Reviews.

"Old English Ditties, selected from W. Chappell's Popular Music of the Olden Time,' with a new introduction"the long ballads compressed and occasionally new words written by JOHN OXENFORD; the symphonies and accompaniments by G. A. MACFARREN (Cramer, Beale & Wood).

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"Popular Music of the Olden Time" is, as every one at all interested in the history of the "divine art" must be aware, the title of Mr. William Chappell's able and comprehensive work on the earlier melodies of England that is of England proper, without reference to Ireland, Wales, or Scotland. Perhaps no Fellow of the Society of Antiquaries has rendered a more important service to the cause on behalf of which that body was instituted than Mr. Chappell. But, exclusively of archæological considerations, all lovers of our national music, all who believe with Mr. Chappell that England has a musical future just as surely as she can boast a musical past, are indebted to the elaborate research and indefatigable zeal which have helped this worthy and industrious explorer in the successful accomplishment of his selfimposed labour. He has shown that we possess as rich a mine of national tune as any of our neighbours, and therefore the germ of a national school of art; while in the course of his inquiry he has sifted to the bottom and decided in our favour not a few moot questions which prove our inheritance to be even larger than the warmest advocates of the musical claims of England had previously imagined. Many exquisite melodies, for a long time attributed to the mediæval invention of other countries, are now admitted on unobjectionable grounds to be of English origin; and if occasionally enthusiasm for his task has led Mr. Chappell to be somewhat over-partial to his especial hobby, and occasionally a little more than necessarily censorious with regard to previous writers, his predecessors (and more particularly to the by no means inestimable Dr. Burney), he has on the other hand, displayed an amount of critical intelligence, observation, and historical acumen which, coupled with honest national pride, and an earnest desire to get at the truth, in every doubtful point, entitles him to unanimous sympathy, and must win for his really useful book the unreserved confidence of posterity.

One of the first results of Mr. Chappell's researches has been the re-popularization of a vast quantity of melodies which, however genuine and beautiful, had in the majority of instances passed into oblivion. The chief arena for these revivals was naturally the concert-room; and so great has been the favour elicited, almost without exception, that a new impetus may be said to have been given to the expression of public feeling. The airs are, not inaptly, divided by Mr. Chappell into four categories the pastoral, or sentimental, generally addressed to the fair sex, and about which poets have raved; the patriotic, Bacchanalian, &c., which, pitched in a more vigorous tone, bear no reference to lover's sighs or the incomparable perfections of their tormentors; the historical, traditional, and legendary, many of which have descended to us from the wandering minstrels themselves, and as an example of which may be cited the interminable ballad of "Chevy Chase;" and, lastly, the dance melodies-hornpipes, minuets, jigs, roundelays, and musettes, or bagpipe tunes, in which England is probably wealthier than any other nation. In preparing the anecdotal and Vocal entertainment, which, some time ago, under the

name of Popular Music of the Olden Time - attracted such general attention at the Royal Gallery of Illustration, recourse was only had to the first three of these the last, although words have been fitted to many of the tunes, being for the most part ostensibly dedicated to other than purely lyric purposes. At the Monday Popular Concerts the feeling was continued (not revived inasmuch as it has never slumbered since Mr. Chappell first awakened it), and now at the present moment not a few of our old ballads contend in public favour with the most widely popular of those songs which obtain currency through the irresistible medium of the Theatre.

As partners in Mr. Chappell's laudable (may we not fairly add patriotic ?) work, Mr. John Oxenford, who has not only "modernised" in some instances, and condensed in others, many of the old songs with admirable judgment, but has frequently supplied wholly new words, and Mr. Macfarren, who has put accompaniments (masterpieces in every sense) to all of them-or at least to all included in the handsome volume which, under the title of Old English Ditties, lies before usmay claim a consideration only inferior to that extended to himself. We should like to quote some dozen of Mr. Oxenford's songs, but must content ourselves with a single (and, unhappily, a very brief) example. The tune (dated by Mr. Chappell about 1600') is as follows:

Old English Ditties is enriched with a new preface by Mr. Chappell, written in good vigorous Saxon, full of interesting research, and as thoroughly convincing as it is elaborate and eloquent. In short, the volume is an offshoot from the original work (Popular Music of the Olden Time), and, in its way, as invaluable.

"Fantasia on Airs from Benedict's Opera, The Lily of Killarny," for the pianoforte; "Ricordanza from Benedict's Opera, The Lily of Killarny," for the pianoforte-by G. A. OSBORNE (Chappell & Co).

That so accomplished a "transcriber " as Mr. G. A. Osborne, working on such attractive materials as are spread over every page of Mr. Benedict's New Opera, should produce something more than usually engaging, will be easily credited. In the "Fantasia" the melodies are "Eily Mavourneen and the "Hunting Chorus," which contrast admirably, and are gracefully interwoven with Mr. Osborne's own ingenious embellishments. For the "Ricordanza" Mr. Osborne has chosen Myles na Coppaleen's air, "It is a charming girl I love," and "The Cruiskeen Lawn." Both pieces are showy and brilliant, well written (need we have said that?), and lie conveniently for the hands of players of moderate skill.

MUSIC IN BERLIN. (From our own Correspondent.)

It is

Huguenots; by the same instrumentalists who are encored in the overture of Robert; by the same choristers who almost equal the solo singers the first night, and "Je voierai" they will stick to till the end of the in Dinorah. But what of that? They said, one and all, “Je voierai " chapter. I am sorry to add that the general unsatisfactory nature of the performance was not redeemed by Herr Ferenczy, as John of Leyden. This gentleman, as I think I told you in my last letter, has good veloped. Herr Ferenczy, however, received a fair amount of applause, natural qualities, but they have not, unfortunately, been properly depart of which was attributable perhaps to the fact that he was a "Gast," literally a "guest." And what, some of your readers may inquire, is a "Gast?" For their benefit I will explain what the word means. sometimes equivalent to our term a "star;" and sometimes it means only an artist who is engaged to play a certain number of nights on trial, and is not a regular member of the company. Is it necessary to remark that in very many instances a "Gast" is anything but a "star?" After this parenthetical explanation, I must inform you that the part of Bertha was sung by Mlle. Pollack, who, by the way, shortly leaves to Gallantry towards the fair sex induces me to hope she may be more enrol herself in the ranks of the German operatic troupe at Rotterdam. successful there than she has been here. To achieve so desirable a consummation, however, she must greatly improve her style, which at present is not first-rate.

A far more agreeable performance than the one I have just chronicled, was that of L' Elisir d' Amore, by Donizetti. Mlle. Artôt* produced a great sensation as Adine, and the public were profuse in their manifestations of delight and approbation, applauding the fair young artist to the echo. Herr Theodor Formes had a stern ordeal to go through, as Nemorino, by the side of so brilliant and captivating an Adine, but he triumphantly overcame all the difficulties of his task, es

"Facilis descensus Averni."

Let us attempt to disguise the fact as we will, I fear that our downward inclination is very decided, at all times, and under all circumstances. The law of gravitation exists, I believe, as surely for the mind as for the body. The tendency to fall is equally strong in both. Human nature has a partiality for going wrong, even when there is nothing to be gained by the process. That a horse who has once stopped to take a draught from the water trough, and indulge in a feed of corn at any particular roadside inn, should ever afterwards wish to stay for refreshments at the latter, or even that the horse's master should get into the habit of strolling inside the inn, and taking his little refreshment (in a liquid form), while the horse is discussing the corn outside-that horse or man should do this, I affirm, is not at all astonishing, and is by no means indicative of any proclivity towards, and delight in, wrong, un. less, perhaps, in the eyes of Mr. Gough and his disciples, who might object to the amount of alcohol consumed on such occasions as those to which I refer by the biped; but what is astonishing-aye, and very astonishing is that an educated and intelligent gentleman, one of the first actors in Paris, should, during the whole run of the Tour de Nesle at the Théâtre de la Porte St. Martin, have said every night, with a stern defiance of Noël and Chapsal, "Je voierai," instead of "Je verrai," to correct himself the moment he had made the mistake. Why did he sing "Je voierai ?" Every evening, when he went on the stage, he firmly resolved he would give the correct future of the verb "voir" in a manner that would gratify even Napolcon Landais himself, or rather themselves, for I have been informed that Napoleon Landais is not one grammarian, but several grammarians. But my histrionic friend did not give the correct future. He had said "Je voierai" at the first representation, and, as I have already stated, he continued to do so, although he knew that his brother actors were waiting for him to repeat his mistake, in order that they might make merry at his expense. How is this to be accounted for ?-By the law of moral gravity, to which I have alluded; by our downward tendency to wrong, even though nothing is to be gained by it- but loss (as our talented and respected friend, Bryan, would observe, supposing the thought struck him, which, in all probability, it would not). Now this case of my acquaintance at the Porte St. Martin is not a solitary one. If it had been, I should have passed it over in silence, but I mentioned it because it illustrates a principle-because it is part and parcel of a system common to all humanity, because, in fact, a perfectly analogous phenomenon takes place at the Royal Opera Ilouse, Berlin, whenever Meyerbeer's opera of Le Prophète is performed. This work was not well done when first produced, and for that reason, I suppose, has never been well done since. And yet is is played by the same singers who bring the house down in Les

The night of the 10th instant was a great night for the Royal Opera of pedestrians was gathered around the entrances to the building, while strings of carriages, fading away into the far distance, blocked up all the roads leading thereto. Politics, just now an all-absorbing topic, appeared temporarily forgotten in one engrossing event, and that was the first début of Mlle. Désirée Artôt at the first operatic theatre in Berlin. Report had said so much in favour of the fair young artist that public expectation was excited to the utmost, and public expectation in this instance was destined to be completely satisfied. The part selected by Mlle. Artôt was that of Marie, in Donizetti's comic opera, La Fille du Régiment, or, as the German playbills have it, Die Regimentstochter. A happier selection it would have been impossible to make, as was evident before the débutante had been twenty minutes on the stage. The public threw off, for the nonce, their Teutonic lethargy, and abandoned themselves to the most enthusiastic manifestations of approval, clapping their hands and stamping their fect, till the large gazalier above them vibrated again, like some person nodding his head, in token of acquicscence in their sentiments. Not only was Mlle. Artôt irreproachable in her singing of the part, but she acted it to perfection, giving the German dialogue with the most charming naïveté. Since the time of Jenny Lind, such a Marie has never been seen on the German stage, for the character is eminently French, and a French artist, when so highly gifted as Mlle. Artôt, is, above all others, suited by nature to represent it. Some persons here, and among them several distinguished critics, are even inclined to rank her rendering of the character higher than that of the Swedish Nightingale herself. This is a point I will not pretend to decide. I merely state a fact. It is asserted, by the persons to whom I have referred, that what in Jenny Lind was the result of patient study and mature reflection, is in the case of Mlle. Artôt the inevitable and spontaneous consequence of warm, glowing feeling and the most finished good taste, surprising and disarming even criticism itself, and entitling their fair and accomplished possessor to be held up as a model to all her German sisters in art. Her voice was a little fatigued, from slight indisposition, but, despite of this, she achieved an immense triumph, and with consummate art concealed from the ears of all except of the most practised musician that there was anything the matter with her. Sergeant Sulpice found an admirable representative in Herr Bost. Herr Krüger was to have appeared, but was prevented by hoarseness from so doing. After the performance there was but one opinion: that Mlle. Artôt is one of the first living dramatic vocalists; and but one hope that she will prove herself, on classic ground, the worthy pupil of her eminent mistress, Mad. Viardot, and soon appear in such characters as Orpheus, Donna Anna, Iphigenia, Valentine, and Fides. Berlin, that was the first to appreciate her truly, would only be too delighted to applaud her efforts in the highest creations of dramatic music. (Extract from a private letter.)

pecially the transpositions in the concerted pieces with Mlle. Artôt. Herr Betz was not equal to the character of the gay and dashing Serjeant Belcore, either as regards the singing or the acting; while Herr Bost, as that prince of quacks, Dulcamarra, although not bad, suffered terribly, as far as I, at least, was concerned, from the recollection of Ronconi, the Inimitable, in the same part. Luckily for Herr Bost, however, the Berlin public are not as well acquainted with the great Italian buffo as I am.

In addition to the two operas I have named, we have had Mozart's Zauberflöte, Weber's Freischütz, and Méhul's Joseph. Mad. Braunhofer sang, for the first time, the part of the Queen of Night in Die Zauberflöte, and right well did she do so. Her voice is of great compass, and enabled her to give all the difficult music in the original key. Her staccato and bravura passages, also, were highly satisfactory. Altogether she vindicated her right to be considered as one of the few efficient representatives of the part. I only wish, though, the good Berliners could hear our own gifted Louisa Pyne in it.

The Italian company at Kroll's Theatre is not doing much. It is vegetating, and that is about all. Nor is this wonderful, for the artists are but mediocre, the best among them being the prima donna, Signora Merea, and the barytone, Signor Massiani. Their repertory is mostly composed of the lighter operas of Beliini and Donizetti. They leave soon for Königsberg.

I was present, a short time since, at a trial performance of Kotzolt's Vocal Conservatory, which either the "trial performance," or the "Vocal Conservatory," at your choice—was, on the whole, satisfactory. Although founded only a twelvemonth, or thereabouts, the Society is very flourishing. The performance commenced with various solfeggios by Minoja, Nava, etc., which were given, unisono, partly by all the pupils, and partly by the sopranos and contraltos, in such a manner as to afford conclusive evidence of careful training, and to produce a favourable impression. Then came eight solos, namely: 1, "Die Taubenpost," a simple song, sung by Mlle. Kotzolt, who possesses a pleasing voice, which promises, if properly cultivated, great facility of execution. 2, "Canzonetta" in D minor, by Gordigiani, well sung by Mlle. Elster. This young lady's voice is strong and pleasing. Her pronunciation of the words is very distinct, but her intonation is, at present, uncertain, a defect, however, which may be remedied. No. 3, "Nachtlied," by Mendelssohn, sung by Mlle. Scheel, who, like her immediate predecessor, was rather uncertain in her intonation. Her voice is deep and full, though, at times, somewhat husky. No. 4, A song in B flat major, by Reissiger. The vocalist was Mlle. von Herzberg, who has a fine contralto, and sang with great feeling and simplicity. The above young ladies, all belonging to the elementary class, by a carefully cultivated portamento, give promise of turning out accomplished singers. Mlle. Reinecke was the first among the more advanced pupils. She has a deep, strong, flexible voice, and sang a song by Schubert most effectively. Mlle. Ronneburger is a high soprano, distinguished, at present, for a somewhat disagreeable sharpness of tone, which, however, may, with care, be softened down. Mlle. Carlberg sang the last air of Susanna in Le Nozze di Figaro. Her voice is strong and agreeable, and style highly satisfactory. The trial performance was brought to a conclusion by a trio from the Zauberflöte, in which Mad. Promnitz proved herself the most accomplished member of the institution. She sang with deep feeling, united to certainty and correctness. Her voice is full and sympathetic, reminding the hearer very forcibly of that of Mad. Harriers-Wippern. This ended the proceedings, which afforded much gratification to every one concerned, listeners as well as executants.

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The brothers Ganz lately gave a Soirée, which was excellently attended a fact to be attributed, I should say, to the reputation of the concert-givers, rather than to the attractions of the programme, in which the name of Moritz Ganz appeared as that of the composer of no less than five works, differing greatly in artistic value. With all due deference to Herr Moritz Ganz, I cannot help thinking this was somewhat too much of a good thing. Enough is as good as a feast. The concert began with two movements from Mendelssohn's fine Trio in C minor, played by Herr Rehfeld, Herr Moritz Ganz, and Herr Eduard Ganz, in such a manner as to cause a feeling of universal regret that the work had not been given entire. Mad. Cassh sung the arioso, in F sharp minor, from Meyerbeer's Prophète, with charming expression and artistic finish, so delighting the audience that her re-appearance scarcely sufficed to put an end to their applause. Herr Woworski also distinguished himself in a song, the name of which I forget. I only re. collect there was an obbligato violoncello accompaniment in Herr Moritz Ganz's best style. The latter's composition, a concerto in A sharp major, and "Der Traum," a fantasia, were highly interesting. Anything more unsystematic than this same "Traum," it is impossible to conceive. It begins in D minor and ends in G major, and between these two extremes gambols through the whole series of known keys, with melodies

and phrases. Thus, after D minor we have - G major (reminding one rather too forcibly of the beginning of the overture to A Midsummer Night's Dream), E major, C major, C minor, E flat minor, B flat minor, E flat major, etc. Herr Eduard Ganz performed Beethoven's E minor Sonata, Op. 90, and a transcription of the song "Santa Lucia," by W. Ganz. He was warmly applauded, and recalled to bow his thanks.

At the fifth Sinfonien-Soirée of the Royal Chapel, we had the Symphony No. 5 in C minor, by Spohr, the overture to A Midsummer Night's Dream, by Mendelssohn, the overture to Coriolanus, by Becthoven, and Mozart's Symphony in C major. All these works were executed most admirably, and afforded a highly intellectual treat to an appreciative, because intelligent, audience.

At a Matinée Musicale last week, I had again an opportunity of hearing Herr Reinhard Richter, who increased the favourable impression he had previously produced at the recent performance given by Professor Kullack's pupils, and which, unless I am grievously mistaken, I noticed in due course. Although I must frankly confess that, as yet, I cannot acknowledge Herr Richter's style to be that of a finished artist, and cannot refrain from impressing on him that his rendering of the Cantilena is deficient in repose and dignity, I am bound to say that he possesses decided talent, and will, if he conscientiously devote his energies to the task, one day take an honourable place among his contemporaries. At the Matinée in question, he played a portion of Mendelssohn's violin-concerto, Beethoven's Romance in G major, and a fantasia on the Austrian National Hymn, by Léonard. He was much applauded. His coadjutors were the sisters Lie and Herr von der Osten. Römer's Gesangverein have given a concert for charitable purposes. The Society boasts of a tolerably long list of members, who certainly sing with a will, as the saying is. But that is not sufficient. They must study a good deal before they can enter the lists with the members of other societies of a similar nature here. Let us hope they will do so. The longest, and, perhaps the best, all things considered, of recent concerts, was that given last week by the members of the Frauenverein, or Ladies' Union, for the benefit of the Gustavus-Adolphus Fund. The mixture of heterogeneous elements in the programme, however, was, I am inclined to think, a mistake, for the severe music of the church is not in its place side by side with the light and, too frequently, frivolous compositions of the fashionable salon. The Royal Domchor sang four sacred songs, the gems of which, Meyerbeer's "Pater noster," and Mozart's "Ave verum," opened the concert with éclat. Mlle. Reiss followed with Handel's air, "Ich weiss' dass mein Erlöser lebt" (I know that my Redeemer liveth"). Despite many good qualities-among others, great feeling-she did not please me. She indulged in a vast amount of inappropriate ornamentation, and got involved in an insupportably slow tempo, to extricate her from which all the efforts of Herr Dorn himself, who accompanied her, were unavailing. I must, in justice, state, however, that to make up for her failure in this instance, she sang an air by Rossini charmingly. Mlle. Harff played the piano part in a trio by Mozart, in which, as well as in Chopin's grand "Polonaise" in A major, she proved herself to be a pianist of no mean ability. Herr Reményi fully sustained his reputation as a violinist, while the mode in which Servais "Lestocq-Fantasia" was rendered by Herr Steffens, from St. Petersburg, stamped him as one of the first violoncellists of the day. Altogether the concert was, as it deserved to be, a great success.

The last of the series of Soirées given by Herren G. Lange and Oertling afforded me an opportunity of hearing Herr Rubinstein's Trio in B flat, and Schumann's grand Quintet, the latter of which pleased the audience more than the former. Mlle. Hauschteck was the vocalist, and sang Beethoven's "Ah, perfido" with admirable affect. These Soirées have, I think, established themselves firmly in public favour, and I entertain no doubt that Herren Lange and Oertling will resume them next year.

Erk's Gesangverein have just given a concert, which was as well attended as usual. The members sang their national songs with a fair amount of success, but did not acquit themselves as well as they generally do. They were deficient in precision and spirit. I am afraid this is attributable to an insufficient number of rehearsals. Mlle. Prager displayed considerable excellence in her execution of Stephen Heller's Transcription of the "Saterello," from Mendelssohn's Italian Symphony.

It is reported, how truly I know not, that Mlle. de Ahna will shortly secede from the Royal Opera House, in consequence of a refusal on the part of the management to comply with the terms she asks for a fresh engagement. Mile. Artôt is about to set out, on a starring tour, for Königsberg, Prague and Pesth, where she will, doubtless, be as successful as she has been here.

Having now exhausted all my news, I have only to add

VALE,