the theory of your witty and clever colluborateur, II. Sutherland Edwards, who affirmed that the worst "copy "was always set up the most correctly, because it was given to the most skilful compositors, while legible manuscript, like reprint, was invariably confided to the apprentices. Alas! H. Sutherland Edwards, you are the victim of a fearful error—or, stay! is it possible my handwriting is too legible? That is a point requiring deep consideration.


MR. HENRY LESLIE'S CHOIR. The performances of the excellent company of singers which goes under the name of " Mr. Henry Leslie's Choir," and could not be more appropriately denominated, the circumstances of its origin and progress considered, are now annually looked forward to with interest by amateurs of vocal part-music in this harmony-loving capital. On Wednesday night a new series of five concerts, was begun, with well-deserved success. The rooms in Hanover Square — entirely renovated, and presenting an unusually bright and cheerful appearance — were filled by an audience as attentive as it was numerous. Mr. Henry Leslie was heartily welcomed on entering the orchestra, and the entertainment commenced with the customary loyal tribute in tho shape of the National Anthem (Mr. Leslie's own arrangement), with the subjoined additional verses by Mr. W. H. Bellamy, written, it may be presumed, for the occasion:—

"Should wai's fell bUtl once more

[ocr errors]
[ocr errors]

The programme was varied in character, including several pieces of the highest merit, two or three agreeable bagatelles, and others of less apparent value. The well-known glee, "Here in cool grot and mossy dell," for example, pretty enough when intruded, as its composer (the Earl of Morniugton) intended, to solo voices, sounds rather empty than otherwise when delivered, as on Wednesday, by a chorus some 70 strong. The system of turning glees into choruses is as questionable as that of turning sonatas or quartets into symphonies. We cannot but think that the safest principle is to allow composers to speak for themselves, after their own manner, and in the precise form in which they have bequeathed their works. The glee (the first piece of the evening) was followed by a madrigal, "Why with toil tby life consuming," from a pen more facile than ingenious—that of R. L. Pcarsall. This is of the calibre of "Oh, who will o'er the downs so free," though hardly so tuneful, and distinguished, besides, by ll mixture of styles (as at the passage, " Come with me," where a diatonic progression is immediately followed by some modern French harmony), which amounts to no style at all. Next came Mendelssohn's "First day of spring," a part-song in three divisions, of a wholly different order. Hire we have fresh and beautiful ideas, agreeably and concisely set forth, harmonised richly though unobtrusively, and marked throughout by a style as original as it is well sustained. After the compositions that preceded it, the "First day of spring" was a real treat—a genuine poetical effusion compared with an exhibition of stump oratory. To this succeeded a once familiar ballad—delight of our grandmothers!—"The lass of Richmond Hill," arranged as a four-part chorus by Mr. Henry Leslie, whose experienced musicianship, we cannot but think, might have been more profitably employed. James Hook, "the Norwich Apollo," father of the Winchester prebendary and of Theodore "the wit," at one time enjoyed a certain measure of popularity, emulating Kotiwara in "Battle-pieces" for the pianoforte, chiefly noticeable for their inferiority to the "Battle of Prague," and giving out an indefinite number of ballads, of which "The lass of Richmond Hill," though by no means a masterpiece, is by no means the worst. Hook was for a long period composer to Vnuxhall Gardens, which being now a defunct institution, it is to be feared— unless Mr. E. T. Smith devotes "Cremorne" to their revival—that bis numerous works, vocal and instrumental, must continue to repose in oblivion for want of a fitting arena. Another composer of even less distinction—W. Knyvett—was next represented by a glee, " O my love's like the red, red rose," the words of which are worthy of music of a more refined description. The irreproachable style in which this glee was sung by Miss Annie Cox, Mrs. Dixon, Messrs. A. Matthison and Hodson, made it still more regrettable that a finer specimen of the English national part-song should not have been selected. The instrumental display that followed—a duet for two pianofortes " on airs from Euryanthe" (we always thought "the Mermaid's song" was in Oberon), the composition, or rather concoction, of M. Ravina—was welcome solely on account of the spirited and brilliant manner in which it was executed by two young ladies of the choir, Misses M. A.

Walsh and Catherine Thomson. Regarded from the point of view of musical excellence it was beneath criticism. The first part, however, ended triumphantly with two eight-part anthems, composed by Mendelssohn expressly for the famous Cathedral choir at Berlin—one for "Christmas," the other for "New Year's Day," both masterpieces of choral writing, and both delivered with a clearness, a steady intonation, and pointed emphasis, reflecting the highest possible credit on Mr. Leslie and the singers who so zealously and with such sterling talent work under his direction. In these nnthems, and in it still more trying task—No. 3 of John Sebastian Bach's six grand motets for double choir (-'Ich lasse dich nicht du segncst inich denn") to the English version of Mr. Bartholomew—the members of the choir distinguished themselves most honourably, and if, at intervals, some slight discrepancy might be detected in the Bach-music, regarded as a whole the execution must rank as a really memorable achievement. While the motet everywhere soars to the loftiest realm of harmony, in certain places it joins to the invariable grandeur of Bach the wonderfully felicitous expression by which Handel more frequently intensifies the inner signification of words. The opening slow movement is throughout as melodious as it is pathetic, and the sequel, where the corale, "Weil du meiu Gott und Vater hist," is given in unison by the sopranos, the reiteration of the words, "Ich las.-e dich," &c. (already quoted), in elaborate divisions, by the other voices, is even a more special and striking case in point. The second curate, "Dir Jesu, Gottcs Sohn, soy Preis," in four-part harmony, for the two choirs in unison, one of the most solemn of those impressive hymn-tunes by his fervid and religious treatment of which Bach may be said to have invented a musical language for the inculcation of the Lutheran faith, brings the motet to a termination with unsurpassed sitblimily. The third of the six motets is perhaps the easiest of the scries; but it is enormously difficult, nevertheless, and when it is stated that indisposition kept away a considerable number of singers (seven or eight tenors among the rest) upon whom Mr Leslie naturally depended, such a performance as that of Wednesday may be praised without reserve. Never were lain els more niagiiunimotisly earned. The cause of Bach is the cause of music; for no musician ever devoted his heart to higher, purer, and less selfish ends than the revered Cantor of St. Thomas's — the " giant of Thuringia." All that he has written should, therefore, be heard, whatever tho difficulties involved; and they who, like Mr. Leslie and his choir, cheerfully and zealously undertake the task of making Bach familiar to the crowd of amateurs are well entitled to the respect which they can hardly fail to elicit.

Thus the second part of the concert began as nobly as the first part ended. The piece that followed Bach's motet, a "coronach" (for women's voices) to Walter Scott's words, from The Lord of the Isles :—

"He is gone on the mountain,
He is lost to the forest,
Like a summer dried fountain,
When our need was the sorest," &e.

with music by Schubert, was felt (though, notwithstanding the black border with which that particular page in the programme was distinguished, not expressly stated to be so) as an indirect tribute to tho memory of an illustrious personage, and, as such, listened to with peculiar interest. Another popular melody (far superior to the first) — "Believe me, if all those endearing young charms," arranged as a fourpart chorus by Mr. Leslie; Kuckcn's vigorous but somewhat commonplace part-song for men's voices—" The Northmen's song of freedom;" one by Mendelssohn, "The deep repose of night is ending," in which the spirit of devotion finds a musical utterance that is incomparable; and an admirably written carol—"Be present, ye faithful"—the composition of Mr. Henry Leslie (who should have given us more of his own original work, and less of his mere "arrangements"), completed the programme. The concert afforded unequivocal satisfaction, every piece being attentively heard and warmly applauded, while three provoking "encores" unprofitably lengthened the entertainment,which,nevertheless, terminated at a reasonable hour.

Tho next subscription concert takes place on Wednesday, February, the 12th.

Cassie..— Some few weeks ago a new Gcsangvercin was established consisting of ladies and gentlemen, and called after its founder, Herr Heinrich Weidt, formerly music director at court, the Wcidt'schcr Gcsangvercin. It has already given a most successful and most numerously attended concert, and, although the admission was gratuitous, a very respectable amount was collected in voluntary contributions at the doors, and handed over to the poor. In addition to Mozart's Davide penitente, the programme included two quartets by the lamented Dr. Spohr, and several solo pieces. The choruses went with great precision and pureness of intonation, and it was evident they had been rehearsed with extreme care.

From London the Sisters Marchisio proceeded to Liverpool and Manchester, in both of which towns they appear to have created no less profound a sensation than in the metropolis. The critic of the Daily Post of the former city, writing about the concert of the 1'hiharmonic Society, at which they appeared on Tuesday evening last, thus eloquently and fervidly apostrophises the fair artists :—

"The Sisters Marchisio, fresh from their London triumphs, which fully endorsed their great continental reputation, presented themselves for the verdict of the Liverpool musical public. Their reception, as usual at these concerts, was somewhat chilly; but their splendid gifts and brilliant execution soon thawed all reserve, and all their pieces were applauded to the echo. As the sisters confine themselves almost entirely to the music of Rossini, and as they sing wonderfully his most difficult dual morceaux, they subject their talents to a most crucial test. But they come triumphantly out of the ordeal; and certainly no singers can be more adapted by nature and accomplished by art to popularise the music to which they devote their powers.

■' The Sisters first appeared in the duet, 'Ebben ' a te, fcrisci,' and no thing could have been better chosen to exemplify the joint and several qualities of the great singers. The solo which each has to sing revealed to us that the two voices arc perfectly distinct, the one being a full round contralto, the other a brilliant and mellow mezzo-soprano, possessing in its own special compass a trenchancy and flashing power peculiarly its own. The 'Giorno d'orrore' united the two in one of Rossini's most splendid torrents of melody j and the light and shade, the precision, the oneness with which the beauties of the duct were brought out, were equally astonishing and delightful. The same characteristics were exhibited in that other magnificent duet of Rossini, 'No, Matilde, non morrai.' The ' Vanne o caro' was given with marvellous spontaneity and exactness; and the concluding stanza, 'Ah so m'ama, il caro bene,' was one of the most exquisite gushes of expressive melody we ever heard."

A correspondent writes from the same places :— "At St. George's Hall, two very interesting concerts were given on Friday evening and Saturday morning. The programme consisted of Welsh music. The songs were sung chiefly in the Welsh language by the following Welsh vocalists: — Miss Sarah Edith Wynne, Miss Kate Wynne, Mr. Lewis Thomas and Mr. John Owen. Mr. John Thomas was the harpist; Mr. H. V. Lewis accompanied at the pianoforte. 'Talhaiarn' recited two favourite pieces; and though last not least, Mr. Brinley Richards, the Welsh pianist par excellence, gave his two fantasias cn Welsh airs, introduced by him at the Great National Festival held at Denbigh (North Wales), and Aberdare (South Wales). We need hardly state that Mr. Richards played them con amore, and that he was encored and compelled to return to the pianoforte after each performance. There were several other encores, including the National Chorus; 'Hail to thee, Cambria;' the duet 'Hen Forgan a'i Wraig,' sung by Miss S. Wynne and Mr. Owen;—the ballads, 'Y'Deryn pur' and ' Merch y Melinydd,' sung by Miss S. G. Wynne—who by the way 'became' her Welsh costume u ravir— Mr. Briulcy Richards' own popular ballad, 'The Harp of Wales, and the national song of' The march of the men of Harlech,' both capitally given by Mr. Lewis Thomas. The part song of Mr. Brinley Richards 'The Vale' (Ar hyd y nos), was greatly admired and much applauded, and the same approbation was extended to Miss Kate Wynne in the song from Miss William's collection, 'Y Bore Glas.' Miss Kate eke ' became' the Cambrian equipment « ravir, and we should not be surprised at the Liverpool ladies adopting the fashion 'for a space.' The programme of the morning concei t was identical with that of the evening, except the pianoforte solos of Mr. Brinley Richards were a capriccio by Handel (1720), his own popular romance, dedicated to Miss Arabella Goddard, known as 'Ethel,'and his own admirable and spirited Tarantelle dedicated to Mr. Charles Halle. The concerts were under the management of Mr. John Owen (Owain Alaw, Pcncerd), director of the National Festivals held at Llangollen, &c,"

The Manchester Examiner and Times gives a flattering account of the first appearance of the Marchisios in Manchester, from which we extract the following: —

"The Sisters Carlotta and Barbara Marchisio made their first appearance last evening in our Concert Hall. Ohl you fair ones, who sing so charmingly those pretty school pieces in the drawing-room to admiring papas and mammas, listen to these sisters, and learn from them a lesson relating, not alone to music, but to all other duties of life, —

learn what patient devotion can succeed in accomplishing. The first piece selected last evening was the duo from Semiramide, 'Ebben' a te, ferisci!' given with a brilliancy of execution, a richness of tone, a light and shade, and truth of expression, only to be grasped by artists of the highest natural gifts. A ' Bolero,' by Rossini, written as if the great composer was desirous of trying what the human voice could possibly reach, went off with an abandon there is no describing. We may say the same of that duet from Matilde di Shabran, and ' Le Zingare.' The reception, even from a proverbially cold audience, could not be otherwise than flattering ; and we venture to think that their acknowledged success in Paris, Berlin, Vienna and London, will follow the sisters equally through the English provinces. The next novelty was Arthur Napoleon—who played Liszt's pianoforte fantasia on airs from Norma, and gained a decided success. M. Lamoury also found appreciation as a violoncellist; and our old favourite Vicuxteinps played a solo of his own, in his own masterly style. The male vocalists were Mr. Walter Bolton, Signors Cosselli and Ciampi."

A letter from Romford gives the subjoined information: — "We are coming out at Romford in the musical line, thanks to the volunteers, who seem just now to be active agents in giving life and animation to the Concert Rooms. The Romford (First Essex) Volunteer Rifle Corps, stimulated by the artistic exertions of other corps, metropolitan and provincial, gave an excellent performance of vocal and instrumental music on the 19th ult,, at the New Corn Exchange, in aid of the Band Fund of the Regiment. Thero was a full attendance, and a large muster of the green and gray-coated gentry. The list of vocalists comprised Mile. Florence Lancia, Mad. Laura Baxter, and Signor Nappi; that of the instrumentalists, Herr Schulthe* and Mr. A. Sullivan (pianists), Herr Louis Ries (violin), and Herr Daubcrt (violoncello). Mr. Frank Mori and Mr. A. Sullivan conducted. That the Romford public are not supposed to be disinclined towards classical music may be gathered from the fact that Mendelssohn's ttio in C minor, for pianoforte, violin and violoncello, heralded the first part, and that Haydn's trio ' A l'Ongarese,' for the same instruments, commenced the second. Mendelssohn's piece was performed by Mr. Sullivan, Herr Ries and Herr Daubcrt, and Haydn's by the same violinist and violoncellist, with Herr Schulthes at the piano. Both trios were extremely well played. One of De Beiiot's Concertos for the violin, by Herr Ries, pianoforte solos by Herr Schulthes, a solo on the violoncello by Herr Daubcrt, and a pianoforte duet by Mr. Sullivan and Herr Schulthcss, were the other instrumental performances. The vocal music was highly attractive. Mile. Lancia created a great sensation by her beautiful voice and brilliant style. She sang Mr. Frank Mori's new song ' A thousand miles from thee,' and the 'Shadowsong' from Dinorah, in the last of which she obtained an enthusiastic encore. Mile. Lancia also joined Mr. Plater (I have no knowledge of this artist) in Mendelssohn's duet' Zulcika and Hassan,' and won yet another encore. Mad. Laura Baxter sang the caiuonetta, ' Fanclulle che il core,' from Dinorah, and Mr. Benedict's ballad, 1 By the sad sea waves,' her beautiful voice extorting an encore in Meyerbeer's song. Not less gratifying to the company than the solos were the quartet from lliyoletlo ' Uu di so ben,' sung by Mile. Lancia, Mad. Laura Baxter, Mr. Plater and Signor Nappi; and Bishop's quintet' Blow, gentle gales,'by the above, with the addition of Mr. Kellcher. To conclude, the concert was a great success, and the Band Fund, no doubt, will be benefited."

A correspondent from Peterborough writes as below :—■ "Mr. Thacker, organist of Thorney Abbey, has been giving a series of concerts at Peterborough, Thorney and Whittlesey. The singers wcro Miss Clara Wight, a young lady of promise, who possesses a charming mezzo soprano voice, and the choirs of Peterborough Cathedral and Thorney Abbey. The instrumentalist were tho brothers Booth, two violinists and a violoncellist, who in conjunction with Mr. Thacker (piano) performed several trios, duets and solos, all of which gave great satisfaction to crowded audiences. These young gentlemen are unquestionably artists of great promise, and their playing is excellent. The trio D minor of Mozart, and the solos on the violoncello (by Master Ferdinand), and on the violin (by his brothers, Albert and Otto,) were loudly applauded."

From Soulhsea a correspondent writes :—

"Mr. F. Chatterton, assisted by Mrs. Helen Percy as vocalist, gave his entertainment at the New Portland Hall, on the 31th ult., to a fashionable audience. The illustrations, vocal and instrumental, wero all most favourably received. Mr. Chatterton was encored in the 'Welsh Bardic Illustration,' and Mrs. Percy in ' The Fairies' Invitation,' and 'The last rose of summer.'"

The following is from Oosport:

"Mr. Fred. Chatterton and Mrs. Helen Percy gave an entertainment on 'ancient minstrelsy and modern harp mnsic ' at tbe assembly rooms on the 1st January. There was a large and appreciative audience, and the various vocal and instrumental illustrations were very warmly received. Mrs. Percy was encored in two of her songs, and Mr. Chatterton in a march of his own composition."

The Cork Herald announces a Musical Festival to take place the latter end of the month, and supplies the following particulars :—

"As the period approaches when this great musical event is to take place, it may not be uninteresting to mention briefly tho origin of the County and City of Cork Choral Society. In June last a number of gentlemen connected with this city resolved to organise a great musical. performance in Cork on the plan of the Birmingham festivals, each promising to use every exertion to carry out that object. During the I six months which have since elapsed, these gentlemen have worked hard to accomplish their intention, and with considerable success. The festival is fixed for the 28th, 29th, and 30th of January, and will be the first musical gathering of the kind ever held in this city. A chorus comprising two hundred and twenty male and female singers has been organised, and some idea of the interest felt by the entire country in this festival may be formed from the fact that twenty of these come from l'oughal, twenty from Bantlon, thirty from Limerick, fiftcc:i from Armagh and Belfast, and twenty from Dublin. We understand that the whole effective strength of the festival will consist of 300 performers, including the instrumentalists, among whom will be the celebrated organist, Mr. Handel Rogers. The solo parts will bo sustained by Mad. RudersdorfF, Miss lilton, Mr. Weiss, Mr. Topham, Mr. Levey, Herr Eisner, &c At a full rehearsal of the society which took place, last Wednesday evening, the entire of Judas Maccabeus was rendered with admirable precision, power, and expression. The words selected arc—Judas Maccabeus, a selection from I)es Freischulz, succeeded by a miscellaneous concert, and the Messiah. We may state that it is the intention of the society to devoto any surplus which may remain after paying the expenses, to the relief of the poor of the city and county. Moreover the success of tho present enterprise would stimulate its promoters to hold similar festivals frequently in Cork."


(From "Punch.")

A Great Musician, as every body knows, composed certain "Songs without Words," but Mendelssohn, in producing those apparently impossible works, accomplished a difficulty le3s arduous than that which has been surmounted by the inventor of an instrument advertised by Mr. Chappell of Kegent Street, as: — "azkmar's Silent Practice Drum." The handbill, headed as above, informs us that: —

"For the purposes of practice, the Silent Drum possesses all the advantages of a real one; it offers the same resistance and rebound to the sticks, and admit9 of an equal degree of force and action in beating, unaccompanied,however, by the excessive noise with precludes the possibility of a drum being practised in-doors."

We would say that not only does the Silent Drum possess all the advantages of a real one for purposes of practice, but is also free from all the disadvantages of a drum which, when beaten, makes a noise. A solo on the drum is a musical performance to which few persons would like to listen under any circumstances; but when executed as a piece of practice, especially in-doors, it must be extremely far from agreeable to anybody within hearing.

Well, but some one will say, what is the use of a Silent Drum? Might not the drummer, for purposes of practice, as well beat the air t This question is provided with an answer in the subjoined statement: —

"The degree of correctness in the beating is accurately ascertained by a slight sound, as well as by the vibration on the leg, to which the Silent Drum is strapped ; this position of the drum on the leg also corrects the fault, common to beginners, of allowing the sticks to drop towards the right. The small circumference of this instrument compels the drummer to concentrate the blows, and its rim ensures the sticks being kept at the proper height. The Silent Drum is very portable, six of them occupying less space than one ordinary side drum."

The fact that the small circumference of the instrument compels the drummer to concentrate blows, will be apparent from the following: —

"Directions now To Use The Silent Drum. — Strap it on tho left leg, a little above the-knee, the iron tongue resting against the inside of the same; when standing, the left leg must rest on some slight elevation; when sitting, the left leg to be bent under, and the right one stretched out, with the right side of the drum resting on it."

When sitting, at least, the drummer, if he missed the drum, would very likely hit the leg against which it would rest, and give himself an unpleasant whack on the knee, which would forcibly remind him of the necessity of concentration in aiming his drumstick at its mark.

Mr. Thomas Carlyle, in many of his humorous writings, takes frequent occasion to impress upon his readers the great value of the Silences. Among the Silences there are few more valuable, especially for purposes of practice, than the Silent Drum. M. Azcmar would confer a great boon upon society, and particularly the studious part of it, if he could contrive to invent some other Silences of the musical kind. A silent piano in the next house would be a real blessing to many a person whose auditory nerves are sensitive; so would a silent flute, a silent fiddle, or n silent cornopeon. Let M. Azcmar consult Mr. Babbage, who made the calculating machine, and abhors street-music; let them lay their heads together, and try if, between them, they cannot invent a silent grinding-organ, a silent brass band, and a Bilcnt bagpipe; to the use of which itinerant Italians, Germans, pseudo-Scotchmen, and other creators of public discord, should be restricted by Act of Parliament.

George Canning And His Mother.—"It is not a little curious that the 'Peerages' make no mention of this lady by name, the editors contenting themselves with the remark that the future Premier's father, by nn imprudent marriage, incurred the displeasure of his parents, and the penalty of disinheritance. The name of the lady in question was Costello. After the marriage her husband entered as a student at the Temple; but borne down by the neglect and oppression of his family—who boSsted to have been settled at Foxcotc, in Worcestershire, from a fabulously remote period — he soon died in almost destitute circumstances. After his death his widow married Mr. Reddish, of Covent Garden Theatre, and being again left a widow took as her third husband Mr. Hun, by whom she had two daughters. It is most honourable to the memory of that great statesman that when, on retiring from office, he became entitled to a pension, he settled it on his poor relations instead of pocketing it himself. It is still more creditable to him that, amidst all his struggles for political advancement and the warfare of party strife, he never forgot his duty to his mother. He duly corresponded with her to the last, never omitting to write to her on a Sunday, which day he always made it a rule to set aside for that purpose. So invariably punctual was he in this respect that even during his special mission to Portugal, though not able to forward his letters regularly, he still continued to write every Sunday, and sent fometimes two and even three letters by the same packet from Lisbon."—Once a Week.

Meikigek.—On the 13th tilt, the Salzungcr Kirchenchor, which is under the especial patronage of the heir apparent, gave a concert in the church. The programme comprised compositions by Bach, Allcgri, l'alestrina, Orlando di Lasso, PrStotius, Jomelli, Mendelssohn and Hauptmnnn, the whole under the direction of the Cantor, Herr Miiller, Mad. Forstcr sang an air by Handel, and a " Sanctus" by Cherubini.

Lemberg —Tho great musical event of the season.has been the triumphant production of Meyerbeer's Dinorah.

Darmstadt.— Schindelmeisser's new opera, Melusine, is in rehearsal. The members of the Grand Ducal Chapel have commenced their annual series of Subscription Concerts. At tho opening concert, Beethoven's Pastoral Symphony and Weber's Jubilee Overture were performed with the precision and spirit forwhlch the Grand Ducal Chapel is celebrated. A young pianist, Herr Martin Wallenstcin, from Frankfort, made a favourable impression.

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

On Monday, January 13th, and every Evening during the week, Her Majesty's Servants will perform the popular farce, by J. B. Buckttone, Esq., entitled


Boh Ticket, Mr. Atkins; Pugwash, Mr. Barsby; Mr. Skinner, Mr. Hope; Susan Sweetamile, Miss Keeley; Miss Wadd, Miss Stuart; Miss Tiubit, Miss Bland; Miss Gimp, Miss Harfleur; Deborah, Mrs. Dow ton. After which will be produced, with that attention to completeness in every department by which the Christmas Annuals of this Theatre have been so pre-eminently distinguished, the New Grand Comic Pantomime, entitled

Harlequin and the House that Jack Built;

"If a man do build a dwelling upon common land from sunset to sunrise, and enclose 'a piece of ground, where in there shall be a tree, a beast feeding, afire kindled, a chimney smoking, and provision in the pot, such dwelling shall be freely held by the builder, anything herein to the contrary nevertheless notwithstanding."—Old Forest Charter,

The novel effects and splend d scenery by William Beverley, assisted by Messrs. C. Pitt, Craven, Brew, Ne. Masks, symbolic devices, personal appointments, and designs for the costumes by the celebrated Dykwynkyn. The overture and music composed and arranged by Mr. J. H. Tully. The machinery by Mr. Tucker and assistants. The trlckf, properties, changes, and transformations by Mr. Needham, assisted by Messrs. (ilindon, H. Adams, 11. Langh am, &c. The Costumes by Miss Dickinson, Mr. Lauri, and Mr. Palmer. The Gas Appointments by Mr. Hinckley. The Choregraphic Arrangements by Mr. Cormack. The Harlequinade and Comic Scenes by Messrs. Cormack and B. Jones. The Perfume of the Flowers supplied by Ilimmel's process. The Grotesque Burlesque Opening invented and written by K. L. Blanchard. And the whole arranged and produced under the immediate superintendence of Mr. Robert Roxby.

Harlequins, Messrs. Cormack and St. Maine; Columbines, the Misses Gunniss; Pantaloons, Messrs. G. Tanner and Murley; Clowns, Messrs. Forrest and Huline; Grotesque, Signor Lorenzo; 1961-gj, Mr. Stilt. Sprites, by the Ridgways and Suwell Family.

Doors open at half-past G, to commence at 7 o'clock. Tickets for boxes, pit, and galleries may be had at the box-offlce before the opening.


Regent Street and Piccadilly,


THE Sixth Concert of the Fourth Season (70th Concert in St. James's Hall) «ill take place on Monday evening. January 13, 1802, on which occasion Signor Piattl, Mons. Sainton, and Madame Salnton-Dulby will make their first appearances.


Part I.— Quartet, in E minor, On. 45, for Two Violin?, Viola, and Violoncello (Spohr), MM. Sainton, L. Rles, II. Webb, and Piatti. Song, " Name the glad day" (Dussck), Miss Banks. Song, "Divinities du Styx" (Alceste) (Oltlck), Madame Sain ton-Dolby. Sonata Caracteristique, in E. flat, Op. 81 (Beethoven), Mr. Charles Halle (firsttime at the Monday Popular Concerts).

PaHt IL—Sonata, In F major, for Pianoforte and Violoncello (Becthovcn\ Mr. Charles Halle and Signor Piatti- Song, " Never forget" (O. A. Macfarren), Miss Banks. Song, "In a drenr-nlghted December" (J. W. Davison), Madame SaimoiiDolby. Trio, in G major, for Pianoforte, Violin, and Violoncello (Haydn), MM. Hall6, Sainton, and Piatti. Conductor, Mr. Benedict. To commence at eight o'clock precisely.

Notice.—It is respectfully suggested that such persons as are not desirous of remaining till the end of the performance can leave 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.

Between the last vocal piece and the Quartet, nu interval of Five Minutes will be allowed. The Concert will finish not later than half-past ten o'clock.

Stalls, 5s.; Balcony, 3s.; Admission, Is. Tickets to be had of Mr. Austin, at the Hall, 28 Piccadilly; CHAPPELL and CO., 50 New Bond Street, and of the principal Muslcsellcrs.


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), Advertisement* can be received as late as Three o' Clock P.M., on Fridaysbut not later. Payment on delivery.

f Two lines and tinder 2s. Gd.

(Us | Every additional 10 words Gd.

To Publishers And Composers.All Music for licvicio 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.


WHO is to have Her Majesty's Theatre this year? The affair, notwithstanding its proximity to accomplishment, is not yet definitely arranged. The young prima donna and the opulent banker are still deterred by the stringent stipulations of the proprietor with reference to caution money. The immediate disbursement of six or seven thousand pounds is no inconsiderable adventure, more especially where other interests beside those of art are contemplated. M. Bagier is wealthy, but what possible experience can the dilettante speculator from Madrid have in managing the fortunes of so vast and complicated an establishment? Surely the Earl of Dudley would do well to ponder before consigning the theatre into such hands. Earls, we have been assured, love money like inferior mortals, and M. Bagier would, beyond all suspicion, prove a solvent tenant; but his Earlship loves something else besides lucre, and has more than once proved himself a strenuous advocate in the cause of music. To secure his rent is one of the primary objects of "a landlord ; but when the landlord is rich, noble, talented, consequential in the public eye, and the owner of one of the greatest musical establishments in the country, some latitude in speculation, some freedom of commercial enterprise, might be expected, without even intruding on the domains of liberality. That Her Majesty's Theatre should be closed this year, of all years, would seem to proceed from no less a determination than to ensure its downfall. If managerial speculators, in the Great Exhibition year, would shrink from paying the enormous rent asked, what chance is there that any individual who is tolerably acquainted with the arithmetical process of addition and subtraction, and could tell a straight line from a crooked, would embark at any future period in such a perilous venture as becoming lessee of the theatre? The idea is simply absurd. If Her Majesty's Theatre is not opened this season, the star of its fortunes has, too probably, set for ever. .

If we were worth one hundred thousand pounds sterling, we should hasten to the noble proprietor without delay, and, with the utmost zeal and disinterestedness, advise him to entrust the fortunes of the Old House once more to the keeping of Mr. Lumley. This indeed is the only hope for Her Majesty's Theatre. Mr. Lumley, of all living managers, is best constituted to preside over its destinies and to direct its course. He has vast experience, infinite intelligence, unlimited means of obtaining information, and—as befits the head of one of the most fashionable and important lyric theatres in Europe — the most courtly manners and the most conciliating address. After all, what is the difference between the noble proprietor and Mr. Lumley, but the disagreement about My Aunt Dinah's affair in Tristram Shandy? And, indeed, might not Mr. Lumley, acting the part of the elder Shandy, in the strict obligation he owes to truth, thus essay to liberate himself from all blame with the Earl of Dudley, representing My Uncle Toby? He might, like "my Father," urge in extenuation — "Amicus Plato"—that is, Payment was my bond:—"sed, tnagis, Arnica Veritas"—but Repudiation was my Necessity. If this would not lead to a satisfactory arrangement, in reality we know not what would.

Let us hope for brighter days for the "Old House at Home," in the Haymarket. With that time-honoured establishment are connected very many of our most vivid and delightful recollections of Italian Opera. It was there —not to go too far back — we first saw and heard Pasta, Sontag, Malibran, Grisi, Persian, Cruvelli, Pisaroni, Brambilhi, Rubini, Donzelli, Mario, Tamburini, Zuchelli, Lablache, and a host of other celebrities. It was there we first listened to the best operas of Mozart and Rossini, with casts that never have been surpassed. It was there we heard, and heard only, that glorious quartet of vocalists — the wonder and admiration of the world— try their united strength in the Barbiere, Don Giovanni, Le Nozze di Figaro, La Gazza Ladra, Cenerentola, Puritani, Marino Falicro, Otello, and other operas which have escaped our memory, not forgetting Mr. Balfe's Falstaff—to say nothing of Mr. Costa's Malak Adel and Don Carlos — written for " them four." It was there we saw another quartet only less immortalised in fame — inasmuch as the ballet is inferior to the opera — the inimitable Taglioni, Queen of the Graces ;.the gazelle-like, fascinating and enchanting Carlotta Grisi; the bounding and inexhaustible Fanny Cerito; the agile and swan-fashioned Lucile Grahn. Do they not seem now to figure before us on the never-to-be-forgotten stage, and each throw the golden light of her ethereal witcheries over the spell-bound audience? Alas, both quartets have vanished into the ingurgitating misty Past, and Silence and Darkness now hold their bridal, where once Pleasure and Fashion reigned supreme. Here, too, the dark-browed queen of tragedy, Rachel, with downcast eyes and step that told the history of a heart, moved, the incarnation of some terrible passion, before our gaze, choking our utterance. Here, too — but why recall what has been, as if merely to show the impossibility of what may be? If we cannot redeem bygone glories, we may, at least, realise a hope for the future. Her Majesty's Theatre again opened and the directing power once more vigorous and energetic may rise from its ashes, and assert its ancient supremacy and grandeur. Let us anticipate the best, and trust that the doors of the great operatic templo may be soon unclosed, and its administration delegated to proper hands. There is no reason why, though neglected and forsaken, it should not yet be restored to the proud position it once occupied, of the first and most "magnificent lyric theatre in Europe.

SOME years since there was instituted an association named "The Mutual Presentation Plate Society," the purport of which was sufficiently indicated by the title. After the manner of our Royal Academy and the Academy of France, the number of members was strictly limited to forty. The meetings were held regularly in the neighbourhood of Bedlam,

upon each occasion a fixed subscription was paid, and in turn | every member was presented with a testimonial, or, to quote I the words of the prospectus, "a token of respect, varying | from a small snuff-box to an equestrian statue, according to I the price such member might choose to pay for it; it being a stern and independent axiom of the association that each pays for t the presentation offered to himself, and thus is a party to the reward bestowed upon those merits of which no person is so ■ good a judge as himself." Thus any member had the power to increase the joint subscription to any extent by contributions from his own (or his friends') pockets, so that if diss itis! fied with the orthodox silver snuff-box (one eccentric member presented himself with a silver coffin-plate), he could, by payi ing the difference, have an equestrian statue. Members had , the privilege of designing the inscription on their own tcstiI monials, and of introducing a friend as honorary member, who was mulcted of a subscription, and kindly permitted to dine annually with the members—at his own expense. The society may have become defunct, but its objects do not appear ! to be lost sight of—a striking instance of its existence having recently come to light. The following is a verbatim copy of a circular dated from one of the modern mis-called "Music Halls," arrogating to itself the designation of our oldest and most venerated musical institution: —

"The enterprise of Messrs. & , in having established the

— — Music Hall, with its accessories, has been thought by many of their friends to be worthy cf some mark of esteem and respect for their spirited conduct; a few gentlemen have, therefore, formed themselves into a committee for the purpose of carrying out the above object, by presenting them with a suitable testimonial. Some of the members of the committee will do themselves the honour of waiting upon you on

the inst.— I am, yours, respectfully,

Hon. Sec. and Treasurer."

This document is headed with the name of the hall in question, and dates from the "committee-room," held in the building, the envelope bearing a stamp with the names of the proprietors to whom the testimonial is to be presented! About the exquisite taste of thee whole proceeding, not a word need be said; but still there is something inexpressibly funny in the notion of a subscription to recognise the spirited conduct of two individuals opening a public-house, with a singing-room and "accessories," for their own especial benefit, and the degradation of art. Let any one who wishes to learn their influence make the tour of these "halls," and observe what produces the strongest impression, elicits the most frantic applause, with double and triple encores; not the operatic selections, the only decent things of the evening, even if performed with what was advertised as a "full" band by the gentlemen whose enterprise is to command a testimonial, and which full band (if our memory serves us rightly), consisted of a piano and harmonium, cornet, saxhorn, and drum! Not these, even with the aid of Signorn Squallini "from La Scala," no, but the comic (Heaven save the mark I)—the comic song, the broader the buffoonery and more highly spiced with double entendre the better. And for the establishment of rooms for the encouragement of this class of entertainment, which fills the musicsellers' windows with portraits whose vulgarity is only equalled by their stupidity, vide "The Young Man from the Country," "Doing the Grand," "The Nerves," &C., the individuals represented looking, in one instance, something between a flash horsedealer and a pickpocket, and in the other a compound of prig and mountebank; the third, apparently, typifying two hopeless idiots, the character of the songs being on a par with the embellishments. It is gratifying to find one or two journals earnestly protesting against this growing nuisance, which, however, must in time work its own cure—not in the

« ElőzőTovább »