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Princess's, are retained at Dmry Lane. The practical use of these subordinate characters is to increase the value of Portia, the serious side of whose character is by the usual arrangement only exhibited in the celebrated eulogium of mercy. This culogium is exquisitely delivered by Mrs. Kean, and in the scenes with the unfortunate suitors she depicts in most eloquent by-play her fears that she will be forced to take for her husband a man on whom she cannot bestow her affections. The play is now pretty equally divided between Shylock and Portia, and the two eminent artists both display their talents to the utmost.
Princess's Theatre.—On Monday night Mr. Fcchtcr reappeared, after an absence of several weeks, in the tragedy of Othello, and was loudly greeted by a numerous audience. The tragedy was revived with those peculiarities of costume and stage arrangement which were first introduced when Mr. Fechtcr played the Moor, and were supposed to embody his notion as to the proper mode in which it should be represented ; but it was so far a novelty that the Parisian artist played, not Othollo, but Iago. Here, then, we have a third Shakspearian attempt on the part of an actor who, from the date of his first appearance, has more or less fixed the attention of the public. The Iago of Mr. Fechtcr is marked by that disregard for tradition, which he has almost laid down as the sine qua non for the attainment of histrionic excellence, and it is certainly such an Iago as never was seen before. Generally, the crafty "ancient" steps forward with villany deeply imprinted on his countenance, and he is now and then sublimed into a sort of Mephistophelcs. But Mr. Fechtcr takes his cue from the circumstance that, in the eyes of the inexperienced, Iago stands in high repute for "honesty," aud, with his wonted logic, he arrives at the conclusion that public opinion could scarcely have been so favourable towards obtrusive villany. His manner of address is the very perfection of bland good-humour j he has not even recourse to the common expedient of overlaying knavery with R rough semblance of uncouth and untutored candour. His villainy lies so far beneath the surface that, in the earlier scenes, one feels doubtful whether Iago will ever rise into a marked character, or whether he will remain a pleasant hero of light comedy. But an amount of malice and vindictiveness peeps out in his soliloquies that prepares the mind for more practical manifestations, and the observer, previously inattentive, is allured to watch his by-play, which is subtle in the highest decree. Mr. Fetcher's Iago fully carries out Talleyrand's theory respecting the use of language; it is not when he speaks, but when ho is silent, that he most reveals his true nature. He is evidently a man who has laid down a broad scheme, in which his faculties are wholly absorbed, and a stray smile or a quick glance betokens his opinion as to the effect of circumstances on his darling project. He is ever on the watch, yet none save the audience can detect this quiet activity. In the great third act his qualities, of course, become more pronounced—his glance is more keen, his smile is more triumphant, and the spectator may profitably observe the accuracy with which he adjusts his facial expression to the progress of his machinations; but he is careful to show that the audience alone are his confidants. To Othello himself he is ever a benignant being, who raises his voice against extreme measures, his manner becoming more soothing as the tempest he has raised increases in violence. Mr. Ryder, who was tho Iago to Mr. Fetcher's Othello, is the Othello to Mr. Fletcher's Iago. In both positions he does himself great credit, and the manly grief which he occasionally exhibits excites in no small degree the sympathies of the public.
Adelphi Theatre.— The announcement of a "new and original drama," in five acts, by Mr. D. Boucicault, entitled the Life of an Actress, attracted a large audience to the Adelphi on Saturday last, while there was a further aliment to curiosity in the fact that the author himself had played Grimaldi, the principal character, with great success in the United States, where it was considered one of his best parts. As Miles-na-Coppalecn in the Colleen Bawn, he had not only achieved the immortal " header," but he had proved that at least in one department of characteristic delineation he was an artist of no common order, and it will he long before the scene with Father Tom is forgotten ns a specimen of genuine Irish humour. The Yankee in the Octoroon did not stand quite so high as his Milesian predecessor, but still ho served to show that Mr. Boucicault possessed in a high degree the faculty, rare even among accomplished actors, of completely sinking his own personal peculiarities and rendering himself the living portrait of the person to be represented, without confining himself to any particular type. The best informed among the audience on Saturday were aware that in the new piece he was about to play an old Frenchman, in a manner already pronounced excellent in another quarter of the globe; and certainly an efficient performance of an Irishman, a Yankee, and a Frenchman would be no mean demonstration of versatility. Whatever expectations may have been raised as to Mr. Boueicault's ability to undergo this new test of his comprehensiveness, they could not hayo been disappointed, for his delineation of the old Frenchman in reduced Circumstances, with all those peculiarities which are generally associated with Le Pire de la Debutante (the First Night of Mr. Alfred Wigan), is as finished a piece of histrionic workmanship as one would wish to see. In the figure presented to the eye there is not the slightest trace of Miles-na-Coppalecn or of Mr. Boucicault himself. He is completely the old foreigner, with scanty hair and wrinkled face, almost ^decrepit in body, but thoroughly juvenile in feeling, alternately obsequious and passionate, and able to drop on occasion from a transport of wrath to a bow of sarcastic humility. All sorts of positions are devised to render the old man's qualities conspicuous. He has adopted a female ballad singer, and lavishes upon her all the attention that the "pire de la debutante" bestows upon his own child. Equipped in an apron, he prepares her breakfast, cooking an omelette before tho audience, and tossing it in a pan with a little shriek of satisfaction, as he sees it perform the requisite revolution. He sings an Italian air to the guitar with the feeblest of voices and tendcrest expression; he launches out into a vehement imitation of Mile. Rachel, when he instructs his proUg(e how she is to play Camille in an English version of Les Horaces. When at last she comes out at a provincial theatre he is shown behind the scenes in an agony of anxiety as to the result of her debut, which turns into a frenzy of delight when the applause of the audience assures him that her triumph is complete.
The drama is so essentially a piece of one character, and the character is so admirably portrayed by Mr. Boucicault, that we almost regret its extension into a play of serious interest, interspersed with melodramic situations. The interest of the audience reached its culminating point in the third act, when the back of the]stage on the evening of the famous "debut" is represented, and the whole of the company, save an eclipsed "star" (capitally played by Mrs. Billingtou), sympathises with the joy of the adoptive father. The drop scene of the third act fell amid enthusiastic applause, but all that followed might be considered an anticlimax. In the fourth act the actress has been carried off by a villain of the Lovelace breed to a lonely manor-honse, and is rescued by Grimaldi and a young lord, who regards her with an honourable love, and wounds the Lovelace in a duel. In the fifth act she is established as a London "star," and is, moreover, privately married to her honourable admirer. The discovery of this latter fact greatly exasperated the young gentleman's mother, an austere countess, but she relents when Grimaldi, once, it appears, a Neapolitan duke, makes her remember that, humble as he looks at present, he was her lover in early youth, and she affectionately joins the hands of the young couple, feeling, probably, that excessive light might slightly singe her reputation. The applause was general at the fall of the curtain, but the extreme delight manifested at the end of the third act was somewhat damped by the expedients of the unscrupulous seducer, and the abruptness of the termination. A little condensing and a little softening will doubtless prove beneficial. Tho actress whose "life" is recorded from her lowly beginning as an itinerant ballad-singer to her elevation as a London "star" is played with much pathos by Mrs. Boucicault; Mr. Emery does his best with the deliberate villain; Mr. Billington, as usual, represents the interesting lover; Mr. Toole is amusing as a melancholy low comedian, consumed by a hopeless passion for the young actress; and Mr. Sefton capitally represents a drawling fop of the Dundreary type. But it is on the character of Grimaldi, and its thorough elaboration by Mr. Boucicault, that the attraction of the piece depends, and the talent he displays in an entirely new line is likely to cause a considerable sensation. Our readers must not suspect we have made a slip in calling a Neapolitan duke a Frenchman. For ail practical purposes Grimaldi is thoroughly French,—when his English fails him he drops into French as his vernacular; and we have every reason to believe that long absence from his native land has Caused him to lose the trace of his Italian origin.
Herr Pauer's Pjakofokth Concerts. — Herr Bauer is steadily accomplishing the task which, with honourable ambition, he has set himself. Already five concerts out of the projected six have been held; and now that they are drawing to a close Willis's large music-room is scarcely capacious enough to accommodate the amateurs desirous of attending them. Probably this unexpected overflow may lead to a second series; and if so, by entirely changing his programmes, Herr Paper will be able to convey a more satisfactory because B more comprehensive idea of his plan. He will be able, in addition, to give a fairer notion of certain composers, sufficiently distinguished in their way, to whom, in an abstract sense, the arts of pianoforte playing and of pianoforte composition are perhaps even more indebted than to the men of original and independent musical genius. Beethoven, for example, the chief and centre of these, very frequently treated the piano as a slave, fit only to obey his despotic will, and to communicate his thoughts to the world, whether suited or not to the powers of utterance most natural and individual to the instrument. The specimen of this composer introduced by Herr
Pauer at his third concert — the Thirty-two Variations on an Origina Theme (in C minor)—is certainly indicative of his wayward and fitful genius, but hardly calculated to show off to advantage the idiosyncratic peculiarities of the " key-board." One of the earlier sonatas (instance Op. 13,22,26, or 28), where not only the brilliant effects depending upon the application of a crisp and ready touch to an accommodating "action " on the part of the instrument (exemplified more or less emphatically since the pianoforte first set aside the harpsichord), but also the singing power from which is derived what musicians term "legato" — a salient characteristic of the modern piano, and the principal source of grace and variety of expression—are equally brought into request, would, we think, have better served the purpose. To combine freedom of action with full, and what may be designated "plastic" tone, in the greatest possible perfection, is now the first aim of the most eminent manufacturers, who would willingly have their instruments yield with uniform complacency to the spreading "arpeggio" of Thalberg, the elaborate counterpoint of J. S. Bach, the fluent melody of Mozart, the deep and expressive harmony of Beethoven, and the supple "scherzo" of Mendelssohn. Much has been obtained, if something still be wanting. Could Handel and Bach hear their " Suites" on a pianoforte of the present day they would unquestionably feel astonished; but that they would, without a moment's hesitation, set aside, thenceforth and for ever, the harpsichord, in favour of its richer and more ductile successor, scarcely admits of a doubt. In his specimen of Dussck (at the fourth concert) Herr Bauer was decidedly happy. The sonata in F minor (Op. 77) not merely exhibits all the peculiarities of that remarkable composer, in his full maturity (L'lnvocation was his last important work), but serves to display the various capabilities of the pianoforte, upon which Dussek was the most eminent performer of his day, to perfection. So with dementia's sonata in D (which has been compared with Beethoven's Sonata Pastorale in the same key)—a vigorous example of his manner; and the Presto Scherzando in F sharp, one of the most imaginative of the numerous family of Mendelssohnian "scherzi"—introduced respectively at the second and fourth concerts. In almost every instance the earlier specimens presented by Herr Pauer, every school included, have been fortunate. The sonatas of Galuppi and Paradisi (at the second concert) merit special notice. Such music, although emanating from composers of the second rank, is assuredly worth revival.
At the fifth concert (on Saturday), Herr Paucr gave some interesting examples of the English school. John Bull, Orlando Gibbons, and Purcell may be passed over— inasmuch as, though their names look very tempting in a programme, they really had, substantially, nothing to do with the matter which the eager and well-informed German pianist has under consideration. If not one of the three had existed the pianoforte would have been, at this precise epoch, exactly where it stands. Dr. Arne, too—while his sonata in G major is not without interest, as emanating from the composer of "Where the bee sucks," the music of Midas, and, last not least, our incomparable "Rule Britannia," might be dispensed with unceremoniously, as having exercised little or no influence on the progress of the pianoforte, theoretically or practically. Handel, whose delicious " suite" in F sharp minor, with its masterly fugue,] must always be heard with pleasure; John Christian Bach, the least worthy of the "Bach" family, whose almost puerile sonata in D might, without loss, be condemned to the musician's index expurgatorius; and Woelfl, the excerpt from whose sonata, entitled (Woelfl only knew why) Le Diable a Quatre—a rather poor specimen, by the way, of the composer who wrote the magnificent sonata in C minor, to say nothing of the brilliant Ne Plus Ultra; being all Germans, were more or less out of place in a programme which might, and indeed should, have been exclusively English. The " modern" examples—with one exception (Mr. LitollPs very meagre parody of the Thalbergian pattern, in the shape of a spinnlied)—were remarkably felicitous. These comprised a saltarella by Mr. Charles Salnman, full of life and vivacity, an andante, entitled La Placidite, by Mr. Cipriani Potter (the honoured patriarch of our English classical school, and the educator of some of our foremost players and composers)—a composition no less elegant than masterly; tho Barcarole from ProfessorSterndale Bennett's Fourth Concerto (in F minor), to praise which—all Europe having acknowledged its merit—would be superfluous; and an allegro scherzando, not inaptly, its extreme grace and beauty taken into consideration, entitled "Ariel" —by Mr.Lindsey Sloper. Each and all of these (althoug it Professor Bennett's Barcarole was taken decidedly too fast) were rendered by Herr Pauer con amore—a well-timed compliment to the country which he has for so many years adopted as his own; each and all were appreciated and applauded with the utmost warmth by the audience ; and to one of them—the Barcarole of Professor Bennett, was extended the special distinction of a loud and unanimous "encore"—to which the player as a matter of course responded.—Times. The sixth and last concert of the (present) series takes place to-day.
Tite Handel Triennial Festival.—(Communicated.)—The sale of reserved seat tickets commenced on Monday morning at the Crystal Palace and Exeter Hall. A large number of applicants were in waiting at the time of opening the doors of the offices, and at some parts of the day from 50 to 100 persons werewaiting their turn. As, however, each person received a number on entering the ante-room, no personal inconvenience resulted. The result of the first day's sale exceeded the most sanguine expectations of the Festival Committee, who have been still further pleased by the receipts of the following days, the entire purchases up to Thursday being estimated at 9,000/. In 1857 it was the 19th of May ere this amount was reached; in 1859 it was the last day of March; and as at the latter festival over 1,450/. of this amount was for halfguinea tickets (the issue of which has not yet commenced), it is obvious that the coming festival has already met with a financial success beyond that of its precursori. A noticeable feature has been the number of clergymen from all parts of the country who have secured tickets. The nobility and resident country gentry have also been more prompt in their applications. This is, doubtless, to be attributed to the International Exhibition; visitors from the country making the time suitable to avail themselves of attending the Exhibition as well as the Festival. As the Festival is also held about the time of the Agricultural Show in Batters .-a Park, the last ten days in June, an additional inducement is held out to all classes to visit London ; as also within the last few days, the leading railway companies have issued notices that their excursion rates begin on the 15th of June, it is anticipated that the last week in June will see a congregation of foreigners and country visitors in the Metropolis exceeding that of any former period. To avoid disappointment and delay the committee have issued notices requesting that country orders may leave the selection of tickets to the committee, who pledge themselves to the distribution of tickets in the order in which the applications are received. The roofing of the orchestra at tho Crystal Palace is proceeding rapidly. Competent judges predict that when this enormous cover is placed over the performers, the effect of the music—particularly in the more distant seats—will be enhanced threefold ; while the span of the great arch, 216 feet wide (or double the diameter of the dome of St. Paul's cathedral), will have a most imposing effect.
Mr. Ranstord's Concert. — Mr. Hansford's annual invitation to his friends, to pay him a visit in his public capacity was, on Thursday evening, responded to by a large concourse gathered in St. James's Hall. as has invariably been the case, for the last — we wont say how many— years. The public do not lose sight of old favourites, and when the once popular basso comes again to remind them of past times, — the times of "I am the Gipsy King, ha ! ha !"— they assemble in crowds to give him a "ehevey." Though a veteran, however, Mr. Hansford does not yetdeem it time to cry " Peccavi " as a singer; and to prove that his lungs and his science are still capable of being turned to good account, sang a new song*on Thursday, written for him by Mr. S Nelson, called "Try again," with a vigour and expression that astonished and gratified the audience, who roared applause in chorus. Miss Ransford, like her father, was content with a single solo, but that was as good as two or more. It was two new "Valse," entitled "Ti Sovvien," composed expressly for the occasion by Mr. Francesco Berger, a very difficult bravura and long, after the manner of "II Bacio." The fair artist sang it with great brilliancy, in the most exacting and rapid passages always showing the even and charming quality of her voice. The other lady vocalists who created the greatest sensation were Mile. Parepa (encored in "II Bacio"), Mad. Guerrabella (encored in "Kathleen Mavourneen," singing, moreover, another English ballad and " Qui la voce," from Puritani), and Miss Lascelles, who gave a vigorous reading of "Di tanti Palpiti." Miss Poole, Miss Eyles, Miss Hughes and Mad. Nita Norrie also sang. Mr. Weiss among the gentlemen carried off the lion's share of applause, being encored in two of his own songs. Mr. George Perren, Mr. Winn, Mr. Melchor Winter, Mr. Wallworth, tec., lent their efficient services.
The instrumentalists were Miss Arabella Goddard, Mr. Richard Blagrove and M. Paque. The fair pianist played Liszt's fantasia on Higolet'o and Mr. Benedict's new fantasia on "Cherry Ripe," with so much brilliancy and such unerring precision as to raise the audience to the highest enthusiasm. Miss Goddard was recalled to the platform as a matter of course after each performance. The conductors were Mr. Lindsay Sloper, Mr. Francesco Berger and Herr Wilhelm Ganz.
Miss Martin's Evening Concert came off at St. James's Hall on Tuesday last. The attendance, if not numerous, was elegant ; and the programme, if not classical and grand, was pleasing and well varied. Miss Martin, if we remember aright, was a pupil of Mr. Hullah's, and was introduced by him to the public some few years back, at the Hall in Long Acre, which bore her name. With the concert-giver on Tuesday night were associated, as singers, Miss Banks, Miss M Brad
shaw, Messrs. Wilbyc Cooper, Allan Irving, W. Smith and Mattacks; and as instrumental performers. Miss Fanny Howell (pianoforte), Mr. R. S. Prattcn (flute), Mr. W. Watson ("violin) and Mr. Aylward (violoncello). Miss Martin sang Bishop's ''Lo! here the gentle lark," displaying her facile, clear voice to eminent advantage, and bringing an undeniable encore; as also a new song, by Mrs. Mounsey Bartholomew, which she gave with commendable expression and taste. The names of the other artists must speak their own praises on this occasion. It is enough to say that the concert was a thoroughly good one, and that tho audience were pleased throughout.
THE TRIENNIAL HANDEL FESTIVAL, 1862.
Sir,—Will you favour mo with space in your journal that I may broach a subject in connection with the forthcoming Festival. It is on» in which most of the ladies and gentlemen who are to take part on that occasion are greatly interested.
The published accounts of the Festival of 1859 very positively prove that it was a complete success in every respect. As B musical festival, it elicited the warmest praise, as being of a most unprecedented character, both : s regards the vastness of the undertaking, and also the grandeur of the performance; and as a commercial speculation, the Crystal Palace Company and the Sacred Harmonic Society can vouch for its having been in the highest degree satisfactory. The former netted about 12,000/., and the latter 6,000/., and this, too, after all expenses had been settled for,— including organ, music, &c. This year, — partly on account of the expected influx of visitors into London to see tho International Exhibition, and partly in consequence of the greater attractiveness of the next festival — the proceeds may safely be calculated upon to amount to a very much larger sum than was realised in 1859. It is true that the managers have undertaken a very expensive work, in enclosing the roof and sides of the transept, in order to obtain a better acoustic effect; but notwithstanding this great expenditure, it is more than probable —taking into consideration that many of the orchestral requirements are already provided—that the profits of this Festival will exceed those of the Festival of 1859.
My object in writing is this:—(I.) It is my opinion, as I know it is also that of a large portion of the Handel Festival Choir, that the amateurs who rendered their invaluable assistance on the last occasion did not receive a sufficient acknowledgment for their services; and (2.) that the same want of liberality is likely to be exhibited at the forthcoming Festival. What the amateur assistants did receive in 1859 was a friend's admission ticket for the full rehearsal, and a bronze medal; what they are to receive for 1862 can be, of course, but mere conjecture. Now, Sir, when it is considered that the performers are put to a great expense so as to make an appearance befitting the occasion, in addition to the immense inconvenience to which many must be subject, in order to leave their homes and business for four days out of what may be called a week, it certainly is not too much to say, that the managers on the last occasion, did not act with much liberality or fairness to the amateurs, who were in no small degree instrumental in conducing to such a triumphant termination of the undertaking. It is therefore to be hoped, that at the next festival their services may be better appreciated, by being more suitably rewarded.
The managers may ask what is it that is expected of them. It would be absurd to expect that all in the orchestra should be paid; but I do think, and would suggest, that each unpaid assistant should have at least for each day's performance a free admission for a friend. This may seem an unreasonable demand; but I believe that such a liberal distribution of free tickets would cost but little. There is ample room in the building to accommodate all who are likely to go, while of those who might be there by means of the free admission very few probably would go had they to pay for their tickets: so that I contend the building would be only a little more crowded without much loss to the funds. More than this it would not be reasonable to ask, but at least this the assistants have a right do demand.
Should, however, the managers be unwilling to concede what I have suggested, or an equivalent to it, I believe that all who are to be connected with the next Festival are so interested in it that they would sacrifice their feelings on this subject of remuneration rather than not be present and take part in this grandest of musical events. I hope such would be the case. But though there are those who are ever ready to render their best services in an undertaking like this, it is yet manifestly unjust for two large companies to trade on the good nature of ladies and gentlemen without offering something adequate in return. I trust the managers will take into their consideration the suggestion which I think I have not unreasonably made.—Yours, &c.
Feb. 22nd, 1862. Viola.
• ST. JAMES'S HALL,
Regent Streel and Piccadilly.
MONDAY POPULAR CONCERTS.
SEVENTY - EIGHTH CONCERT, on MONDAY EVENING, March 10th, 1SGJ, Second Appearance of
Part I.—Quartet, In V minor. No. 11, for two Violin*. Viola and Violoncello, MM. Joachim. L. Ribs, H. Webb and Piatti (Beethoven). Song, " In a drear-nighted December,"' ;miss Pools (J. W. Davison). Song, " L'Eloge des larmes," Mr. I'bnNant (Schubert). Sonata, In D minor, for Pianolorte alone (first time at the Monday Popular Concerts), Mr. Chaules Hallr (C. M.TOn Weber).
Part. II.—Sonata, in A, for Violoncello, with Pianoforte Accompaniment (repealed by general desire), Slgnor Piatti (Boccherlni). Song, "The Lady1* Wish," Miss Poolr (W. V. Wallace). Song, "The Garland," Mr. Tbnnant (Mendelssohn). Sonata, in G. Op. 911, for Pianoforte and Violin (first time this season), Mr. Charles Halle and llerr Joachim (Beethoven).
Conductor, Mr. Benedict. To commence at eight o'clock precisely.
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 last instrumental piece, or between any two of the movements, so that those who wish to hear the whole may do to without interruption.
*9* Between the last vocal piece and the Sonata for Pianoforte and Violin, an interval of Five Mlnntes will be allowed. The Concert will finish before half-past ten o'clock.
Stalls, 5«.; Balcony, 3s.: Admission, Is. Tickets to be had of Mr. Austin, at the Mall, 28 Piccadilly; Chat-pell & Co. SO New Bond Street, and of the principal Musicsellers.
N.B. The Programme of every Concert will henceforward Include a detailed analysis, with Illustrations in musical type, of the Sonata for Pianoforte alone, at the end of Part I.
Miss Jessica Rankin (Clopte).—Mr. Wallace's setting of "When thou and I last parted" is published by Duncan Davison and Co., Regent Street.
To Advertisers.—Advertisers are informed, that for the future the Advertising Agency of The Musical World is established at the Magazine of Messrs. Duncan Davison & Co., 244 Regent Street, corner of Little Argyll Street (First Floor). Advertisements can be received as late as Three o'Clock P.M., on Fridays—but not later. Payment on delivery.
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To Publishers And Composers.—All Music for Review in The Musical World must henceforward be forwarded to the Editor, care of Messrs. Duncan Davison & Co., 244 Regent Street. A List of every Piece sent for Revieio will appear on the Saturday following in The Musical World.
To Concert Givers.—No Benefit- Concert, or Musical Performance, except of general interest, unless previously Advertised, can be reported in The Musical World.
LONDON: SATURDAY, MARCH 8, 186 2.
CORPORAL PHIL PURCELL was as gallant a horse soldier ns ever flourished sabre, and as downright on Irishman as ever committed blunder. Peace to his manes! he was a Monastereven man! Phil went through the whole of the Peninsular campaign, and, having lost an eye, three fingers and a small portion of his cranium, retired with distinguished laurels from the service on sixpence a day, a beacon of honour and renown, and a shining example of his country's care and munificence. But military campaigns superinduce freedom of expenditure, and tlio cavalry as a matter of course are more extravagant than foot soldiers.
The allowance presented to Phil by His Most Gracious Majesty, notwithstanding its extreme liberality, proved unequal to satisfy his luxurious desires for meat, drink and tobacco, and the Corporal was compelled to look out for a situation. He became valet to a shooting Major. It was about partridge time, when one day Phil received orders to call his master next morning before sunrise. The instructions were positive — before sunrise. Phil was the very soul of obedience, and carried out his commands to the letter. As it was difficult to call himself so early, he determined not to go to bed at all. He was not the first Irishman who staid up all night to get up early in the morning. Phil took his pipe and his mug, and passed the dark hours by the kitchen fire, sipping, smoking and drawing pleasant pictures in the turf fire. He watched and listened, but never closed his eyes. He was on duty. When Phil thought it was time for the sun to be stirring, he got up, snuffed the candle, took it in his hand, and walked out into the backyard to watch for the first glimmering of the dawn. Phil was no philosopher, or it might have occurred to him that the candle, instead of aiding, prevented him from seeing the day • break. Let us not be too satirical on Phil, and let us bear in mind that he was an Irishman, was born in Monastereven, and had left a piece of his head with the enemy.
Phil Purcell, .with the candle in his hand, looking out for the morning, may be termed analogous to our own position as shown in our leading article last week, when seeking for some indication of the approaching season we were unable to espy an)\ Our anxiety, like Phil's light, prevented us from distinguishing the faintest streak of day in the musical horizon. Had we not been over-desirous in the lookout, several luminous flashes, unerring denotements of the season at hand, could not have escaped our investigation. The first concert of the Philharmonic Society—announced to'take place on Monday — is invariably the herald that trumpets forth the advent of the musical year; the Musical Society of London follows with its inaugural meeting a few days after, and the New Philharmonic Concerts are not a great way off: all three are advertised, and each gives out promise of an exciting session. Thus far the indications of the season are clear and distinct. We are now entered in reality upon the musical year of 1862, and, if all its prospects do not lie before us, we see enough to betoken activity and splendour. The programme of the Great Handel Festival has been issued, and in a few days wo may expect to scan the prospectus of the International Exhibition. Furthermore, we can 6tate upon authority that Drury Lano Theatre has been let for the summer months to the directors of the Royal English Opera, and that it will open with Mr. Vincent Wallace's new opera, which, our readers are aware, was to have been brought out at Covent Garden.* The Italian operas alone tell us nothing. The reports about Her Majesty's Theatre are vague and contradictory. An attempt is being made, as we hear, to form a commonwealth, by whom, or which, the management may be carried on, or, at least, the responsibility undertaken. Of this commonwealth Mile. Titiens, Signors Giuglini, Bellotti and Ciampl are said to form the nucleus. But how about the payment of the exorbitant seven thousand pounds the noble proprietor demands to be paid "down on the nail?" Will his lordship be more merciful to artists than stage managers, and lower his terms?—or, sooner than allow the theatre to be closed during the carnival, will he, as a matter
* Since writing tlio above, this report has been contradicted. ( Vide another page. J
of speculation, grant leave to the singers to carry on the government on their own account? The public are deeply interested in the future prospects of the old Opera House; but we fear there is little hope for it while its fortunes hang upon the fitful mood of one who is too wealthy and too regardless of art ever to concern himself greatly about its prosperity. Mr. Gye is still silent, but we hear is busy making preparations for the new season. A few restorations of great magnificence are talked about, ono more especially, of Meyerbeer's Robert le Diable, which is anticipated to realise as grand a success as Guillaume Tell.
Thus, it will be seen, our news is less gloomy than last week; and, on the whole, despite what casuists and the lovers of opposition assert, we are inclined to think the approaching season will be eminently brilliant. Let us, at least, anticipate as much, and enjoy beforehand the pleasurable emotions to be derived from bright expectations.
To the Editor of the Musical World.
SIR,—I desire to draw public attention to a subject of great importance; and, when I state it has reference to a part of the service of the Sanctuary, its importance will be at once admitted. Of late years choral service has become very general in our Churches. Now, for what purpose was it originally introduced? Without question, it was to aid in the worship of God ; and when we bear in mind how prone our thoughts are to wander, it must be owned that any thing in any way calculated to help us to concentrate them, and to inspire us with becoming feelings —anything, in short, tending to elevate our hearts, is worthy of general acceptance.
The end aimed at, and the means for securing it, being thus apparent, what ought the singing to be where there are professed choristers?
I answer: Devout, solemn, reverent; singing that influences the listeners. It should be felt as well as understood, that it may reach the hearts of the congregation. All the appliances of Art should be brought to bear: the voice should be sympathetic; the taste unquestionable; the expression real; the articulation distinct; the vocalisation good ; the phrasing even; and the general tone subdued. Then, the thoughts, feelings, and affections of the congregation are raised and sublimated; and in proportion as they are so, are the people the more likely to be true worshippers. These remarks have more especial reference to solo singing: the same, however, holds good to a great extent with respect to choral singing.
It will be generally, if not universally admitted, that such singing is likely to secure the end sought after.
Now for the question: Is the singing in our churches of this description? I unhesitatingly answer—No. I have made it my business to go into several where choral service is performed, and probably in your editorial capacity you may have been induced to do the same. I think, therefore, that you can corroborate my statement. There are some churches in London which have stood in high repute on account of the efficient manner in which their choral services were performed. Such repute was not without reason. But of late, it would appear, a great change has taken place, and where there may have been at one time ringing, there is now nothing but shouting. Each man in these choirs, it seems, tries to outdo his neighbour by the strength of his lungs. Of what I have stated to be the essentials of church singing, there is not one. The very words are disregarded, for it is quite beyond the capacity of
an ordinary ear to understand them; and where there is a solo anthem, it is bellowed out in a coarse, harsh, throaty, unsympathetic tone; and the manner, instead of being worthy'the sacredness of the building, is, to avoid stronger expressions, careless and indifferent. The result of all this is, the sacred edifice is degraded, and, in lieu of the feelings of the congregation being raised, sentiments of an unhallowed nature, such as anger and indignation, are aroused. Singing of this kind, or rather shouting such as this, may suit "Music Halls," where "devilled kidneys" and similar condiments are paramount, but it is altogether unbecoming in the churches of the land. Far be it from me to say that the very same vocalists who thus use their lungs six days in the week are engaged on the seventh where this irreverent and improper style is adopted. Those having the management of these choirs are best able to speak on that point.
Singing has been termed by the Rev. W. W. Cazalet "Musical Oratory." I accept the definition; but the singing I allude to bears to "Musical Oratory" the same relation as subsists between "Pot-house" declamation, and the glowing eloquence of a Derby, a Disraeli, or a Gladstone, which touches our hearts, and makes us feel as do the speakers themselves.
Now where the professional 'singing in our churches does not accomplish this, it fails in its object; and where, on the contrary, it excites feelings which ought not to be aroused —unless something of a higher order can be introduced—the sooner it is abolished the better.
I am, Sec.,
March 3rd, 1862. McsiCTJS.
SCHUBERT'S MUSICAL REMAINS.
Although perfectly well aware that it is but a waste of time—even in the best of times—for me to give a notice in the Journal of Music of any fine collection of rare books or manuscripts on sale, even for less than auction prices— knowing well that not a reader, even when no rebellion is drawing upon his resources, will pay the slightest attention to such an announcement as that which I am going to make —still I will make it, on the principle that one should not weary in well doing, Moreover, I will wait a few weeks before making the announcement in England and Paris, eo that Boston, New York, &c, may have the first chance.
When Ferdinand Schubert died, twoorthree years since, he, like all teachers in Austria, necessarily left his family in very straightened circumstances. A mass of MSS. has been put into my hands to dispose of for that family's benefit, among which are several autographs of Franz Schubert. The most important of these are:—
The complete orchestral score of "Alphonso and Estrella," an opera in three acts, begun Oct. 21, 1821, and ended Feb. 27,1822.
Mass in G, in score, for four voices, small orchestra and organ, with additional instruments by his brother Ferdinand.
An operatic chorus and air, scored for full orchestra. Half a dozen songs.
There is much other music, instrumental and vocal, in the collection by him, but I cannot as yet decide whether it i» written out by him, his brother, or a copyist.
Any reasonable offer for the Opera, the Mass, or the
* Addressed to Dwiyht's Boston Journal of Music,