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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.

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PROGRAMME.

Part I.—Quartet, in E flat. Op. Ai. No. 3, for two Violins, Viola and Violoncello, MM. Joachim, L. Ries, H. Webb and Piatti (Mendelssohn). Song, *'I dream of thee," Miia Martin (Andenken) (Beethoven). Hong, ** Star of the Valley," Mr. WBH (Henry Smart). Sonara, ** Pint ultra," for Pianolorte solo (dedicated to WoelfTi " Ne Plus Ultra Mln Arabella Goddard (Pustt-k).

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

MM. Joachim, L. Ries, H. Webb and Tiatti (Beethoven). Sung, "Suleika." 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 (Moiart).

Conductor, Mr. Benedict. To commence at eight o'clock precisely. Notice.—It is respectfully suggested that such persons as are not desirous of remaining till the end of the performance can leave cither before the commencement of the last instrumental piece, or between any two of the movements, so that those who wish to hear the whole may do so without interruption.

*»* Between the lant vocal piece and the Sonata for Pianoforte and Violin, an Interval of Five Minutes will be allowed. The Concert will finish before half-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 eud of Part L

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

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

TO CORRESPONDENTS.

Amateur.—"The Monday Popular Concerts arc models of instrumental performances. Can we not have something equally satisfactory in the vocal way?" Enquire of Mr. S. Arthur Cbappell.

X. All right.

Mr. S Y B s. — Qui sait f

Mb. Shirley B s. — Yes, Long pause (not "paws"). — Page 3,

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NOTICES.

To Advertisers.Advertisers are informed, that for {lie future the Advertising Agency of The Musical World is established at the Magazine of Messrs. Duncan Davison & Co., 244 Regent Street, comer of Little Argyll Street (First Flooi-). 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. Gd.

(terms j gvenj additional 10 words Gd.

To Publishers And Composers.All Music for Reviexo 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 Reviexo will appear on the Saturday following in The Musical World.

To Concert Givers.No Benefit-Concert, or Mttsical Performance, except of general interest, unless previously Advertised, can be reported in The Musical World.

% Pttrical SHmrltr.

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. Gassier, 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 nnd 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 that we 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 the grand tragic repertory; and indeed we have a notion that the Opera could survive a year or two without any exhibition of Norma, Lucrezia Borgia, the Favorita, the Trovatore, or one or two other works, which for too long a period have exercised so powerful a monopoly. We would willingly put up with the withdrawal for a space of these lyric tragedies for the revival of some of Rossini's operas, and see no reason, with Mlle. Patti in the theatre, why the Conte Ory and Matilda di Shabran should not be reproduced, to say nothing of the Donna del Lago with Signors Mario and Tamberlik, and the Nozze di Figaro and Cosi Fan tutti, cast, as they might be at the Royal Italian Opera, to perfection. But patience is better than speculation, and we shall therefore think nothing more and urge nothing more until Monday week, when the intentions of the management will be laid before us, and will enable us to discourse freely about the prospects of the approaching season. —♦—

To the Editor of the Musical World.

SIR,—An unknown Violin-quartet, by Franz Schubert, was performed at the third "Quartet-Circle" of Herr Hellmesberger and his colleagues, at Vienna. The quartet was given, many years ago, into the hands of Herr Hellmesberger, by Herr Spina, in whose possession it is. How the former could possibly keep it locked up in his desk till now is difficult to understand. It can scarcely be supposed that he never troubled his head about it; yet, had it been played only once by him and his associates, no one could have entertained the slightest doubt as to its worth, though some doubts must really have existed, its public performance having been delayed thus long. This, it is true, presupposes a strange taste in matters of art, particularly when we remember so many novelties, which have thus practically been preferred to Schubert's MS., a work so charming, melodious, and in every movement so animated, while, at the same time, conceived with such musical strictness, nay, even with such unusual brevity, that connoisseurs (and the public no less) were agreeably surprised. The unburied quartet does not by any means belong to those deeper productions, which manifest the genius of Schubert in so unusual and marked a manner; but it would have been cruel to lose it. In luxuriance of imagination it is far superior to many better known works of this inexhaustible master. It was received enthusiastically, and will, in all likelihood, soon be given to the world in a becoming form.

Die Deutsche Musik-Zeitung expresses itself on the subject thus:—

"A hitherto unknown and unpublished stringed quartet in B flat, by Schubert, was performed, and immediately achieved the most decided success. What especially deWghted us was the adagio in G minor, as also the highly original and animated finale. The scherzo, too, which, however, formed part of some other work, and has been substituted for the original minuet, which, as we have been told, was rather too much in the Landler style, is a highly effective piece, and had to be repeated."

As this quartet is to be engraved, you may hope to hear it at the Monday Popular Concerts.

Vienna, March 10th. A. A.

—»—

THE Committee of the !Grand Musical Festival of the Lower Rhine, which will take place in Whitsun week, at Cologne, have selected for performance the following works :—

On the first day: Handel's oratorio of Solomon, according to the original score, and with the organ accompaniment

written by Mendelssohn,* for the performance in 1835, which was also held in Cologne.

On the second day: Overture and Scenes from Gluck's Iphigenie in Aulis; "Sanctus" and "Hosanna,"' from John Sebastian Bach's Mass in B minor; Beethoven's Ninth Symphony, with Chorus.

On the third day: Symphony, by Haydn; "Hymne an die Nacht," for solos, chorus and orchestra, by Ferdinand Hiller; Mendelssohn's overture to Ruy Bias— Several vocal pieces.

The solo parts will be sustained by Mad. Louise Dustmann-Meyer, from Vienna (soprano); Mile. Francisca Schreck, from Bonn (contralto); Herr Schnorr von Karolsfeld, from Dresden (tenor) ; and Herr Becker from Darmstadt (bass).

Director of the Festival Peformances, Herr Ferdinand Hiller. Leaders of the orchestra, Herr J. Grunwald, and 0 von Konigslow.

MENDELSSOHN AND HIS ELIJAH.

[The following correspondence, which led to the first performances of Elijah by tho Sacred Harmonic Society, in 1847, will be read with interest. It is now for the first time published, by the kind permission of Mr. Brewer, Honorary Secretary.]

(No. I.)

"Exeter Hall, London, 24th Sept., 1846.

"dear Sir,—This production of your new Oratorio at the recent Musical Festival at Birmingham was an event which, in common with the multitudes in this country who derive pleasure from the study and practice of your works, was felt by the members of the Sacred Harmonic Society to be an occasion of peculiar interest and importance; and, rejoicing as they do to find that the work has earned the highest praise in all quarters, they take the liberty to offer you the expression of their sincere congratulations on the marked success which has accompanied this fresh product of your genius.

"The very general attention which has been drawn to the production of the work and to its great merits, has induced an equally general desire to have it performed in London at as early an opportunity as practicable, in order that the inhabitants of the metropolis may taste of the delights which have been afforded to the good people of Birmingham. The Sacred Harmonic Society (who, as you are aware, accustom themselves chiefly to the performance of works of the same class as Elijah) are anxious to have the honour and gratification, which some years ago they had in the case of the oratorio St. Paul, of undertaking it first performance before a London audience. With this view, the committee of the society have desired me respectfully to enquire whether you will permit the society to undertake the first performance of Elijah in this country after the alterations, which they are informed you contemplate making in the work, shall be completed.

"In the event of your kindly acceding to this request, the committee would be glad if they could be informed whether there is any probability of your being in London during the next season, so that, if possible, they might have the advantage of producing the work under your personal superintendence?

"And in order to secure the opportunity of previously acquiring a due knowledge of the work, the committee are further anxious to ascertain whether you would have any

* See Mendelssohn's Letters from Borne.

objection to such portions of the oratorio as you do not intend to revise, being rehearsed by the society in the meantime?

u Trusting that you will excuse the intrusion of these inquiries upon your notice, and hoping to be favoured with your reply at as early an opportunity as convenient,

"I remain, dear Sir, with much respect and esteem, your very faithful and obedient servant,

"T. Brewer, Hon. Sec.

"Dr. Felix Mendelssohn Bartholdy, Leipsic."

(No. 2.)

"dear Sir,—I Beg to express my best thanks for the letter dated Sept. 24th, and it gives me much pleasure that the Sacred Harmonic Society will undertake the first performance of my Elijah before a London audience. I beg to thank the committee most sincerely for their flattering intention, and of course should be most happy to conduct the work myself on such an occasion, if I can come to London in April next; I hope and trust I may have that pleasure, and that nothing may prevent me from doing so. But I am still doubtful, and cannot give a positive promise as far as regards my coming over; and as for the parts which you wish to have as soon as possible, I shall speak to the editor of them, Mr. Buxton, who I hear is expected shortly in Leipsic, and will ask him to let you have them as soon as they can be ready. With many thanks to yourself and the society, believe me, dear Sir,

Your very obedient servant,
Felix Mendelssohn Bartholdy.

Leipsic, the JfA Oct. 1846.

Roy At English Opera. — Mr. Harrison's benefit is announced to take place this evening, when Mr. Balfe's opera, The Rose of Castille, will be performed, with Miss Louisa Pyne and Mr. Harrison in their popular parts of Manuel and Elvira, and other entertainments. Mr. Frederick Clay's new operetta, Court and Cottage, which was announced to succeed the opera, has been withdrawn at the last moment, owing to some difficulties connected with the gentleman to whom was assigned the principal part, and from whom, our readers we think will agree with us, some sort of explanation is due to the patrons of the theatre.

Herr Molique's "Abraham."—This great work will be shortly performed at one of the Concerts of the Liverpool Philharmonic Society, under the direction of its eminent composer.

Ma. Henry Lincoln delivered the first of his two lectures on the operatic overture on Thursday night at the Marylebone institution. A report of it Is in type, and will appear next week.

Philharmonic Society. —The first concert of the 50th (the "Jubilee") season took place on Monday evening, in the Hanover Square Rooms. The attendance was crowded and brilliant. The symphony (only one on this occasion) was Beethoven's Eroiea. The overtures were Weber's Jubilee, Schumann's Oenoveva, and Cherubini's Fanisha. Herr Joachim played Viotti's concerto in A minor, and a sarabande and bourree (with "doubles") of J. S. Bach.. Mile. Guerabella and Miss Lascelles were the singers. Professor Sterndale Bennett conducted. The band was admirable. Full particulars in our next.

Musical Society Of London.—The first concert of this young and already illustrious society was held on Wednesday evening in St. James's Hall, which was thronged to the door. The symphony was Mendelssohn's in A major (the "Italian "); the concerto (violin) Herr Joachim's in D minor, "in the Hungarian manner," the composer himself being also the performer. The overtures were Mozart's Die Zauberflote, Beethoven's Leonora (No. 1), and Berlioz's Camaval Romain. Mad. Sainton-Dolby and Mile. Guerabella were the singers. Mr. Alfred Mellon conducted. The concert was altogether magnificent, as we shall next week endeavour to show in detail.

Mas. Schumann has accepted the invitation to give concerts in Paris, and has already set out for that city. Erard's house have undertaken the arrangements. Every place is already taken for

four concerts.

Vocal Association.—Miss Arabella Goddard, Mad. Florence Lancia, Mad. Laura Baxter, and Mr. Swift, will take part in the first subscription concerts of the Vocal Association, St. James's Hall, on Wednesday next, March 19th. Mr. Aptommas and Miss Arabella Goddard will perform a duet for pianoforte and harp on themes from Linda di Chamouni, and Mr. Jno. Thomas and Mr. Aptommas a duet on two harps. The choir of 200 voices will introduce some new and important features in the concert, the whole being, as usual, under the direction of Mr. Benedict.

Monday Popular Concerts. — So invariable is the excellence of these entertainments, that the critic's office is well nigh a sinecure, and his duty confined to little else than a weekly record of success following success. But the same enterprise which originated the series, and boldly struck out a new path in music (as far as the general public was concerned) has not been content to rest upon its oars, satisfied with having elevated the taste, and improved the judgment of what is now one of the most discriminating and appreciative audiences in England, perhaps in Europe; fresh attractions are added, and no sooner does one artist of eminence terminate his engagement, than another supplies his place, the interest being further maintained by the introduction at each concert of one, if not two, pieces hitherto unheard. The programme of Monday comprised Beethoven's qnartet in F minor (No. 11); Weber's sonata in D minor (first time), Boccherini's in A (violoncello); repeated by general desire, and Beethoven's iu G. (op. 96), for piano and violin. Herr Joachim led the quartet, in which he had the cooperation of Messrs. Kies, Webb and Fiatti, and we need hardly say it was played to perfection. Its thorough enjoyment, however, was considerably marred by the late arrivals of a few who forget that the essentially English virtue — punctuality — is rigidly enforced at the Monday Populars, and as the concerts always finish before half-past ten, they have no excuse for their tardiness. If the D minor sonata of Weber is the least generally known to amateurs, it is unlikely to remain so long. The andante and the rondo finale drew forth the loudest plaudits, and Mr. Charles Halle was enthusiastically recalled at the end, — a wellearned tribute to his remarkably fine execution of a very difficult work. Signor Piai.ti created the same lively impression as before iu Boccherini's quaint sonata. The last movement was unanimously encored. The "climax," in a strict sense, however, was the last sonatas for pianoforte and violin, which brought to a triumphant conclusion one of the best concerts of the year. There is a breadth and dignity, combined with the utmost intellectuality, tenderness and refinement, which emphatically stamp Herr Joachim a master, and the impression created by him and his admirable colleague, Mr. Halle, was not to be readily forgotten. Miss Poole again sang Mr. J. W. Davison's setting of Keats's words, "In a drear-nighted December," and Mr. Wallace's new song, "The lady's wish," in her best manner; Mr. Tennant's chaste and artistic method being favourably manifested in Schubert's "Praise of tears," and Mendelssohn's "Garland." More than a passing word of recognition is due to Mr. Benedict for his masterly performance of the pianoforte part in the violoncello sonata. At the next concert Dussek's Plus Ultra will be given by Miss Arabella Goddard, and Herr Joachim will play Mendelssohn's quartet in E flat (op. 44), Beethoven's in A minor (No. 15), and Mozart's Sonata in A major, with Miss Goddard.

Crystal Palace Concerts Herr Auguste Manns, the untiring

conductor and director of the Crystal Palace Saturday Concerts, is again in the field, upholding with his accustomed intelligence and spirit the cause of good music. Already three performances have been given, at which three grand symphonies and three dramatic overtures nobly represented the orchestra, while vocal and instrumental solos variously enriched the programmes. At the first the symphony was Beethoven's Pastoral; the overture, Schumann's Brides of Messina; at the second the symphony was Mendelssohn's in A minor (the Scotch Symphony); the overture, Cherubini's to the opera of Les Abencerrages; at the third the symphony was Mehul's in G minor; the overture, Rossini's to Le Siege de Corinth. The instrumental "soloist" at the first concert was M. Sainton, "le roi des violons de France, as he has been justly styled; at the second, a young, talented, and highly promising pianist—Miss Fanny H well (daughter of our oldest and most eminent professor of the double-bass). At the first concert the vocal music was intrusted to Mad. Sainton-Dolby — whose name would alone have sufficed to give (clot to the programme—and a somewhat timid though clever beginner, Miss Emma Charlier; at the second to the ae

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