patti's voice and actmarch)-how he plays which need not be told. In the trio of Hum- ing, you do not know what the critics here say of them, and therefore I mel (with M. Sainton and Signor Piatti), Mr. Hallé's execution conld will give you a specimen from the leading journals -- the subject being hardly have been excelled in neatness, grace, and vigour by the com- | Amina:-"In the two performances of La Sonnambula,- I forgot, hy poser himself, one of the greatest masters of the instrument in an age the way, to inform you that this opera has been given twice - “Mlle. prolific of great masters. The trios of Hummel (whose music, by the Adelina Patti surpassed all the expectations which, with good reason, way, is happily becoming more in vogue at these concerts than was had been founded on her cxtraordinary merit and recent reputation. formerly the case) are precisely the cheerful, brilliant sort of pieces to Mlle. Patti is a great singer. She belongs to no onc school more than wind up the concerts with effect, and send away the audience in good another; her singing, full of sympathy and feeling, leaves the old beaten spirits. The trio in E is among the most spirited and attractive of paths far behind. Her style is peculiar to herself; it is impossible to the seven ; but every one of the remaining six deserves a hearing. compare it, with justice, to anything ever heard before; she resembles

For Mr. Sims Reeves, who received the hearty welcome to which his no one, she imitates no one; she is Mlle. Patti! Her certainty of exerare merits as a singer of classical music entitle him, two of the finest songs cution; the delicacy and purity apparent in all she does, and, above all, of Beethoven were selected—“Oh, beauteous daughter of the starry the irreproachable correctness of the whole register of her voice, which is might" (in the original, Busslied), and the Lieder-Kreis “An die of incredible compass,render heran exception among the artistic celebrities ferne Geliebte” (“To the distant beloved ”), six songs in one, each a of the day; her prodigious talent astonishes, surprises, captivates; you apmelody, and the whole, combined, a masterpiece which even Beethoven plaud in spite of yourself, carried away by an irresistible feeling of admihas not surpassed. Both were grandly sung, and after both Mr. Reeves ration. If to the preceding qualities, which border on the marvellous, we was recalled with enthusiasm ; but, as a matter of course, the incom add the most graceful appearance that ever set off a young girl; beautiful parable Lieder-Kreis was the most striking display. Although the and brilliant black eyes, full of slyness when they are not full of tendersix songs comprise in all some thirty verses, the earnest and impassionedness or grief ; an infantine grace, overflowing with charms and wellmanner in which they were delivered held the audience spell-bound to bred case, and a genuine histrionic talent, delicate, witty, striking, the end, a genuine burst of applause testifying to the delight they had and dramatic, you will have a tolerably complete idea of this experienced. The other singer was Miss Susanna Cole, whose fresh fairy of eighteen, whose name is Adelina Patti. Her success, or, as we and attractive voice is getting more and more thoroughly under the prefer saying, in order to be nearer the truth, her triumph, was immense. control of its possessor. In Mr. Henry Smart's elegant canzonet, “ Soft Overwhelmed with marks of approbation and applause, and recalled by and bright the gems of night," and in an exquisite “Lullaby” of the the entire audience with a degree of excitement verging upon frenzy, 17th century (“Golden slumbers kiss your eyes "), for the revival of the fair young creature was obliged to come back and repeat the which we are indebted to the indefatigable research of Mr. W. Chap. final rondo, besides coming forward once again, after the fall of the pell (in whose “ Popular Music of the Olden Time” it finds a place), curtain, to receive from our intelligent public a fresh proof of their apMiss Cole won golden opinions, and at the termination of each was com probation. Mlle. Patti will mark a fresh cra in Brussels, as, by the plimented by a recall.” Mr. Benedict accompanied the vocal music. way, she has already done in America, in London and, quite recently The pianoforte part of Beethoven's Lieder-Kreis is extremely diffi in Berlin. calt, but under the hands of this accomplished musician the difficulties All I hope is (and I could choose a dozen more critiques, on Rosina seemed to vanish, and none but those who are acquainted with the Lucia, Norina, &c. equally flattering), that these unbounded eulogia will music would have guessed that anything more trying than an ordinary not turn the head of the little “prima donna." Iam told this is unlikely, accompaniment was in question.

that, in short, Adelina is not to be spoilt. Tant mieux. R. S.

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the reputation of vocalists in this country depended almost

entirely on their ballad-singing. For that branch alone of Regent Street and Piccadilly.

vocalisation they were prepared and educated, and they atMONDAY POPULAR CONCERTS,

tempted no other style. Nor did their fame suffer because
their range was restricted and their efforts limited to one

school. That a vast deal may be accomplished in the inSEVENTY - SIXTH CONCERT, on MONDAY

terpretation of simple, unsophisticated airs, no one will disN EVENING, February 24, for the Benefit of

pute. Miss Stephens, one of the most remarkable singers M. VIEUXTEMPS

whom England has produced, owed the greater part of her Being, most positively, his last appearance this Season.

celebrity to ballad-singing. So did Incledon, Sinclair, Wil

son, Mrs. Dickons, &c. Singers like Mrs. Waylett, Miss

Byrne, Mr. Pearman, and Miss M. Tree, were indebted for
PART 1.-Quartet, in A minor, Op. 13, for Two Violins, Viola, and Violoncello,
MM. VIEUXTEMPS, L, Ries, H. WERB and PIATTI (Mendelssohn). Song, “ Timid

their name altogether to their ballad-singing. Ballads were
Joye,” Mr. Sius REEVES (Vieuxtemps). Song, “Cradle Song," Miss CLARI FRASER
(Mendelssohn). Song, "The love charm," Mr. SIMS REEVES (Oito Goldschmidt). not only the songs of their predilection, but they had studied
Sonata, “Ne Plus Ulira," for Pianoforte Solo, Miss ARABELLA GODDARD (Woelfl).

them alone, and could excel in no others. The artists had PART 11.Sonata, in D major, for Pianoforte and Violin, Miss A TABELLA GODDARD and M. VIEUXTEMPS (Mozart). Song, “ Adelaida," Mr. SIMS REEVES (accompanied concentrated their mental powers into one focus, wherein on the Pianoforte by Miss ARABELLA GODDARD) (Beethoven). Old English Song,

was displayed all their strength and brightness. Had In" The Oak and the Ash," Miss CLARI FRASER (Popular Music of the Olden Time) Quartet, in A, Op. 18, No. 5, for Two Violins, Viola and Violoncello, MM. VIEUX cledon lived in the present day, who could assert that, with TEMPS, L. RIES, H. WEBB and Piatti (Beethoren).

all the advantages of modern education, he would have Conductor, MR. BENEDICT. To commence at eight o'clock precisely.

risen superior to what he was when he wrung tears from Notice.--It is respectfully suggested that such persons as are not desirous of remaining till the end of the performance can leave cither before the commencement of the his audience in “Black-eyed Susan” and “Farewell my last instrumental pice, or between any two of the movements, so that those who wish to hear the whole may do so without interruption.

trim-built wherry," or threw them into ecstacies in “ The * Betwcen the last vocal piece and the Quartet, an interval of Five Minutes will storm” and “ The white-blossomed sloe?” Certainly in be allowed. The Concert will tinish before half-past ten o'clock.

those days ballads were the sole medium for the expression
Stalls, 5s.; Balcony, 3s. ; Admission, Is.
Tickets to be had of Mr. Austin, at the Hall, 28 Piccadilly; ChapPELL & Co. 50 of sentiment in music. Our composers did not attempt grand
New Bond Street, and of the principal Musicsellers.

operas, like Mr. Balfe and Mr. Wallace, nor operas of the ITERR JOACHIM, the celebrated Violinist, will make Opéra Comique kind, like many of our native musicians.

his first appearance in London at the Monday Popular Concerts, St. Jarnes's 1 The real English lyric work for the stage was a Hall, on Monday evening, March 3rd. Sola stalls, 5s., at CHAPPELL & Co.'s, 50 New Bond Street.

ballad-opera, which was little more than a drama with

single songs, like the Beggars' Opera, with an occasional TO CORRESPONDENTS.

duet, trio, or chorus, and now and then, rara avis, a E. A. J.- Received and will be attended to.

concerted morceau. Henry Bishop, the most successful

of our writers of ballad-operas, achieved his principal NOTICES.

successes in productions of that kind, and by his genius, To ADVERTISERS.- Advertisers are informed, that for the future made them the chief standard works in the repertory of

the Advertising Agency of THE MUSICAL WORLD is established English lyric theatres. With such beacons before them, at the Magazine of MESSRS. DUNCAN DAVISON & Co., 244 | doubtless the aim of the English vocalist would be in a great Regent Street, corner of Little Argyll Street (First Floor). Ad

measure to devote his talents to the mastery of ballads. vertisements can be received as late as Three o'Clock P.M., on

was that which above all was expected from him, and the
Fridaysbut not later. Payment on delivery.
Two lines and under

accomplishment of which was most deeply appreciated by his Terms { Every additional 10 words ... ...

hearers. But music made rapid advances as an art and a


science, and the public feeling went no longer hand-in-hand MUSICAL WORLD must henceforward be forwarded to the Editor,

with such trite simplicities as ballad-operas. The introduccare of MESSRS. DUNCAN DAVISON & Co., 244 Regent Street, tion of Italian and French operas on the English stage lent A List of every Piece sent for Review will appear on the Satur a distaste to these meagre national concoctions, and some of day following in Tue MUSICAL WORLD.

our composers, fired to emulation by the success of Auber, To CONCERT GIVERS.—No Benefit-Concert, or Musical Perform Rossini, and Mozart at Drury Lane and Covent Garden,

arce, except of general interest, unless previously Advertised, can essayed to produce an opera after the orthodox model. Mr.
be reported in THE MUSICAL WORLD.

John Barnett's Mountain Sylph, we believe, and Mr. Ed.
ward Loder's Nourmahal led the way; or, at all events, the
reception they obtained from the public impelled other

musicians to follow in the same track. Perhaps the greatest LONDON: SATURDAY, FEBRUARY 22, 186 2.

blow the ballad-opera received was in the immense success
achieved by Mr. Balfe's Siege of Rochelle, which may be

said to have revolutionised the English operatic stage.
RS. BRADSHAW, the once celebrated Miss M. Tree, l That the ballad opera was the last remnant of an unin-
N1 sister to Mrs. Charles Kean, whose death has this week formed taste and a circumscribed education, we think all will
been recorded, was one of the most popular ballad-singers admit, - as well as that it was an incontrovertible proof
of her day. The term “ballad-singer," as understood in that England, from the days of Dr. Arne, had produced no
the olden time, can hardly be estimated at its proper value great original thinker in operatic writing. Ballad-operas
now. According to the modern acceptation of the word, all had their uses and influences notwithstanding. From their
our artists are ballad-singers, from Mlle. Titiens and Mr. constitution and the special favouritism bestowed on them
Sims Reeves, downwards, since they are constantly singing sprung the best and purest school of plain singing. No
simple songs. But these are their exceptional moments, vocalists in the world could sing simple airs like the Eng-
and only go to prove the condescension, or the willingness | lish; could give them the same unadulterated expression
to oblige, of our first sopranos and first tenors. Formerly and the same unadorned style ; or warble them with richer

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28. 6d.

The Musical World.

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