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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.

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• ST. JAMES'S HALL,

Regent Street and Piccadilly.

MONDAY POPULAR CONCERTS,

QEVENTY - EIGHTH CONCERT, on MONDAY

O EVENING, March 10th, 1SG2, Second Appearance of

HERR JOACHIM.

PROGRAMME.

Part I Quartet, in F minor, No. 11, for two Violins. Viola and Violoncello,

MM. Joachim, L. Ries, H. Webb and Piatti (Beethoven). Song, " In a drear-nighted December, ';Miss Poole M. W. Davison). Song, " L'Eloge des lairnej," Mr. PenNant (Schubert). Sonata, in D minor, for Pianoforte alone (first time at the Monday Popular Concerts), Mr. Chables Hai.i.r (C. M. Ton Weber).

Part. II Sonata, in A, for Violoncello, with Pianoforte Accompaniment (repealed

by general desire). Signor Piatti (Boccberlnl). Song, "The Lady's Wish," Miss Poolb (W. V. Wallace). Song, "The Garland," Mr. Tennant (Mendelssohn). Sonata, in G. Op. K, for Pianoforte and Violin (first time this season), Mr. Chari.es Hallb and Uerr 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 either 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.

*»• Between the last vocal piece and the Sonata for Pianoforte and Violin, an interval of Five Minntcs will be allowed. The Concert will finish before half-past ten o'clock.

Stalls, 5s.; Balcony, M... Admission, Is. Tickets to be had of Mr. Austin, at the Hall. 28 Piccadilly; Ciiappbll & Co. 50 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.

TO CORRESPONDENTS.

Miss Jessica Rankin (Clop(e).—Mr. Wallace's setting of "When thou and I last parted" is published by Duncan Davison and Co., Regent Street.

NOTICES.

To Advertisers.Advertisers are informed, that for the future the Advertising Agency of Tee 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 r.sr., on Fridaysbut not later. Payment on delivery.

~ ( Ttvo lines and under 2s. 6d.

&«ms l Em.y additional 10 words Orf.

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 Review will appear on the Saturday following in The Musical World.

To Concert Givers.—No Benejk-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 as ever flourished sabre, and as downright an 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 the 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 any. 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 we may expect to scan the prospectus of the International Exhibition. Furthermore, we can state upon authority that Drury Lane 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, Belletli and Ciampi 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

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* Since writing tho above, this report has been contradicted. (Vide another page.)

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 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,

Chorus and Air, would be accepted—no price is fixed. My own choice would be to have them go together in some permanent public library.

Vienna. A. W. Thatek.

Rotal English Ofeba.—The success of Mr. Benedict's new opera, The Lily of Killarney, goes on increasing, rather than diminishing. Miss Louisa Pyne, replaced, on two occasions last week, in the part of Eily O'Connor, by the clever and obliging Miss Thirl wall—who, with the true spirit of an artist, "understudies" the repertory of her superior, so as always to be ready on an emergency—has now definitely resumed the character. A short repose has been of real benefit to the gifted English "prima donna," the pride of our lyric stage, and on Saturday night her voice was as fresh and vigorous as her singing was exquisite. The opera has now been represented twenty-three times, it will run to the end of the season. We believe that nothing has been settled with respect to the contemplated removal, during the forthcoming summer season, of the Royal English Opera to Drury Lane Theatre. It is now said that Mr. Wallace's new work will be brought out at the beginning of next season.

Pbomenade Concebts.—The announcement of an intended series of Promenade concerts, under the name of Jullien, will take the metropolitan public somewhat by surprise. The explanation is, that a son of the late much-respected maestro contemplates a renewal of the popular musical performances, he having, it is said, at his command all the resources of a first-rate orchestra. The project for many reasons deserves encouragement and support, which it will doubtless obtain.

Mb. Mask Lemon About London.—The interesting course of readings by Mr. Mark Lemon at the Gallery of Illustration having reached its close, the entertainment will be carried by him into different parts of the country. A round of provincial engagements will, we understand, occupy Mr. Lemon until the 21st of April, when he will again revisit the first scene of his recreative and informing labours.

Royal General Theatrical Fund.—Mr. Alfred Wigan will occupy the chair at the next Anniversary Festival of this institution, which is fixed to take place on Monday, the 14th April.

Miss Wtndham.—This well-known actress was, on Saturday week, married at Kensington Church to Captain Henry Baring, son of Henry Baring, Esq., M.P. for Marlborough.

Mixb. Titiens is fulfilling a month's engagement at Barcelona.

The Sisters Mabchisio are at Turin, where they are engaged at the Opera for two months. They return in May.

SACRED HARMONIC SOCIETY. The first appearance of Mile. Titiens at the concerts of this institution, with the conjunction of the Lubgesang of Mendelssohn and Rossini's Stabat Mater in the programme, crowded Exeter Hall to a degree almost unknown. The two styles exhibited in these very dissimilar works are fully appreciated by the Teutonic songstress; but Rossini is evidently more familiar to her than Mendelssohn. The success, however, of her debut on the timehonoured platform will, no doubt, induce her to give further attention to the works of Handel and Mendelssohn, wherein she may be assured a solid reputation is to be attained. The facile delivery of the higher phrases in "Praise thou the Lord" (Lobgesang) brought Mile. Titiens at once prominently before the audience, and throughout the work there wag no diminution in the strength of voice and clearness of tone, which have been her attributes for some time past. The passage on the words "The night is departing" may be cited as an especial instance of grand and effective delivery, though certainly inferior to that of Mad. Novello. In the Stabat Mater, the "Inflammatus" (the high C in which rang out with wonderful power and brightness) was the noteworthy feature as s solo; but the best singing of the evening was in the duet," Quis est homo ?" in which Mad. Sainton was second soprano. Since she first appeared in public as Miss Dolby, we never remember the last-named lady singing with more vigour of style and finished delicacy of expression than on this occasion.

It is seldom we hear two such artists, foreign and English, in a duet; and still more rarely do we find the native singer upholding so successfully the honour of the national school. Mrs. Netherclift (late Miss Fanny Rowland), who was second treble in "I waited for the Lord" (Lobgesang), sang her part in a truly excellent manner: perfectly correct in time and tune and with real feeling for the beauty of the music. Mr. Wilbye Cooper undertook the tenor part at a very short notice, and added to his reputation for careful and tasteful singing. Signor Belletti won unanimous good opinion in the " Pro pee- cans," and the other bass music of the " Stabat Mater."

The chorus singing was generally first-rate; but the passage in the Lobgesang, commencing " Therefore let us cast off the works of darkness," is, we fear, never to go well; nor the "Amen " of the " Stabat Mater," one of the very rare fugues with which Rossini has favoured us. The band played the three orchestral movements of Mendelssohn's work irreproachably. The intense melody of the second movement (in G minor) created a sensation, while the occasional purity of the Adagio (so marked religioso) was appropriately a unique specimen of instrumental performance.

The programme was repeated yesterday evening, the principal soprano music being Sung by Miss Parepa. It was a genuine triumph for her. Her reading of the music of the Lobgesang was very spirited and pointed. The "Inflammatus" (Stabat Mater) was another success. The duet u Quis est homo?" was again encored. Mr. Wilbye Cooper enhanced the impression he created a week since in the "Cujus Animam.". „

MONDAY POPULAR CONCERTS. At the concert on Monday night (the 77th) Herr Joseph Joachim made his first appearance since 1859. When the Monday Popular Concerts were originated (in the spring of that year) the quartetplaying of this distinguished violinist was a never-failing attraction. If at that time it was pronounced, and justly so, "unrivalled," it is difficult to find terms for it now. Herr Joachim is one of those earnest and conscientious artists who, uniting enthusiasm with the severest judgment, never know what it is to stand still, but, aiming at an ideal standard, are continually approaching nearer and nearer to perfection. That he is, beyond comparison, in every sense, the most admirable performer on his instrument to whom that country has given birth which reckons the greatest of great masters among her children, must be unanimously admitted. A musical prodigy as a boy,—which those in England who heard him play Beethoven's violin concerto at the Philharmonic Concerts when only thirteen years of age (in 1844) can attest,—he has made such excellent use of his natural gifts, has looked at his art from a point of view so serious, and with so fixed a conviction that it is a thing to be revered, and never for any consideration to be trifled with, that now, as a man, though still young, he holds, by general consent, the very highest place his ambition could, under any circumstances, have urged him to covet. Comparisons may be instituted between other eminent artists, one excelling in this, one in that particular; but Herr Joachim stands apart from the rest, and the advocates, however warm, of his contemporaries would never for an instant think of questioning his supremacy. A thorough proficient in every style, it is, however, as an interpreter of Beethoven that he especially excels—indeed, sets competition at defiance. Nobody in our time has played Beethoven's music like him; and as the two great schools of Paganini and Spohr—the characteristics of which, though the antipodes of each other, are happily and advantageously combined in modern art— have created a class of players equal to the achievement of what before these schools existed would have been deemed impracticable, it is more than probable that no one at any period has expressed Beethoven's thoughts with such irreproachable mastery and skill. That he should, therefore, come forward, after three years' absence, with one of the quartets of "the immeasurably rich musician," was natural and to be expected. To his honour, also be it said, Herr Joachim accepted for the occasion one of those later compositions which, owing to their profound and recondite character, are, even in the present day, least understood, and in consequence, by the majority, least appreciated — the fifteenth quartet (Op. 132), in C sharp minor. He must, at the

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and able direction of Mr. Augustus Manns. Mr. Manns sees that there are other elements of attraction besides excellence —novelty, to wit, which he endeavours to turn to the best account. The programmes in general contain some one work which is either introduced for the first time at the Crystal Palace Concerts, or has been played once or twice previously, and is little known elsewhere. On Saturday week Beethoven's Pastoral Symphony, and Schumann's Overture to the Brides of Messina, were given. The band also accompanied M. Sainton in his own violin concerto, a work not only indicating a thorough master of the resources ot the instrument, but an intelligent musician to boot. M. Sainton played splendidly, and was loudly and unanimously applauded. The eminent French violinist also gave his own Scotch fantasia, a % brilliant affair brilliantly executed and warmly appreciated, and all the more interesting from being accompanied on the pianoforte by his accomplished lady. The vocalists were Mad. Sainton" Dolby and Miss Emma Charlier. It was the first appearance of the last-named young lady, who sang the ballad, " The Forsaken," and Mr. Wallace's "Sweet Spirit, hear my prayer," but so nervously as to preclude us passing an opinion. That the voice is of good quality is all we can at present say. Mad. Sainton-Dolby gave the " Evening Prayer" from Mr. Costa's Eli, with quiet and devotional fervour, and by her excellent performance pleased universally. In Mr. Henry Smart's ballad, "The Lady of the Lea," she obtained an irresistible encore. .

Notwithstanding the inclemency of the weather, which combined the nipping cold of winter with the rude blasts of the March wind, the music-room was well filled at the second concert, on Saturday last, and the performances went off with considerable spirit. The symphony was Mendelssohn's in A minor, and its execution was literally everything that could be desired. The adagio was perfectly played, the passages for the wind instruments being as harmoniously blended as though the sounds were produced by one performer on an instrument capable of representing the combination. This is the result of the constant playing of the same executants under the same conductor. The only overture was Cherubini's Les Abencerrages, which concluded the concert. Moscheles' fantasia, Recollections of Ireland, was so well played by Miss Fanny Howell, a pianist of great promise, who made her debut at one of Mr. Hullah's concerts at St. Martin's Hall, three or four years ago, that the young lady was recalled to the platform and applauded very heartily. The vocalists were : — Mad. Guerrabella and Mile. Georgi. Mad. Guerrabella gave a brilliant version of " Ernani, involarai," and was encored, though she declined the repetition of the caballetta. She also gave much satisfaction in the well-known ballad "Kathleen Mavourneen." Mile. Georgi was favourably received in " O mio Fernando," and Horn's "The deep, deep sea."

At the next concert (this day) Miss Arabella Goddard will perform. "According to the way the announcement of this fact is printed," says the Morning Chronicle, " it would appear that she is to play Mehul's symphony in G minor, for the first time in England." It would assuredly be the first time that Miss Goddard has played it in this or any other country. We take it that Miss Goddard is to perform (piece not specified), and that Mehul's symphony is to be done by the band.

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