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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).

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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.

1

letters ta iht ftttxtor.
—i—

the Musical Church Service.

Sir,—The animadversions set forth in a letter signed "Musicians," which appeared in your last week's impression, are so pertinent, that I cannot forbear offering my experience as to the truth of such censures.

For the last seven years (having but very lately seceded, I am sorry to say, with disgust) I have given my constant and gratuitous assistance in a church once celebrated for its choral service. At the time I entered, the organist was a gentleman well known for his musical abilities and exquisite taste. The devotional manner in which the service was then performed elicited the admiration of the whole congregation. An equal number of singers only were permitted, the tone being judiciously balanced. One alto, tenor and bass for Cantoris, and the game for Decani, were then considered quite powerful enough for a small church less than a quarter the size of Westminster Abbey or St. Paul's, where too of each part on either side only are employed. The amateurs (only three) who were admitted, were deemed efficient by examination, and were enabled to sing their respective parts independent of professional assistance, the funds of the church allowing but three paid professional gentlemen.

This organist, having received a higher appointment, was succeeded by another, who endeavoured, and with the same success, to carry out that refinement of performance which had hitherto distinguished the service. This gentleman is now organist of one of the cathedrals.

Up to this period the "tavern element," so justly complained of by "Musicus," had not permeated the choir. Would that I could say as much under its present management! The principle really now seems "the more noise the more music;" and it is no uncommon occurrence to see, for you can scarcely call it hearing, one alto straining himself to sing against five tenors and five basses (two of the latter powerful professionals), most of them amateurs, admitted into the choir without the least examination, and even ignorant, some of them, of the key they are singing in. The efforts, indeed, of the professional gentlemen are greatly impeded in consequence.

With such inequality of tone, and so much ineffectiveness, I only ask the simple question—is it to be wondered at that the service should be performed other than in a blundering manner? and can a choir-master pretend to anything like taste, who, Sunday after Sunday, permits the beautiful service of the church to be rendered in a manner thus coarse and unintelligible?

Decani.

Sir,—In your publication of Saturday last, I noticed your review of a work by George Hogarth, entitled "The Philharmonic Society of London, from 1818 to the present Time." Could you favour me with the price of the work? Can you inform me who is likely to sing the soprano songs in those works of Handel which are to be performed at the Crystal Palace next summer? Is there any probability of Clara Novello's singing them again?

Musicus,

Trowbridge, Wilts, March 11, 1862.

She price of Mr. Hogarth's work maybe learned at the publishers Messrs. Bradbury and Evans, London. The other two questions we are unable to answer.—E».]

FIRE! FIRE! FIRE!

Sib, — I cannot refrain from sending you an account (which I have just received) of a fortunate and narrow escape from fire, which my sister, Miss Louisa Van Noorden has lately experienced. It will be a caution to young artists not to approach too near the foot-lights. I will give you her own words :—

"I have to inform you I sang last night again at the Campanello; and just as I had gone half through my 'aria,' I heard a murmuring sound in the theatre, as though my performance was not admired; but I took no notice of it for the moment, until all at once I felt my chin a little hot, and on looking at myself I found my dress had caught fire. I immediately gathered my dress from the back, and smothered the flames with my own hands. Had I not have been cool, and attempted to have left the stage, the draught would have immediately fanned the flames beyond my power of subduing. The audience gave me such a round of applause, so I finished my song, and all passed off well — although it will be a caution for me never to approach too near the

footlights. My sister (Miss Van Noorden), who was in a stage-box, had nearly run on the stage with a shawl in her hands ready to envelope me.

Florence, March 1th, 1862."

P. E. Van Noorden.

Cologne.—The eighth Gesellschafts Concert, under the direction of Herr Ferdinand Sheller, took place on the 25th ult., when the following was the programme :—■

Part I. 1. Symphony in D major,Haydn; 2. ElegischerOesang, for chorus and stringed quartet, Beethoven; 3. Violin Concerto, in the Hungarian ^manner, composed and played by Herr J. Joachim.— Part II. 4. Cantata, J. S. Bach, "Gottes Zeit ist die allerlicbste Zeit;" 5. Adagio, for violin, Spohr; "Abendlicd," Schumann, arranged for violin and orchestra, by J. Joachim; 6. Overture to Der Freischiitz, von Weber.

Haydn's Symphony proved that the society's orchestra is as much at home in the performance of this master's symphonies as the Kammermusik-Verein is in that of his quartets. The andante and the whole of the conclusion were vigorously applauded. We have already noticed at length, in No. 26 of this Joui nal, for June 1860, Joachim's Hungarian Concerto, as far as regards its composition and performance. To what we then said we must now add that the length of the Finale struck us still more on the present occasion than at the musical festival in Dusseldorf. The audience admired and applauded more especially the masterly execution, as the concerto most certainly, from beginning to end, affords the performer an opportunity of displaying his virtuosity, and his totally different styles, in the most brilliant and unmistakeable manner; but the deeper purport of the first movement and of the Romance escapes, more or less, at first, the grasp of the hearer's mind. The performance of Spohr's Adagio was received with repeated rounds of applause, as was also the " Abendlied," which Joachim had arranged, from a pianoforte piece for four hands by Schumann, for solo-violin and orchestra, a form to which it is well adapted. The performance of Bach's Cantata may be said to have been, on the whole, a good one, though very much was wanting to render it perfectly satisfactory. Whether the audience were or were not capable of appreciating the profundity of thought and the wonderfully beautiful form of this eminently serious vocal composition, is a fact which it would be difficult to decide from their demeanour. It cannot, at any rate, be denied that a Cantata by Bach, with its old pious and grave text, with its severe forms and deeply moving sacred strains, is not well placed in the midst of the productions of modern romanticism, and cannot produce such an impression as, for instance, the Passionsmusik, which keeps us in the same frame of mind for an entire evening. If Bach's compositions are performed, as it is highly desirable they should be, they must fill up at least one part of the concert, the first part being preferable. If, in the second part, there is a symphony, it would be more suitable than solo or vocal pieces by modern composers.

Wandering Minstrels.— Under this title there has existed for some time past a society comprising among its members nearly all the most talented and accomplished amateur musicians belonging to the higher ranks of society. These are all highly trained and efficient performers, and are under the leadership of their President, the Honourable Seymour Egerton. The society, with that practical benevolence which distinguishes the English character, have most laudably desired to make their exertions subservient to the cause of charity. They had first resolved to apply the proceeds of a concert to the Hartley Colliery Fund, but sufficient money having been subscribed for that purpose, as intimated to them by the committee at Newcastle, they selected the Hospital for Consumption and Diseases of the Chest, at Brompton, as a charity well entitled to public sympathy and support. A list of ladies patronesses comprising the leading members of the nobility, attests the approval of the objects for which the "Minstrels " have proffered their services. The concert took place on Tuesday, at St. James's Hall; and it is confidently anticipated by the committee of the hospital, as well as by the committee of management of the concert, that a very large sum will have been realised. — {See another column.)

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A correspondent from Reigate (Surrey) writes as follows:— "The opening concert of the Reigate Choral Society, at the New Public Hall, on Tuesday, the 4th inst., was conducted by Mr. Edward Thurnam, of Reigate, and the programme included the following pieces :—' Return, O God of Hosts.' by Miss Palmer, who afterwards gave 'The evening prayer,' from Eli. with a pathos worthy of one of the first contralto singers of the day; Mozart's Andante from the Jupiter Symphony, finely played by the band, led by Mr. Henry Blagrove; Mozart's 'Gloria' (Mass 2), sung by the members, and accompanied by the full orchestra, bringing the first part of the programme to a close; Rossini's overture to La Gazza Ladra; Ernst's Jantasia (Otello), by Mr. Henry Blagrove ; fantasia on Wallace's Lvrline (concertina) by Mr. Richard Blagrove (encored). Mr. Thurnam also delighted the audience with his last composition for the pianoforte—a Capriccio. Miss Palmer gained an encore in the ballad,' When I was young.' Madrigals, &c, were sung by the members; and the concert ended with the overture to II Barbiere. The New Hall, admirably adapted for musical entertainments, was crowded in every part."

An Arundel journal informs us that the 9th Sussex Rifle Volunteers gave a concert at the Town Hall last week, the proceeds of which were to be applied to the band of the corps. This mode of procuring money for the regimental musicians, it would seem, is not confined to the Metropolis. A more harmless means certainly could not be devised. Our cotemporary thus alludes to the performance: —

"The arrangements were undertaken by Private J. Parry Cole (9th Sussex), who displayed a tact in conducting worthy his professional reputation. The great attraction of the evening was Miss Susanna Cole. This lady is no stranger in Arundel, and the oftener she appears the more we appreciate her singing. Naturally gifted with two charming voice, she adds to it the most genuine feeling and expression. 'She wore a wreath of roses' and 'I'm alone' {Lib/of Killarney") were perfect specimens of ballad-singing. Private Hollis, a tenor, was encored in the 'Village Blacksmith' (which is not a tenor song!). Four gentlemen from the 10th Sussex (Chichester) Corps — Messrs. A. J. Wright, Greenfield, Dean and Bishop—acquitted themselves well. Mr. Wright gave two ballads; Mr. Dean, Balfe's 'Good night,' with much applanse; and Bugle-Major Bishop, two songs. The last was of great assistance in the part-songs. The band of the 9th Sussex played with great brilliancy the overture to Tancredi and other pieces."

An Edinburgh paper writes as follows of the new pianist, Mile. Falk, who some weeks since made so successful a debut: —

"This clever and accomplished pianist gave a performance in the Masonic Hall on Saturday, before a numerous audience. Miss Falk played, from memory, two of Beethoven's sonatas, eighteen of Mendelssohn's 'Songs without words,'and a fantasia,in MS., by Rossini, the entire performance extending over two hours. Unless under rare and exceptional circumstances, it is hardly to be expected that any single performer can hope to fix the undivided attention of an audience for so long a time, and the experiment is always a hazardous one. That Miss Falk succeeded so well is good evidence of her abilities. Her performance throughout exhibited a brilliant and articulate execution — a firm as well as elastic touch, and a thorough sympathy with her author. This lady enjoys a high reputation on the continent, which, judging from the exhibition she made on this occasion, is well merited."

Mrs. John Holman Andrews gave a Soiree Musicalc at her residence, 50 Bedford Square, on the 4th instant, which was attended by a brilliant and crowded audience. Her pupils (besides other concerted music, extremely well executed) sang Mendelssohn's 42nd Psalm in an admirable manner. The steadiness and precision with which it was given was mainly owing to the perfect way in which the Psalm was accompanied by Mrs. Holman Andrews, who is evidently a thorough musician. We must not pass unnoticed tho singing of Mrs. Andrews, Miss Andrews, and Mr. Cobham, in Curschmann's trio, "Ti prego "—a proof of the evidently careful training of the younger lady. The trio was encored, as well the quartet from Rigoletto, "Un di si ben," by Mrs. Andrews, Miss Webb, Mr. Cobham, and Mr. Frank Bodda. The accompanyists were Mr. Field, Mr. Haydn Harrison, and Mr. Andrews. The soir(e afforded the„ highest satisfaction to Mrs. Andrews's fashionable patrons.

THE ORGAN IN THE TOWN HALL, GREENOCK.

This organ is built in the classic style, and is of the following dimensions : width, 30 feet* height, 30 feet; depth, 16 feet. It weighs upwards of 10 tons, and contains 44 registers and 2443 pipes. The front pipes, which are 20 feet long, and over 9 inches in diameter, are painted on a light ground, with scroll ornaments in gold, picked out with blue and pink, and lined with chocolate colour. On the mouth of each pipe is a leaf in gold, relieved with chocolate and white, and each terminates in a coronet composed of gold and colours. At the ends of the organ stand large pedal open diapasons, formed of wood, coloured Indian red, and having a wreath of ornament round the tops. The line of beauty is nowhere lost sight of, and the whole effect of the colour and ornamentation is light and pleasing, while harmonising with the colouring and decoration of the hall. The interior consists of a mass of intricate machinery for the purpose of liberating the wind from its chamber into the forest of pipes. Competent persons have expressed their admiration of the manner in which its complicated and delicate work has been so planned as to leave ample room for reaching any portion of the instrument, without risk of injury to the machinery, in addition to a large space with a view to future enlargement if this should be desired. The organ has been designed expressly for concert purposes, and represents most of the instruments used in modern bands. It consists of four distinct organs, viz.: swell organ, great or chorus organ, solo organ, and pedal organ. The three former are of the usual compass, CC to A in alt., and the pedal CCC to F. The contents are as follows:—

SWELL ORGAN. Trumpet (Urge scale) metal 8 ft »8

Pipes. CUrioa . . . metal Bourdon . . . wood 16 ft OS

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SOLO ORGAN.

Mixture 4 ranks, metal (various) 232 Horn, large scale metal 8 ft 58

Oboe .... metal 8 ft 40 Clarion . . . metal 4 ft 68 Tremulant,

712

GRAND ORGAN.

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Pipes.

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PEDAL ORGAN.

Open diapason . , metal 16 ft
Stopt diapason
Principal
Fifteenth .
Posaune

Pedal . .

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Double open diapason
Open diapason . .
Gamba,

Stopt diapason .
Principal
Flute (open)
Twelfth
Fifteenth .

Se.quialtera, 6 ranks metal (various) 290
Mixture 3 ranks metal (various) 171

In addition to the above, there are five coupling movements, viz.:— Great organ to pedal organ; swell organ to pedal organ; solo organ to pedals; solo organ to great organ; and swell organ to great organ. By these means the pipes of the different organs can be concentrated to one set of keys and the pedal organ. The numerous stops are not necessarily moved by the hands of the organist, there being a number of composition pedals to draw them out and take them in in groups. In addition to these, there is a patent combination pedal also acting on the steps of the different organs collectively, and from the one pedal no less than eight different changes may be produced at pleasure. This, one of the most recent improvements in organs, has been patented by Messrs. Forster & Andrews. There is also a sforzando pedal. On the organist pressing down the swell pedal to increase the tone from soft to loud, his foot comes in contact with the sforzando, and continuing to press, takes it down with the last of the swell pedal, bringing into play the whole of the pipes of the great organ as a part of the swell. The pneumatic movement being applied, and also acting on the manual couplets, produces a light and elastic touch, causing the instrument to be easily played on as a pianoforte, the touch remaining the same even although the couplets are attached. The large bellows are placed in a room prepared for the purpose, ten feet below the organ. They have a surface of about 100 feet, and are blown with a fly wheel, the wind being conveyed up to the organ by a wooden tube. In the organ there is another bellows of high pressure wind to supply the reed stop (tuba mirabilis), and the pneumatic movements. The wind after leaving the bellows has to pass through wind magazines to reduce its pressure before reaching the pipes, and by this means a more even and particularly steady pressure of wind is at command. This is also a recent adoption. Another improvement is the placing of the registers, which, instead of being in a line on the front ot the organ so as to cause the organist to move from his position to read the names of the stops, are placed at an angle of 45 deg. to the centre. This brings all the stops continually before the organist, who can read them at the glance.

ST. JAMES'S HALL,

Regent Street and Piccadilly.

MONDAY POPULAR CONCERTS.

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EVENTT - NINTH CONCERT, on MONDAY

EVENING, March 17th, 1SG3, Third Appearance of

HERR JOACHIM.

PROGRAMME.

Part I.—Quartet, in E flat, Op. 44, No. 3, for two Violins, Viola and Violoncello, MM. Joachim, L. Ribs, H. Webb and Piattj (MendeUsohn). Song, " I dream of thee," Miss Martin (Andenken) (Beethoven). Song, *' Star of the Valley," Mr. Weiss (Henry Smart). Sonata, "Plus ultra," for Pianoforte solo (dedicated to Woelfl'i " Ne Plus Ultra "), Miss Am Bell A Goddard (Dusiek).

Part. II Quartet, in A minor, Op. 130, for two Violins, Viola and Violoncello,

MM. Joachim, L. Hayes, II. Webb and Piatti (Beethoven). Sung, "Snlelka," Miss Martin (Mendelssohn). Song, ** The Wanderer " (hy desire), Mr. Weiss (Schubert). Sonata, in A major, for Pianoforte and Violin (first time at the Monday Popular Concerts), Miss Arabella Goddard and Herr Joachim (Mozart).

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 so without interruption.

V Between the last vocal piece and the Sonata for Pianoforte and Violin, an interval of Five Minutes will be allowed. The Concert will finish before halt-past ten o'clock.

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.

Stalls, 5s.; Balcony, 3s.; Admission, Is.

Tickets to be had of Mr. Austin, at the Hall, 28 Piccadilly; Ciupprll & Co., 50 New Bond Street, and of the principal Miuicsellers.

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Here Tempo Oicsto. Opening Maestoso "grand." Third variation playful. Out.

NOTICES.

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 Fridaysbut not later. Payment on delivery.

^ J Two lines and under 2s. M.

fttrtns | Evel.y additional 10 words Crf.

To Publishers And Composers.All Music for llcvieto in TnE 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 Tnrc 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.

% Wmmxl Moth.

LONDON: SATURDAY, MARCH 15, 1862.

HER MAJESTY'S THEATRE will open on the 26th of April, under the management of Mr. J. H. Mapleson. The noble proprietor has been in some respects induced to submit the direction of the theatre to that gentleman in consequence, it is said, of the complete and efficient manner in which operas had been produced at the Lyceum last year under his administration Of course we may look upon the more material consideration of money as satisfactorily settled. Arrangements have been made up to the present moment with Mile. Titiens, Signors Giuglini, Vialetti, Graziani, Ciampi, M. Gasser, Mile. Kellog, Mile. Trebelli, &c. The names of the first six artists speak for themselves. Mile. Kellog comes from America,—of her antecedents we know nothing. We are told she is extremely handsome, talented and nineteen. She is reported to be a singer of the Patti class. If she can only approximate in talent and accomplishments to that popular and delightful artist, the subscribers and the public will have no reason to be dissatisfied. Mile. Trebelli has a high continental reputation as a contralto singer. It has been whispered to us—so delicately indeed thatwe are scarcely authorised in giving it breath — that Mr. Sims Reeves has been offered an engagement, with the view of his appearing in Oberon with Mile. Titiens and Signor Giuglini, our great tenor, as a matter of course, taking the part of Sir Huon. This would be a cast indeed in the three principal parts that could not fail to double the attraction achieved by Weber's grand work, when brought out at Her Majesty's Theatre two years since, with full splendour and completeness, under Mr. E. T. Smith's management If Mr. Mapleson can secure the services of Mr. Sims Reeves, we may without hesitation predict the greatest success of the season for Oberon. What other movements are projected, what other singers are engaged, to make the troupe complete, we shall know in due time.

Most undoubtedly that which will afford the greatest satisfaction to the Opera-loving public in the new constitution of affairs at Her Majesty's Theatre, is the fact, that the orchestra will be first-rate in every department, as will at once be admitted, when known that it will include nearly all the members of the band of the Philharmonic Society. Could a more emphatic guarantee for the spirit and energy of the direction be given? Signor Arditi and Mr. Benedict, we are informed, are to be joint conductors. But why two conductors? The system of alternating the direction of the orchestra between two gentlemen is only advisable—if indeed then — when performances are given every night, which, of course, we cannot suppose will be the case at Her Majesty's Theatre. Mr. Benedict and Signor Arditi are both thoroughly experienced wielders of the baton; but assuredly either is preferable to both, for many ostensible reasons. Let us trust that this part of our information is not correct, and that Mr. Mapleson will take a hint from the doubtful results which followed the engagement of two musical directors in 1860.

Mr. Frederick Gye has announced the opening of the Royal Italian Opera for Tuesday, April 8th. The prospectus will be issued on Monday, the 24th instant. This is all the public are as yet permitted to know. There is much anxiety afloat as to who is destined to fill Mad. Grisi's place. Perhaps the director may be induced to dispense for awhile with

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