NEW SONG.

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BERT HA."

"In the composition of this unaffected and graceful trio (which is inscribed to those excellent professors of the vocal art, Sig. and Mad. Ferrari), Mr. Randegger has shown not only the melodic gift, and the knowledge of how to write effectively for voices, but a thorough proficiency in the art of combination, and, as it were, a dramatic spirit, which might win favour for an opera from his pen. Each voice (tenor, basso and soprano), in the order in which they enter, has an effective solo, followed by an ensemble (or 'tutti') for the three voices in the major key (the trio begins in C minor), the whole terminating with a coda, sotto voce,' the effect of which, if smoothly rendered by three good singers, must be as charming as it is new. The more of such 'terzettinos' the better."-MUSICAL WORLD.

LONDON: DUNCAN DAVISON & CO., 244 Regent Street, W.

Just Published, price 3s.

THE VOICE AND SINGING

(THE FORMATION AND CULTIVATION OF The voice for SINGING), By ADOLFO FERRARI.

"The chief value of this excellent treatise on the art and practice of singing is in the elaborate chapter upon the formation and cultivation of the voice, which precedes the practical exercises. Signor Ferrari alleges that "every one who can speak may sing," and he discusses this fact not only with great intelligence but with excellent common sense. As a teacher of long and varied experience he speaks with authority, and the rules he lays down for the development of the vocal organs may be consulted with advantage by all students of the art of singing. His book, in short, labours to overcome the two leading difficulties which beset the scholar, viz., the production of the natural or real tone of the voice, and the proper management of the breath."Observer.

London: Published, price 12s., by

DUNCAN DAVISON & CO., 244 Regent Street, W.

Melodia.

Musica di E. MECATTI.

London: DUNCAN DAVISON, & Co.

66

...

...

4s. 6d.

...

2s. 6d.

“STRATAGEM IS WOMAN'S POWER." Ballad. Sung by MISS EMMA HEYWOOD

...

...

...

Ballad. Sung by

"A YOUNG AND ARTLESS MAIDEN." Romance. Sung by Herr REICHARDT "THERE'S TRUTH IN WOMAN STILL." Romance.

...

...

2s. 6d. 2s. 6d. 2s. 6d.

Brinley Richards' Fantasia, or, "Once too Often."
Emile Berger's Fantasia, or, "Once too Often."

"Mr. Glover's operetta is a decided, and, what is better, a legitimate, hit. The songs before us have already attained a well-merited popularity. The monks were jolly boys' is as racy as the best of the old English ditties, harmonised with equal quaintness and skill, and thoroughly well suited to the voice of Herr Formes. The love you've slighted still is true' (for Mile. Jenny Baur) has a melody of charming freshness. Not less a model ballad in its way is A young and artless maiden' (for Herr Reichardt), which sets out with an elegantly melodious phrase. Perhaps more to our liking, however, than any of the foregoing, excellent and genuine as they are, is 'Love is a gentle thing' (for Miss Emma Heywood), which enters the more refined regions of the ballad-school, and attains an expression as true as it is graceful. The opening holds out a promise which the sequel entirely fulfils. We shall look with real interest for the remaining pieces of Once too Often.'-Musical World. LONDON: DUNCAN DAVISON & CO., 244 Regent Street, W.

VOL. 40-No. 13

4d. Unstamped PRICE 5d. Stamped

GEORGE HOGARTH, Secretary to the Philharmonic Society, begs to announce that he has Removed to No. 1 Bloomsbury Square, W.C.

13

MUSICAL

WORLD

ST. JAMES'S HALL.

NEW PHILHARMONIC CONCERTS.

DIRECTOR AND CONDUCTOR

DR. WYLDE. PRINCIPALS OF THE ORCHESTRA...... HERR MOLIQUE and MR. H. BLAGROVE.

ELEVENTH SEASON.-Orchestra and Choir of 300

Performers. First Appearance this season of MLLE. TITIENS. Programme of the First CONCERT, MONDAY EVENING, April 7, and PUBLIC REHEARSAL on SATURDAY AFTERNOON, April 5. Part I. :Overture, Egmont (Beethoven); Romanza, "Vanne disce," Mlle. TITIENS (Meyerbeer); Concerto, in D minor, Pianoforte, Miss ARABELLA GODDARD (Mozart); Cavi tina, Bell raggio," Mlle. TITIENS (Rossini); Symphony, The Scotch (Mendelssohn). Part II:-Choral Fantasia, Pianoforte, Miss ARABELLA GODDARD (Beethoven); Cavatina, "Com' e bello," Mile. TITIENS (Donizetti); Overture, " Oberon" (Weber).

Price of Single Tickets for the Concert-Stalls, 15s.; first row Balcony, 15s.; second row, 10s.; other Seats, 5s., 3s.; Gallery and Area, Is. For the Public RehearsalStalls, 78.; Balcony, 5s, and 3s.; Gallery and Area, Is.

To be had at Messrs. Cramer & Co., 201 Regent Street; at Mr. Austin's Ticket Office, St. James's Hall; and all the principal musicsellers.

ANDEL FESTIVAL, June 23rd, 25th, and 27th.

and view of Great Orchestra, may be had on application, personally or by post, at 2 Exeter Hall.

The Ticket Offices at the Crystal Palace, and at Exeter Hall, are open for the disposal of Reserved Stall Tickets, daily from 10 till 5.

Post-office orders, to either Ticket Office, to be payable at chief office, London; as well as cheques, to be payable to the order of George Grove, Esq.

Stall Tickets, Two and a Half-Guineas the set for three days, or One Guinea for each ticket for one day. Stalls, in each Corner, Gallery, Five Guineas the set.

H

ANDEL FESTIVAL.

Plans of Seats in Blocks O and O O, and P and PP, will be ready for inspection, and Vouchers will be ready for issue on Monday next, March 31.

As these Blocks, as well as those for the Raised Seats, S and SS, are among the most eligible remaining to be issued, intending Visitors, not already supplied, will do well to avail themselves immediately of this further issue.

Half-Guinea Seats, in Blocks, without Numbers, will be issued on Wednesday, April 23.

ISS ROSE HERSÉE'S GRAND CONCERT, Assem

MISS

bly Rooms, Peckham, Monday, March 31.

Mad. Louisa Vinning, Miss Poole, Miss Fanny Huddart, Miss Leffler, and Miss Rose Hersée; Mr. George Perren, Mr. Montem Smith, Mr. R. Seymour, Mr. Fielding, Mr. J. L. Hatton, M. Fontanier, and Mr. Allan Irving. Pianoforte: Mr. F. OSBORNE WILLIAMS and Mr. J. L. HATTON. Violin: Mr. H. Griesbach, Flute: Master DREW DEAN. Conductors: Messrs. J. L. HATTON, F. OSBORNE WILLIAMS, FRANK BRAINE, and SIDNEY NAYLOR.

Stalls, 3s.; Reserved Seats, 25.; Family Tickets, 10s. (admitting to four Stalls); to be obtained of Miss Rose Hersée, 2 Church Terrace, Camberwell, S.

M

ESSRS. KLINDWORTH, H. BLAGROVE, DEICHMANN, R. BLAGROVE and DAUBERT'S CONCERTS FOR CHAMBER MUSIC (Second Season). The Third Concert, Saturday, April 5. Hanover Square Rooms, half-past eight o'clock.

Programme: Sestet, Sterndale Bennett. Song, Pauer. Trio (D minor), Schumann, Songs, Schubert. Trio (B flat), Beethoven, Vocalist-Miss ROBERTINE HENDERSON.

Single Tickets, 10s. 6d.; Family ditto, to admit Three, £1 18., at the principal Musicsellers, and of the Concert Givers.

M. SAINTO, Upper Wimpole Street, on Tuesday next, April 1. THIRD SOIRÉE will take place at

Programme:-Quartet, M.S., first time (W. M. Lutz); Trio, first time (Auber); Quartet, A minor (Mendelssohn).; Solo, Pianoforte; Pensée Fugitive (Stephen Heller and Ernst).

Executants: MM. SAINTON, POLLITZER, DOYLE, PAQUE. Pianist: Mr. C. HALLE, Single Ticket, half a guinea, to be had of M. Sainton, at his Residence, and at the principle Musicsellers.

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MUSICAL

Reviews.

words by

"In a drear-nighted December," romance KEATS; music by J. W. DAVISON (Boosey & Sons). As this romance has lately obtained considerable vogue, through the singing of Miss Poole at those excellent entertainments, the Monday Popular Concerts, it is not surprising to see it once again in print. The words of Keats would of themselves elicit attention, whatever the merits of the musical setting-providing only that it exhibited earnestness and a spirit of sympathy with the poet. Only Shelley among modern poets has equalled the picturesque simplicity of these exquisite stanzas :"In a drear-nighted December,

Too happy, happy tree!
Thy branches ne'er remember
Their green felicity.

The North cannot undo them,
With a sleety whistle through them,
Nor frozen thawings glue them,

From budding at their prime.

In a drear-nighted December,
Too happy, happy brook!
Thy bubblings ne'er remember
Apollo's sunny look.
But with a sweet forgetting,
They stay their crystal fretting,
Never, never petting
About the frozen time.

"Ah! would 'twere so with many A gentle girl and boy! But were there ever any

Writhed not at passed joy?

To know the change, and feel it,
When there is none to heal it,
Nor numbed sense to steal it,

Was never told in rhyme."

Keats first wrote the above in the album of a friend. They subsequently appeared in one of the annual "Keepsakes, and have since been embodied in the complete edition of the poet's works.

"Woelf's Ne Plus Ultra," edited with a biographical and critical Preface, by J. W. DAVISON (Boosey & Sons).

This modern edition of a once celebrated, then forgotten, and now (thanks to Miss Arabella Goddard and the Monday Popular Concerts) once again celebrated sonata has, we are informed, been sold out twice, and the demand for it is still so extensive as to necessitate a third re-issue. We are not at all astonished. All musicians, as well as all amateurs, must feel a pleasure in the study of such a work, the former experiencing a delight in mastering its difficulties, the latter in hearing them surmounted by expert and diligent mechanism. Musicians will prefer the first allegro, with its profusion (well-ordered profusion, it is true) of double-notes for either hand; amateurs (ladies especially) will revel in the brilliant series of variations on the popular melody, "Life let us cherish" (attributed, we know not with how much reason, to Mozart)-variations, in their peculiar style, for fancy and happy variety never since surpassed. The suggestion, conveyed, to the minds of many by the arpeggio variation in F minor-"the breeze sweeping fitfully over the strings of an Eolian harp"-must find an echo in every mind attuned to the influence of gentle harmony. In short, Joseph Woelf was no doubt, after his fashion, not merely a learned and prolific composer*, but, tant soit peu, a musical poet, notwithstanding the undeniable fact that the Ne Plus Ultra, to speak plainly, is rather a pezzo di bravura than a work of imagination. Now that it has been, so to speak, dug out from the forgotten rubbish of the past, it is not likely-while such players as Miss Arabella

The existing catalogues of Woelff's compositions show him to have been not only a fertile producer, but a master of various styles. Besides a great many concertos, sonatas, and other pieces for the piano, we find two orchestral symphonies, nine string quartets, a large number of trios for various combinations of instruments, a grand duet for two pianos, and a quantity of other pieces,

Goddard, Mr. Charles Hallé, Mr. Lindsay Sloper, and Herr Ernest Pauer exist-again to be laid aside and forgotten. "Dussek's Plus Ultra," edited, with a biographical and critical preface-by J. W. DAVISON (Boosey & Sons). Here is another successful reproduction of a famous work, too long unjustly neglected. That Dussek, if not so famous a musician, was a far greater musical poet than Woelfl, is incontestable. Dussek, indeed, was both an original and a genius. His music is crowded with ideas, and the difficulty with him is too frequently what to accept and what to reject. There is enough new material, aye, and beautiful as new, in "Plus Ultra" to furnish forth ten sonatas of its length, long as it unquestionably is. The title given to the grand sonata in A flat, Op. 71, has been stigmatised by some critics, as "vulgar and pretentious;" but they have overlooked the fact that Dussek had nothing whatever to do with it. In France, where it was composed and first published, it bore the name of Le Retour à Paris. How it came to be newly christened Plus Ultra, may be seen in the subjoined :

"Just previously to the Retour à Paris being sent to England, a sonata by Joseph Woelf had appeared, under the name of Ne Plus Ultra, the finale consisting of variations on Life let us cherish,' somewhat in the style which Henri Herz was long afterwards supposed to have originated. Ne Plus Ultra was intended by Woelf to convey that mechanical difficulty (he surely did not mean to insinuate musical beauty) could be carried no further; but Dussek's London publisher, judging that Le Retour à Paris was even more difficult than Woelfl's sonata, re-christened the former Plus Ultra, and brought it out with a

dedication on the title to Ne Plus Ultra.

"Plus Ultra, however "-continues Mr. Davison-"was by no means intended as a medium for the display of executive dexterity; it is a grand and imaginative composition, one of the very few produced in the early part of the present century worthy to rank beside the masterpieces of Beethoven. Every movement is instinct with vigorous energy and intellectual power. As an artistic creation, is in many respects the finest of its composer's works showing (may it be said ?) Dussek, the Prodigal,' returned from his wanderings, anxious to deserve the affectionate welcome of his mother, Art,' and admitting that he has in a great measure misused the gifts with which she so bountifully endowed him. Never-it has been urged by a critical authority-‘did a genius whose early years had been comparatively misspent, labour so hard to show what was within him as Dussek, in the first movement and the scherzo of the Retour à Paris.'t Why, however, this one particular sonata, or the two particular movements from this one particular sonata, should be pointed out as examples of Dussek's enthusiastic yearning for distinction in his art, when so many other interesting examples exist of the same honourable ambition, it would be difficult to say. The passionate expression that stamps the Allegro non troppo, from which a sort of Weberian feeling repeatedly peeps out; the tranquil beauty and rich development of the Adagio; the plaintive character of the Scherzo (regarded by many as a kind of prophecy of Chopin-Chopin at his best, must be intended); and the animation, gaiety, and varied detail of the brilliant and sparkling Finale, are alike attractive and alike original.. Rich invention and felicitous performance are apparent throughout the sonata, which, though resembling neither Mozart nor Beethoven, is not the less welcome on that account being no more nor less than pure Dussek." +

"Never did comparative failure generate such a full glow of beauty as in the first instance, and never was success more complete and triumphant than in the last. In the first, Dussek fell, like Phaeton, amid a halo of glory; his fall was more splendid than another's rise. In the last, he spoke the language of inspiration, untrammelled by line and rule, with an eloquence that could not be misunderstood. The slow movement and the finale, if less strikingly original, are quite worthy of the rest."-Essay on Dussek.

It is worth noting that the minuet of the Scherzo (which, though in A flat major, has the peculiarity of beginning in F sharp minor)first appears in No. 3 of the Stringed Quartets, Op. 60 in E flat. There are one or two slight variations in the minuet (here beginning in C sharp minor), while the trio is altogether different.