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Westouian sense of the word. A line, in season, may put a stop to the farther presentation of testimonials to these "enterprising" promoters of the consumption of ardent spirits, and destroyers of all that is healthy or worthy in the art of all others most justly esteemed "divine."
MLLE. ADELINA PATTI AT BERLIN.
Sm,—The most recent "great event" in the Prussian capital has been the first appearance of Mile. Adelina Patti before a Berlin public. I may as well, without more ado, inform your readers that her success has been unequivocal, and that she promises to become as great a favourite here as elsewhere, wherever she has sung. Your own opinion of Mile. Patti is sufficiently well known; but the readers of the Musical World may, perhaps, be pleased to learn what the Brandenburgian critics here say of La pequena sehorita. I, therefore, append translations of a few extracts from the leading papers. The Neue Berliner Musik-Zeitting speaks as follows :—
"The reputation which preceded the fair young singer fully explains a certain amount of curiosity on the part of the public, but although various reports from tho English and American journals, dealing especially with her capabilities, were pretty generally known, the public, on the whole, appeared as though undecided what to think. With regard to Mile. Patti's reception here, it may be described as particularly favourable, and if tho enthusiasm did not reach that convulsive height which we have seen it attain lately, on various occasions, the audience were most excellently inclined towards the dtbutante, a fact which was proved by their applauding and calling her on before the curtain. Adelina Patti has been singing from the time she was eight years old, and, between then and now, has brought the facility of execution, with which nature had so richly endowed her, to a pitch of perfection which is something absolutely wonderful. Two years ago sho made her first appearance on the stage as Lucia, as she has done here. The writer of this notice was present on the occasion, and astonished at her soft and gentle method of taking the note, and the ease with which she executed the cantilena, as well as the 'virtuosity ' with which she achieved the most difficult passages in finrilure. Since the evening in question, Mile. Patti has become a celebrated singer. She has received homage both in the New and the Old World, and now appears here as a great artist, crowned with fame and decked with laurels. That Adelina Patti is a phenomenon is a fact we may set down as indisputable. She overcomes material difficulties with a boldness, rare even among Italian vocalists. Even admitting that her ornamentation is, here and there, not quite perfect, we still find plenty in her that is wonderfully beautiful and estimable in an equal degree. Mile. Patti is, in short, a first-class artist, who need scarcely fear a rival. Her voice is soft and agreeable in the upper notes, and if her middle register has lost a portion of its former sonority, the reason is to be sought in the great exertion and restless activity to which she, although so young, has had to submit, since she went upon the stage. Her mechanism, however, is invariably marked by artistic certainty. To speak more especially of her Lucia, the great point of that performance is the grand air in the last act. This includes the graceful cabaletta, in which she displayed her wonderful facility of execution in every possible respect. In her future characters we have no doubt she will succeed in raising the good opinion of the public to a pitch of enthusiasm, especially when she sings the part of Norina or Adina, when we shall have an opportunity of having her in her proper element. Like all true artists, Mile. Patti has characters especially adapted to her means, and among them we must class those in the lighter class of Italian operas."
Before proceeding to give any further extracts from the Berlin press, concerning Mile. Patti's performances, it is as well to premise that in Lucia, owing to the want of an Italian tenor, " Herr Theodor Formes, the national tenor of Berlin*, was compelled to undertake the part of Edgardo. This made the task of our little prima donna doubly arduous.
Another journal, speaking of Mile. Patti in the Sonnambula, expresses itself in these terms :—
"Although it must be admitted that, as a rule, the enthusiasm of the public for Italian opera has cooled down, every artist of extraordinary talent is sure to attract. Mile. Adelina Patti must indubitably be classed in this category, and thus it could not astonish any one, especi
* Brother to Carl Formes, tho well known bass.
ally after her first success in Lucia, that when she was announced for Amina the Opera House was crammed to the ceiling. The character of the somnambulist is peculiarly adapted to the childish, affectionate nature of the young artist, which is evident in her appearance as well as in her singing and acting. The very first scenes were sufficient to excite among the audience a feeling of the liveliest interest, mingled with the most sincere admiration of her surprising vocal fluency. Her voice, thanks to its clear and bright tone, penetrates everywhere, and completely fills the large space of the Opera House. Mile. Patti understands admirably how to husband her resources, and her execution is so unfailing, that even in the most difficult passages no fear is entertained I for her success. We can recollect no instance of staccato singing exhibiting the same amount of perfection, while the 'shake' for purity and case, has rarely been equalled. Each separate air was of itself a treat, while the concluding rondo, 'Ah ! non giunge,' provoked a storm of enthusiastic applause. Mile. Patti's performance bore throughout the stamp of a natural no less than an intellectual conception, and, in a word, combined the qualities most requisite to make her a genuine public favourite."
A third journal contains the subjoined;—
"Mile. Adelina Patti gained a second triumph in the Sonnambula. The house was crammed, and the applause, especially at the end of the opera, was tumultuous. The celebrated finale was the pinnacle of success. Mile. Patti's naturally delicate voice here appeared to grow stronger and stronger. It mounted, upon the boldest wings of tone, through a succession of the most difficult runs, to an extraordinary height, as though no difficulties existed for it in such dtezy spheres. Chromatic scales, on account of the virtuosa-\ike certainty with which each note, together with tho half-tones, succeeded the other, struck the musical auditor with astonishment. As a brilliant instance of this, we may mention her masterly shake, which is executed in the presto with magic rapidity, without a single tone being slurred over. With this mastery over the most difficult vocal difficulties, Signora Patti combines the high advantage of a vocal tone as clear as a bell; her voice attacks the word and note at once, with a perfect absence of anything like hesitation. Not the slightest suspicion of tremolo obscures the purity and beauty of her intonation. There can be no doubt of her being one of the very first lyric vocalists, and all lovers of art in Berlin must feel grateful to Herr von Hiilson for having afforded them an opportunity, before the inhabitants of any other continental city, of hearing so original, and, in her way, so unique an artist.".
When the Trovatore was performed there was not a single vacant seat in the house, so great was the desire to hear Mile. Patti as Leonora. The public, therefore, shared with me the belief that this performance would be one of the most brilliant of the Italian season. The ticket-sellers reaped a rich harvest; as much as five thalers were offered for a parquet ticket, about the price for which a good stall may be obtained at the Italian Opera in London. The frequent and hearty applause was in keeping with the crowded state of the theatre, and showed that public expectation had not been disappointed. In short, the entire performance exhibited a degree of excellence such as, probably, no previous representation of Verdi's Trovatore ever reached in Berlin, and such as could with difficulty be surpassed in any other European capital. Mile. Patti embellished the music of Leonora in her own florid
style, and, to quote the exuberant language of a Berlin critic— "crowned it with artistic and variegated tone-flowers, which, like sonorous arabesques, produced apparently without an effort, bloomed on the delicate stalk of her voice, and twined upwards to the greatest heights." This is flowery language—more flowery, mayhap, than that in which a sober English critic would indulge; but I give it as it is, to show you how successful the "bijou prima donna" has been here. In fact, to sum the matter up in a word, Mile. Adelina Patti has been it decided "hit" the •««»«!«•' »««!
tal of Prussia.
Berlin, Jan. 2, 1862.
Miss Eleanor Armstrong's Concert took place on Thursday evening at Wcstbourne Hall before a full and fashionable audience. The fair b(n$ficiaire, who is making rapid strides in h< r profession, sang two English songs, "A thousand miles from thee " (by Mr. Frank Mori, and rendered popular by the singing of Mile. Florence Lancia), and the ballad of " Kathleen Mavournccn," in so charming a manner that spontaneous encores were awarded to her after each. The young vocalist was modest enough only to bow her thanks for the first, but the second she repeated with increased effect. Miss Eleanor Armstrong also sang an aria from Roberto Devereuz and the duet "Farigi O Cara," from the Traviata, with Mr. John Morgan, in which she showed herself as accomplished an artist as she did' in the songs of her native tongue. Mr. John Morgan gave Balfe's elegant ballad, "Fresh as a rose," and Macfarren's "Guiding Star," with great effect. Mr. Viotti Cooper is a young and promising vocalist, but he must study hard before he arrives at the "top of the tree." He sang Mr. Frank Mori's ballads, "Rose of the morn" and "Who shall be fairest?" The other vocalists were Miss Poole, Mad. Louisa Vinning, Miss Lascelles, Miss Bradshaw and Mr. Gadsby, who, we need hardly say, ably fulfilled the duties allotted to them in the programme. Mr. G. F. Kiallniark and Miss Catherine Thompson were the pianists. The gentleman played a fantasia by Thalberg, and the lady a classical morceau by Beethoven and "Les Arpeges of Theodore Kullak. A violin solo by Herr Louis Rie3 completed an interesting musical evening.
The Sistehs MarchIsio.—Miles. Carlotta and Barbara Mar. cbisio again appeared on Saturday afternoon, at the second and last of Mr. Land's concerts in St. James's Hall, and more than confirmed the highly favourable impression created by their "debut." On this occasion they introduced two duets from Semiramide—v'\z., "Serbami ognor" and "Giorno d'orrore"—and an original Bolero, composed expressly for them by Rossini. It is diflicult to imagine duet-singing more irreproachable. The result of combination in musical performance could hardly be carried to .a greater degree of perfection. The two voices,—although one is a soprano, and the other a contralto,—appear to possess some occult quality in common, which when they are heard together so thoroughly nssimilates their individual tones, that, even in part-singing, where there is no union to help the illusion, the effect is equivalent to harmonious concord, produced upon a single instrument. Such precision, indeed, as the Miles. Mnrehisio exhibit has rarely been attained. No mechanical contrivance could surpass it. They begin and end a phrase, roulade, or "cadenza" as if but one mind and one impulse directed the utterance of the two voices, and as if to vary from each other to the extent of the nicest perceptible gradation— "the shadow of a shade"—was not within the range of possibility. The simile of the poet, comparing two brothers who have no sympathies apart to "two cherries growing on a single stalk," might, without any great stretch of propriety, be applied to the Sisters Marehisio in their musical capacity. The audience were just as much delighted as on Thursday evening, and applauded all they did with indiscriminate warmth, the piece most unanimously admired being as before, the delicious slow-movement, "Giorno d'orrore."
In other respects the programme bore a strong family likeness to that of Thursday, most of the same artists taking part in it, with the addition of Miss Arabella Goddard, who was recalled after Liszt's fantasia on the quartet from Rigoletto, and obtained a still more honourable success with the variations and finale from Beethoven's sonata dedicated to Kreutzer, in which she enjoyed the advantage of M. Vieuxtemps' invaluable co-operation, which were magnificently played on both hands, and as our clear and well informed contemporary The Sunday Times relates—" as keenly enjoyed as anything in the entire concert." How, indeed, could it be otherwise with two such artists*
Sr. Mark's Church, Myddelton Square, Pbntonville —The fine organ in the above church, one of John Gray's best, having been remodeled by conversion of manuals to CC compass, and the addition of a Five Stop Pedal, will, as per advertisement, be reopened on Thursday evening, January 16th, 1862. Mr. Dawes, the lately appointed organist, will during the service play first movement of Reich's Flute Concerto, and after the sermon perform a selection from Handel's Suites dc Pieces. The following is a list of the stops : — Great Manual CC to Fin Alto 54 Notes. — 1. Open diapason, 8 feet pitch; 2. Ditto, 8 feet pitch; 8. Stop diapason, 8 feet pitch; 4. Principal, 4 feet pitch; 5. 12th, 3 feet pitch;
6. 15th, 2 feet pitch; 7. Scsquialtcra, 3 ranks; 8. Mixture, 2 ranks; 9. Trumpet, 8 feet; 10. Clarion, 4 feet. Choir Manual CC to F.—1. Open diapason, 8 feet; 2. Dulciana, 8 ten C; 3. Stop diapason, 8 ten C; 4. Principal, 4 ten C.j 5. Flute (open wood), 4 ten C.; 6. 15th, 2 ten C.J
7. Cremona, 8 ten C; 8. Bassoon, 8 ten C. Swell Manual CC to F.— 1. Bourdon Bass, 16 feet, pitch (O); 2. Double dulciana, 16 feet, pitch (O); 3. Open diapason 8 ten C; 4. Dulciana, 8 ten C; 5. Stop diapason bass, 8tenC. (0); 6.Stop treble, 8 ten; C. (O) 7. Prinicpal, 4 ten C;
8. Stop'd flute, 4 ten C. (N) wood; 9 Mixture, 3 ranks (N); 10. trumpet, 8 feet, ten C.; 11. Oboe, 8 feet, ten C. Pedal CC to D, 27 Notes. —1, Open diapason (wood) 16 feet, (O and N); 2. Violon. (metal).
16 feet (O); 3. Principal, 8 feet (Oand N); 4. Mixture, 2 ranks (N); 5. Trombone to FFF, 16 feet (0).—Summary of stops, great, 10; swell, 11; Choir, 8; Pedal, 5; Copulas 4; altogether 38, being 8 stops additional.
SACRED HARMONIC SOCIETY.
At the Christmas performance of the Messiah, on Friday night in last week, the "Dead March " from Saul was played between the first and second parts, and the hall was fitted up in a manner appropriate to the occasion, the oratorio having been postponed as a mark of respect to the late lamented Prince Consort, a staunch patron of the Sacred Harmonic Society, and, as every one knows, a distinguished musical connoisseur. During the performance of the "Dead March" the audience stood up, and the effect was in the highest degree solemn and impressive. The principal singers were Mile. Guerabella ( soprano ), a new and valuable acquisition to the concerts of sacred music at Exeter Hall; Mr. Henry Haigh (tenor), whose fine-toned voice is always welcome, and who could not possibly study in a school more likely to lead to excellence than that of Handel; Mad. Sainton-Dolby, and Signor Belletti, whose names it is sufficient to mention. Mr. Costa, as usual, conducted. The hall was crammed to suffocation. Last night Haydn's Creation was to be given, with Mr. Sims Reeves in the tenor part, the other singers being Mile. Farepa and Signor Belletti.
Wetttt* to % €b\tax.
OPERA OR PANTOMIME.
Sir,—Those who, like myself, have opportunities of visiting our national opera only during the Christmas holidays, are sure to suffer a disappointment. They go to listen to music, and instead only see pantomime. Last year they went with the praises of Balfe's opera Bianca sounding in their ears, and found, instead of a grand opera, the smallest and lightest of operettas, The Marriage of Georgette, embracing the services of two vocalists only; the remaining performance being a pantomime, which, loving music, they could not enjoy, and would not stay to witness. But for the Monday Popular Concerts those who Bought enjoyment in music would not have had their tastes gratified. This year I observe that Balfe's new opera has not been displaced but shortened, to make room for the pantomime; musical people will wait then until the work can be heard in its entirety. I read with pleasure the following in one of the morning papers: "No one who was present at this theatre (Covent Garden) last night (Dec. 26) would have doubted that the English public prefer operatic to pantomimic performances, for whilo the latter were frequently interrupted, the former were listened to with breathless attention, and appreciated, tho best morceaux being rapturously encored. The house was crowded from
floor to ceiling and notwithstanding it was boxing-night,
this crowd, as we have already observed, listened with silent attention to the whole performance of the Puritan's Daughter. Of course there must be some unusual attraction on boxing-night at the Royal English Opera as well as at other theatres. Well, Sir, let there be a new English opera on a subject that has not already been exhausted at some other theatre; let it be supported by these three first-rate English dramatic singers, Mr. Sims Reeves for tenor, Miss L. Baxter for contralto, and Mr. Weiss, bass, not yet included in the company at our national opera, in addition to the two already engaged there, Miss L. Fyno and Mr. Santley; and the result would be that the theatre would be filled, not merely for a few nights by the followers of clown and pantaloon, but night after night and week after week, by the crowds who attend the performances of the Sacred Harmonic Society at the Royal Italian Opera, and wherever and whenever good music may be heard thoroughly well performed. In this way too our national taste would not be impugned, whilst our national opera would be elevated.
A Youho Man From The Country.
NATIONAL ENGLISH OPERA.
Sin, From your leading article in last week's Musical World the
public are led to understand that, although there are to be three Italian Operas this season, English Opera is not at all likely to find a home in this vast metropolis. Perhaps you may have overlooked the fact that a company under the limited liability acts wns duly registered a few months ago, the objects of which are, ns stated in the preliminary pro• spectus—" For establishing and perpetuating a National Musical Institution, for producing and maintaining on the English stage the best works of native composers, and adaptations from the French, German, Italian, and other schools, in an effective and complete manner." This association—and of which I am a member—already numbers amongst its shareholders the names of almost every English operatic composer of eminence, many of the principal singers, instrumentalists, and other artists; and a large number of powerful patrons, influential suppottcrs, and shareholders. From various causes, which it is unnecessary forme at present to enumerate, the prompters of the association have not yet issued any advertisement* or announcements to the public ; but of this you may rest assured, that when the proper time arrives fur so doing, the present stigma upon our National English Opera will be withdrawn. The prospectus of the association might have been before you at the time you wrote the article referred to, when you state "Let us suppose an English manager to have the means or the will to procure the following company of native artists," &c; then follow the names of Miss Louisa Pync, Mdmes. Sherrington and Parcpa, Messrs. llccvcs, Weiss, Santley, &c. &c. (Most of these talented artists, lam glad to say, arc shareholders in the association.) The prospectus states " The English Opera Company will have ample capital at command to place upon the stage the choicest works of the great masters; to foster and encourage the production of new operas and musical works; to give permanent engagements to a large number of our most talented composers, poets, singers, instrumentalists, scenic and other artist*; and to present to the public a perpetual succession of operatic performances."
Trusting you will excuse the liberty I have taken in drawing your attention to the subject,—I am, Sir, yours, &c.
January 8th, 1862.
BOOSEY and SONS' NEW JUVENILE SERIES. Price One Shilling each, in fancy covers, or Two Shillings each in extra c!oth gilt letters and edges ; forming most beautiful and suitable presents for the approaching season.
i. THE GOLDEN WREATH, containing 28Songs, with original Words, adapted to popular mflodies.
Z THE JUVENILE PIANOFORTE ALBUM, containing 24 Pieces aud Dances by modern composers.
3. THE CLASSICAL PIANOFORTE ALBUM, containing 30 Classical Compositions by the great Masters.
OOSEY and SONS' "200" SERIES. All in clotb
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Booseys' 200 Christy's Melodies for the Violin.
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LATEST AND MOST FAVOURITE WORKS
FOR THE PIANOFORTE.
In Mcmoriam. 1I.E.H. the Prince Consort Elegy
The Mountaineer's Lay from "The Burlington Album," 1862 ...
What arc the Wild Waves, Solo, 3s. ; Duct
The Echoes of Killarncy, introducing "The meeting of the
Welsh Fantasia (North Wales)
The Echo of Lucerne
Warblingsat Eve ...
The Dream of the Wanderer, Bomance
The Young Bccruit (Kiicken)
Chime again, beautiful Bells
Premiere Tarantcllc, dedicated to C. Halle
Her bright Smile haunts me still (Wrighton)
La Carolina, Souvenir de Naples
Fading Away (Anne Frickcr)
Truth in Absence (Harper) Solo, 2s. 6d.; Duet ...
Bccollections of Wales (Welsh Airs) 12 Nos., ca.
"Mr. RICHARDS performed histwo Pianoforte Fantasias, entitled ' North Wales' and 'South Wales,' both of which were encored. These pieces, in which several of the most beautiful melodies of both divisions of the Principality arc charmingly treated, have been recently published, and have been received by the public with great and deserved favour. Mr. I5uim.i V Riciiauds performed a ' Capriccio' in C major by Handel—a piece which, besides being a fine specimen of the il:u»trious master's style, I, also a musical curiosity, having been till lately quite unknown to the Public. It has been printed by Dr. Rlmbault in the appendix to hi» great wo:k on the Pianoforte from a cony In the handwriting of Smith, the composer's amanuensis. It bears the date of 1720, and Is said to have been written fur the Princess Amelia, It has now likewise been publiscd in 'The Classical Pianist.' "—Illustrated London Newt, Jan. t, 1802.
ROBERT COCKS & CO., NEW BURLINGTON ST.,
;REGENT STREET, W., AND 4 HANOVER SQUARE, W. Music Publishers to Her Most G_racIous Majesty the Queen, and the Emperor
QUEEN'S CONCERT ROOMS, HANOVER SQUARE. — The Daily News, in speaking of Mr, Henry Leslie's first Concert, sajs :—
"Tiiese Rooms were opened to the Public for the first time, after undergoing an amount of repair and redecoration which has given the building quite a new aspect. The Great [loom, filled with Company, and brilliantly lighted up In a new and most tasteful manner, had an appearance of elegance, cheerfulness, and comfort, certainly not equalled in London, and probably not excelled in Europe.*'
GIFT BOOK, NEW.—Songs and Tunes for Education, edited by John Cuhh En. The Harmonies by Jaui S Turle, Esq., Organist of Westminster Abbey. The Pianoforte edi'.ion, lu handsome cloth binding, with gilt title, price half-acrown.
This work is the fruit of the editor's residence in Germany. He collected books of music for young people in every town he visited. With the aid of Mr. James S. Stall} brass, the whole of this collection Wftl analysed, and the choicest translated or adapted for English use. The editor, however, never preferred a German piece when an English one woi.ld do as well. He alms to educate the feelings and sympathies of childhood by the habit of singing good songs. This he considers the proper office of music in school*. He takes care that the three school ages (childhood, boy-and-girl. hood, and youth) are suited with songs on the following subjects .—Country Scenes, the Seasons, Fancy, and Humour. Kindness to Animals, Home Sympathies, Patriotism, Industry, Integrity, Religion, &c. There are two hundred and sixty-seven sons*. This work will doubtless supersede the editor's widely-known "School Music" and "School Songs."
An edition in the Tonic Sol-fa Notation, containing the Treble Voice "parts " only, price. In paper, One Shilling; in cloth, One Shilling and Fourpcnce. The " Education Songs," containing the words only, price Sixpence.
Ward and Co., 27 Tatcmoster Row.
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THE PURITAN'S DAUGHTER.
A GRAND ROMANTIC OPERA IN THREE ACTS;
THE LIBRARY WRITTEN BY J. V. BRIDGEMAN;
THE MUSIC COMPOSED BY
M. W. BALFE.
I PRICE TWO GUINEAS.
No. Voice, i. d.
Overture - - - - - .-40
'1. Chorus "Here*i to wine, and here', to beauty." - - ..4 0
5. Duet. "Hate, hate." - • - - ■ . T. B. 3 0
3. Duet, "I would aslt a queition" (Comic) - - S. B. 4 0
4. Song, "My own sweet child." - - - - B. a 6 .">. Aria. "What glorious news" (Comic) - • - B. 3 0
6. Recit. & Chorus, with Solos, '* Let us haste." - Soprani. 3 0 '7. Solo & Chorus "By earth and air." .... Male Voices. 3 0
8. Concerted Piece, "what do we see?" . - - » - - . .80 8a. Duet, "Oh, father, pity I" - - . - S. B. 3 0 8b. Duet, 41 Oh, reflect ere you decide." - - . S. B. 3 0
9. Cavatina, "Pretty, lowly, modest flower." - - S. 2 G
10. Finale, Act I. ............60
I0J* Ballad, "Bliss for erer past." - - . - S. or B. t 6
11. Recit. & Romance, "How peal on peal of thunder rolls." . B. 2 G IS. Trio, "Br the tempest overtaken." - . - T. B. B. 3 0
13. Trio, "My welcome also to this roof.'' - - T. B. B. 3 0 13J. Cabaletta, "Can it be, do I dream?" B. 2 0
14. Duettlno, "Let the loud timbrel" (Unison.) . . T. B. 2 0 14}. Recitative, "Nay, do not run away." - - . - . .20
15. Air, "Though we fond men all beauties MI - . T. I 6
16. Duet. "Thou wecpest, gentle girl." ... s. It. 5 0
17. Drinking Song, Let others sing the praise of wine." . - T. 3 0
18. « Ballad, ." The Panidlse of Love." . . . S. 2 G
19. Finale, Act II. - - - - - - - - . . . .90
19a. Trio, "What man worthy of the name.-' - - S. B. B. 3 0
ACT III. I
19$. Eoti'Acta 20
20. « Ballad, "Hail, gentle sleep." T. 2 6
21. Concerted Piece ...... 10 0
22. Ballad, "A loving daughter's heart." - - - . S. 2 6
23. Concerted Piece ...........GO
24. Rondo, Finale, "With emotion put all feeling." - - S. 3 0
N.B.—Those marked thus (*) have transposed Editions.
Favourite Airs -from Balfe's Opera, " The Puritan's Daughter," arranged by
W. H. Callcott, in 2 Books - Solos, .il.; Ducts 6 0
W. H. Holmes's Fantasia, "The Puritan's Daughter ". ... - 40
Brinley Richards's " Bliss for ever past." ........30
Brinley Richards's Fantasia on the Favourite Airs - - - - . - 40
Galop, from The Puritan's Daughter," arranged by C. Coote - - - - 3 0
The Storm Valse. from " The Puritan's Daughter," arranged by C. Coote - 4 0
ASHDOWN and PARRY (successors to Wessel and Co.) beg to inform the Profession that they forward Parcels on Sale upon receipt of references in town. Returns to be made at Midsummer and Christmas.
Tbelr Catalogue!, which contain a great variety of Music calculated for teaching purposes, may be had, post-free, on application.
l: IS Hanover Square.
COMPOSITIONS FOR TBB PIANOFORTE,
TARANTELLA.—Dedicated to Prince Eugene, Due de
Leuchtenberg. Price ». 4s.
ROBIN ADAIR—Concert Piece.—Dedicated to Miss Burdett Coutts 5s.
ALLEGRO MODERATO, from Sonata in E flat.—Dedicated to Mile. Nady
DER WIUBKLWIND.—Galop dl Bravura 4s.
"This composition possesses a freshness and vigour, which produces a most delightof cheerfulness, while it is perfectly free from the smallest approach to
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vulgarity."—Torquay Directory. DER FltKYSCHUTZ—Grand Fantasia MAZURKA
"Mr. Fowler's Compositions for the Pianoforte, as well as his performances on that instrument, have long been exceedingly popular here. His compositions are full of originality and feeling, brilliant and highly effective, and faultless with regard to the rules of Harmony, Counterpoint, Rhythm, and form." —Torquay Directory.
Hope Villa, Torquay, October 1861.
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NE W EDITION.
THE VOICE AND SINGING
(THE FORMATION AND CULTIVATION OF THE VOICE FOR SINGING), By ADOLFO FERRARI.
WHEN this book first appeared we foretold its success; our conviction being founded on the author's freedom from conventional trammels, tho strong good sense of his opinions, the novelty and yet evident soundness of his precepts, and the conciseness and practical value of his examples and exercises, of which every note is dictated by a clear and definite purpose. The influence of Signor Ferrari's method of forming and cultivating tho voice, as it is explained in this treatise, is enhanced by the efficacy of his personal lessons in his practice as one of the most eminent teachers of the day ; and this work has consequently come into general use as a manual of vocal instruction, not only in the metropolis but throughout the kingdom.
In this new edition the author has made various important additions to tho work, especially to the Exorcises. Formerly they were confined to soprano or tenor voices ; exercises for the one voice being also available for the other. But, for the contralto, or the barytone, provision was not made. This desideratum is now supplied, partly by means of entirely new exercises, partly by giving the old exercises likewise in transposed keys, and partly by adapting the soprano exercises also to the contralto or barytone, by the insertion of alternative passages in small notes. By these means the utility of the work is very greatly increased.
We have said that the remarkable qualities of this book are the author's freedom from conventional trammels, the strong sense of his opinions, and the novelty yet evident soundness of his precepts ; and this we will show by quoting, unconncctcdly, a few passages which cannot fail to strike every reader.
"Voices are too often ruined by giving pupils difficult songs, in order to gratify their vanity or that of their friends, before they have acquired the power of sustaining the voice, throughout its natural extent, with a firm and clear intonation. When it is recollected that it has taken years of application and study to enable professional singers to execute properly the songs we are accustomed to hear attempted by almost every young lady who is requested to sing in a drawing-room, the absurdity of the prevailing system becomes self-evident.
"I strenuously advise all who wish to sing not to defer the commencement of this study, as is generally the case, till the pupil arrives at the age of 17 or 18, by which time young ladies ought to be good singers, but to commence early, at about 13 or 14 years of age, and resisting the gratification of singing a number of songs for the amusement of their friends (the word may be taken in more senses than one), to devote sufficient time to what may be termed the drudgery of singing, so as to enable them to acquire the power of sustaining the voice, easily to themselves and agreeably to the air.
"Many young ladies now-a-days speak habitually in a feigned voice. Here lies the greatest difficulty in teaching, or practising singing; for should neither the pupil nor master know the real tone of the voice, the more earnestly they work together the sooner the voice deteriorates. In my experience I have found this difficulty most easily overcome by making the pupil read any sentence in B deep tone, as though in earnest conversation, beginning two or three notes below what they consider their lowest notes; but, as the lower and richer tones of the voice arc generally objectionable to young singers, all of whom are ambitious to sing high, it requires much firmness and some coaxing on the part of the master to get the pupil to submit to this exercise. I cannot advise too strongly the greatest attention to the free and natural development of the lower tones of the voico : it is to the stability of the voice what a deep foundation is to the building of a house.
"In conclusion, I must add a few words on a subject of great importance to the pupil who makes singing a study. I mean the spirit in which instruction is received. Every emotion of the mind affects the voice immediately.; therefore it is of the utmost importance that the pupil should receive tho lesson with the mind entirely unprcoccupied by other matters, and in a perfect spirit of willing submission to the teacher's corrections, however frequent, and however unimportant they may appear ; for it is simply by the constant correction of little nothings that beauty of intonation and elegance of singing arc obtained."—Daily News.
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