operas announced could not be effectively sustained. Mr.J.H. Regent Street and Piccadilly.

Mapleson, the new director, evidenced so large an amount

of energy in his brief season of Italian Opera at the Lyceum MONDAY POPULAR CONCERTS. Theatre last year, as to give us every reason to expect a

company perfected, if possible, in every branch. At present

the sopranos are by far the strongest, and show, in fact, a TIGHTY-SECOND CONCERT, ON MONDAY

powerful array of talent. They are as follows:-Mlles. U Evening, April 21, 1862, on which occasion

Titiens, Carlotta Marchisio, Louise Michal, Drusilla Fiorio, Ꮋ Ꭼ Ꭱ Ꭱ Ꭻ 0 A C H M

Dario, Clara Kellogg and Mad. Guerrabella. Of Mlle. Will make his Sixth Appearance at these Concerts.

Titiens it is unnecessary to say a word; her fame is world. PROGRAMME.

wide, and she is the accepted successor of Mad. Grisi in the Part I.-Quartet, in C, No. 77, for Two Violins, Viola, and Violoncello (First time at the Monday Popular Concerts), MM. JOACHIM, L. RIES, H. WEBB, and Piatti

grand tragic line. Mlle. Carlotta Marchisio has spoken for (Haydn). Song, "The Winter's Walk," Mlle. FLORENCE LANCIA (Schubert). Ro.

herself in the concert-room. She appeared this year in inance. « The Colleen Bawn, " The Lily of Killarney, Mr. SANTLEY (Benedict). Sonata Patetique, in E flat, Op. 13 (by desire), Mr. CHARLES HALLÉ (Beethoven). England for the first time. The sensation created by her

PART II.-Chaconne, in D minor, for Violin Solo (Repeated by general desire), Herr self and her sister in singing Rossini's duets cannot be soon
JOACHIM (J. S. Bach). Song, “ I'm alone," The Lily of Killarncy, Mlle. FLORENCE
LANCIA (J. Benedict). Stornello, “ Giovinettino dalla bella voce," Mr. Santley (Angelo effaced. Their worth, however, as dramatic singers has yet
Mariani). Sonata, in A, Op. 47, for Pianoforte and Violin (dedicated to Kreutzer),
Mr. CHARLES HALLÉ and Herr JOACHIM (Beethoven).

to be established with us. It must not be forgotten that Conductor, MR. BENEDICT. To commence at eight o'clock precisely. Rossini's Semiramide was brought out expressly at the NOTICE.-It is respectfully suggested that such persons as are not desirous of remain Grand Opéra of Paris for the “Sisters," and was performed ing 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

for many nights, according to the press, with immense sucto hear the whole may do so without interruption.

cess. We English critics, nevertheless, are somewhat chary of ... Between the last vocal piece and the Sonata for Pianoforte and Violin, an interval of Five Minutes will be allowed. The Concert will tinish before half-past endorsing the opinions of continental scribes, for reasons not ten o'clock. N.B. The Programme of every Concert will henceforward include a detailed analy

necessary to be stated in this place. They are announced to sis, with Illustrations in musical type, of the Sonata for Pianoforte alone, at the end of make their first appearance on Thursday, May 1st, in Part I. Stalls, 58.; Balcony, 38.; Admission, Is.

Semiramide, Mlle. Carlotta as Semiramis, and Mlle. A few Sofa Stalls, near the Piano, 108. 6d.

Barbara as Arsace; but who is the Assur the prospectus Tickets to be had of MR. AUSTIN, at the Hall, 28 Piccadilly ; CHAPPELL & Co., 50 New Bond Street, and the principal Musicsellers.

saith not. What a pity when Tamburini quitted the stage

he should have carried off so many impersonations with him TO CORRESPONDENTS.

into his retirement! Shall we never have a successor to T. B. (M. A.)–We regret our inability to entertain the project.

that great and versatile artist? After Mlle. Carlotta MarSACRED HARMONIC Society. The article was beneath:

chisio comes Mlle. Dario, of whom we know so little that * The Lobgesang and Stabat Mater were repeated last night, and again drew an we shall say next to nothing. Mlle. Dario (or Doria?) is enormous audience to Exeter Hall. The great works of Mendelssohn and Rossini created the same lively impression as 'before; and this was thoroughly warranted by

to appear in the part of Oscar in Verdi's Ballo in Maschera; the merits of the performance, which, if on the whole not quite up to the level of that which, by the way, was produced for the first time in this Europe. more especially in the case of the Lobgesang."

country by Mr. Mapleson, at the Lyceum, last year. Mlle.

Louise Michal — a countrywoman of Jenny Lind, and NOTICES.

strongly recommended by her to Mr. E. T. Smith — made a TO ADVERTISERS. --Advertisers are informed, that for the future highly favourable impression in 1860, at Her Majesty's

the Advertising Agency of THE MUSICAL WORLD is established Theatre, as Marguerite in the Huguenots, exhibiting a voice of at the Magazine of MESSRS. DUNCAN Davison & Co., 244 great brilliancy and power, and considerable art as a vocalist. Regent Street, corner of Little Argyll Street (First Floor). Ad As Mad. Lind-Goldschmidt, it is rumoured, bas pronounced vertisements can be received as late as Three o'clock P.M., on Mlle. Louisa Michal her legitimate successor, we may anticiFridaysbut not later. Payment on delivery.

pate even greater things from her than her performance of Terms {] S Two lines and under

the Queen of Navarre in Meyerbeer's opera. Mad. Guerraditional 10 words ... ... 6d.

bella created so favourable an impression as Maid Marian in To PUBLISHERS AND COMPOSERS.- All Music for Review in THE Mr. Macfarren's Robin Hood, at the Royal English Opera, MUSICAL WORLD must henceforward be forwarded to the Editor, care of MESSRS. DUNCAN DAVISON & Co., 244 Regent Street.

last winter, that she is sure to become a favourite in Italian A List of every Piece sent for Review will appear on the Satur

Opera, to which it would appear her education has been more day following in THE MUSICAL WORLD.

immediately directed. She will come out as Elvira in the To CONCERT GIVERS.—No Benefit-Concert, or Musical Perform

Puritani, with, no doubt, Sig. Giuglini as Arturo, perhaps ance, except of general interest, unless previously Advertised, can

Sig. Giraldoni as Riccardo: but who is intended for Giorgio be reported in THE MUSICAL WORLD.

we cannot even surmise. What a pity when Lablache quitted the stage he should have carried off so many impersonations with him into his retirement! Mlle. Drusilla Florio is an utter stranger, to whose talents, in our ignor

ance, we take off our hat. Mlle. Kellogg, the last name in the LONDON: SATURDAY, APRIL 5, 1862.

list, would be as entire a stranger, but that we have learned something of her antecedents from the New York cor

respondent of Dwights Boston Journal of Music, in which ALTHOUGH the prospectus of Her Majesty's Theatre we are informed that the young lady made a highly interest

has been issued, and the names of the artists given in ing début at New York, in 1861, as Linda in Linda di full, comprising seven sopranos, three contraltos, four tenors, Chamouni. Mlle. Kellogg will make her first appearance three barytones and four basses, it is more than probable early in May in Linda di Chamouni, with Mlle. Trebelli as that still further additions will be made to the number, since Pierotto, Sig. Giuglini, Carlo, Sig. Giraldoni, Antonio, and as yet certain artists in certain departments would appear to the Marquis, Sig. Zucchini. be wanting, without which two at least of the most attractive There are three contraltos, Mlle. Barbara Marchisio, Mad.

of Friday week, was still such as could hardly be furnished elsewhere in any part of

of merits of the perfer impression as beforereat works of Mendele


[ocr errors]
[ocr errors]

Frey additional 10 woorde

The Musical World.

Lemaire, and Mlle. Trebelli. The first has been already with Haydn I do not know. But, besides the value of a alluded to, and her representations, no doubt, will be re manuscript in a critical revision of a work for publication, stricted to operas in which she and her sister will appear. there are often points about it, even if undated, which may Mad. Lemaire is an extremely useful artist. Mlle. Trebelli render a description certainly worth putting upon recomes to England with a high reputation. She made her cord in some periodical publication. There must be many first appearance in Madrid as Rosina in the Barbiere, in the of Haydn's MSS. scattered about in England : why not have winter of 1859, with Sig. Mario. From Madrid she went descriptions of them put into the possession of the public back to Paris, where she resumed her studies, and was through the medium of your press ? Personally I am at engaged by Sig. Merelli for his Berlin troupe, in July, present more interested in Beethoven's MSS., and would 1860.

heartily thank any person who would aid in making known The tenors comprise Sigs. Armandi, Cappello, Soldi and what there is from his pen in England, and whether any Giuglini. The last alone is noteworthy. Sig. Armandi peculiarities are presented worthy of note. As specimens may, or may not, be remembered as singing at the Royal of such descriptions aid to show what interest such MSS. Italian Opera some seasons since. Of Sig. Cappello we know may have, I copy from my notes the following, in relation nothing, and of Sig. Soldi a great deal, as do also the sub. | to two MSS. kindly offered me for inspection by Herr scribers to both operas. If the list of tenors be not reinforced, Johann Nepomek Kafka, a teacher and composer of this poor Signor Giuglini will have his hands full.

city. I translate the remarks of Beethoven on the MS., as The barytones are Sigs. Giraldoni and Casaboni, and M. the original German would have few charms for most of Gassier; the basses, Sigs. La Terza, Bossi, Castelli and your readers. Zucchini. Sig. Giraldoni would seem to be an artist of The first of these MSS. has, in Beethoven's own hand, mark, seeing that Verdi wrote the part of Renato in the the following title, in which, it will be noticed, the first word Ballo in Maschera expressly for him. M. Gassier is an | wants a letter or two: artist in the truest sense of the word, an honest, straight

“ Gran Sonate, Op. 28, 1801, da L. v. Beethoven.” forward singer, capable of undertaking the highest parts without discredit. The first bass, Sig. La Terza, is unknown

Fifty-one pages, ob. 4to. In the rondo, in two cases, a to us; Sigs. Bossi and Castelli are both known to us. Sig.

| new page is sewed over the original, and very different Zucchini has enjoyed for some years in Paris no incon

music written. The corrections and alterations in the first siderable reputation as a buffo singer.

movement are very numerous ; in the andante and scherzo The orchestra, the prospectus tells us, “with the most

comparatively few, the principal ones in the latter being an especial cake to secure thorough efficiency in every depart

erasure of seven bars in the scherzo, and of eight in the ment, has been selected from the magnificent band of the

trio. The rondo again is much cut up. Philharmonic Society.” Signor Arditi is to be the con

On the blank page, after the close of the sonata, Beethoven ductor. The choral force « has been selected with great

has written part of a canon (?) to the words “ Hol' dich der care and discrimination, with numerous additions from

Teufel,” after which is a short piece for two voices and the Italian operas of Paris, Berlin and Barcelona, and the

chorus, in which the violinist Schuppanzigh is called an direction confided to Signor Chiaromonte, chorus master of

“ass,” a “scamp," a "swine-stomach,” &c., and the chorus the Théâtre Italien, Paris.” From the ballet alone-once

singsthe chief spell of attraction at Her Majesty's Theatre — has

“We all agreo to this, thou art the greatest the glory departed. However, grand operas necessitate di

Ass! O scamp ! he, he, haw." vertissements, and so we have Mlles. Lamoureaux, Morlacchi,

Herr Kafka is of opinion that this was written upon occaand Bioletta for the leading danseuses, and Signor Gar

sion of some quarrel. On the other hand, I put it with bagnati, from the Scala, Milan, as principal danseur.

the broad jests of that day, which were not wholly unknown The repertory for the season is highly attractive. In

in other cities besides Vienna, as the anecdotes of artists, addition to the operas already named, we are promised

actors, dramatists, &c., very abundantly show. Oberon - brought out with so much splendour and com

The second of the MSS. is the “Waldstein Sonata,” Op. pleteness by Mr. E. T. Smith in 1860; Meyerbeer's Robert

53. You no doubt remember what Ries says of this (see le Diable, got up expressly for Mlle. Titiens. Mozart's Nozze di Figaro, with Mlle. Titiens, as the Countess, Mlle.

| Schindler's Life of Beethoven, edited by Moscheles, vol.

| ii. p. 297):-- " The sonata in C major (Op. 53), dedicated Trebelli, the Page, and Mlle. Kellogg, Susanna ; and, "should

to his first patron, Count Waldstein, had originally a long time permit,” Der Freischütz.

andante. A friend of Beethoven pronounced this sonata to For the list of officials we must refer those deeply con

be too long, which brought him a volley of abuse in return. cerned in the matter to the prospectus itself, merely calling

Upon quietly weighing the matter, however, my master attention to the fact—which, we are sure, cannot fail to

convinced himself of the truth of this assertion. He then afford unqualified gratification to the subscribers and the

published the grand Andante in F major, three-eight time, public—that Mr. Nugent, the attentive and polite, is again

separately, and afterwards composed the highly interesting at his place in the box-office.

introduction to the rondo such as it now stands." See now how the MS. confirms Ries, as appears from my notes.

This MS. has no title other than “ Sonata Grande,” in To the Editor of the MUSICAL WORLD.

very small letters, and is without date; thirty-two leaves, SIR-I wish to call attention to the very great value ob. 4to. On the margin of the first page of the allegro is

which mere descriptions of original MSS. of works by the written, in Beethoven's own hand, “N.B. Where Ped. great composers can have for the collector of historical and stands all the dampers are to be raised, both bass and des. biographical materials. Especially is this the case with cant. 'O' signifies that they are allowed to fall again.” The Handel, who so carefully dated his MSS.,—an example fol. first movement fills thirteen leaves, and has few corrections lowed, though not always, by Beethoven. How it was for Beethoven. Then follow three and a half pages of


[ocr errors]

“ Introduzioneadagio, of which half a page has been / THE “Ne Plus Ultra" AND THE “ Plus Ultra.”—In concrossed out. This is in a totally different ink. Half a leaf | trasting the Ne Plus Ultra of Woelf with the Plus Ultra of Dus. is sewed to the lower half of the fourth page of this “In

sek, the superiority of Woelf as a musician has sometiines been

cited, in contradistinction to Dussek's far higher claims as an troduzione,” and contains the beginning of the rondo, and

imaginative and poetical composer. “See"-argue the ''oelflites thenceforth the ink is the same as that of the first move

- 'how clear and symmetrical is Woelf's first move uent comment. On the last page Beethoven has written, “For those pared with that of Dussek." “Granting this to be true"-retort to whom the shake, where the theme and the shake occur the adherents of Dussek" see with what different materials they together, is too difficult, the passage may be made easier had to deal : Woelfl was trimming a garden-Dussek clearing a thus :

forest."-Dussek's Plus Ultra"_edited by J. W. Davison.

“ ANGELINA ” AND BENNETT'S FOURTH CONCERTO.—But the gem of the concert was, unquestionably, Mad. Goetz's charming and irreproachable rendering of the slow movement from Dr. Sterndale Ben. nett's concerto in F minor, the last of the four which we owe to his reluctant pen. It is also the most popular, if the word can be rightly applied to the compositions of a man whose writings, however cherished though they must always be by the musician, are shaped in too delicate

a fashion to become “popular," in the widest sense of the word. If the or, according to their powers, double this, as

fourth is better known than Dr. Bennett's earlier concertos, it is because the unelaborated grace of the barcarole engages the attention of all listeners ; and certainly the masterly but unaffected manner in which its reposeful beauty was on Tuesday night elicited would have satisfied the composer bimself. The lady, indeed, has every requisite for a great performer. Displaying so complete a command over the mechanical difficulties of the instrument as many can never attain after a whole lifetime of constant practice; possessing a touch of singular delicacy, and evidently sympathising, to a rare degree, with the intentions of the

composer whom she interprets; Mad. Angelina Goetz might well Of these sixes two will be struck to each quarter note in

assume, did she choose to do so, a high position among the pianists of the bass; besides, it is of no consequence if this trill loses Europe. Whether it was their estimation of the lady's powers that led somewhat of its usual rapidity."

the instrumentalists to take unusual care, we know not; but it is cerSuch short notices of MSS. have for the historian a value tain that the accompaniments to the barcarole constituted the best of which most readers have little conception.

orchestral performance of the evening. It is to be regretted, however,

that the first and last movements were omitted. Strangely enough, A. M. T.

the concerto has only been played four times, even at the Philharmonic Vienna, January 27, 1862.

Concerts, in the space of twenty-three years. Of course, few pianists would like to attempt it, while the remembrance of Dr. Bennett's own

playing is still fresh ; but this reason could scarcely apply in the preNEw Music Hall. — It is reported, we believe on good sent instance, and it is a pity that the extreme length of the programme grounds, that the premises opposite the Lyceum Theatre did not permit of the performance of the entire work. - Daily Telehave been purchased by a company for the purpose of erect

graph. ing a new Music Hall, and that one of the largest share

MLLE. KELLOGG (From Dwight's Journal of Music, March, 1862). holders is Mad. Goldschmidt-Lind, who has advanced capital

-Linda di Chamouni was selected for the début of Miss CLARA

LOUISE KELLOGG, on Tuesday evening. The sweet simplicity of the to the enormous amount of 40,0001.

young Savoyard peasant girl is easily reproduced by the powers of a MR. BENEDICT. — This accomplished musician has announced a young girl, coming within the sphere of her experience and not forcing benefit to take place this evening at Drury-lane Theatre. His

her to counterfeit passions of which youth and innocence can have but deservedly-successful opera, The Lily of Killarney, will be per

small conception. The opera is thus well adapted for a debutante. formed on the occasion, with, with one exception, the same cast as

We have rarely had occasion to record a more complete and genuine at the Royal English Opera, namely, Miss Louisa Pyne as Eily

success than was won by Miss Kellogg on this occasion. An entire

novice upon the stage, having appeared only some half dozen times in O'Connor, Miss Jessie M'Lean as Ann Chute, Miss Susan Pyne

all, coming to us almost unheralded and unpoffed, indeed almost un. as Mrs. Cregan, Mr. Santley as Danny Man, and Mr. W. Harri

known, she has stepped into the position of a public favourite at a son as Myles-na-Coppaleen, the exception being Mr. St. Albyn in

single bound. In person she is slender and graceful, with a pleasing place of Mr. Haigh as Hardress. The opera will be preceded by

face, intelligent and intellectual, rather than a beautiful one, capable Mr. Howard Glover's operetta, Once too Often, and will be fol of the most varied expression. Her voice is a pure high soprano, of lowed by the third act of The Dublin Boy, with Mr. and Mrs. that thin and penetrating quality that cuts the air with the keen glitter Boucicault in the principal parts. Taking into consideration both of a Damascus blade, wanting now, of course, in that volume and power the attractiveness of such a bill of fare and the claims which Mr. which age and time will give, yet sufficient for all practical purposes; Benedict has upon all lovers of music, we can have no doubt that of course, furthermore, not so full in the lower register as it will be in a full house will greet him on the occasion.

time. She reminds us much of Adelina Patti as to the quality of her

voice, and indeed in fer execution, which is finished and thoroughly JENNY LIND AGAIN.-Mad. Otto Goldschmidt is about to give

| artistic, savouring little of the novice, but worthy of the experience of a series of grand concerts during the International Exhibition, a longer study and maturer age. Every thing attempted is done with prefaced (as usual) by three performances for the especial benefit | admirable precision, neatness and brilliancy that leave little to be deof charities; the first for the Distressed Needlewomen, the second sired. In the opening cavatina, “O luce di quest'anima,” she exhibited for the Consumptive Hospital in Brompton, already so greatly in at once these qualities, giving the air in a way that brought down the debted to her; the third for the Royal Society of Musicians and house in spontaneous applause. As she proceeded she evinced a rare the Society of Female Musicians.

dramatic talent and an apparent familiarity with the business of the THE VOCAL Association, having obtained the consent of Miss

stage that was truly remarkable. The grace and simplicity of manner Louisa Pyne and W. Harrison, Esq., to give a Selection from Mr.

that mark her, are, however, native and not acquired, and seem a real Benedict's Lily of Killarney, will introduce, for the first time in the

gift of nature. Through all the changes of the opera, she showed herself concert room, a Selection from this delightful Opera, on Wednesday

always equal to the demands of the scene, so that, as an actress, we

should set her down as possessed of a rare instinct, if not, indeed, of evening next, April 9th, St. James's Hall. The solo singers are Miss Banks, Miss Augusta Thomson, Mr. Swift, Mr. Tennant, and Mr. |

| positive genius. We do not remember any one in the character of Linda Santley. The choir (of 200 voices) will sing the Boatmen's Chorus.

who has given it more acceptably than she. Mr. Benedict will conduct the performance.

Letters to the Editor.

MR. PITTMAN'S LECTURES ON THE OPERA,- Mr. Pittman's second course of Lectures on the Opera, delivered before the members of the London Institution, was concluded on Monday last. An investigation into the Vocal forms of the Opera as influenced by the Instrumental forms therein was the subject of the course which has been most fa THE ILLUSTRATED SPORTING LIFE AND MUSIC vourably received by the subscribers. The theatre has been crowded

HALL, nightly, and the interest of the lectures much enhanced by the superb | SIR,—There has recently appeared a new journal, having the title of manner, in which the illustrations have been rendered by Miss Augusta “ The Illustrated Sporting Lite and Musical Review." The association Thomson, Mr. Patey, Mr. Perren, Mr. Theodore Distin, Mr. Smythson, | in this "heading" being peculiar, I am led to consider in what sense and Ladies and Gentlemen of the Chorus of the Royal Italian Opera. | music is a sport. Taking the word "sport" to be a pastime, there

M. SAINTON'S SOIREES. — The third and last of these interesting might at first sight appear to be something in it, but only with respect performances took place on Tuesday evening. The programme con- to those who regard music from its very lowest point of view. Seen tained two novelties - a quartet for stringed instruments, by Herr by the eye of the soul, or felt as it is by all who know it to be a Meyer Lutz, and a trio for pianoforte, violin, and violoncello, by Auber. | Divine spark, such as was kindled in the breast of a Beethoven, a The quartet of Herr Lutz exhibits that earnest endeavour to do well Mozart, or a Handel, it is very far from being a pastime. Thus rewhich must always command respect. Every movement betrays the garded, music bears no relation at all to sport of any kind. A comevidence of careful consideration, and, besides this, a resolution on the mon principle links together such diversions as fighting, running, part of the author to be indebted to no other than his own inspiration shooting, boxing, horse racing, and the like ; but far as the poles are for ideas. When it is remembered how few, even of the most practised asunder is music from any and all of these. To imagine a sentiment and laborious among musicians, have succeeded in producing a quartet in which there is sympathy between such a man as Joachim and worthy to be ranked, at however great a distance, with the models which “Dutch Sam,” or “ Brighton Bill,” is to generalise to an extent that the genuine masters of the art have bequeathed us, the applause due to even Aristotle would not have allowed. a new aspirant for so creditable an effort will hardly be withheld. Herr Musicians may go to the “Derby,” but they do so, not because Lutz was lucky in having such exponents as M. Sainton, Herr Pollitzer, Blondin or Tom Sayers goes there, but because everybody is to be seen Mr. Doyle, and Mr. Paque, who all did their best to realize his inten- | there. It is London's “ day out." It is the Wednesday popular holiday. tions, and obtained very general and hearty approval for his work. The Horse racing strikes no particular chord in the musician's breast. He trio of Auber is delicious, from one end to the other a “pastoral,” in has no sympathy with the flats, naturals, or sharpers that abound on the truest and most graceful sense. We can single out no particular | Epsom Downs. His accidentals are necessary, but they do not play feature for praise, inasmuch as each of the four movements is, in its upon each other. Whatever discords he may introduce, he never forway, perfection. That the style which the ripening of years matured gets to resolve harmoniously. I repeat our vocation is not a sport, nor into the musical embodiment of France itself is apparent throughout, may are the frequenters of the Philharmonic Concerts the patrons of the readily be surmised ; but when it is stated that this trio is the composer's “ prize ring ;” nor is the pit of the Opera identical with what is called a Opus I."-written at least 20 years before Masaniello and Fra Diavolo “ cock pit." Those who take an interest in the “ performances" of - many amateurs, indifferent, more or less, to the seductions of the “Deaf Burke" can find none in those of Beethoven, though it was his opera, are likely to express regret that Auber should ever have been in affliction to be deaf. duced to devote his exclusive attention to dramatic music. It is fair to add, For these reasons I protest against the title of this new journal ; and that in bringing forward this trio - which was played to perfection by I beg to suggest, as a less inappropriate name, that the paper be called Mr. Charles Hallé, at the piano (M. Sainton beirig violin, and Mr. Paque “ The Illustrated Sporting Life and · Music Hall' (not Musical) violoncello), the giver of these soirées has forestalled the Monday Popu- Review." lar Concerts – Mr. Arthur Chappell having announced it, months ago, This suggestion illumines my mind with another, which I cffer for as one of the “novelties” of the present season. The grand piece of the benefit of those whom it may concern. We occasionally see anthe evening, however, was Mendelssohn's quartet in A minor (by the nouncements to the effect that a “ Staley bridge infant," or some other performers already named) a work to the merits of which we have defcated pugilist, will take a benefit, when he respectfully invites his recently alluded, in appropriate terms of admiration. Often as M. friends toʻrally round him.” assuring them that some excellent "sparSainton's quartet-playing has been eulogised, he never, in our remem ring” will be exhibited. I do not remember where these displays usually brance, has stood out so conspicuously as a thoroughly accomplished take place ; but I would venture to suggest the “ boxing” element as master. The whole quartet created an impression upon the audience, being worthy the serious consideration of the proprietors of “music the genuine nature of which was not to be mistaken ; and, irresistible halls,” when the “wondrous,” the “ inimitable,” the “ enchanted,” and as is the quaint and taking into account the time at which it was writ the “perfect” cease to draw. The change of title in the new journal ten) unprecedented scherzo, the plaudits it elicited were scarcely more which I have suggested will then be thoroughly applicable. warm and unanimous than those accorded to the other three move

MUSICUS. ments. M. Sainton's associates were quite up to the mark. Herr Pollitzer, as second violin, and M. Paque, as violoncello, sustained their well-earned reputation; but it would be unjust not to bestow a special word of praise upon the admirable playing of Mr. Doyle-a per

MLLE. ELENA CONRAN.-A concert was given on Thursday last, in former on the viola (as the frequenters of the Royal Italian Opera

the Salle Herz (Paris), at which Mad. Grisi and her protégée Miss Ellen are aware) of equal capacity and intelligence. That a pia.

Conran assisted, in conjunction with M.M. Graziani, Nandin, and nist like Mr. Hallé was not engaged exclusively to take part

other artists of celebrity: Miss Conran produced a great effect in in a trio, may be well imagined.

ballad, “ Little He joined M. Sainton in three

several favourite morceaux, and in the English of those exquisite pieces for pianoforte and violin, which a quarter

Bertha," was loudly encored. She also received a similar compliment

with Mad. Grisi, in the well-known duet from Norma. of a century since-under the title of Pensées Fugitives were conjointly written by M. Stephen Heller and Herr Ernst, and, as "solo,delighted DusseK'S PLUS ULTRA. This was altogether a truly great performhis hearers with a Sarabande, Gavotte and Musette of J. S. Bach, fol- ance, but still not finer than Miss Arabella Goddard's rendering of lowed by one of the liveliest pièces de Clavecin" of Domenico Scar- | Dussek's “ Plus Ultra,” which is as superior to the “Ne Plus Ultra ” of latti – that very prolific composer (contemporary of Handel), of whose Woelf (to rival which it is supposed to have been written) as sunlight to works scarcely more than a fourth have been perpetuated in type. The fireworks. How chastely and beautifully she sang on her instrument the last of the Pensées Fugitives and the presto (a “presto" without com- lovely second subject of the first movement; with what clearness, accent promise, as rendered by Mr. Hallé - such a "presto" as would have and force, she gave the ascending syncopated melodic outline, and its astonished the worthy Domenico, in his quiet domicile at madrid) were accompanying forid passages divided between both hands, which follow both encored and repeated, with, if possible, increased effect. The this second subject; how sweetly, tenderly, and passionately she rendered music of Herr Ernst is too rarely introduced now-a-days; but with one the delightful adagio, the exquisite delicacy and fancy that characterised who can enter into its spirit so enthusiastically as M. Sainton, there is her performance of the dreamy and poetical scherzo, together with the no reason why it should not be frequently heard. These soirées have spirit and refined taste which distinguished her reading of the sportive and been attractive for two reasons — first, as excellent performances of elegant finale, would tempt us to write an eulogistic essay, if time, space, high-class music; and, secondly, as the medium of bringing forward and the patience of our readers might permit it. The simple stateseveral unknown compositions — among which the Trio of Auber, and ment, however, that this was one of the very finest specimens of pianothe Sonata, for pianoforte and violin, of Mr. Lindsay Sloper (at the forte playing we ever listened to must suffice. Miss Arabella Goddard, second soirée), may be cited, as likely to be heard again and again, at with all her long list of artistic successes, never distinguished herself more concerts where sterling music is looked upon as the chief desideratum. | honourably.



SINGING FISII.-M. de Thoron says that being in the Bay of Palion, situated north of the province of Esmeralda, in the Republic of Ecuador, he was suddenly startled by a deep humming noise, which he at first attributed to some large insect, but which upon inquiry turned out to be a kind of fish called Musicos by the people of the country. On proceeding further the sounds became so strong as to remind him of the strains of a church organ. These fish live both in salt and fresh water, since they are also met with in the river Mataja. They are not more than ten inches long, their colour is white, sprinkled with blue spots, and they will continue their music for hours without minding any interruption.







a aa


[ocr errors]
[ocr errors]
[ocr errors]
[ocr errors]



SONG—A bachelor's life. (Hardress) . . A GRAND ROMANTIC OPERA IN THREE ACTS;

DUET — The moon has rais'd the lamp abore. (Hardress


SONG - The above arranged as a song

SONG--It is a charming girl I love. (Myles.) In B flat and in A 2 THE MUSIC COMPOSED BY

6 SONG - In my wild mountain valley. (Eily.) In D and C minor 26 M. W. BALFE.

SONG, with CHORUS, ad lib.—The Cruiskeen Lawn .


CHORUS— The Hunting Chorus - -
AIR and DUET—The eye of love is keen. (A.Chute & Hardress) 4 0

SCENA — A lowly peasant girl. (Danny Mann) -

ROMANCE (separately)-The Colleen Bawn. (Danny Mann) 2 6

BALLAD—I'm alone. (Eily.) In E flat and in c .
Аст І.

voice. 8. d. DUET - I give the best advice. (Eily and Myles) Overture

• • 4 0 1. Chorus, Here's to wine, and here's to beauty.”

ACT III. Duet, “ Hate, hate.” .

T. B. 3 0 Duet, “I would ask a question " ( ic)

SONG - The Lullaby. (Myles). In A and in F . Song, “My own sweet child."

. B. 26 Aria,

(Eily, Myles and “ What glorious news" (Comic


TRIO-Blessings on that rev'rend head.

Recit & Chorus, with Solos, “Let its haste."

.. Soprani.
Father Tom.) Iu D and in D flat - -

3 0 Solo & Chorus, " By earth and air."

Male Voices. 3

DUET- Let the mystic orange flowers. (For two equal voices) 2 6 8. Concerted Piece, “What do we see?”. 8A. Duet, Oh, father, pity!"

. S. B. 3 0

BALLAD-Eily Mavourneen. (Hardress). In F and in D - 26 8B Duet, "Oh, reflect ere you decide," . S. B. 3 0 RONDO FINALE-By sorrow tried severely. (Eily)

- 2 6 9. Cavatina,

“ Pretty, lowly, modest flower.'
10. Finale, Act I. . - - - . . . . . . . . 6 0
101. Ballad,
“Bliss for ever past." . . . . S. or B. 3 6


THE OVERTURE. Arranged by the Author .
11. Recit. & Romance, " Ikow peal on peal of thunder rolls."
“ By the tempest overtaken."

T. B. B. THE FAVOURITE AIRS. In two Books. W. H. Callcott “My welconie also to this roof."

T. B. B. 3 0 Ditto. As Duets. In two Books. W. H. Callcott . 131. Cabaletta, “Can it be, do I dream?".

2 0 11. Duettino, “Let the loud timbrel" (Unison.) . . - T. 20

THE FAVOURITE AIRS. In two Books. Franz Nava . Recitative, “Nay, do not run away."

2 0 Ditto. As Duets. In two Books. Franz Nava Air, “ Though we fond men all beauties woo."

T. 26 SET OF QUADRILLES. Charles Coote - Duet,

“ Thou weepest, gentle girl." Drinking Song, "Let others sing the praise of wine." . .

T. 30

Ditto. As Duets 18.* Ballad, “ The Paradise of Love."

S. 3 6

Set of QUADRILLES. “The Cruiskeen Lawn." Pierre Laroche. 19. Finale, Act II.


Illustrated by Brandard 191. Trio, “What man worthy of the name

S. B, B. 3

WALTZ. “Eily Mavourneen.” Chas. Coote. Illus. by Brandard лст 1

SET OF WALTZES. Pierre Laroche. Illustrated by Brandard . 191. EntrActe · ... Hail, gentle sleep.” :

GALOP. Pierre Laroche . . 20. Ballad,

: : :

BRINLEY RICHARDS, “Eily Mavourneen” 21. Concerted Piece . . . . . . . . . . . 100

“ I'm alone" 22. Ballad,

" A loving daughter's heart." 23. Concerted Piece

“ It is a charming girl I love” 24. Rondo, Finale, Rondo, Finale, “With emotion post ali feeling. " With emotion past all fee : : s.

“ The Cruiskeen Lawn".
N.B.— Thosc marked thus (*) have transposed Editions.

Kune. Fantasia on favourite Airs .
Grand Waltz

Favourite Airs from Balfe's Opera, “ The Puritan's Daughter,” arranged by
W. H. Callcott, in 2 Books

G. A. OSBORNE, Fantasia on favourite Airs :

• i - Solos, 58.; Duet's W. H. Holmes's Fantasia, “The Puritan's Daughter "

“Ricordanza" 0

4 Brinley Richards's “Bliss for ever past."

- 3 0 MADAME OURY. Fantasia on favourite Airs Brinley Richards's Fantasia on the Favourite Airs

ged by C. Coote

- - 4 Galop, from “ The Puritan's Daughter," arranged by


LINDSAY SLOPER. Fantasia on favourite Airs -
The Storm Valse, from “The Puritan's Daughter," arranged by C. Coote - 4 0 | RIMBAULT. Six favourite Airs, casily arranged :-
Quadrille, from “ The Puritan's Daughter," arranged by C. Coote - - - 4 0
Kühe's Fantasia on “The Puritan's Daughter."

No. 1. “In my wild mountain valley"

. 10 2. “The Lullaby" .

• 1 0 Other Arrangements in the Press.

3. “It is a charining girl I love”

. 10 London : Addison, HOLLIER & Lucas, 210 Regent Street

4. “Eily Mavourneen".

• 1 0 5. "I'm alono". .


6. “The Collecn Bawn” U ESTABLISHMENT, 16 Grosvenor Street, Bond Street, where all communi. cations are to be addressed. Pianofortes of all classes for Sale and Hire. City Branch, 26 Cheapside, E.C.


Trio, Trio,

[ocr errors]
[ocr errors]
[ocr errors]

15. 16. 17.


[ocr errors]
[merged small][ocr errors][merged small][ocr errors][ocr errors][ocr errors]
« ElőzőTovább »