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NOTICE.

This explains the reason and rationality of what has been mostly In consequence of an unusual press of matter, the Reviews of New

regarded as something mysterious and unaccountable, namely, the Music are unavoidably postponed until next week.

presence of the pure imaginative faculty—that sanguine mental temperament-side by side with a highly cultivated and care

fully trained material order of intellect ;-with those qualities of THE MENTAL HISTORY OF POETRY.*

mind such as the power and habit of closely grappling with hard, BY JOSEPH GODDARD.

literal fact, and whose prevailing method of action is physical in

duction, which, in the majority of cases, are supposed to be the * To search through all I felt or saw,

least likely to be associated with it. Nevertheless, the sky-cleaving The springs of life, the depths of awe, And reach the law within the law."

flight of imagination is seen to be allied with the precise and earthly Tennyson.

step by step tread of reason, and that, particularly in the cases of In turning to investigate the presence and influence of the musi the highest and greatest exemplifications of this latter endowment, cal instinct as betrayed in Poetry, it will be first necessary to

as is illustrated in the examples of navigators, astronomers, and of recur to the consideration of that primary condition of the breast, scientific minds, relating to all departments of discovery, and of that high and broad pressure of admiration which precedes the the most elevated of their order. advent of all art-phenomena.

It is not here intended, however, to imply that all high imagina. It will no doubt have been observed that, in speaking of this tive offspring is identical in nature with purely rational discovery emotion of "admiration," we have almost always simultaneously and palpable mental induction, but that the process of both is in alluded to the mental faculty of “imagination." The coincident the same line of mental volition, that many of the generally undercoupling of these terins, in fact, is of general occurrence wherever stood purely imaginative conceptions, from their prophetic characeither is mentioned.

ter on the one hand and the ultimate confirmation of their existence Now this does not result altogether from a confusion of terms as part of the wide empire of reason on the other, may be regarded or ideas, although, in most instances, where these ideas are con- | as having resulted from a latent extension of the intellect, of an injunctively alluded to, there is only visible a vague consciousness voluntary onward spring of the reason to a new and distant conof some general connection between them, whilst a knowledge of clusion, of the considerations of the intermediate space having their exact relationship, of the true nature of their distinctiveness occurred so unconsciously and rapidly as to render the result like and of their connection, is not often betrayed where they are

inspiration. spoken of.

Ít may be remarked, as generally confirmatory of the truth of The truth is, imagination is a mental endowment, and wherever these views, that the greatest and most brilliant exponents of the it exists, a warm and strong instinct of admiration ensues, as a | imaginative faculty, be they poets, painters, or musicians, are inmatter of course. Imagination begins in the possession of vivid evitably, and always have been, those representatives of art who mental memory, the power of recalling, in peculiar life and warmth, unite with their respective art-endowment the more comprehensive imagery in the inind, and thus it embraces the ability of mentally | intelligence-the more extended knowledge. At all events, these suspending before the attention scenes, circumstances and truth's considerations are sufficient to show that it is this rational direction simultaneously. It here begins to invoke the action of another

—this naturul vista, towards which the lens of imagination should faculty, generally understood as a more purely mental property, be directed, in which this faculty should be exercised and cultifor through this simultaneous exhibition in the mind of a more or vated, and through which alone its highest and greatest results less wide array of truths and circumstances, the exact relationship can be achieved. The imaginative offspring of ignorance, invoked of these truths becomes more distinctly visible, and thus their in an ostentatious spirit of contempt for rational knowledge, but complete nature is surveyed in a sympathetically wide embrace of in a real inability or sluggishness of mind,-is but of little worth; the “reason."

it beams with a false and meretricious lustre, it is mostly the But so far, there is only an act of imagination in a literal sense- | result of an action of the mind, morbid and desultory, and its there is only an exercise of this faculty of a direct and simple fascination and attractiveness must assuredly diminish and ulticharacter, although even at this point of the process the grand | mately pale into oblivion before the kingly and sunrise-beam of truth is visible that the faculty of reason would be of little service | natural truth, taste and intelligence. without that of imaginationthat, in point of fact, this latter We are now enabled to perceive somewhat of the reason and quality is part of any important and comprehensive endowment of consistency of the fact of any important endowment of imagina. the former-that, in truth, imagination is the moral universe in tion being inevitably attended by a copious flow of the sentiment which the intellectual system exists-that, to borrow the words of l of admiration ; for this latter phenomenon is simply that enthua former definition of this subject, “it is the spiritual glow and siasm and mental rapture which is always elicited by the contemmoral radiance of this faculty which defines the celestial concave plation of perfect and new truth. If it be incorrect, however, . of tbe mind, as the sun describes that of the material universe, in speak of the imaginative survey as embracing absolutely material the absence of which the operations of reason' would attain to truth, it is still the light of truth which illumines it, and the no further result than could those of nature without the warm and iinagery on which it falls will glow in all the warmth and colour luninous concave of heaven.”+

of that divine radiance. This imagery may not be palpable, subWhere this faculty exists, then, of conceiving and sustaining a

stantial, or of a bodily character, yet it may shine still in the ray considerable number of known truths in the mind, -where, conse

* of reason, which penetrates beyond the realms of ordinary fact, as quently, the correct relationship and complete nature of these

the sun lights other and more etherial objects than those existent truths is thus visible (and only in these circumstances can this full

on the earth; if it be not material truth, it is its fanciful reflection, knowledge be realised), what is more obvious than that the reason

its exaggerated spectrum, defined in the clouds of the obscure, and in these circumstances, contemplating the exact relationship, the

is thus a phenomenon, at all events, allied to material truth-its complete nature of the array of truth spread before it, will, in the

æreal rainbow-splendour scintillated from the denser forms and samne line of glance, in the same visual ray of inspection, also per

latent colours of the material world into the remote azure of the ceive its onward connection with new truth.

mind. Now it is the perception of this onward continuation of truth

(To be continued.) which constitutes an act of imagination in the high sense in which the operation of that faculty is generally understood, that is, as ADELINA PATTI-NORINA. —"Samedi, pour la huitième représentation almost synonymous with the act of creation, although discovery de la compagnie italienne, Don Pasquale, une des plus heureuses partimore than creation is the true character of the mental act involved. | tions que Donizetti ait jamais improvisées sur un sujet à la fois tendre

et comiqne, la finesse, l'esprit, la grâce, la légèreté brillante de la voix

sont les qualités requises pour le rôle de Norina, et ce sont celles que # Continued from page 117.

possède au plus haut degré Mlle. Patti. Elle ne pouvait donc manquer + The nature of this imaginative faculty will be found also trcated of a'y être parfaite, et tout son rôle a été pour le public une série in * The Philosophy of Music," where several of the truths are Jaid d'enchantements et de surprises. Aux merveilles de sa vocalisation, down, of which the above remarks are the substance.

Mlle. Patti joint un jeu plein d'esprit et de finesse."-Etoile Belge.

MOZART AND THE CHIMES AT POTSDAM*. nothing which met with Schickaneder's approbation. The duct : • Bei

Männern, welche Liebe fühlen,' he was compelled to set no less than Ix reply to my appeal, in No. 49 of this paper, for inforination from

four tincs; Papageno's first song, • Der Vogelpärger bin ich ja' had to those persons who were able to furnish me with it, I have received nu.

be written three times, while, lastly, Schickaneder was so cxacting with merous communications, for which I beg to return the writers my

the song, Ein Mädchen oder Weibchen,' that Mozart angrily exclaimed: most sincere thanks.

•I suppose you would like me to compose it after the model of • Ueb' The question at issue is this : When, and by what or whose means

immer Treu und Redlichkeit!' Schickaneder replied with delight : came the melody of the song, “Ueb' immer Treu und Redlichkeit ? ”

• Yes; that's it. The song is popular, only you must substitute somewhich, as every one knows, is the same as Papageno's song in Die

thing for the second part.' This was done, and, as I have been inZauberflöte, to be chosen for the chimes of the Court and Garrison

formed by my esteemed friend, Adalbert Gyrowitz, on the night of the Church at Potsdam. The official documents contain nothing on the

first representation of Die Zauberflöle, in the then Theater an der Wien subject, and even the oldest inhabitants can only say, “It was always

(on the Wiedn, in the Stahrenbergisches Freihaus, near the Naschso." The selection of this song, both as a Freemason's song and an

markt), it was this very song, which, with the overture, and the Priests' operatic composition, for the chimes of a Royal and Evangelical

March in F major which proved the greatest success in the opera. In Prussian Church appears very remarkable, and worthy of thorough in.

the month of March 1848, preparations were being made to re-open investigation,

the St. Joseph's Lodge. Weigl, Gyrowetz and Lewy (sen.), were First on the list of my correspondents comes Major the Baron von

already dead, and thus the arrangement of the musical library belonging Lerlebur, who is now retired from active service, and well known as a

to the lodge was confided to me. Being well acquainted with Mozart's most competent musical critic and historian. He has been kind

handwriting, I soon discovered the song in question, which, composed enough to send me a letter, from which I extract the following passage,

at first in E flat major, is marked: Andante con molto, ma non molto. bearing more especially upon the matter in question.

My late friend, Fachs, also, to whom I showed the manuscript, imme“ In Hoffinann von Fallersleben's interesting work, Unsere | diately recognised Mozart's handwriting, The book bore the date of Volksthümliehen Lieder, second edition, Engelmann, Leipsic, 1859, a 1786, and contained, moreover, autographs of Martini, Wenzl Müller, work which is certainly sometimes erroneous, at page 129, the author and other composers, then living at Vienna. Mozırt's song-number says :

was 203, and Fuchs directly took a true copy, which, with many other *** Ucb' immer Treu und Redlichkeit,' 1775, author, Ludwig Höltz,

documents relating to Mozart must be among his papers.* born at Mariensee, near Hanover, Dec. 21, 1748, died at Hanover,

" J. P. LYSER.” Dec. 21, 1776. First published in the Vossisches Musenalmanach,

Altona Dec. 11, 1861." 1779, pp. 17-120. Melody from Mozart's Zauberflöte, 1791, to the words, Ein Mädchen oder Weibchen. This melody, with words by According to this valuable communication, the belief prevalent at Höliz, was first published in the Freimaurer Lieder mit Melodien Potsdam, that the song was played on the chimes as far back as the time (Freemasons' Songs with Melodies), Böheim, one thaler, second edition, of Frederick the Great, is, at any rate, erroncous, if, indeed, it cannot be Berlin, 1795, No. 1. It was exceeding popular in the lodges and proved that Mozart pursued the same course with some song already exelsewhere, and was even employed for the purposes of the Church.”

isting, which Blumenauer pursued with the masonic song sung in the

lodges to Höltz's words. The supposition that Blumenauer adapted the Major von Ledebur does not, it is true, possess a copy of the second

words, would, in the first place, be reconcilable with Höltz's undoubted edition which he mentions above, but he has one of the third edition

authorship. Just as Blumenauer used Höltz's verses, which had been in of these Freemasons' Songs, published 1798, by Herr Böheim, who was an actor and singer at the Royal National Theatre, Berlin. "The song

existence for ten years, Mozart may have profited by an already existing

composition of the same! Herr Lyser's account would, at least, incline is there to be found at page 5, and Mozart is named as the composer.

us to believe something of the sort. It is, therefore, probable, that Mozart's music was simply applied to

Despite of all that has here been said, however, the question still reHöliz's words.”

mains, how and when was the melody set on the chimes ? In Berlin, Such is the information furnished by Major von Ledebur.

Die Zauberflöte was not known till 1794, the first performance having Furthermore, I received from the editor of the Humburg Altonaer

taken place on the 12th May. After having been sung, on the stage, by Theater-Zeitung, Herr F. Fritsch, as well as from Herr G. Meyerbeer, Royal Music Director-General, No. 49 of the above Theater-Zeitung,

a comic personage, would this melody have been chosen for an hourly

recurring admonition from the tower of a church ? If we refer it to which, in answer to my appeal, contains the following account, that

the period of 1786–1794, the supposition is contradicted by Wöllner's certainly appears conclusive:

well-known tendencies in church matters, which would scarcely have · The song: Ueb’immer Treu und Redlichkeit,' is a genuine permitted the adoption for the chimes of a song kuown to belong exmasonic song, by whom it was originally written I am unable to say; clusively to Freemasonry. King Friedrich Wilhelm, 'also, sought, as it is now sung in all lodges (including those of France and Belgium), more especially in the more severe observance of all religious and ecclethe German words are arranged by the well-known Viennese poet, siastical matters, to establish a contrast to the state of things during the Aloys Blumauer, and set to music by Mozart, expressly for the St. reign of his great predecessor. In the official documents, however, we Joseph's Lodge, in Vienna, of which lodge both the Emperor Francis I. find only a notice, that, on the occasion of some repairs, in 1797, Herr and Joseph II. were members. It was composed, moreover, for the Roescher, the organist, recomposed all the tunes ! 1797 is the year reception of Leopold Mozart into the lodge. This reception took of the accession of Friedrich Wilhelm III, who was neither a Freeplace, at the instigation of his renowned son, on the occasion of Leo mason, nor at that period, a patron of the stage or of music. pold's last visit to Vienna in 1785.86. Mozart, sen., did not live out Thus, despite all the accounts we have received, and quite apart from the year 1787, the year in which Mozart celebrated his greatest triumph, the fact that they do not perfectly agree with each other, the subject is Don Giovanni, in Prague. In 1790, that is, two years later, Joseph II. still shrouded in doubt, and consequently I am the more justified in died, and one of the first acts of his successor, Leopold II., was an wishing that it may be yet more thoroughly investigated. order that all the lodges of Austria should be closed until further notice; That W. A. Mozart used other composers' melodies, is a fact of which it was not until the reign of Francis II. that the institution was actually I am able to adduce a proof, hitherto, as far as I am aware, little known abolished in Austria. But the Austrian Freemasons, up to the present in Germany. The last time I saw Beaumarchais' Mariage de Figaro, at day, pay no attention to this. They consider their lodges as simply the Théâtre Français, Paris, in 1846, it struck me that in the third act closed, that is to say, wherever there are five masons in one and the the supernumcraries were made to march to Mozart's music in the opera of same place, there exists an invisible lodge, though no masonic work is the same name. The next day, I mentioned the subject to M. Regnier, cver done. The libretto of Die Zauberflöte is, as everyone knows, who has studied deeply and conscientiously the history of the Théâtre nothing more than a gloritication of Freemasonry. Emmanuel Schic Français. He assured me that the march had been played at the very kaneder suggested the idea. A young man, then engaged as a choris: first representation of Beaumarchais' comedy, that is to say, in 1775, ter in Schickancder's theatre, and also a mason – he played, in the and came originally from Spain, whence Beaumarchais' brought it with lodge, the viol in the quartet, with pianoforte accompaniments – him to France. He said, moreover, that the original score of the Spancarried out the idea, and Mozart set the words to music. But Schicka | ish march is still preserved in the archives of the Théâtre Français. We neder thought the music much too learned, and, as he himself told the late Julius Miller, the tenor, cut out half the score. With regard, more especially, to the pieces in which Papageno has to sing, Mozart could do

* In many German lodges, after the melody of the trio of the three boys: “Seid uns zum zweiten Mal willkommen," a reception-song,

also, is sung, the first words being: “Sei, neuer Bruder, uns willkom* From the Neue Berliner Musik-Zeitung. -- Translated for the men.” How frequently the Priests' Choruses and the song: “In diesen Musical WORLD.

heiligen Hallen " is heard in the lodges, all masons know.

know that Mozart was in Paris at the time the comedy was first per

Edinburgh, February 14th. formed there. Perhaps, he remembered Moliére's apophthegm:

"Sir, -The disgraceful, yet characteristic, conduct of the students in “Je prends mon bien où je le trouve.”

relation to this concert, last night, appears to have arisen from an entire This fact, also, is, I think, worthy of further investigation.

misapprehension of their rights. It cannot be too well known, that Potsdam, January 2.

L. SCHNEIDER,

students attending the College have no right to demand admission to the concert. In this respect they are precisely on the same footing as

the other members of the public. The concert is not given for behoof THE STUDENTS AND THE REID CONCERT.

of the College, and there is no connection betwixt them. So true is this

that no one, whatever his office or position in the University may (From a Correspondent.)

be, has a legal right to demand admission to the concert. Some " Arld REEKIE" is rise in disputation about the conduct of the

| years ago two of the most eminent counsel at the Scottish bar were students of the University, who so strangely demeaned themselves | consulted on this point, and they said -. In regard to the distribution on the occasion of the recent concert given by the “Sisters of the tickets, it does not appear to us that any one person morc Marchisio ” at the Music Hall. The majority denounces the than another has a legal right to demand them. The direction students; but the young gentlemen have a strong party who in in General Reid's will, instituting the concert, is plain and distinct, sist that they have been wronged, and that they were induced to and it may be useful, thus publicly, to make it known. It is as proceed to extreme measures to obtain redress. As there is so

follows:- *And as I leave all my music books (particularly those of my much difference of opinion on the subject, I transmit you an

own composition) to the Professor of Music in that College, it is my wish extract and a letter, from the Edinburgh Courant, which, I think,

that in every year after his appointment, he will cause a Concert of Music places the whole affair in a sufficiently clear light, and will enable

to be performed on the 13th of February, being my birthday, in which shall

be introduced one solo for the German flute, hautbois, or clarionet, also your readers to form a correct judgment. The extract is as fol

one march and one minuet, with accompaniments by a select band, in order lows:

to show the taste of music about the middle of the last century, when they “Yesterday great excitement continued to prerail among the students were by me composed, and with a view also to keep my memory in of the University on the subject of the Reid Concert, and considerable , remembrance.' exultation was expressed by those who had succeeded in forcing their “ The concert was therefore intended simply to be commemorative way into the Music Hall, and had made the subsequent demonstration of the General - 'to keep my memory in remembrance,' and in order at Marchfield House. On further inquiry into the subject, we learn to show the taste of music about the middle of last century;' and the that it has been the custom for some years to distribute tickets for the entire direction of the arrangements for the concert is devolved upon concert to all fourth-year students. This arrangement was, we believe, the Professor of Music for the time being. It is not said who are to be entered into with concurrence of the students themselves, who were admitted to the concert; this is left to the Professor to regulate content that the admission should be made a special privilege of alumni | having a due regard to the object of the testator in instituting it. The of that rank. The number of fourth-year students in the facul:ies of pretension set up by the students is inconsistent with that object; and arts and medicine averages about 300, and in the faculty of law pro- | if yielded to, would defeat it. It may be a right and proper thing to bably 100 more. In order that all those so entitled should participate give tickets to certain of the students, especially to those of them atin the advantage, about 400 tickets have of late years been regularly tending the music class; but this can only be done under certain restricset apart for their use. This year, for what reason we have not learned, tions and limitations, and any attempt upon the part of the general the number was reduced to 150, and the distribution for the first time body of students to demand admission as a right the Professor ought was made at the matriculation office. The number of students being, strenuously to resist. Their conduct in forcing themselves into the hall of course, greatly in excess of the number of tickets supplied to the last night was a public offence, and can only be palliated on the score . secretary for distribution, the scene took place which a correspondent of ignorance.”

“L., V.” yesterday described in our columns, his statement, however, being in

Now, for my own part, I was not deeply interested in the accurate as to the number of tickets issued. The disappointed stu.

abstract question whether the University students were or were denis, after the tumult at the secretary's office subsided, held a meeting,

not admissible to the concert. I went to the Music Hall expecting and it was proposed to memorialise the Senatus on the subject. This representation of the grievance satisfied a large proportion of the meet

a rare treat, such as had not been presented in the northern capital

for a long time. I was anxious to hear the “ Sisters," whose ing, but there were others who, seeing no prospect of redress being given in time, resolved on stronger steps, resulting, as our readers are

praises seem the natural echo of their voices, wheresoever they already aware, in the forcible entrance of the Music Hall on the night

sing; and yearned to listen once more to the magnificent tone and of the concert. Comparatively few of the students immediately ag | grand playing of Vieuxtemps. But, indeed, I heard little of grieved took part in the demonstration, but those who did were at once what I expected. The Music Hall at times was converted into a joined by a large body of the younger alumni, sympathising with their bear-garden, and scarcely a piece was gone through without seniors, and foresceing a future privilege cut off.

| interruption, destroying all gratification ; or, at least, the fear of “Some of these gentlemen, unable to tolerate any criticism of their interruption took away the zest of pleasure. This was my grievconduct, yesterday did us the honour to burn some copies of our ance, and I think that, as one of the "disappointed," I bave most journal in the quadrangle of the College, on account of our strictures right to complain. It seems that the authorities of the college

"reck not their own reid," or they would have managed to have occasionally in the cause of truth; but the youthful and fervid students the “Reid Concert" conducted with some show of decency. of our University were sadly mistaken in supposing that they found in

YOUNG REEKIE. us an enemy of their true interests or of their proper rights, which we have always done our utmost to maintain. We only hope that, for the future, they will choose more peaceable means of making known their

MONDAY POPULAR CONCERTS. claims, and of obtaining redress when aggrieved. “We have heard it said that one reason assigned for the limitation of

Ar the concert on Monday evening (the 76th) M. Vieuxtemps the number of tickets has been that in numerous instances the students, took his leave, until next winter, of the patrons of these entertainnot appreciating the privilege conferred on them, have sold their tickets ments, whom he has delighted since November last with bis magto persons anxious to obtain admission. It is not very wonderful that nificent play, and by whom his worth is so thoroughly appreciated. some of the number should so little esteem the advantage as to part with A larger audience was probably never assembled in St. James's their tickets, or that some of the outdoor public, who have no access to Hall, which was literally thronged to the doors. The programme the concert, should be willing to buy, but it was quite absurd to punish was one of more than ordinary interest. M. Vieuxtemps led two the whole body for the offence of a few; and if the reason alleged bad quartets, besides joining Miss Arabella Goddard in Mozart's 10th any force at all, it would necessarily apply to the exclusion of the sonata for pianoforte and violiu (in D). The quartets were Menstudents altogether, and not to any mere limitation of the number of l delssohn's in A miror, and Beethoven's in A major. That of tickets, which were simply given to those who were foremost in the Mendelssohn was reintroduc

| Mendelssohn was reintroduced in consequence of the marked scramble for them.”

| sensation it produced at the opening concert of the season, when M. The letter appears to take a less favourable view of the students' Vieuxtemps (associated, as on the present occasion, with Herr L. conduct, and, indeed, does not hesitate to brand it with the | Ries, Mr. Henry Webb, and Signor Piatti) made his first appearstrongest terms.

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it was written be or be not taken into consideration, is one of the expenditure to 55011 12s. 11d., leaving a balance in hand of 4951. 14s. id., most extraordinary manifestations of the art-was, if possible, even besides which the Society possesses funded and other property valued at greater than before, and M. Vieuxtemps was unanimously called 75001. Included in the expenses were two sums of one hundred guincas forward at the conclusion. In Beethoven's early quartet-No. 5,

each, the subscriptions from the Society to the Memorial of H.R.H. the of the six inscribed to Prince Lobkowitz (Op. 18)—and in the

Prince Consort, and the Hullah Testimonial Fund; also a subscription of delicious sonata of Mozart, both belonging to a very different

ten guireas for the preservation and repair of an organ in St. Bonifacius' order of musical creation, M. Vieuxtemps was equally happy. In

Church at Arnstadt, at which church John Sebastian Bach was for some

time organist. The report alluded at length to the musical preparations the short, his last appearance was precisely what the admirers of his play

Society are at present occupied with for the opening of the 1862 Interna. ing might have desired-a series of artistic triumphs. Hehas now so

tional Exhibition. The orchestra on this occasion will comprise upwards of identified himself with the Monday Popular Concerts that his an

1800 performers, and it is intended, after engaging the principal nual reappearance will be looked forward to as a matter of course.

tea lorward to as a matter of course. professional instrumentalists, to allot 500 engagements among the The pianoforte solo was Woeifl's Ne Plus Ultra, one of the boldest

principal provincial Festival and Choral Societies and Choirs, which, and most difficult works of what may be reasonably described as after deducting the regular band and chorus of the Sacred Harmonic the “pre-Beethoven period," the sonata of Woelf having seen the Society, wil leave about 400 more choralists to be selected from among light before the genius of Beethoven had fairly developed itself. the most regular attendants at the meetings of the Handel Festival The history of this sonata, the last part of which consists of Choir. The great Handel Festival to be held at the Crystal Palace in variations in the bravura style, on the air of “ Life let us cherish," the last week in June, was specially noticed in the report. It was stated foreshadowing many of the most salient characteristics of the that the plans of seats would be ready for inspection next Monday, "fantasia,” subsequently developed by Moscheles, Herz, Thal.

the 3rd of March. As the Festival will be held during the heyday berg, and their numerous followers-the “ bone and marrow," as

of the International Exhibition of 1862, and in close proximity to the it were, of the “ virtuoso " school-must be familiar to our readers,

great Agricultural Show at Battersea Park, it was fully anticipated having been more than once related. As a piece of display the

that the attendance would far exceed the 1859 Festival, although Ne Plus Ultra was unexampled in its time, and even now- more

the latter was attended by upwards of 40,000 more than the Festival of

1857. The selection of the performers is occupying the closest attention than half a century since the death of its author, who wrote it

of the Committee. The increase of Music Societies, the extension of when in the zenith of his powers as an executant-if adequately

choral practice, enabling the Committee to fix a much higher rendered, elicits universal sympathy. In short, after its peculiar

standard of excellence than in 1857 and 1859, they are fully fashion, the sonata of Woeld is a masterpiece; and so long as assured that in musical efficiency a great advance would be shown. pianists (few, for reasons unnecessary to explain, they must in. It was further stated that the Directors of the Crystal Palace Company evitably be) are found to play it, it will continue to evoke the | have already commenced preparations for rooting over the great oradmiration which is its just due as a legitimate work of art. This chestra, no doubt being entertained that the results of the coming Fes. was fairly proved on Monday night, in presence of such a crowd as tival would as far exceed those which preceded as the latter excelled its composer could hardly have dreamt of--a crowd, too, as atten- any former efforts. After alluding to the great extension of the tive and discriminating as it was dense. At the end of the Society's library, which has now become one of the most valuable in sonata, the performer, Miss Arabella Goddard, was enthusiastically the country, comprising a large portion of the most rare and valuable summoned back to the orchestra, and had no little difficulty in

musical works, both sacred and secular, as well as works on musical resisting a very general wish for the repetition of the variations.

theory, history, biography, &c., it was announced that a new catalogue This young and gifted lady was the first to revive the Ne Plus

was in course of preparation, and would be issued in a few months. In Ultra of Woelf, as well as the Plus Ultra* (so called, at least,

the meanwhile works of special interest to the science of music would

be thankfully accepted by the Society's librarian, whose object was to in England) of Dussek, and other contemporary works of the

| render it the most perfect library of its kind in this country. After highest interest, the value of which, thanks to her refined and

the presentation of the accounts for the past year, the election of officers exquisite playing, has since obtained unanimous acceptance. Such

of the Society, cordial votes of thanks were unanimously given to Mr. an impression was created by her performance of the Ne Plus Costa, the conductor of the Society, and to Mr. Harrison the President, Ultra on the present occasion, that it is announced for repetition and the other officers of the Society. at the seventy-seventh concert on Monday.

The vocal music was unexceptionable. Miss Clari Fraser, a young singer of great talent and still greater promise, gifted with

DRURY LANE THEATRE.-On Monday night Mr. Charles Kean acted an agreeable voice and no common share of musical feeling, was in Hamlet for the first time during his present engagement, the part of heard with evident satisfaction in Mendelssohn's beautiful i Lul

Gertrude being sustained by Mrs. Kean, who originally undertook it in laby” (Schlummre und träume von Kommen der Zeit"), and

the later days of the Princess's management, and thus gave an interest “ The oak and the ash," one of the most genuine specimens of

to a part long considered ungrateful. It is now established as one of English melody contained in Mr. W. Chappell's Populur Music of

her leading characters. By performing the character of Hamlet Mr. the Olden Time. Mr. Wilbye Cooper, whose merits as one of the

Charles Kean is certain to awaken a sort of historical interest which

cannot attach to any other part in his large repertory. With his ap. best of English tenor singers are everywhere acknowledged, gave

pearance in this character in January 1838, his career as an English Mozart's pathetic canzonet, “The very angels weep” (Selbst tragedian really commenced, for alıhough previous to that date he had Engel Gottes weinen"), and Beethoven's incomparable " Adelaida" acted several of the parts that belong to the category of "juvenile in a style that won for him not only the applause of "the many," tragedy,” his earlier performances, successful as they were, no more bebut the critical approbation of "the few.” Mr. Benedict was the long to the record of his important achievements than the ordinary accompanyist.

Latin verses written at school by a future poet belong to the collection At the next concert, Herr Joseph Joachim (his first appearance of “works" which he publishes at a mature age. A prosperous tour since 1859) will play, among other things, one of the so-called

through the then United States completely severed the juvenile aspirant "Posthumous Quartets" of Beethoven.

from the Hamlet of 1838 in the mind of the London public, and the crowds that went to witness his debut at Drury Lane 24 years ago re

garded him as a new-comer, whose excellence they were prepared to SACRED HARMONIC SOCIETY.- (Communicated).-- The Twenty-ninth test by a comparison with his recently deceased father. The exciteAnnual Meeting of the Sacred Harmonic Society was held at Exeter ment which he at once produced, the series of throngs that he attracted Hall last evening, the President, John Newman Harrison, Esq. Occupy. on successive nights, the hearty welcome which was given to the, not ing the chair. The attendance of the members of the Society was rising, but fully risen “star," are now matters of history. Many were of more than usually numerous. The report, which was lengthy, entering

opinion that the enthusiasm with which Charles Kean was greeted into a full detail of the Society's proceedings during the past year, also merely represented the popularity of the late Edinund, still fresh in the sketched the outline of operations during the coming season. From this memory of the public, and that the young actor would not long sustain it appeared that fourteen concerts had been given in 1861, and that the the honours prematurely thrust upon him. But it is not too much to subscriptions were larger for the present year than on any preceding say that as years have rolled on the esteem in which Mr. Kean is held year but 1859. The receipts for the year amounted to 55761. 2s. 20., the has sleadily increased. Since tha

has steadily increased. Since that brilliant beginning he has sometimes

absented himself from London, to reappear at long intervals, but he has * Le Rétour à Paris was the original French title,

never come back to find his place occupied by a younger aspirant, and his return has always been the signal for renewed excitement. Princess's THEATRE. - L'Ange de Minuit, the great “sensation As we have already sail, it was with the performance of Hamlet | drama” with which the Parisians were furnished by MM. T. Barrière that he commenced a professional life comprising so much that could and E. Plouvier, about a twelvemonth since, has been presented in an not have been expected even by his warmest admirers. His success in English shape to the audience of the Princess's Theatre. No attempt Hamlet was the basis on which the whole superstructure of his is made to veil its origin ; Mr. John Brougham is merely named in the reputation was raised, and more curiosity would be sufficient to render bills as the adapter of the piece, the title of which is literally translated, his resumption of this great part powerfully attractive. But there is The Angel of Midnight. Though the action takes place at Munich, the this further peculiarity in his Hamlet, that, apparently clinging to the idea of the plot is ultimately derived from an old Italian legend, which character with a sort of natural affection, he has worked it out to a years ago suggested to the late Mr. R. B. Peake the subject of an un. degree of artistic finish that renders it an unique phenomenon on the successful melodrama, entitled Death and the Doctor. A medical modern stage. Whether or not he has arrived at the real significance practitioner acquires a high reputation by the infallibility with which he of the Danish Prince is a question that but little affects his character as predicts the result of every case submitted to his treatment. This an artist. Even the Germans, who write volumes about Hamlet where infallibility he owes to a compact made with the personified Death, who, we bestow stray thoughts, have not yet settled the precise nature of unseen by the eyes of others, is manifest to the physician, passing those that exceptional idiosyncrasy, and within the last three years we have whose life is yet to be prolonged, and touching those whose fatal hour had a book by one Herr Rohrbach, which might not be inappropriately has arrived. This notion is common to the two plays, but in every detail entitled, “Hamlet, a Scoundrel," and another by Dr. A. Garth, which the story with which MM. Barrière and Plouvier recreated the Parisians proves the Dane to have been the noblest of mankind. It is enough to last March differs from the tale of the poor cobbler, with which our prolitic say of Mr. Kean's interpretation that he presents his audience with a English dramatist displeased the audience at Drury Lane nearly 30 years highly ideal personage, whose every word and gesture denotes assiduous ago. Albert Werner (Mr. G. Jordan), the hero of the new piece, is a poor reflection, and a thorongh sympathy with the emotions pourtrayed. Such but very honourable physician, who resists every offer to tamper with his extreme elaboration may of course be called artificial, for it could no integrity, but at last yields to the solicitations of the “ Angel of Midmore be the result of a sudden inspiration than the minute tracery of night" (Miss Marriott), who typifies Death, and who is really alarmed some exquisite carving. But he has so completely mastered the by the superior power of the man of science. She tells him that his difficult task he has imposed upon himself that he performs it as if mother (Miss Mary Fielding), to whom he is devotedly attached, will under the dictation of an internal impulse, and never did he play not be allowed to live 24 hours, unless he binds himself not to attempt Hamlet more finely or with more native vigour than on Monday night. the rescue of any patient visibly touched by her hand. The old woman

OLYMPIC THEATRE. — The peculiar talent of Mr. F. Robson in wo ko is the hostage for the due performance of this compact, and her days ing npon the feelings of his audience, by a subtle combination of the are at once to be cut short if the doctor breaks his faith for the sake of comic and the pathetic, has not for some time been made so con- | another patient. In her first interview with the physician, the Angel of spicuous as in a slight dramatic sketch just produced, with the title Death rises in spectral shape from the waters of the river, but afterwards

A Fairy's Father. In this little piece he represents an old “property-| she assumes various human forms, and mingles with the rest of the man," attached to a London theatre, at which his daughter Susan is personages, regarded by all, save the privileged doctor, as an ordinary engaged as a principal “fairy." Paternal affection is the ruling senti- mortal. In the apartment of an apparently dying Count, she takes her place ment of his mind, and while, as a scenic artist, he devotes his energies to as a notary, but she leaves the patient untouched, while she touches a rathe contrivance of a marvellous “transformation scene,” for the torth- pacious legatee, who is longing for his decease, and is instantly struck with coming Easter piece, his enthusiasm is chiefly excited by the thought of apoplexy. Werner, who watches her movements, is able to predict that the the brilliant figure which his daughter will make when she appears as Count(Mr. Basil Potter) will recover, and thut the legatee will perish, and the principal object in all his resplendent tableaux. It is on Susan's thus gains great glory, while Dr. Von Block (Mr. H. Widdicomb), the birthday that the action takes place, and the father, confined to his medical pretender, who furetells contrary results, is loaded with ignohome by an accident, is anxiously awaiting her return from the theatre, | miny. In a ball room the Angel takes the form of a coquettish beauty, auticipating the delights of supping on a rabbit “smothered in oinions,” and by the fascination she exercises on the Count's son Karl (Mr. J. G.

- the delicacy that has been prepared for the grand occasion. Susan Shore), foreshadlows the danger which that young gentleman will incur returns in unexceptionable time; but her father is somewhat surprised in a duel with Colonel Lambech (Mr. Ryder), a bold, bad man, who by the visit of a young gentleman, who has fallen in love with her, insists on becoming the husband of the Count's daughter Margaret, while witnessing her “ faëry” exploits, and has come with a proposal | (Miss Louisa Angel), although the lady herself, her father, and her of marriage. Though the honourable intentions of the young suitor are brother decidedly prefer Werner, now a rising man. Brother and lover not in the least doubtful, the worthy property-man, instead of jumping are both challenged by the terrible Colonel, who in a duel, fought in a at an offer apparently advantageous, seriously weighs the chances snow-covered wood, wounds the former and is slain by the latter, the of happiness likely to result from the proposed union. He warns Angel of Death hovering about him like an old hag, and sweeping away the love-stricken youth, who is a wealthy merchant, that he must | the snow so as to leave an open place for his fall. The lucky physician not confound the brilliant goddess who dazzles all eyes on the stage is now about to marry his beloved Margaret, but the Angel appears with the mere mortal who eats boiled rabbits at home, and that it is among the bridesmaids, and tells him that he must sacrifice his bride or possible a discrepancy of tastes may be discovered when the heyday of his mother. Terribly perplexed, Werner has recourse to prayer, and the honeymoon is past. The suitor slightly regards the warning, and the Angel vanishes, informing him that she must yield to a superior power, the discussion might be carried on to an indefinite extent, did not the and leaving him perfectly happy, both as a son and as a bridegroom. fact transpire that the property-man, formerly a merchant's clerk of Many persons, not case-hardened by the frequent contemplation of stage (comparatively) high degree, lost his situation through the delinquency spectres, will perhaps find this constant personification of ubiquitous of another person, and that this person was the suitor's father, who died death rather chilling than exciting, and to a still greater number will anxious to repair the wrong he had committed. He must be a poor the employment of prayer, as an efficient agent for the solution of a logician who, out of these premises, cannot frame a syllogism proving theatrical ditficulty, appear highly objectionable. Without entering on that the young gentleman and lady ought to become husband an i wife. | the wide field of controversy which is opened when the stage treatment Mr. Cheltnam, the author of this "sketch," as he properly calls it, of the supernatural becomes the subject of debate, we may further has worked out his slight theme with much taste and delicacy. The observe that the Angel of Midnight, while it presents a series of striking piece, however, derives its chief value from the acting of Mr. F. Robson, | pictures, is not very interesting as a story, and affords very small opwho exactly depicts the transitions of a man who, without the slightest portunity for a display of talent on the part of the actors. It is on the violence, can drop from an ideal worship of his daughter into a hearty scenic effects that the attraction of the piece depends, and possibly the relish for onions. Strong feeling and sound worldly wisdom are, more. “duel in the snow,” which is admirably managed, may take its place over, most happily blended, when he warns his young visitor against among those " sensations” to which modern playgoers attach so much the effect of a transient illusion, Mr. Walter Gordon, as the earnest importance. The appearance of the personified Death on the bank of but thoroughly gentlemanly suitor ; Miss Florence Haydon, as the the river and her disappearance through a wainscot at the close of the affectionate daughter ; and Mrs. Stephens, as a good-humoured old piece are also very striking, but Miss Marriott may be counselled to be landlady, do their best to make the piece one of the prettiest cabinet so far coy to the solicitations of the audience as to abstain from coming pictures of actual life that could be presented on the stage. The before the curtain in supernatural habiliments. Ghosts have a right Fairy's Father was preceded on the first night by the drama Time to show themselves everywhere, indoors and out-of-doors, from the Tries All, in which Miss Amy Sedgwick made her first appearance palace to the cottage, with one single exception, and that is the for the season, and was heartily welcomed. The piece also contains narrow boarding situated between a row of footlights and a fallen effective parts for Mr. Neville and Mr. W. S. Emden.

curtain.

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