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THE MENTAL HISTORY OF POETRY*
"To search throngh all I felt or saw,
It has now been seen that in the progress of this principle of modulated tone and varied accentuation, the principle governing all that impressivcncss which dwells in the pare expressional form of utterance, the principle which is in reality alluded to wherever the term "Eloquence" is mentioned, and which, for the sake of brevity, we will call the principle of Tone and "Phrase;" — it has been seen, in the progress of this principle throughout the different forms of language, that as the truths and feelings composing the vital import of a communication increase in comprehensiveness and originality, it assumes with steady march a gradually more elaborate form, a more conspicuous, systematic and striking effect. It may also have been observed that it is the degree of this elaboration in effects of Tone and Phrase which determines, so far as outward form is concerned, the different artistic orders of language.
Now, it is capable of complete demonstration, that if the external exemplifications of this principle of Tone and Phrase be carried to a still higher phase of development beyond that they exhibit in poetry,—that if they be carried to a phase of development wherein every effect they actually involve is brought out more distinctly defined, where every contrast is rendered sharper, every change more clearly visible,— the sound which encloses them becomes more positive in character,—clearer, sweeter and pellucid, and the result is Music The "modulated tone" changes to "Mclod\ ;" the "varied accentuation" develops into Time and Measure. It can also be explained that not only is the outward form of this principle as exemplified in the various styles of language (but more particularly in the more artistic forms) identical with that which evolves the material form of music, but that the inward spirit investing it during its probation in language — the spirit of lofty truth and deep emotion —is also identical in nature with that profound and radiant soul which animates Music.f
We are now at length in a position to observe directly and clearly the particulars of the presence of the Musical element m the art of Poetry. The reader will now perceive that all those salient features which produce the outward expression of Poetry—all the characteristic effects of its surface-being (Rhythm, Alliteration, and Metrical Design)—are simply but the outer echoes of music, resounding from ono grand spirit of inspiration, the spirit of comprehensive truth and innermost emotion, which, diffused like the dew of nature over both these arts, is the first offspring of the primitive conditions, and the "prime nourisher" of all art-creation. And it is for the demonstration of this latter portion of the proposition—of the relationship in spirit of these two arts of Poetry and Music, more particularly than for pointing out their connection in form, that this portion of the general subject has been detailed at such length.
Now is, it is to be hoped, apparent, not only the positive fact of the presence of the Musical element in the art of Poetry, but also the precise and remarkable extent of this presence, which is an extent that compasses the whole distinctive outward form of Poetry, and that embraces an important portion of its spirit.
Before leaving this portion of the subject—this consideration of the Musical element in the art of poetry —there may be, in passing, one 'light practical inference here deduced.
It has been shown that the principle of "Numbers" in Poetry is identical with that of " Time" in Music, only that in the latter art it is exemplified in a vastly more elaborate and varied phase of development than in the former.
Now the reader will not find it difficult to understand that this principle is one which dwells solely in the abstract effect of certain inipres
* Continued from Page 181.
f The details of this identity of the "Tone" and "Phrase" of language (both with reference to inward inspiration and outward form, both as an internal principle and an external property) with the "Melody" and "Time" of Music, '(involving the proposition that that inner fineness of thought and individuality of feeling, which remains unexpressed by the comparatively limited and semi-corporeal medium of ordinary speech,—that latent heat of the breast which, consistent with the above circumstances of being left uninterpreted, is the secret incentive of Eloquence, Oratory and Poetry,—is the true moral burthen of music, and flows for the first time in replete fulness and freedom within this etherial channel of sound—it's appropriate and rarefied medium of demonstration—its real language, will be found to be more fully and minutely demonstrated in "The Philosophy of Music."
sions upon the ear, quite irrespective of any "collateral suggestiveness they may possess—that it dictates, amidst impressions of this character, a certain method, order and system,— that in the example of a line of poetry, the abstract impressions upon the ear, wrought by the accentuation in the recitation of the words, are dictated through the prompting of this principle within ; and that thus the appropriate position of these impressions cannot be calculated by means of any purely external and superficial method of counting syllables, unless this inner instinct of numbers—this element in the breast of musical taste — exists. Because, through the irregular length and shape of words, in the expression of a sentence or the intelligible portion of the sentence, the syllables will not always adapt themselves to correlative accents and falls in the rhythmical design, it being often necessary, in the recitation of poetry, to utter several syllables to one fall of the measure, in order to distribute the rhythmical design equally over some intelligible portion of the literal matter. Thus
"t 1 sec belforemethc I Gladtlntor I lie."
In the second foot of this line there are two unaccented syllables instead of one, because in the whole line (owing to the irregular length of words) there is a syllable more than is physically necessary to occupy the five feet forming the " measure" in question.
Now the presence of this extra syllable would quite overthrow the effect of the "metre," were it not so disposed of as to maintain the normal relationship of the five rhythmical accents, and to still produce them upon five comparatively important syllables of the line; and the secret of this manner of disposing of it could not possibly be defined by any superficial rules, but, on the other hand, can only be dictated by an inner instinct and intuitive idea in the breast of musical " Time."
How essential then is it for one who aspires to become a poet to possess this element of inward musical taste—this spontaneous idea of Time in the breast! How futile would it be, not possessing it, to attempt to lay down a system of free and bold accentuated impression, pervading and animating intelligibly divided sentences of language, by means of those incomplete and superficial methods of rhythm which deal only in such rudimentary materials as "syllables," "feet," and "quantity," and which involve no deep and general principle whatever! And thus we are led to the inference, that for the formation or rather development of a free, true, and perfect faculty of numbers in poetic aspirants, what a powerful auxiliary a preliminary training in the principles of Musie would be, in preference to the poring over shallow and artificial systems of rhythm, by the sole means of which not two lines of poetry, exemplifying good, appropriate and tasteful accentuated effect, could be produced.
As the reader might desire some practical illustration of this portion of the proposition of the identity of the principle of "Numbers" in poetry with that of "Time " in music,- a few instances of the correspondence of these two effects are here annexed; and it may be remarked that an intelligent observer will not only perceive the effect of "Time" in music exemplified in poetical numbers, but, in a fainter degree, the effect of "Phrase," and even "Movement" in music, also foreshadowed in Poetry.
To furnish at the outset practical proof that it is really from a latent faculty of musical time in the breast, and not through any artificial and laborious system, from whence all ideas of striking and appropriate rhythmical effect are drawn by poets, let the following example be considered:—
"O'er the glad waters of the dark blue tea." Now, poetic analysts will tell us that this is a line of "heroic" measure, and that it consists of five feet, of two syllables to the foot; thus: "O'er I the glad I waters 1 of the I dark blue I sea;"
—that the general and prevailing laws with reference to the "accentuation " of this species of measure is, that the first syllable of each foot must be accented, the second syllable unaccented, as is demonstrated beneath the above example.
(To be continued.)
Miss Rose' Hersee's Concert, at the Assembly Rooms, Pechham March 81st, was highly successful; more than three hundred stalls being occupied by a brilliant and fashionable audience, and the reserved seats being filled to overflowing. Miss Hersce was encored in " Com'o bello" (Lucrezia Borgia), and in a song by Mr. Balfe. The following artists assisted,— Madame L Vinning, Miss Poole, Miss Fanny Huddart, Miss LcfHer, Mr. George Perren, Mr. Montem Smith, Mr. R. Seymour, Mr. Fielding, M. Fontanier, Mr. J. L. Hatton, Mr. Allan Irving, Mr. Griesbach (Violin), Master Drew Dean (Flute), Mr. J. L. Hatton and Mr. F. Osborne Williams (Pianoforte). t
ST. JAMES'S HALL,
Regent Street and Piccadilly.
MONDAY POPULAR CONCERTS.
IGHTY-SECOND CONCERT, ON MONDAY
Ercning, April 21, 1862, on which occasion
Will make hfi Sixth Appearance at these Concerts.
Part I.—Quartet, in C, No. 77, for Two Violins, Viola, and Violoncello (First time at the Monday Popular Concerts), MM. Joachim, L. Hiss, H. Vvehu, and Plattl (Haydn). Song, " The Winter's Walk," Mile. Florence Lancia (Schubert). Romance, "The Colleen Bawn," The Lay of Killamey, Mr. Santley (Benedict). Sonata PatcLique, in E flat, Op. 13 (by desire), Mr. Charles Hall£ (Beethoven).
Part II.—Chaconne, in D minor.for Violin Solo (Repeated by general desire), Herr Joachim (J. S. Bach). Song, *' I'm alone," The Lily of KiUarney, Mile. Florence Lancia (J. Benedict). Stornello, " Gtovinettinodalla bella voce," Mr. Santley ( Angelo Mariani). Sonata, in A, Op. 47, for Pianoforte and Violin (dedicated to Kreutzcr), Mr. Charles HaLLtand Herr Joachim (Beethoven).
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 or the performance can leave either before the commencement of the last instrumental piece, or between any two of the movements, so that those who wish to hear the whole may do so without interruption.
*m* Between the last vocal piece and the Sonata for Pianoforte and Violin, an interval of Five Minutes will be allowed. The Concert will finish before half-past ten o'clock.
N.B. The Programme of every Concert will henceforward include I detailed analysis, with Illustrations in musical type, of the Sonata for Pianoforte alone, at the end of Part I.
Stalls, M. ; Balcony, 3s.; Admission, Is.
Tickets to be had of Mr. Austin, at the Hall, 28 Piccadilly; Chappell & Co., 50
T. B. (M. A.)—We regret our inability to entertain the project.
"The Lobgaang'tnd Stabnt Mater were repeated last night, and again drew an 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 thclrnerits of the performance, which, if on the whole not quite up to the level of that of Friday week, was still such as could hardly be furnished elsewhere in any part of Europe — more especially in the case of the Lobgesang."
To Advertisers.—Advertisers are informed, that for the future the Advertising Agency of The Musical World is established at the Magazine of Messrs. Duncan Davison & Co., 244 Regent Street, corner of Little Argyll Street (First Floor). Advertisements can be received as late as Three o'Clock P.m., on Fridays—but not later. Payment on delivery.
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To Publishers And Composers.—All Music for Review in The Musical World must henceforward be forwarded to the Editor, care of Messrs. Duncan Davison & Co., 244 Regent Street. A List of every Piece sent for Review will appear on the Saturday following in The Musical World.
To Concert Givers.—No Benefit-Concert, or Musical Performance, except of general interest, unless previously Advertised, can be reported in The Musical World.
% Sttfftad Maxl*.
LONDON: SATURDAY, APRIL 5, 18 62.
ALTHOUGH the prospectus of Her Majesty's Theatre has been issued, and the names of the artists given in full, comprising seven sopranos, three contraltos, four tenors, three barytones and four basses, it is more than probable that still further additions will be made to the number, since as yet certain artists in certain departments would appear to be wanting, without which two at least of the most attractive
operas announced could not be effectively sustained. Mr. J.H. Mapleson, the new director, evidenced so large an amount of energy in his brief season of Italian Opera at the Lyceum 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 powerful array of talent. They are as follows:—Miles. Titiens, Carlotta Marchisio, Louise Michal, Drusilla Fiorio, Dario, Clara Kellogg and Mad. Guerrabella. Of Mile. Titiens it is unnecessary to say a word; her fame is worldwide, and she is the accepted successor of Mad. Grisi in the grand tragic line. Mile. Carlotta Marchisio has spoken for herself in the concert-room. She appeared this year in England for the first time. The sensation created by herself and her sister in singing Rossini's duets cannot be soon effaced. Their worth, however, as dramatic singers has yet to be established with us. It must not be forgotten that Rossini's Semiramide was brought out expressly at the Grand Opera of Paris for the "Sisters," and was performed for many nights, according to the press, with immense success. We English critics, nevertheless, are somewhat chary of endorsing the opinions of continental scribes, for reasons not necessary to be stated in this place. They are announced to make their first appearance on Thursday, May 1st, in Semiramide, Mile. Carlotta as Semiramis, and Mlle. Barbara as Arsace; but who is the Assur the prospectus saith not. What a pity when Tamburini quitted the stage he should have carried off so many impersonations with him into his retirement! Shall we never have a successor to that great and versatile artist? After Mile. Carlotta Marchisio comes Mile. Dario, of whom we know so little that we shall say next to nothing. Mile. Dario (or Doria?) is to appear in the part of Oscar in Verdi's Ballo in Maschera; which, by the way, was produced for the first time in this country by Mr. Mapleson, at the Lyceum, last year. Mile. Louise Michal — a countrywoman of Jenny Lind, and strongly recommended by her to Mr. E. T. Smith—made a highly favourable impression in 1860, at Her Majesty's Theatre, as Marguerite in the Huguenots, exhibiting a voice of great brilliancy and power, and considerable art as a vocalist. As Mad. Lind-Goldschmidt, it is rumoured, has pronounced Mile. Louisa Michal her legitimate successor, we may anticipate even greater things from her than I her performance of the Queen of Navarre in Meyerbeer's opera. Mad. Guerrabella created so favourable an impression as Maid Marian in Mr. Macfarren's Robin Hood, at the Royal English Opera, last winter, that she is sure to become a favourite in Italian Opera, to which it would appear her education has been more immediately directed. She will come out as Elvira in the Puritani, with, no doubt, Sig. Giuglini as Arturo, perhaps Sig. Giraldoni as Riccardo: but who is intended for Giorgio 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! Mile. Drusilla Fiorio is an utter stranger, to whose talents, in our ignorance, we take off our hat. Mile. Kellogg, the last name in the list, would be as entire a stranger, but that we have learned something of her antecedents from the New York correspondent of Dicight's Boston Journal of Music, in which we are informed that the young lady made a highly interesting debut at New York, in 1861, as Linda in Linda di Chamouni. Mile. Kellogg will make her first appearance early in May in Linda di Chamouni, with Mlle. Trebelli as Pierotto, Sig. Giuglini, Carlo, Sig. Giraldoni, Antonio, and the Marquis, Sig. Zucchini. There are three contraltos, Mile. Barbara Marchisio, Mad.
Lemaire, and Mlle. Trebelli. The first has been already alluded to, and her representations, no doubt, will be restricted to operas in which she and her sister will appear. Mad. Lemaire is an extremely useful artist. Mile. Trebelli comes to England with a high reputation. She made her first appearance in Madrid as Rosina in the Barbiere, in the winter of 1859, with Sig. Mario. From Madrid she went back to Paris, where she resumed her studies, and was engaged by Sig. Merelli for his Berlin troupe, in July, 1860.
The tenors comprise Sigs. Armandi, Cappello, Soldi and Giuglini. The last alone is noteworthy. Sig. Armandi may, or may not, be remembered as singing at the Royal Italian Opera some seasons since. Of Sig. Cappello we know nothing, and of Sig. Soldi a great deal, as do also the subscribers to both operas. If the list of tenors be not reinforced, poor Signor Giuglini will have his hands full.
The barytones are Sigs. Giraldoni and Casaboni, and M. Gassier; the basses, Sigs. La Terza, Bossi, Castelli and Zucchini. Sig. Giraldoni would seem to be an artist of mark, seeing that Verdi wrote the part of Renato in the Bulla in Maschera expressly for him. M. Gasser is an artist in the truest sense of the word, an honest, straightforward singer, capable of undertaking the highest parts without discredit. The first bass, Sig. La Terza, is unknown to us; Sigs. Bossi and Castelli are both known to us. Sig. Zucchini has enjoyed for some years in Paris no inconsiderable reputation as a buffo singer.
The orchestra, the prospectus tells us, "with the most especial cane to secure thorough efficiency in every department, has been selected from the magnificent band of the Philharmonic Society." Signor Arditi is to be the conductor. The choral force "has been selected with great care and discrimination, with numerous additions from the Italian operas of Paris, Berlin and Barcelona, and the direction confided to Signor Chiaromonte, chorus master of the Theatre Italien, Paris." From the ballet alone—once the chief spell of attraction at Her Majesty's Theatra — has the glory departed. However, grand operas necessitate divertissements, and so we have Miles. Lamoureaux, Morlacchi, and Bioletta for the leading danseuses, and Signor Garbagnati, from the Scala, Milan, as principal danseur.
The repertory for the season is highly attractive. In addition to the operas already named, we are promised • Oberon—brought out with so much splendour and completeness by Mr. E. T. Smith in 1860; Meyerbeer's Robert le Diable, got up expressly for Mile. Titiens. Mozart's Nozze di Figaro, with Mlle. Titiens, as the Countess, Mile. Trebelli,the Page, and Mile.Kellogg, Susanna ; and, "should time permit," Der Freischiitz.
For the list of officials we must refer those deeply concerned in the matter to the prospectus itself, merely calling attention to the fact—which, we are sure, cannot fail to afford unqualified gratification to the subscribers and the public—that Mr. Nugent, the attentive and polite, is again at his place in the box-office.
To the Editor of the Musical World.
SIR,—I wish to call attention to the very great value which mere descriptions of original MSS. of works by the great composers can have for the collector of historical and biographical materials. Especially is this the case with Handel, who so carefully dated his MSS.,—an example followed, though not always, by Beethoven. How it was
with Haydn I do not know. But, besides the value of a manuscript in a critical revision of a work for publication, there are often points about it, even if undated, which may render a description certainly worth putting upon record in some periodical publication. There must be many of Haydn's MSS. scattered about in England: why not have descriptions of them put into the possession of the public through the medium of your press? Personally I am at present more interested in Beethoven's MSS., and would heartily thank any person who would aid in making known what there is from his pen in England, and whether any peculiarities are presented worthy of note. As specimens of such descriptions aid to show what interest such MSS. may have, I copy from my notes the following, in relation to two MSS. kindly offered me for inspection by Herr Johann Nepomek Kafka, a teacher and composer of this city. I translate the remarks of Beethoven on the MS, as the original German would have few charms for most of your readers.
The first of these MSS. has, in Beethoven's own hand, the following title, in which, it will be noticed, the first word wants a letter or two:—
"Gran Sonate, Op. 28, 1801, da L. v. Beethoven."
Fifty-one pages, ob. 4to. In the rondo, in two cases, a new page is sewed over the original, and very different music written. The corrections and alterations in the first movement are very numerous; in the andante and scherzo comparatively few, the principal ones in the latter being an erasure of seven bars in the scherzo, and of eight in the trio. The rondo again is much cut up.
On the blank page, after the close of the sonata, Beethoven has written part of a canon (?) to the words "Hoi' dich der Teufel," after which is a short piece for two voices and chorus, in which the violinist Schuppanzigh is called an "ass," a " scamp," a "swine-stomach," Ac, and the chorus sings—
"We all agrco to this, thou art the greatest
Herr Kafka is of opinion that this was written upon occasion of some quarrel. On the other hand, I put it with the broad jests of that day, which were not wholly unknown in other cities besides Vienna, as the anecdotes of artists, actors, dramatists, &c, very abundantly show.
The second of the MSS. is the "Waldstein Sonata," Op. 53. You no doubt remember what Ries says of this (see Schindler's Life of Beethoven, edited by Moscheles, vol. ii. p. 297) :—" The sonata in C major (Op. 53), dedicated to his first patron, Count Waldstein, had originally a long andante. A friend of Beethoven pronounced this sonata to be too long, which brought him a volley of abuse in return. Upon quietly weighing the matter, however, my master convinced himself of the truth of this assertion. He then published the grand Andante in F major, three-eight time, separately, and afterwards composed the highly interesting 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 very small letters, and is without date; thirty-two leaves, ob. 4to. On the margin of the first page of the allegro is written, in Beethoven's own hand, "N.B. Where Ped. stands all the dampers are to be raised, both bass and descant. 'O' signifies that they are allowed to fall again." The first movement fills thirteen leaves, and has few corrections —for Beethoven. Then follow three and a half pages of * Introduzione" adagio, of which half a page has been crossed out. This is in a totally different ink. Half a leaf is sewed to the lower half of the fourth page of this "Introduzione," and contains the beginning of the rondo, and thenceforth the ink is the same as that of the first movement. On the last page Beethoven has written, "For those to whom the shake, where the theme and the shake occur together, is too difficult, the passage may be made easier thus
5 -e1. J
vp . -—6 L—\ . ——8 ...
or, according to their powers, double this, as
■i 4 4- J
zr ' '^-—"'
Of these sixes two will be struck to each quarter note in the bass; besides, it is of no consequence if this trill loses somewhat of its usual rapidity."
Such short notices of MSS. have for the historian a value of which most readers have little conception.
A. M. T.
Vienna, January 27, 1862.
New Music Hall. — It is reported, we believe on good grounds, that the premises opposite the Lyceum Theatre have been purchased by a company for the purpose of erecting a new Music Hall, and that one of the largest shareholders is Mad. Goldschmidt-Lind, who has advanced capital to the enormous amount of 40,000/.
Mr. Benedict. — This accomplished musician has announced a benefit to take place this evening at Drury-lane Theatre. His deservedly-successful opera, The Lily of Killarney, will be performed on the occasion, with, with one exception, the same cast as at the Royal English Opera, namely. Miss Louisa Pyne as Eily O'Connor, Miss Jessie M'Lean as Ann Chute, Miss Susan Pyne as Mrs. Cregan, Mr. Santley as Danny Man, and Mr. W. Harrison as Myles-na-Coppaleen, the exception being Mr. St. Albyn in plnce of Mr. Haigh as Hardress. The opera will be preceded by Mr. Howard Glover's operetta, Once too Often, and will be followed by the third act of 77m? Dublin Boy, with Mr. and Mrs. Boucicault in the principal parts. Taking into consideration both the attractiveness of such a "bill of fare and the claims which Mr. Benedict has upon all lovers of music, we can have no doubt that a full house will greet him on the occasion.
Jenny Lind Again.—Mad. Otto Goldschmidt is about to give a series of grand concerts during the International Exhibition, prefaced (as usual) by three performances for the especial benefit of charities; the first for the Distressed Needlewomen, the second for the Consumptive Hospital in Brompton, already so greatly indebted to her; the third for the Royal Society of Musicians and the Society of Female Musicians.
The Vocal Association, having obtained the consent of Miss Louisa Pyne and W. Harrison, Esq., to givo a Selection from Mr. Benedict's Lily of Killarney, will introduce, for the first time in the concert room, a Selection from this delightful Opera, on Wednesday evening next, April 9th, St. James's Hall. The solo singers are Miss Banks, Miss Augusta Thomson, Mr. Swift, Mr. Tennant, and Mr. Santley. The choir (of 200 voices) will sing the Boatmen's Chorus. Mr. Benedict will conduct the performance.
Thb "Ne Plus Ultra'' And The "Plus Ultra."—In contrasting the NePlus Ultra of Woelfl with the Plus Ultra of Dussek, the superiority of Woelfl as a musician has sometimes been cited, in contradistinction to Dussek's far higher claims as an imaginative and poetical composer. "See "—argue the ""'oelflites — ' how clear and symmetrical is- Woelfl's first move' ient compared with that of Dussek." "Granting this to be true "—retort the adherents of Dussek—" see with what different materials they had to deal: Woelfl was trimming a garden—Dussek clearing a 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 Bennett'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 n man whose writings, however cherished though they must always be by the musician, arc shaped in too delicate a fashion to become " popular," in the widest sense of the word. If the 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 himself. 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 Goeta might well assume, did she choose to do so, a high position among the pianists of Europe. Whether it wag their estimation of the lady's powers that led the instrumentalists to take unusual care, we know not; but it is certain that the accompaniments to the barcarole constituted the best orchestral performance of the evening. It is to be regretted, however, that the first and last movements were omitted. Strangely enough, the concerto has only been played four times, even at the Philharmonic Concerts, in the space of twenty-three years. Of course, few piani9ti 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 present instance, and it is a pity that the extreme length of the programme did not permit of the performance of the entire work. —Daily Telegraph.
Mixe. Kellooo (From Dwight's Journal of Music, March, 1862). —Linda di Chamouni was selected lor the debut of Miss Clara Louise Kellooo, on Tuesday evening. The sweet simplicity of the young Savoyard peasant girl is easily reproduced by the powers of a young girl, coming within the sphere of her experience and not forcing her to counterfeit passions of which youth and innocence can have but small conception. The opera is thus well adapted for a debutante.
We have rarely hud occasion to record a more complete and genuine snccess than was won by Miss Kellogg on this occasion. An entire novice upon the stage, having appeared only some half dozen times in all, coming to us almost unheralded and unpuffed, indeed almost unknown, she has stepped into the position of a public favourite at a single bound. In person she is slender and graceful, with a pleasing face, intelligent and intellectual, rather than a beautiful one, capable of the most varied expression. Her voice is a pure high soprano, of that thin and penetrating quality that cuts the air with the keen glitter of a Damascus blade, wanting now, of course, in that volume and power which age and time will give, yet sufficient for all practical purposes; of course, furthermore, not so fall in the lower register as it will be in time. She reminds us much of Adelina Patti as to the quality of her voice, and indeed in ter execution, which is finished and thoroughly artistic, savouring little of the novice, but worthy of the experience of a longer study and maturer age. Every thing attempted is done with admirable precision, neatness and brilliancy that leave little to be desired. In the opening cavatina, " O luce di quest' anhna," she exhibited at once these qualities, giving the air in a way that brought down the house in spontaneous applause. As she proceeded she evinced a rare dramatic talent and an apparent familiarity with the business of tho stage that was truly remarkable. The grace and simplicity of manner that mark her, are, however, native and not acquired, and seem a real gift of nature. Through all the changes of the opera, sho showed herself 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 positive genius. We do not remember any one in the character of Linda who has given it more acceptably than she.
Ms. 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 favourably received by the subscribers. The theatre has been crowded nightly, and the interest of the lectures much enhanced by the superb manner, in which the illustrations have been rendered by Miss Augusta Thomson, Mr. Patey, Mr. Perren, Mr. Theodore Distin, Mr. Smythson, and Ladies and Gentlemen of the Chorus of the Royal Italian Opera.
M. Sainton's Soirees. — The third and last of these interesting performances took place on Tuesday evening. The programme contained two novelties — a quartet for stringed instruments, by Herr Meyer Lutz, and a trio for pianoforte, violin, and violoncello, by Aubcr. The quartet of Herr Lutz exhibits that earnest endeavour to do well ,which must always command respect. Every movement betrays the evidence of careful consideration, and, besides this, a resolution on the part of the author to be indebted to no other than his own inspiration for ideas. When it is remembered how few, even of the most practised and laborious among musicians, have succeeded in producing a quartet worthy to be ranked, at however great a distance, with the models which the genuine masters of the art have bequeathed us, the applause due to a new aspirant for so creditable an effort will hardly be withheld. Herf Lutz was lucky in having such exponents as M. Sainton, Herr Pollitzer, Mr. Doyle, and Mr. Paque, who all did their best to realize his intentions, and obtained very general and hearty approval for his work. The trio of Auber is delicious, from one end to the other a "pastoral," in the truest and most graceful sense. We can single out no particular feature for praise, inasmuch as each of the four movements is, in its way, perfection. That the style which the ripening of years matured into the musical embodiment of France itself is apparentlhroughout, may readily be surmised ; but when it is stated that this trio is the composer's "Opus I."—written at least 20 years before Maaaniella and Fra Diavolo —many amateurs, indifferent, .more or less, to the seductions of the opera, are likely to express regret that Aubcr should ever have been induced to devote his exclusive attention to dramatic music. It is fair to add, that in bringing forward this trio — which was played to perfection by Mr. Charles Halle, at the piano (M.Sainton being violin, and Mr. Paque violoncello), the giver of these soirees has forestalled the Monday Popular Concerts— Mr. Arthur Chappell having announced it, months ago, as one of the "novelties" of the present season. The grand piece of the evening, however, was Mendelssohn's quartet in A minor (by the performers already named)—a work to the merits of which we have recently alluded, in appropriate terms of admiration. Often as M. Sainton's quartet-playing has been eulogised, he never, in our remembrance, has stood out so conspicuously as a thoroughly accomplished master. The whole quartet created an impression upon the audience, the genuine nature of which was not to be mistaken; and, irresistible as is the quaint and (taking into account the time at which it was written) unprecedented scherzo, the plaudits it elicited were scarcely more warm and unanimous than those accorded to the other three movements. 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 performer on the viola (as the frequenters of the Royal Italian Opera are aware) of equal capacity and intelligence. That a pissnist like Mr. Halle was not engaged exclusively to take part in a trio, may be well imagined. He joined M. Sainton in three of those exquisite pieces for pianoforte and violin, which a quarter of a century since—under the title of Pensies Fugitives—were conjointly written by M. Stephen Heller and Herr Ernst, and, as "solo" delighted his hearers with a Sarabande, Gavotte and Musette of J. S. Bach, followed by one of the liveliest "pieces de Clavecin" of Domenico Scarlatti— that very prolific composer (contemporary of Handel), of whose works scarcely more than a fourth have been perpetuated in type. The last of the Pensies Fugitives and the presto (a "presto" without compromise, as rendered by Mr. Halle — such a "presto" as would have astonished the worthy Domenico, in his quiet domicile at madrid) were both encored and repeated, with, if possible, increased effect. The music of Herr Ernst is too rarely introduced now-a-days; but with one who can enter into its spirit so enthusiastically as M. Sainton, there is Tio reason why it should not be frequently heard. These soirees have been attractive for two reasons — first, as excellent performances of high-class music; and, secondly, as the medium of bringing forward several unknown compositions — among which the Trio of Auber, and the Sonata, for pianoforte and violin, of Mr. Lindsay Sloper (at the oirie), may be cited, as likely to be heard again and again, at 'where sterling music is looked upon as the chief desideratum.
THE ILLUSTRATED SPORTING LIFE AND MUSIC
Sir\—There has recently appeared a new journal, having the title of "The Illustrated Sporting Life and Musical Review." The association in this "heading" being peculiar, I am led to consider in what sense music is a Tort. Taking the word "sport" to be a pastime, there might at first sight appear to be something in it, but only with respect to those who regard music from its very lowest point of view. Seen by the eye of the soul, or felt as it is by all who know it to be a Divine spark, such as was kindled ia the breast of a Beethoven, a Mozart, or a Handel, it is very far from being a pastime. Thus regarded, music bears no relation at all to sport of any kind. A common principle links together such diversions as fighting, running, shooting, boxing, horse racing, and the like j but far as the roles are asunder is music from any and all of these. To imagine a sentiment in which there is sympathy between such a man as Joachim and "Dutch Sam," or "Brighton Bill," is to generalise to an extent that even Aristotle would not have allowed.
Musicians may go to the "Derby," but they do so, not because Blondin or Tom Sayers goes there, but because everybody is to be seen there. It is London's "day out." It is the Wednesday popular holiday. Horse racing strikes no particular chord in the musician's breast. He has no sympathy with the flats, naturals, or sharpers that abound on Epsom Downs. His accidentals are necessary, but they do not play upon each other. Whatever discords he may introduce, he never forgets to resolve harmoniously. I repeat our vocation is not a sport, nor are the frequenters of the Philharmonic Concerts the patrons of the "prize ring ;" nor is the pit of the Opera identical with what is called a "cock pit." Those who take an interest in the "performances" of "Deaf Burke" can find none in those of Beethoven, though it was his affliction to be deaf.
For these reasons, I protest against the title of this new journal; and I beg to suggest, as a less inappropriate name, that the paper be called "The Illustrated Sporting Life and 'Music Hall' (not Musical) Review."
This suggestion illumines my mind with another, which I offer for the benefit of those whom it may concern. We occasionally see announcements to the effect that a "Staleybridge infant," or some other defeated pugilist, will take a benefit, when he respectfully invites his friends to " rally round him," assuring them that some excellent " spar"ring" will be exhibited. I do not remember where these displays usually take place ; but I would venture to suggest the " boxing" element as being worthy the serious consideration of the proprietors of "music halls," when the " wondrous," the "inimitable," the " enchanted," and the "perfect" cease to draw. The change of title in the new journal which I have suggested will then be thoroughly applicable.
Mlle. Elena Conran.—A concert was given on Thursday last, in the Salle Herz (Paris), at which Mad. Grisi and her protigie Miss Ellen Conran assisted, in conjunction with M.M. Graziani, Namlin, and other artists of celebrity. Miss Conran produced a great effect in several favourite morceaux, and in the English ballad, "Little Bertha," was loudly encored. She also received a similar compliment with Mad. Grisi, in the well-known duet from Norma.
Dosser's Plus Ultra.— This was altogether a truly great performance, but still not finer than Miss Arabella Goddard's rendering of Dussek's " Plus Ultra," which is as superior to the "Ne Plus Ultra" of Woclfl (to rival which it is supposed to have been written) as sunlight to fireworks. How chastely and beautifully she sang on her instrument the lovely second subject of the first movement; with what clearness, accent and force, she gave the ascending syncopated melodic outline, and its accompanying florid passages divided between both hands, which follow this second subject; how sweetly, tenderly, and passionately she rendered the delightful adagio, the exquisite delicacy and fancy that characterised her performance of the dreamy and poetical scherzo, together with the spirit and refined taste which distinguished her reading of the sportive and elegant finale, would tempt us to write an eulogistic essay, if time, space, and the patience of our readers might permit it. The simple statement, however, that this was one of the very finest specimens of pianoforte playing we ever listened to must suffice. Miss Arabella Goddard, with all her long list of artistic successes, never distinguished herself more honourably.