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'the Worth Of Abt Appears Most Is Deducted: It Is Wholly

» Music, Since It requires No Material, No Subject-matter, Whose Effect

AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES"—Giithc.

SUBSCBXPTION—Stamped for Postage—20s. PER ANNUM Payable in advance by Cash, or Post-Office Order to B00SET & SONS, 28 Holies Street, Cavendish Square, London, W.

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ST. JAMES'S HALL.

NEW PHILHARMONIC CONCERTS.

DlftECTOR AND CONDUCTOR m „ DR. WYLDE.

Principals Of The Orchbstra HERR MOLIQUE and MR. H. 6LAGROVE.

ELEVENTH SEASON—The Subscription is for FIVE GRAND VOCAL and INSTRUMENTAL CONCERTS, and FIVE GRAND PUBLIC REHEARSALS, on the Saturday Afternoons preceding the Concerts. Terms, 2i. 2s., 1/. I Is. (id., and U Is.

The first CONCERT will take place on MONDAY EVENING, April 7th, and the PUBLIC REHEARSAL on SATURDAY AFTERNOON, April 5th, when Miss Arabella Goddard will perform, and Mile. Titibns will make her first appearance in London this Season.

The second CONCERT will take place on WEDNESDAY EVENING, May 7th, and the PUBLIC REHEARSAL on SATURDAY, May 3rd, when the Sisters MarCbisio, Mr. J. F. BARNRTTand Herr Joacuiu will appear.

The Orchestra and Choir will consist, as in former Seasons, of nearly 300 performers. The Orchestra will perform the great Instrumental Works of Mozart, Beethoven, Mendelssohn, Weber, Spohr, Stc. The following eminent solo artists have been engaged at these concerts, many of whom, with others who may arrive in London, will take part in the ensuing Concerts :—Mile. Titiens, Mad. Borghi-Mamo, Miss Louisa Put-, Mad. Lemmens-Sherrington, Mile. Parepa, Mad. Anna Bishop, Mad. SaintonDolby, Mad. Rudersdorff; Sig. Gluglini, Mr. Sims Reeves, Sip. Belart, Herr Reichardt, Mr. Wllbye Cooper, Mr. Perren, Herr Formes, Sig. Belletti, Mr. Weiss, Mr. Samley. Pianists Miss Arabella Goddard, Mad. Schumann, Mad. Pleyel, Mile. Clauss; Mr. J. F. Barnett, Mr. Kubenstein, Herr Lubeck, Mr. C. Halle. Violinists: Herr Joachim, Herr Ernst, Herr Wieniawski, Sig. Sirori, M. Vieuxtemps, Mr. H. Blagrove, Herr Becker. Violoncellist: Sig. Piatti.

Prospectuses, showing the dates of the Concerts and a list of the Subscribers, are now ready.

Messrs. Cramer & Co., 201 Regent Street; Keith, Prowie & Co., 28 Cheapiide; Mr. Austin's Ticket Office, St. James's Hall.

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THE ART-WORLD.

NEW ILLUSTRATED ART PAPER. On SATURDAY, March 1, 1862, price Fivepence (Stamped for Post Sixpence), No I. of

THE ART-WORLD, AND INTERNATIONAL EX
HIBITOR: A Weekly Illustrated Journal of Painting, Sculpture, Architecture
Ornamental Art and Manufactures, Engraving, Photography, Poetry, Music, the
Drama, &c. Edited by Henry Ottlsy, assisted by Writers of Eminence in the vari-
ous departments of art.

*' Everywhere I see around me
Rise the wondrous World or Art."Longfellow.

This Journal will give a faithful report of all the productions and doings in the whole circle of the Fine and Decorative Arts—Original Articles upon the History of Art, and the interests of Artists In their profession ; Reviews of New Books relating to Art and Belles-Lettres; besides a summary of the proceedings of Artistic and Learned Societies, Art On-dlU, Notes of Important Sales of Works of Art and Vertil, Correspondence, &c, copiously illustrated in a novel strip.

The tone of criticism in THE AR r-WORLD will be candid and impartial: intolerant of glaring error and presumptuous mediocrity ; generous and encouraging la every case where merit or promise is recognised.

The contents of the International Exhibition of 18C2, coming 'within the scope of Fine or Decorative Art, will be amply described and illustrated in THE ARTWORLD. Each Number of THE ART-WORLD will contain thirty-two handsome pages, printed in the best style upon paper of a fine quality.

Published by S. H. Lindlby, at the Office, 19 Catherine Street, Strand, where communications for the Editor, Advertisements, &c, are to be addressed; aud by Kent * Co., Paternoster Row.

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TO MUSICSELLERS.—The Advertiser is desirous of la Re-engagement as Assistant and Clerk, or to Manage a Country Business. Is experienced in the Trade, and can be well recommended. Address, S. S. S., care of Messrs. Duncan Davisoa & Co., *H Regent Street.

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M. WIENIAWSKI.

MR. TENNANT begs to announce that he has concluded an Engagement with the celebrated Violinist, Mr. WIENIAWSKI, for the forthcoming Season.

All Communications, respecting Engagements, to be addressed to Mr. Jarrett, Musical and Concert Agent, at Messrs. Duncan Daviion & Co.'s Foreign Music Ware* house, 244 Regent Street, W.

PHILHARMONIC SOCIETY.—Second CONCERT, at the Hanover Square Rooms, on MONDAY EVENING, March 24. ^Th^ jerformed:—Spohr's Sinfonia," The power o. 8; Mendelssohn's Overture to Athalie,*

Weber's Overture to Oberon:

Miss A a* ucLLA Godoaid will play Sterndale Bennett's Caprice in E major Bach's Prelude and Fugue alia Tarantella.

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"pASTLES IN THE AIR." Romance. Written by

V>/ J. Paioravi Simmon, Esq.; composed by J. F. Euki.ne Goodivs, M.A.,

Cantab., price 2s. 6d.

London i Duncan Davison k Co.

"TT IS NOT ALWAYS MAY." Poetry by Long

JL Fellow i Music by J. F. Ekskink Gogdkve, M.A., Cantab., price lis. 6d.
London: Duncan Davison, ** Co.

J^EW VOCAL MUSIC (FOR TEACHING).

"Sunshine" (Ballad)

"The songs of happier days" ...

Sweet little Jenny"

"Unchanged is my heart"

"Little Bertha" • ...
"Lord, hear us, we implore Thee"

"Mine, ever mine"

'The golden stars"

'Good night " (Cradle Song) ...

'The Fairies whisper"

'Come, Fairies, come " (Trio) ...

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The above Songs, Sc., selected for Class Practice by J. J. Gakin, Esq., the eminent Professor of Singing on the Wilhelm and Hullah .Systems, are published by Duncan Davison & Co., 241 Begent Street, W.

ROBERT COCKS AND CO»S

NEW MUSIC.

"T AYS of the OLDEN TIME," freely transcribed for

I 1 the piano. New series. By THEODORE KULLAK. Six numbers each 3s., via.: — No. I. " Lay of the Night;" Reich irdt. 2. "Military Song:" Zumsteeg. 3. "The Violet;" Mozart. 4. Liitzow's Wild Hunt ;" Weber. 5. 'Hope told a flattering," etc.; Paesiello. 6. " Contentment; " Moiart.

WHAT are the WILD WAVES SAYING?" For thepiano. By BR1NLE Y R ICHARDS. Solo, 3<.; duet, 4s. "Anelrgant arrangement, written carefully and tastefully, and brilliant without being out of the reach of the majority of amateur pianists."—Boston Journal of Music.

"TN MEMORIAM." —H.R.H. the Prince Consort.—

J_ Elegy, for the pianoforte, elegantly Illustrated, 3s. "One of the most graceful

and feeling tributes This little piece is equally beautiful and touching."—

Press.

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THE OPERA AT MILAN.

(From a Correspondent.")

March 3rd, 1862.

Although the "star" system is avowedly ignored by the management of the Milanese Opera House, no theatre has ever been more dependent upon the efforts of one artist than has the Teatro della Scala during the present season. Without the assistance of Mad. Csillag, whose dibut in Verdi's Ballo in Maschera was noticed in a former litter, it is difficult to imagine what the management would have done to satisfy the subscribers and attract the public. With the exception of the Hungarian prima donna, the company is unquestionably inefficient. As the season has advanced, the enthusiasm of the supporters of the different artists has calmed down—the applause of the claquers has lost its power, and the singers have been gradually allowed to take position according to their individual merits. The repertory at the Scala during the present Carnival has consisted of four operas: lone, by Petrella, which was produced at Christmas, and has since been played on the off nights; Verdi's Ballo in Maschera, looked forward to with so much interest by the Milanese, and so nearly condemned on the first representation; Braga'a Mormile, a decided failure; and L'Uscocco, by Petrocini, given on the 25th February. In two of these, Ballo and L'Uscocco, Mad. Csillag sustained the principal character; and to her having done so may be attributed the success with which these works have met. The favourable impression she produced upon her first appearance as Amalia in the Ballo, when the other artists concerned prejudiced the performance by their extravagant gestures and singing out of tune, has since been most substantially confirmed. Mad- Csillag has become the chief attraction of the theatre—is spoken of as a second Malibran, and, to the delight of the Impresario Merelli, has carried him through the Carnival season triumphantly.

The last novelty at the Scala, Petrocini's opera above mentioned, is a work of some pretension. The libretto by Signor Leone Funis, a distinguished litterateur, is founded upon the French novel of VUscoque, and affords ample scope for the display of dramatic talent on the part of the composer. But Signor Petrocini "hat sich noch nicht ausgcdriickt," the Germans would say. He has not yet set aside the habit of thought peculiar to a student young in the art of composing for the stage. A too rigid observance of the rules of harmony and construction still fetters his imagination. His writings evince great care and more profound study tban do those of many of his less thoughtful countrymen; but there is a lack of verve and spontaneity in the opera in question which makes it heavy and monotonous, a serious drawback in a dramatic work. In the instrumentation, Signor Petrocini has evidently been desirous to prove his knowledge of the resources of the different instruments, and has so far succeeded; but his combinations are not felicitous, although his score is invariably grammatically correct and often too minutely elaborate. In short, L' Uscocco has all the errors common to the early works of most musicians. It remains to be seen whether Signor Petrocini will hereafter fulfil the expectations which this, one of his first operas, notwithstanding its faults, would seem to justify.

A quartet and the aria d'entrata for the soprano were the morceaux which, on the first representation, met with the most unqualified approval of the audience. The opera has not been given more than once, owing to the illness of Mile. Acs, the contralto. It is hoped that the lady will be sufficiently recovered as to re-appear in the course of this week.

Signor Braga, a violoncellist of very great excellence, was less fortunate in his venture than Signor Petrocini. // Mormile was blackballed, and being unanimously declared totally unsuited to the taste of the Milanese, has not since been heard of. Another candidate for musical distinction is a Signor Boccolini, whose opera, entitled La Fidanzata di Savoia, was produced on Saturday, at the Carcano. Judging from the enthusiasm that prevailed on the occasion, a greater success has never been achieved. It is, however, necessary to wait until the dust thrown into the eyes of the public by the young composer's friends shall have subsided before deciding whether the result of the first night be genuine or not. The music is in the pure Verdi school, and the performance altogether of the usual average at the Carcano—noisy and violent rather than refined, and therefore all the more appreciated by the habitues of this particular theatre.

Mad. Csillag's success, together with the production of the new operas by Braga, Petrocini, and Boccolini, constitute all that has happened of any importance in the musical world of Milan for the last two months. At the Scala, Donizetti's Don Sebastian is in active rehearsal, and will be given before the end of March, when Mad. Csillag's engagement terminates. Her successor, it is said, will be Mad. VerdLorini, an artist formerly well known in London, who has for the past five or six years had a brilliant career in Italy.

An opera by Petrella, La Mororina, has been chosen by Mad. Lorinl for her debut, which is to take place early in April The king is expected in Milan on the 6th, and great preparations are in progress to celebrate the royal visit. There will probably be a command night at the Scala, which on such occasions presents an appearance magnificent to behold, and in every respect worthy the presence of a monarch.

MUSICAL ODDS AND ENDS FROM BRUSSELS.

(From an occasional Correspondent.)

Mr Deab Wohld, — Two causes have conduced to call forth this epistle; the first cause is that, having some little leisure on my hands, I thought I might as well employ it by jotting down a few notes concerning the musical doings here; the second cause is, that I fancied you were not, at this period of tho year, particularly flush of matter, despite your well-known immensity of mental resource and command of the earliest intelligence, and that, consequently, the smallest contributions would be thankfully received; while the third and last of the two causes aforesaid is that a man likes to see his lucubrations in all the glory of "long pica," or "bourgeois;" such, at least, is the case with an amateur like myself, though I can easily understand that the charm of the thing wears off with the novelty, and that, were I under the necessity of continually filling the maws of half-a-dozen gigantic steam presses, as you are, I should not be so anxious to figure in your columns. As yet, however, I am under no such necessity, and can still exclaim with—not after—Byron:

"'Til pleasant 'ore to tee one's notes In print;
For type U type, although there's nothing in t."

Having thus gracefully commenced my communication, and, by this preparatory flourish of trumpets, succeeded, I trust, in enlisting your sympathies, if you have more than one, and exciting your curiosity, I will, without more ado, proceed to unfold to your gaze the more or less rich stores of news in my possession.

To begin, then, with the Italian Opera. Like Herr von Flotow's Marta, which was basely done to death by the felon throats of the company, La Figlia del Beggimiento proved a failure. You will hardly credit this, but it is a fact, and shows how much the composer depends upon the artists. When such a charming production as the above masterpiece can be thus burked, after its popularity has been so firmly established, what would have been the chance of the unlucky composer for achieving success, had his work been represented in this style on tho first night of its performance? Music would probably have lost one of the brightest gems that glisten in her diadem, for all new operas which do not succeed at first are not Fidelios. Who knows how many great operas may have been consigned to oblivion, and how many great musicians may have passed their lives in one unending round of professional drudgery and blighted hopes, simply from the incapacity of the singers 1 On the occasion to which I am now referring, Mile. Patti, the delightful, the entrancing, sustained the part of Marie, but even her brilliancy was obscured by tho wretched way in whiph she was supported, or rather crushed, by those around her. I felt so indignant that I vowed I would not enter the theatre again as long as the Italian company was here, and I kept my resolution. They have now left, and so I forgive them, and I trust that Mile. Adelina does the same.

Pianists, violinists, vocalists, et hoc genus omne, are not, as a rule, millionaires. Such being tho case, until the abolition of the droit des pauvres, against which the manager of the Theatre des Galcries, supported by most of the papers, lately appealed, but which is still maintained in all its integrity by the Conseil Communal, I should strongly advise ambitious virtuosi to eschew this "petit Paris." It is well known that—even where the droit des pauvres does not flourish with the same virulence as in the capital of Belgium — for two or three concerts which pay, there are thirty or upwards which cost the artists who give them a tidy sum for the pleasure of figuring before the public. But here matters are far worse, as is evident from the following circumstance, which took place this winter. A tolerably celebrated young Viennese violinist, attracted, as he said (Heaven forgive him), by the musical reputation of Belgium, paid a visit to Brussels. He gave a concert. Thanks to the national enthusiasm for music, tho receipts amounted to Bomewhere about the enormous sum of eighty francs, the expenses not being less than three hundred. This latter sum would not go far in London, it is true, but then the Brussellians have not to puy as much as we have for advertisements and other means of publicity. Thus little posters, for instance, are nothing when compared to the gigantic announcements which figure on our London walls, and, consequently, as their posters are not so large, their bills must be less. After this parenthetical observation, I will resume the thread of my story. Out of the eighty francs, above-mentioned, our adventurous violinist was mulcted, in the first place, of some twenty or twenty-five francs for the privilege of giving his concert, and, in the second, of the tenth part of his receipts, about which, by the way, I have made a mistake. The poor young Viennese, thus laid under contribution, in obedience to the Belgian laws relating to musical matters, was young and inexperienced. He was ignorant of the precautions adopted by his sharper brethren, and he had to pay pretty dearly for his ignorance. He had not put any distinctive mark on those tickets which he had given away, so that he was absolutely compelled to pay the city of Brussels for the pleasure of inviting his friends to come and hear him play. Let me, however, be just. His whole wealth did not consist in his eighty francs. He had a watch. The authorities did not deprive him of it! Still, despite this act of liberality on their part, I would strongly advise any aspiring young musician who may think of coming to Brussels for concert-giving purposes, to attend to the following moral: Don't!

Talking of concerts and concert-givers, reminds me of Herr Laub, who is, most undoubtedly, a violinist of great merit. Every time he appears, he affords the most elevated artistic enjoyment to all true lovers of music That which raises him to such a height is his great variety, which enables him to attain perfection in every branch of his art. Other virtuosi, of the sort, I mean, we generally hear in this part of the world, may possess indisputable dexterity, but they are far too fond of tricks and vagaries. A strong, decided tone is looked upon by these gentlemen as unbecoming, undiplomatic, and — since they would fain change the heights of Parnassus into a level floor, and the terms of admission into patent leather boots, white kid gloves, and Ess Bouquet — they exhibit alarmingly developed tendencies towards a sweet flautando or flageolet. Herr Laub's mode of proceeding is very different. For him, virtuosity — pray excuse the term, it is becoming so general now that I must conform to the fashion and adopt it; besides, to confess the truth, although I hated it at first, as I did "all-round " collars, I am beginning to like it, as I eventually liked "all-rounders " —for him virtuosity serves only as a means to achieve really artistic ends. Many people are in the habit of affirming that virtuosity destroys grandeur of tone. The majority of modern virtuosoes appear to confirm this assertion, but that it is an unjustifiable one, is constantly proved by Herr Laub in the most striking manner. Indeed, it would be a difficult task to say what quality is most to be admired in him; conception, fullnes3 and purity of tone, brilliant bravura, or — extraordinary power of supporting fatigue. He possesses all these excellences in an equal degree, and in equal perfection. After the concertos of Beethoven and Joachim *, which I may consider sufficiently well-known or discussed, the elasticity of his playing the other day was proved at the close of the evening, in a Folonaiso of his own composition, to be as fresh as it was at the commencement of the concert Herr Laub was supported by Mad. Eliza Cash, Herren Leo Lion and Seyffort. I will restrict myself to saying that the programme was altogether an admirable one, and that as far as the solo performers, vocal and instrumental, were concerned, everything was well received, though, as a matter of course, the concertgiver obtained the greatest amount of laurels. I have, on the other hand, a bone to pick with certain members of the orchestra, whose playing, in the well-known air from Beethoven's Fidelio, was most extraordinary. The oboes deserve the greatest amount of blame. Must they always play out of tune, besides having a tendency to play too low ? In future, gentlemen, indulge in a somewhat greater tendency upwards j endeavour, also, to ennoble your tone a trifle, and to get rid of its insupportable sharpness. As for the bassoonists, they do not seem to think that the scales of B major and E major belong to the A, B, C of their art. And then the hornplayers! There is an old German proverb which says: "Gebrustet ist nicht geblasen!" After all, Beethoven does not require so very much in this air from the performers ; but even what he docs require he does not always get, as you may gather from what I have said.

Who shall ever pretend to explain the course pursued by human thought! Will any philosopher undertake to inform me by what mental operation my ideas suddenly fly away from Herr Laub and wing their flight to M. Louis Brassin? Perhaps, the most satisfactory explanation would be that I have lately been reading a notice on the latter gentleman. Mark! I Bay only "perhaps "—life itself, as the Frenchman tells us is only "un grand peut-ltre." However, to leave speculation and

* What concertos — which concertos — of Beethoven and Joachim? Our esteemed correspondent has forgotten to inform us of what concert he is speaking — though we presume, from the context, that he is alluding to one given by Herr Laub. He says he is an amateur, and we should fancy no one would for a moment doubt him. However, as the London Journal might observe, perhaps, "Wahrheit shows signs of promise. He may write again." [ed. M. W.]

confine myself to stern fact, I may as well inform you that the notice to which I have just alluded, and which treated more especially of M. Louis Brassin's pianoforte playing at the seventh Gesellschafts-Concert in Cologne, surprised me considerably. Either M. Louis Brassin must have improved much, very much, since he was in London with the Cologne Choir and played at the Hanover Square Rooms, when he failed to pro-duce the slightest impression (of a favourable nature, at least—let me be clearly understood), or my ideas of excellence differ toto ccelo from those entertained by one of the first critics of Cologne. Here follows the notice in question, together with a few observations of my own, which I have made so bold as to add thereto:—

"For some years, we have followed with great interest the artistic career of this eminent" (why "eminent"?) "pianist, and have borne witness to the development of his musical genius" (" genius "o " which has been consolidated " (until it has become very dense, eh?) " from year to year, by the most serious study, and that, too, in so prodigious a manner" (Oh! Domine Sampson!) "that he now satisfies the highest expectations which can be formed of a first-class pianist. We have at length enjoyed the opportunity of hearing this excellent artist, whose reputation has long been made abroad" (Where? Not in London, at all events), "and of convincing ourselves that, in this case, it has been legitimately obtained." (In what case? The critic is obscure.)

"Born at Alx-la-Chanelle, and educated at Leipsic, the Conservator/ of which city he left full of honours, Brassin has preserved, through all his peregrinations, the value ofatruly German artist" (for the sake of truly German artists, I sincerely trust not). "in the widest acceptation of the word M (very wide, Indeed—of the mark). "He proved this by his ideal conception and masterly interpretation of Schumann's Concerto; he proved it by all hts'own compositions, especially his Etudes, Op. 2" (which are simply a specimen of Liszt out-Liszted), "in which the passages introduced for the development of mechanical dexterity are ennobled by the profundity and purity of the musical thought on which they are based 1! I Besides Schumann's Concerto. Brassin" (why not M. Brassin?) "played some Rhapsadiet" (Rhapsodies with a vengeance 1) by Liszt, with fabulous" (of course) " virtuosity; the certainty and lightness which characterised the interpretation" (these same Rhapsodies certainly require interpretation) "of the most difficult passages, as well as the elegance and finish " (I should have preferred the " finish," I frankly own) " of the most delicate touches, excited the admiration of the audience as much as the fire and impetuosity with which he overcame the most inextricable complications plunged them in astonishment. In Brassin " (once more, why not " M." Brassin Y the omission of the "Monsieur" is allowable only in the case of indisputably great men, or of indisputably inferior ones. I do not think M. Brassin can be justly placed in either class) "we behold Liszt once more in his palmiest days" (wilt Dr. Liszt take this as a compliment, we "on.. derl). "What raises" (M.) " Brassin's playing above that of other pianists is that calm, that tranquillity, free from ought like charlatanism, which proclaims the master. His success was' colossal."

So, I should say, must have been the good nature, or — well, no matter, of the audience—even when " Doctors disagree, who shall decide?" What do you say? What I say amounts to this: Either the Cologne critic or your humble servant must be — (leave a space for the expletive, as it is a strong one) wrong! I may add that, if you decide in my favour, which you must do, if you possess one spark of justice and discernment in your whole composition, for there is not the faintest doubt that I am right, you shall have another letter shortly. If you pronounce against me, I will never forward another line to your paper.

Yours, truly and expectantly,
Wahrheit.

"COMING TOWARDS HOME."

The dew is frozen white

On the beaten ground;
It is a wintry sight,

All the country round.
Though far I've come to-day,

Through many a weary throng,
Yet to myself I say —

"Take courage! be thou strong: ,. .
For thou art come to see

Thy childhood's home so dear,
And friends who wish for thee

To be ever near."

See now the stars away

Fade from out the sky;
It is the break of day,

Soon I shall be nigh.
Yes! there upon the hill

The homestead now I see;
List! all around is still:

They expect not me!
Before the rising sun,

The'moon still on the wane,
Dear friends, I to ye come,
» Ne'er to part again.

Carlisle, 1862. Wm. Bbock.

SOCIETY FOR THE ENCOURAGEMENT OF THE FINE ARTS.

(From the Art-World.*)

This Society was founded in 1858 for the purpose of promoting the cultivation of the Fine Arts, not as taking the initiative in such movements, but as seconding and directing a tendency already conspicuously manifested amongst all classes of the community. A very essential distinguishing feature in the scheme of the promoters of the Society was, that going back to first principles, and to the source from which all the Fine Arts derive their essential conditions, namely, the essence of the beautiful, it was resolved to treat all those Arts as a family, and to promote intimate and friendly relations between them and between their professors in common. But more important still,—the public, who for some years past have learned to appreciate and cultivate Art in its various forms and modes of presentation,— Design, Poetry, Music, &a, were invited to take part in the Association, and have responded to it with alacrity, and in daily increasing numbers; and the consequence is the organisation of an institution combining numerous intellectual pursuits and interests, to a certain extent between themselves distinct in purpose, yet of cognate origin, in one compact confederacy. Of course, at starting, there were many difficulties to overcome, and then some most friendly disposed to the project had misgivings as to its supposed realisation. All doubts upon this score, however, owing to the indefatigable exertions and prudent conduct of the Council, may now be said to be at an end, and the Society for the Encouragement of the Fine Arts may be considered to be firmly established, with a career of usefulness and interest before it which will entitle it to take distinguished rank amongst the scientific and learned institutions of the country. The Society, on its inauguration, had the advantage of appearing under the presidency of the Earl of Carlisle, than whom a more zealous and judicious promoter of intellectual progress does not exist; and upon his Lordship's removal to the seat of Government in Ireland, his place was taken by that distinguished patron of art, the Earl of Ellesmere, the Earl of Carlisle retaining his connection with the Society as one of its vice-presidents. The other vice-presidents are the Earl of Dudley, Lord Fevcrsham, his Excellency the Marquis d'Azeglio, Viscount Ranelagh, the Rev. Sir F. A. Gore Ousely, the Lord Mayor (Cubitt), and W. Tite, Esq, M. P. and president of the Royal Institute of British Architects. The Council includes the names of active workers in every branch of the Fine Arts.

The scheme of operations of the Society, as propounded in the prospectus first issued, was a pretty extensive one; it being, however, at the time avowed that it was only in contemplation to realise it in its several parts gradually, and from time to time, as circumstances would permit. In the first season the transactions of the Society were limited to the holding of conversaziones; and it is a noticeable fact that such was the sympathy already awakened for it amongst the members of the exhibiting Art Societies, that many of them, the the Society of British Artists, the Institution of Fine Arts, the Architectural Association, the proprietor of the French Gallery, and others, freely lent their galleries during the exhibition season for the purposes of these conversaziones; in addition to which, in subsequent seasons, the noble president has thrown open the magnificent Bridgcwatcr Gallery, and the Lord Mayor, as vice-president, the Egyptian Hall at the Mansion House, for similar reunions, which have all been most numerously attended. On these occasions a paper on some branch of Art has been read, which has been followed by a concert, vocal and instrumental, in which — cooperating in the general expression of recognition and goodwill — professional artists of eminence have, in the handsomest manner, given their services gratuitously. When we mention^ amongst these the names of Mile. Parepa, Mile. Calling, Mad. Endcrssohn, Mad. A. Gilbert, Miss Palmer, Signor Gardoni, Hcrr Formes, Mr. Santley, M Ole Bull, &c, and add that the musical arrangements have been conducted by Mr. Benedict and Mr. Alfred Gilbert, the reader may judge of the satisfactory character of the entertainments thus produced.

In the second year of the Society's existence the Council carried out another feature in its announced programme of operations — a course of lectures on all the various branches of the Fine Arts, Painting, Sculpture, Architectnre, Music, Poetry, &c, was organised for the Thursday meetings during the season's duration from November to July. This course, which at starting was but thinly attended, now attracts a full meeting of members and their friends, the interest of the evening being enhanced by the discussion which follows on the conclusion of the

* The Art- World and International Exhibition (edited by Mr. Henry Ottley), a new weekly journal of Painting, Sculpture, Architecture, Ornamental Art, Manufactures, Engraving, Photography, Poetry, Music and the Drama, the first number of which appeared on Saturday last with prospects of brilliant and permanent success.

lecture. In the third year of the Society's existence another and more difficult matter was carried into effect, namely, the giving of prizes in the several departments of Art for works exhibited or published during the current season. In preparing to enter upon the delicate task imposed on them, the Committee of Selection agreed to a resolution to the effect " that in the award of prizes it was not necessarily intended by them to assume to determine the best works of the season in the various branches of Art, the Committee having the power, with a view of encouraging young and rising talent, to recommend the award of prizes for works of great merit, irrespective of their relative merit compand with others," a judicious reservation, and more especially applicable in the case of young and promising talent, which might thus be justly and appropriately encouraged by an honourable testimonial, which the man of established fame might probably not be disposed to consider with equal appreciation.

On Wednesday evening the first conversazione of the season took place in the rooms of the Winter Exhibition, 120 Pall Mall, kindly lent for the purpose by Mr. Wallis; when the walls, covered with a choice of works of native Art, and brilliantly lighted up with gas, presented a most agreeable and striking coup d'ceil. This re-union, which was a most numerous one, the apartments on the basement and first-floor being crowded almost to the point of inconvenience, was attended by circumstances of peculiar interest, the prize medals awarded during the last session being appointed to be delivered on this occasion. The chair having been taken by Mr. W. C. Dutton, Mr. H. Ottley, the Hon. Secretary, read the brief report of the Prize Committee, sanctioned and confirmed by the Council, of which the substance was as follows: — "The Committee of Selection and the Council have the satisfaction to believe that the awards made by the Society last year (1860) have met with general approval from those best qualified to offer an opinion on the subject. They are happy also in knowing that the prize medals have been accepted by their recipients in the spirit in which they were given, as tributes from an independent Art-loving Society, in recognition of distinguished rising talent." The prize medals awarded this year were as follows: —

In Historical Painting, to Mr. Marcus Stone, for his "Claudio and Hero," in the Royal Academy. In Landscape, to Mr. McCallum, for his "Spring—Buruham Wood."—Royal Academy. In Genre, to Mr. Calderon, "La Demande en Marriage."—Royal Academy. In Water Colours (Two Prizes), to Mr. S. Read, for his "Interior of St. Augustine, at Antwerp," Old Water Colour Society; and to Mr. E. G. Warren, for his " Rest in the cool and shady Wood."—-New Water Colour Society. In Sculpture, to Mr. G. Halse, for "The Tarpeian Rock." Sculpture in bronze.—Royal Academy. In Architecture, to Mr. A. W. Blomfield, for his design for " Mission House, in Bedfordbury, Westminster," in the Architectural Exhibition,

There had been no awards in Poetry, Engraving, or Music. In respect to the musical prize, " difficulties had presented themselves at the outset in defining the principlo upon which it should be awarded; but the Council hoped that these difficulties might be overcome, and some definite course of action agreed upon in the matter in the course of the present session." The Council had also to announce " that several distinguished members of the musical profession, who had kindly lent their valuable services at the conversaziones, had been elected honorary members of the Society, and that silver medals, in testimony thereof, would be presented to them, viz., Mile. Parepa, Signor Gardoni, Herr Formes, Mr. Santley, and M. Ole Bull. The Society would also have the pleasure of presenting a medal to Mr. S. Rosenthal, with a suitable inscription, as a slight acknowledgment of his great kindness, and the eminent talent displayed in the preparation of the design for the same." (Cheers.) A performance of music, conducted by Mr. Alfred Gilbert, followed and wound up a most agreeable evening. Amongst the artists who gave their services on this occasion, were Miss Emma Boden, Miss Bellingham, Mad. First, Hcrr Reichardt, Mr. Lawler, Mr. Edward Southwell; Mad. do Vaucheron (pianoforte), Herr Wilhelm Ganz (ditto), and M. Ole Bull (violin).

[graphic]

Bremen Herr C. Rhcinthalcr's recently completed Symphony On

D major) was played, a short time since, at a private concert. Considering the interest existing in musical circles here as to this first essay in symphonic writing by the composer of Die Tochter Jephta's, we may shortly state that the work was well received throughout. Al the movements — Allegro, D major; Andante, G minor; Scherzo (with trio), D minor; and Finale, D major, were warmly applauded, especially the Andante and the concluding movement. — Die Weser Zeilung.

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