Oldalképek
PDF
ePub
[blocks in formation]

CRAMER, BEALE, & WOOD.
NEW DANCE MUSIC.

QUADRILLES.

OLD ENGLAND.

AS SOLOS AND DUETS. 48.

WITH BRILLIANTLY ILLUSTRATED TITLE.
Composed and Arranged by GEORGE CROAL on the
following Popular Airs, selected from W. Chappell's
"Popular Music of the Olden Time"-

"Fairies haste!" "The dusky Night rides down the Sky," "The Oak
and the Ash," "Farewell, Manchester!" "There was a jolly Miller
once," "The Spring is coming," "Come, lasses and lads," Come, here's
to Robin Hood!" May he who wears a sulky face," "Early one morn-
ing," and "The Bailiff's daughter."

OLD ENGLISH LANCERS.

[blocks in formation]

Printed by GEORGE ANDREW SPOTTISWOODE, of No. 12 James Street, Buckingham Gate, in the Parish of St. Margaret, in the City of Westminster, at No. 5 New-street Square'
In the Parish of St. Bride, in the City of I.ondon. Published by JOHN BOOSEY, at the Office of BoosEY & SONS, 28 Holles Street.-Saturday, January 4, 1862.

"THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT
MUST BE DEDUCTED: IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES
"-Göthe.

SUBSCRIPTION-Stamped for Postage-20s. PER ANNUM

Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28 Holles Street, Cavendish Square, London, W.

VOL. 40-No. 2

-

SATURDAY, JANUARY 11, 1862

PRICE

4d. Unstamped
5d. Stamped

ST. JAMES'S HALL. NEW PHILHARMONIC MR. MELCHOR WINTER will Sing Ascher's

informed that the Eleventh Season of the Concerts will commence on April next. The
dates will be shortly announced. The following Solo Artists have been engaged at
these Concerts, many of whom, with others who will arrive in London, will take part in
the ensuing performances:-Mesdames Titiens, Borghi-Mamo, Lemmens-Sherrington,
Parepa and Louisa Pyne; Signori Giuglini, Belart, Belletti and Herr Formes, &c.;
Pianists-Mesdames Arabella Goddard, Schumann, Pleyel and Clauss; Messrs. J. F.
Barnett, Lubeck, Rubenstein and C. Hallé. Violinists-Herr Joachim, Vieuxtemps,
Wieniawski, Henry Blagrove, Becker. Violoncellist-Piatti.

The Subscription is for five Grand Concerts, and five Grand Public Rehearsals on
the preceding Saturday Afternoon.

Terms for a Reserved Sofa-Stall (transferable), Two Guineas; other Reserved Seats,
One Guinea and a Half. Professional Subscribers, One Guinea.

Subscribers of Last Season, who do not require their former Stalls reserved for
them, are requested to give notice to the Hon. Secretary, to whom application for
Reserved Stalls can be made; or to Messrs. Cramer and Co., 201 Regent Street,
Messrs. Keith, Prowse and Co., 48 Cheapside; Mr. Austin, Ticket Office, St. James's
Hall.

W. GRAEFF NICHOLLS, Hon. Sec., 33 Argyle Street, W.

"ALICE, WHERE ART THOU?"

At GODALMING, on the 28th inst., and at ESTRAM, February the 14th.

[merged small][ocr errors][merged small][merged small][merged small][merged small][merged small][merged small][merged small]

ISS AUGUSTA THOMSON will RETURN to Town HERR REICHARDT will Sing his popular Lied,

MISS

[blocks in formation]

"THOU ART SO NEAR AND YET SO FAR,'

At Mr. HOWARD GLOVER'S Concert, THIS DAY.

[blocks in formation]

ERR FOR MES will Sing the celebrated Song,

HERR

"IN SHELTER'D VALE,"

At Mr. HOWARD GLOVER'S Concert, THIS DAY.

DR. BENNETT GILBERT begs to inform his Friends MADAME LAURA BAXTER will Sing Smart's

[merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][ocr errors][merged small]

BEETHOVEN'S

SEPTET. Published this Day,

--

"THE FAIRY'S WHISPER,"

At Mr. HOWARD GLOVER'S Concert, THIS DAY.

MR. GEORGE PERREN will Sing Ascher's

"ALICE, WHERE ART THOU?"

At Mr. HOWARD GLOVER's Concert, THIS DAY.

MADAME GUERRABELLA will Sins the popular

MLLE.

DARK SCENE,"

At Mr. HOWARD GLOVER'S Concert, THIS DAY.

LLE. PAREPA will Sing the Rondo Brillant from
Ruy Blas, "WHY FOR ALL THIS LOVING CARE,"
At Mr. HOWARD GLOVER'S Concert, THIS DAY.

[blocks in formation]

BEETHOVEN'S SEPTET, arranged for Planoforte by HUMMEL. Complete MISS ALICE MANGOLD will play No. 4 of

[blocks in formation]
[blocks in formation]

2

[blocks in formation]

66

[blocks in formation]

"ALICE, WHERE ART THOU?" Romance; sung by ALICE, Where Art Thou?"

Signor Gardoni, and written by Wellington Guernsey. Music by J. Ascher. "Mr. Ascher, whose fame as a writer of pianoforte music is European, has proved himself in Alice, where art thou?' as consummate an artist as a vocal writer as he is renowned as a composer for the pianoforte. The melody is graceful, flowing, and cri ginal, full of the most original feeling and thought. It has been sung by Sims Reeves,

WANTED, a SITUATION, by a young Man: can Tune, Gardoni, Mr. Tennant, Mr Perren, Mr. Tedder, Mr. Melchor Winter, and all the lead

Regulate and Repair; also has a knowledge of the Sheet Music Trade, Address W. H. REMBRIDGE, 1 Chapel Street, Edgeware Road, N. W.

[merged small][ocr errors][merged small][ocr errors][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small]

Interest payable half-yearly on shares is 5 per cent. per annum, with power of withdrawal of subscription at ten days' notice, and participation in any bonus declared above the ordinary interest. No partnership liability. The taking of land is quite optional. A share paid a year in advance costs £5 Is. 6d. ; completed share is £51 3s. 6d. ; twenty shares, £1023 11s., and so on in proportion, calculating £51 3s. 6d. for each share. The interest and bonus paid by the Society have ranged from 4 to 7 per cent. The Society paid five and a half per cent. for the past year. The system is adopted for all classes of the community, and investors can communicate by correspondence, as well as by personal attendance. Monthly payment on one share is 8s.

[blocks in formation]

ing tenors of Two editions of this romance have been printed--one in B flat for ladies' voices, and the other in D flat for tenors. Altogether, we have seldom met with a composition embodying all the elements of popularity in so great a degree as M. Ascher's romance of Alice, who art thou?' and one that must, on its merits alone, become the most popular song of the present day."—(Irish Times.)

[blocks in formation]

This new fantasia was composed expressly for M. Ole Bull, Herr Formes, Mr. and Mrs. Tennant, and Miss Anna Whitty's provincial_tour. It has been played by Mr. Emile Berger (as well as the transcription of Ferrari's popular serenade" Vieni, Vieni") every where with the greatest success, and has invariably been encored. "The introduction of the two popular melodies, Gentle Annie' and Dixy's Land,' was a happy idea of Mr. Berger. The audience were delighted, and the applause was so great that the talented pianist was obliged to return to the platform and repeat the fantasia, to the great delight of the audience."-Sheffield Paper. London: DUNCAN DAVISON and Co. 244 Regent Street, W.

[blocks in formation]

BLUM

LUMENTHAL'S new Compositions for the PIANOFORTE," The days that are no more," Madame Sainton's popular song, transcribed, price 3., and "Un petit Cadeau," Bluette, 3s.

London: DUNCAN DAVISON and Co. 244 Regent Street, W.

J. S. BACH'S "PASSIONS-MUSIK" (according to

the text of St. Matthew). Vocal Score, with Pianoforte Accompaniment, und the Editorship of Professor STERNDALE BENNETT. Now published for the first time in England, The English text adapted by Miss H. F. H. JOHNSTON.

Subscribers to this work are respectfully informed that it will be ready for delivery by the middle of February. Subscription, One Guinea, Price to Non-Subscribers, One Guinea and a half. Subscribers' names received until the 1st of February. Tho Chorus parts, 5s. each, will also be ready. LAMBORN COCK, HUTCHINGS and Co. (late Leader and Cock), 62 and 63New Bond Street.

[ocr errors][merged small][merged small][merged small]

graphies; the Addresses of Musical Professors, &c., throughout the Kingdom; the Musical Societies of London and the Provinces, with their List of Music Published in Great Britain during 1861; Advertisements of everything new and interesting in connection with Music. Pricé 1s. 6d., by Post 18. 8d.

RUDALL, ROSE, CARTE and Co. 20 Charing Cross.

THE QUEEN'S CONCERT ROOMS, HANOVER

SQUARE.-The Proprietor, Mr. COCKS, begs to inform those ladies and gen. tlemen who purpose giving concerts, balls, soirées, matinées, lectures, or other entertainments, as also the directors of religious societies and others, that these celebrated ROOMS ARE NOW READY FOR USE.

Por particulars, apply to Messrs. ROBERT COCKS and Co. New Burlington Street, and 4 Hanover-square, Publishers to her Most Gracious Majesty the Queen, and to his Imperial Majesty Napoleon III.

ISMEN

Reviews.

"Hope"-a Pastoral,-words by SHENSTONE, music by W. ABBOTT, Op. 62 (Metzler and Co.).

Mr. Abbott's "Op. 62" is as bucolic as the words of the

-

"Soyez Heureux"-Romance sans paroles, pour Piano-J. old English poet to which it is married, - we will not add, C. ESCHMANN (Ewer and Co.).

[merged small][merged small][ocr errors][merged small][merged small][ocr errors][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small]

and marred by the marriage. " Op. 62" has this peculiarity footed alternately, at the beginning and at the end of evey -that, in the symphony, the pedal is to be footed and unno peculiarity in Mr. Abbott's "Op. 62" but this peculiarity. chord respectively. It has this peculiarity. We can find Shenstone's words will be recognised in the opening quatrain: :

"My banks they are furnished with bees,
Whose murmurs invite one to sleep;
My grottoes are shaded with trees,

And my hills are white over with sheep." "Magdalena"-by PETER THE VENERABLE, translated by the REV. ALEXANDER ROSS-music by C. G. H.; "Magdalena"- transcribed for the pianoforte- by THECLA BADARZEWSKA (Oetzmann & Co.).

[ocr errors]
[ocr errors]

"Pone luctum, Magdalena." The Rev. Mr. Ross, who has might have rendered his purchasers a further good turn by ably and scholarly translated this hymn to the Magdalen, telling them something in a foot note of Peter the Venerable, who, while flourishing A.D. 1092, wrote this hymn to the Magdalen "Cantum sacrum antiquum," as Jules Janin or Mr. Bridgeman might post put. The music of C. G. H., in a word, is harmonious, impressive and beautiful; and, while "simplex munditiis," as Mr. Bridgeman or Jules Janin might interput-it soars without striving, and engages the sympathies of all alive to the charm of devotional melody without effort. It is some time since we have received so interesting a work for review.

[ocr errors]

The pianoforte transcription of Thècla Badarzewska ("composer of the celebrated La Prière Exaucée'"-as the title page informs us) is clever, well-written, showy and effective.

"Guitare"-Polonaise-bolero, pour piano - W Kruger, (Ewer and Co.).

We're in luck with this batch of "music for review;" forthough Herr Krüger cannot lay any great claim to origina, lity either of ideas or of construction, he may fairly command acknowledgment for musician-like, handling of his materials. Indeed, we should be puzzled to lay our index on a single weak bar.

given here, and now they are following each other with unusual rapidity.

MUNICH. For about six months no concerts of any importance were

On the 11th inst., the Musikalische Academie began their Subscription performed in a manner worthy of the reputation already achieved by, Concerts, in the Royal Odeon, with Beethoven's Symphony in C minor, the members of the orchestra. Of the other pieces in the programme Mendelssohn's Violin Concerto, played by Herr Walther, was the most applauded. He was called forward three times. The vocal selection consisted of the grand scene from Otello, sung by Mlles. Stehle, Eichheim, and Herr Heinrich; Herr Tombo undertaking the harp accompaniment. There were about 2000 persons present, the King, Queen, and Prince Luitpold being among the number. A few days subsequently Faubel gave a Soirée at the Museum, when the principal feature was Hummel's Quintet in E flat major; M. Mortier de Fontaine attempting the pianoforte part from memory. Shortly afterwards, the Philharmonic Association gave their second Matinée in the Royal Odeon. important piece in the programme was Mozart's Pianoforte Quartet in G minor. If report speaks truth, the members of the Musikalische Academic intend giving-in addition to their four Subscription Conner's Sturmesmythe, which was so successful at the Vocal Festival certs a Grand Concert, at which they will perform Herr Franz Lachin Nuremberg. M. Gounod's Faust is to be produced on the 28th inst. in honour of the birthday of his Majesty Maximilian II.

The most

MUSIC AT BERLIN.

(From our own Correspondent.)

A PERFORMANCE of Fidelio which I heard, or, as our French friends say, at which "I assisted," a few evenings since, demands some notice. Mad. Köster was most especially good in the part of the heroine, so good, indeed, as to throw all the artists around her in the shade, though they are far from bad. The cast was the same as it has been for a considerable period, with the exception of Herr Krause, who assumed the character of Rocco, formerly sustained by the veteran, Herr Zschiesche. The part of the jailor-an old, truc-hearted, and somewhat simple-minded fellow is drawn with such sharp lines by the composer, that its distinguishing features cannot very well fail to be correctly grasped by an artist of moderate perceptive powers. The tinge of thorough, bluff honesty which Herr Krause imparted to his singing was thoroughly appropriate. Herren Krüger and Bost, Florestan and the Minister respectively, played and sang very creditably. Herr Taubert conducted in a manner which proved that he had a due appreciation of the music. There was only one thing for which I could not praise him, and that was the rapidity with which, in several instances, he took the tempo. This tended to weaken the effect of some of the numbers, such for example as the duet in A minor, after the "melodrama." The time of the duet in G major, as well as of the concluding movement, was, on the other hand, all that could be desired.

After being connected with it for at least twenty years, Mad. Herrenburg-Tuczek has at length bid adieu to the Royal Opera House. The farewell benefit accorded her at the Royal command was a most brilliant affair, though, of course, tinged with a certain degree of sadness and regret on the part of the fair artist herself and of the public, at the idea of parting. As the well-known song has it: "Scheiden, ach! Scheiden! Scheiden thut Weh!"

As I informed you in my last letter, she selected Mozart's Nozze di Figaro for the occasion, Susanna being one of her favourite characters. The house was crammed to the ceiling, and the audience overwhelmed the fair artist with every possible manifestation of their kindly sentiments towards her. She was applauded vociferously after every separate piece, and called on at the end of each act. At the conclusion of the opera she spoke a few words-almost inaudible from emotionbegging the public to think of her sometimes after she had left them and retired for ever into private life. As a mark of respect, all her former colleagues lent their aid to render the performance a model one, so that even the smallest character was sustained by an artist of celebrity. Mlle. Lucca undertook the part of the page, Cherubin, for the first time, singing and acting it with such dash and spirit that she was applauded to the echo, and encored in one of her airs. Mad. Köster was the Countess, and Herr Krause "il barbiere."

This was

A monster concert has been given, by Royal command, in the Victoria Theatre, under the direction of Herr Wieprecht, the principal performers being the members of the military bands here. The house presented a most imposing spectacle, the space before the curtain being filled by a fashionable and elegant audience, while the stage was occupied by a compact mass of executants. Shortly after seven o'clock, the members of the Court made their appearance, the King and Queen being at their head. Immediately afterwards, a roll on the drums, at first very faint, but increasing gradually till the sound became almost overpowering, announced that the concert had begun. followed by Mendelssohn's magnificent "Wedding March" (transposed to E flat major). Then came a number of choruses and part-songs, which have been so often given that the audience were pretty well as intimate with them as the singers themselves. The great and engrossing attraction of the evening was the Grand March composed by Meyerbeer for the Coronation of the King,' and performed, on that occasion, at Königsberg, as all the readers of the MUSICAL WORLD must remember. It was admirably rendered by the combined infantry and cavalry bands present, and excited the enthusiasm of the audience to a tremendous pitch.

The programme of the first Domchor-Soirée consisted of choruses and motets by composers of sacred music, from Palestrina down to Neithardt. They were all given a capella, in the usual masterly style, under the direction of the present director, Herr M. D. von Herzberg. The execution of some of them was absolutely perfection itself. The instrumentalist on the occasion was Herr Leo Lion (a pleonastic name, as it strikes me; why not Herr Leo, pur et simple; or Herr Lion, ditto; or Herr Leo Löwe; or Herr Leo Leon; or must the gentleman absolutely have two names equivalent to each other, to denote that, like Coleman's hero, he is two single gentlemen rolled into one; or, on the lucus a non lucendo principle, is he thus bi-appellate, thus duonomous, to suggest that, though he repeats himself in his name, he will not repeat himself in his works; or—- but no; I will pursue this interest

ing subject no further, at present; I feel I am becoming bewildered, as I consider it. I will discuss it in a pamphlet devoted solely to it. I will bother myself no more now), as I observed, the instrumentalist on the occasion was Herr Leo Lion; a pupil, as I have been informed, of Dreyschock. His instrument is, of course, the pianoforte. He is a débutant, whom I never heard before. But why does he call himself Herr Leo be still, my heart! On the whole, he was successful, and has every reason to be satisfied with his reception. He played two pieces : Mendelssohn's Fugue in F minor, and J. S. Bach's well-known Gavotte. His rendering of the first was confused and hurried; but he performed the last in a manner which reminded me unmistakeably of his master. This young aspirant for artistic fame promises well, and, if he would not entitle himself Herr-- but no more of that.

The second of Herr Radecke's Subscription Concerts was distinguished by three most interesting works, new to the majority of the Berlin audience, although one is a century old. I allude to Bach's "Suite for Stringed Instruments and Flute," a peculiar composition, thoroughly steeped in the taste of the time when it was written, and, consequently, of historical value. An eminent musical critic here says: "It is perfectly charming to hear this stern old gentleman, whose speciality was sacred music, strike up a merry secular tune, and to be conducted by him into the ball-room of the tie-wig period, where he leads the steps and figures as well as any one in the world. We behold the Polonaise, Courante, Sarabande, Chaconne and Menuet succeed each other as joyously as in an album of Dance-music. It was reserved for Papa Haydn to give this confused medley a definite stamp, and, out of the turmoil of the Suite,' to create the Symphony, with its forms which will last for all time. In Bach, we have the Symphony in nuce; in Haydn, the dear, coaxing, merrily-laughing child; in Mozart, the handsome youth, and, in Beethoven, the energetic man, with sturdy well-knit frame." The second novelty was Joachim's Violin Concerto, "in Ungarischer Weise." It was excellently performed by Herr Laub, who carried out the slightest intentions of the composer with laudable fidelity, and overcome the overwhelming difficulties with which the muestro has interspersed the score, as though they were mere child's play. The concert was brought to a close by Perfall's solos and choruses to the well-known fairy story of Undine. The subject has been treated, more or less successfully, by a great number of composers. Perfali's version is not a great work, but it contains many beauties, and is a very respectable specimen of moderate talent. It was well performed. The chorus was fresh, steady and correct, and the orchestra tolerably satisfactory, while the solos, sung by Mad. Cash, Herren Sey ffart and Müller went with remarkable smoothness.

Before concluding, I have one or two remarks to make concerning my last letter. I have just received the number containing it. I cannot tell you what a depressing effect it has had on me-how many long cherished illusions it has dispelled for ever. I once believed my manuscript was not more than justifiably intelligible. I once fondly fancied that London compositors could make out anything; that, if needs were, they were capable of deciphering a medical prescription, or unravelling the Chinese hieroglyphics on the tea-chests in the grocers' shops. Alas! how rudely have I been undeceived! My last letter was swarming with typographical errors, which sometimes completely obscured, and, in no instance, improved the sense of what I wrote. Thus, at 1. 29 of the second column, p. 804, I am made to say "alla podrida," instead of "olla podrida." I who pride myself de que puedo hablar y escribir la lengua castellana! A little further on, at 1. 43, "diebische" is transformed into "diebesche," while at 1. 36 of the first column, p. 805, "awarded" is made to do duty for "rewarded." I am very particular about my punctuation; indeed, the number of commas, semicolons, colons, and full-stops, in which I indulge, is enormous. I own I am averse to employing these signs indiscriminately, as such a system tends slightly to obscure the meaning of what one writes, and, therefore, I strongly object to the full stop instead of a comma after the word "chronicling," at 1. 56 of the same column and page. At 1. 69, "destined periods," instead of "distinct periods," is somewhat calculated to puzzle the readers of the MUSICAL WORLD. At 1. 2 of the second column, of the same page, I find "Carneval," while, at 1. 22, "Paris Kios" are by no means as correct as "Paris Kids." Proceeding a little further to 1. 36, I find "Weldvöglein," which I cannot allow to be a good substi tute for "Wald-vöglein," nor can say I experienced any very ecstatic delight at beholding "Herr von Hülsen" figuring away, at 1. 6 from the bottom, as " Herr von Hülsenhael," the addition to his name having been made at the expense of the auxiliary "had," which is omitted. I thought every one was acquainted with the late Joseph Hume's favourite expression: "the sum tottle," but it appears I was wrong; otherwise at 1. 28, column 1, p. 806, "the sum totele" would not stare me in the face. But I am not angry; I am only sad, for one of the articles of my faith has been mercilessly proved false. I once placed implicit confidence in

« ElőzőTovább »