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the grave events at present agitating Europe and America. But for following artists :- First violin, Jean Becker ; second violin, Henri these, one of the two artists would now be at New York, and the other, Wieniawski; third violin, Pickel; fourth violin, Albrecht (from Leipat St. Petersburg. We will not go into the details of their marvellous sic); viola, Albrecht II. and Weickmann; and violoncello, Carl Schuexecution, we will simply state that, for more than two hours and a bert and Davidoff. Herr Davidoff has also given highly successful half, the audience hung, as it were, upon the magic bows of Vieux-l concerts in his native town, Moscow. The Russian journalists are loud temps and Servais. The andante especially of Beethoven's Quartet in their praises of their celebrated countryman. excited transports of enthusiasm-Servais was admirable; and at the conclusion of the evening their duet from Les Huguenols, called forth a perfect storm of frantic applause. Servais and Vieuxtemps were to have left this morning, but there

Letters to the Editor. will be, probably, another quartet soirée, in consequence of the success of the first. On all sides, the audience, before leaving the room, asked for a second performance. It is generally beliered that the two artists

“SCHUMANISM.” cannot refuse compliance with a wish so universally expressed, and that Sir,– Your reviewer having done me the honour of noticing a few to-morrow, Wednesday, at one o'clock, there will be a second and last of my compositions in your journal, permit me to inform that gentlequartet séance in the concert-room of the Grand Théâtre. In spite of man, that while he has unwittingly, perhaps — paid a high compliPassion-week, the concert-room will be crowded, for is not music, also, ment in characterising my music as “Schumanistic,” he at the same a prayer? Music is holy and sacred; it is, as it were, a wing, which time has made a statement from which one might infer that he was in God has given us in order that we may rise by it up to Him; and when my confidence to at least the extent of my studies. I beg leave to asmen truly inspired interpret the grand creations of genius, they elevate sure him, that “Schuman's Mannerisms” I am unacquainted with, the human soul, purifying, ennobling, and separating it from the earth “Schuman's music " I have never studied, “ Schumanism” I am ignoto cast it forth into the Infinite: their talent is a sermon. I can assure rant of; and all I know about Schuman is, that, of the most ablc conyou, ladies, who, for now nearly forty days, under pretence of listening tinental musicians, three-fourths at least esteem him as one of the to so many sermons, have filled the church of Notre Dame with your greatest composers of this century; the remaining fourth, and a clique velvet cloaks, and your rich cashmeers, with your spruce new bonnets in England, entertaining those miserable narrow-minded prejudices and your lace, that Servais and Vieuxtemps might preach, perhaps, which have stunted the genius and checked the hopes of much rising with more advantageous results than the Rev. Father Minjard.-J. talent, they – Heaven alone knows why -- condemn the man! SAINT-RIEUL-DUPOUY.- (Courier de la Gironde, April 16).

In justice to your reviewer, I must, however, state, that he alone has POSEN.—Herr Hans von Bülow and Dr. Leopold Damrosch gave a not traced in me this mysterious “Schumanism.” Fourteen years ago, concert on the 5th inst. The latter gentleman, although a native of or ere I had even heard of Schuman, the Athanæum, in a review of my the town, and formerly a pupil of Herr Fröhlich, once a fashionable first publication, fancied me "a disciple of Schuman ;” and early this local teacher, was professionally unknown, and great curiosity was year, the learned Professor at Oxford, Sir F. G. Ousely, in a letter to manifested to hear him. Tho concert opened with Beethoven's me, noticing my recent publications, observed, “there are passages in Kreutzer Sonata. Herr von Bülow and Dr. Damrosch then played one or two of your works which remind me of Schuman's style; and Franz Schubert's magnificent duet in B minor, which was warmly I am glad of it, for I feel sure his music is not half appreciated in Engapplauded. Herr von Bülow followed with a series of dances, arranged land !". in chronological order, and ending with Chopin's “ Tarantella ” and As for the rest of the critique--the objections to my“ progressions,” &c. Liszt's “ Valse impromptu.” There were various other instrumental -it is but the old story of the law and the prophets." The impossible pieces of more or less importance. Mlle. Maric Holland, of che opera, operation of raising that “theoretical tower" commenced centuries ago, was the vocalist.-- A course of four concerts was lately given, in the but long since became a “ Babel," through the confusion of hypotheses large room of the Bazaar, by Herr Bilse, from Liegnitz, with his own as well as tongues--the old apparitions of the peruke and horn-book. orchestra. The attendance was extremely good.

The antagonism of Richard Wagner to “ the tyranny of the tones” is KÖNIGSBERG -Herr Küster's oratorio, Die ewige Heimath, was per- not without its significance. Modern tonality dates only from the sixformed by the Gesangverein, under the direction of Herr Wiegers, on teenth century ; and though, from usage, it may appear impossible to the 8th inst.

tolerate any variation of it, there is nevertheless no reason why music BADEN-BADEN.—The subject of Berlioz's opera, composed for the should stand still, while in every other art and science there is evident opening of the new theatre, is taken from Shakespeare's comedy of PROGRESSION. It is an age of activity, and genius will not be circumMuch Ado about Nothing. The second novelty will be the opera of scribed by a line of demarcation. It must be remembered that, if the Erostrates, by Herr M. E. Reyer.

system of tunes had experienced no variation, the science would have DRESDEN. - On Palm Sunday, Cherubini's Requiem and Beethoven's attained to its utmost limits nearly three centuries ago. And are we Ninth Symphony were performed at the Theatre Royal. There were, wiser in our generation than the purists of 1590, who inveighed so during the past theatrical year, 339 performances at this establishment, fiercely against the prejudged heresy of Charles Monteverde, for daring and they consisted of–172 operatic representations, ancluding 11 given to use the “ seventh," and even the " ninth,'' of the dominant, openly and by the Italian company, under Sig. Merelli; 26 representations of without preparation, and employing the minor fifth as a consonance, farces and pieces insterspersed with songs ; 209 of dramas, and 13 of which until then had been always used as a dissonance ? Monteverde ballets. There were 24 novelties, of which five were operas, vaudevilles | was as much in advance of his time, as Wagner appears to be of this. and farces ; 19 dramas ; and 2 ballets. In the way of revivals, there | era. Yet this statement seems anomalous, when we read that Wagner's were 9 operas, 11 dramas, and i ballet.

“modern doctrines" are precisely the same as those held a century back STUTTGARDT.-At the Seventh Subscription Concert, in the Königs qy the now idolised and unimpeachable Gluck. Without doubt, by this bau, Schumann's Paradies und Peri, which is a novelty here, was per time I have become in your eyes a confirmed heretic, “ hopelessly wanformed with success. M. Molique's oratorio of Abraham was given on dering in the wrong path.” Whatever be my path, I find it more comPalm Sunday.

fortable than the old miry way, with its indispensable ornamentation for MUNICH.-Sophocles' Antigone, with Mendelssohn's music, has been the traveller of gyves, manacles, and such-like undesirable incumbrances. revived. The house was crowded in every part, and the applause both In conclusion, I think I could pair with every “objectionable" progresloud and frequent.

sion of mine a counterpart from Bach, Mozart, Beethoven, and MenRome. --After working on them for many years, M, Mathiä, one of delssohn. Your reviewer advises me to study Mozart (have done so Thorwaldsen's best pupils, has just completed the busts of Beethoven, since childhood). This recommendation of individual models is unGluck, Mozart and Palestrina, together with the appropriate consoles, wholesome. I remember that, some years back, the MUSICAL WORLD for the Grand Princess Helena of Russia. The bust of Beethoven is put Mendelssohn forward (than whom, save Spohr, there never was a supported by Zeus ; that of Gluck, by a figure of Psyche ; that of greater mannerist) as a model for young musicians. The advice was Mozart, by the three Graces ; and that of Palestrina, by singing taken, and from that day to the present natural instincts have been angels.

turned aside, and young composers are receiving as their reward accu. ST. PETERSBURG. – Herr Davidoff has played on several occasions, sations of “plagiarism," “mannerism," “ Mendelssohnism," until the since his return from Germany, before the Empress and the Grand poor bewildered aspirants find themselves in the undelicious condition Princess Helena, and, on the 12th ult., appeared at the concert given of “Doltism." by the Russian Musical Society. On the 15th ult., he and Herr Becker Surely if Beethoven, or Meyerbeer, or Berlioz had succumbed to the gave a concert, which was attended by all the imperial family, and the opinions of the critics, to the scholastic paradoxes, the hypothetical pick of St. Petersburg society. There has been a great deal said about subtleties, the heavy yokes of those Jeremiahs, the schoolmen of the à performance at Ant. Rubinstein's, of Mendelssohn's Ottet, with the art, we should never have got the C Minor Symphony, the Rasoumowski

Provincial.

Quartets, or the Huguenots, or Robert, nor yet the Benvenuto Cellin
Prelude, or the Romeo and Juliette Symphony.

It were well, Sir, that the same plan were adopted in your journal that is employed in the musical journals of France and Germany, viz ,

The Cheltenbam Philharmonic Society has given its first concert, that the reviewer would kindly submit his name with his critiques; then

which appears to have been an unusually good one. We append would your readers be enabled to estimate the opinions expressed at

(with some unimportant curtailments) the notice of The Cheltentheir real worth.

| ham Times (Ap. 19):-I am, Sir, your obedient servant,

WM. V. BARRY, Mus. Doc. “A more brilliant audience has seldom been collected in our 22nd April, 1862.

Assembly Rooms ; nor during the seven years which this society has been in operation has its success been so unequivocal. Selections from

Haydn's Creation formed the first part, and from the recitative, In the THE LATE GEORGE HALE THOMAS.

beginning,' by Mr. Mugford, of the Gloucester choir, to the choras, The subjoined letter, remarkable alike for upaffected eloquence “Sing the Lord yo voices all,' the interest never flagged. Now and good feeling, has been addressed to the Gloucester Journal by vanish before the holy beams, and more especially • In native worth a fellow-student of the late Mr. Thomas, in the Royal Acadeiny

and honour clad, found in Mr. Montem Smith, if not a forcible, a of Music. It is with sincere pleasure that we reproduce it in the

faithful and truly graceful interpreter ; nor did the efforts of the lady columns of the MUSICAL WORLD.]

amateurs suffer in the comparison with professional attainments. The

spirit-stirring manner in which · The marvellous work' was rendered, “ To the Editor of the Gloucester Journal.

showed of what material the Philharmonic is composed. The private “Sir,--- The inhabitants of Gloucester will, I cannot but think, feel character of the society precludes us from offering any detailed criticism; interested by some slight account of the great and rare talents pos- we may, however, be permitted one observation-viz., that another sessed, and promise given, by the late George Hale Thomas, who was marked illustration was afforded of the superiority of artistic acquirea native of their city, and whose death occurred there on the 5th of ment over natural gifts, and that the benefit conferred by the society the present month. I therefore venture to write these few lines, as a | was best recognised in those who are known to have been the longest tribute of affectionate respect to his memory, having been his fellow- and most patient under the influence of its teaching. A large student during the entire period that he was at the Royal Academy of measure of praise was fairly won by the band, which, under the Music. He first came to the Royal Academy in December, 1856, and i valuable conduct of our accomplished amateur, Mr. E. Tennant, and competed for the King's Scholarship; at his examination he received the professional leadership of Mr. Henry Blagrove, has more than kept from the board of examiners much eulogy and encouragement. In the pace with the general improvement of the chorus. Of the second part following January he entered the institution as a student, and pursued of this concert we are enabled to speak with quite as much satisfaction his studies with great diligence. He composed several sonatas for the as of the first. The ‘Spring Song' of Mendelssohn, by Mr. Montem pianoforte, and one duet sonata for violin and pianoforte; also a setting Smith, accompanied by Mr. Frederick Smith, who, so advantageously of the Lord's Prayer, for soli voices and chorus, the concluding move for the society, presides at the piano, elicited an enthusiastic encore. ment of which composition, a fugue, on the words “For Thine is the In the duet which followed, we were gratified to find that the society kingdom,' was performed at an Academy Concert, in July, 1858, and had obtained the advantage of Miss Julia Smith's services. The · Anna was the first of his compositions brought before the public. In De- / tu piange' of Rossini could, indeer, have scarcely been entrasted to cember of the same year he was returned as the successful candidate other than professional hands. Its florid character was adapted to call for the King's Scholarship; and there was then every reason to believe | forth that flexibility, correct intonation, and compass of voice, for which that he had a bright and glorious future before him. Everything was in Miss J. Smith is distinguished; while in Mr. C. Tennant, Miss Smith his favour, he was young, he had given evidence of possessing a musical received the most efficient support. Mr. H. Blagrove's solo (* Airs organisation of the highest excellence, and he was entitled to two years' Variés,' by Vieuxtemps) met with a loud encore. The part song, gratuitous education in the Royal Academy. During these two years he .Curfew bell's last breath is dying,' of Kreutzer, as given by the made great progress, and achieved many fresh honours. A quartet, for chorus, was in itself ample evidence of Philharmonic training. Indeed, stringed instruments, performed in June, 1859, and a solo, for a bass | the complete manner in which every piece was presented showed the voice, Bow down thine ear,' performed in March, 1860, evinced his care and the skill with which the rehearsals have been conducted, and rapidly developing musical powers in composition : and in June of the should impress those interested in musical progress amongst us with following year he brought forward the first movement of a pianoforte the immense advantage offered to the learner, as well as to the learned, concerto, which, by the many points of striking beauty it possessed and by the Cheltenham Philharmonic Society.” by its masterly construction, appeared more like the work of a long- / On Tuesday, April 22nd, a correspondent from Rochester writes practised musician than that of a youth seventeen years of age ; the

as follows:concluding movements of this composition he played at a concert in December of the same year, and they were characterised by the like ex

“At the Corn Exchange a concert was given in aid of the Volunteer cellencies of the former movement. Last year two new compositions

Band Fund, the result of which in every respect being most satisfacfrom his pen were performed at concerts of the Academy-an introduc

tory. The vocalists were Mlle. Florence Lancia, whose singing of tion to the Opera Fair Rosamond, comprising a duet for soprano and

Meyerbeer's Preghiera and Barcarolla from l'Etoile du Nord was recontralto, a march, and chorus; also an overture, which was produced in

ceived with universal approbation, her pure and resonant voice being December, and which was the last and most finished composition he

heard to great advantage. She also sang Frank Mori's new song, “A ever wrote. Only those who had the privilege of hearing this work

thousand miles from thee,' for which, on being redeinanded, she substiknow how richly and rarely he was gifted, and how great was the pro

tuted the ballad from the Lily of Killarney, I'm alone.' Miss Leffler mise which he gave of some day becoming one of the brightest orna

was much applauded in “Ye maidens," from Dinorah, and Henry ments of the profession to which he belonged. He was also, last

Smart's ballad, • Through every chance and change. She also sung December, returned as the successful candidate for the · Potter

the duet from Semiramide, “ Bella imago," with Mr. Winn. Mr. TenScholarship,' the benefits of which his lamented death has prevented

nant's voice and style were much admired in a •A young and artless him from receiving. A few days after the competition he left London,

maiden,' from Mr. Howard Glover's operetta, Once too Often, and in for the purpose of gaining health and strength, but alas ! he was to re

* Eily mavourneen,' from the Lily of Killarney. He also gave evidence turn no more. He has been taken from among us before the promise

of his thorough familiarity with the Italian manner, by his rendering of of his youth could be fulfilled ; and we not only mourn for the loss of

the important tenor part in the Quistett from Verdi's Il Ballo in Masone so highly gifted, but also for that of one whose amiability and in- |

chera, Escherzo,' Mr. R. Huggett possesses a barytone voice of telligence caused him to be beloved by all who knew him. I am, Sir,

good quality. He is a native of Rochester, and made his debût on this your obedient servant,

occasion. He sang • The Wanderer' in a manner worthy of more “FREDERICK WESTLAKE.

mature years, and we may augur for him a successful future, should he Royal Academy of Music, London, April 15th, 1862.”

continue his studies with the same method and perseverance. He also sang Mine, 'ever mine,' by Frank Mori (of whom, by the bye, he is a

pupil), eliciting a most hearty encore. Verdi's celebrated Quartet from Royal SocieTY OF MUSICIANS. The annual performance of Rigolette was sung in the course of the evening. The company, comthe Messiah, for the benefit of the Royal Society of Musicians, posed of the élite of Rochester and Chatham, seemed highly delighted. took place last evening, under the direction of Professor Stern. | Mr. Frank Mori acted as conductor with his accustomed ability.” dale Bennett, at St. James's Hall.

The subjoined well-written and interesting report of the last

concert of the Dublin Philharmonic Society (Mr. Bussell conduc the Philharmonic can afford these risks ; and, if it prove nothing else, tor) is quoted, without curtailment, from the Dublin Evening it proves that it is more anxious for the progress of music than for asMail:

serting its own claims to be foremost in the cause." " It is an agreeable task to record that the concert of last Friday evening was, both in selection and performance, one of the best ever given in this country. To the Philharmonic we are indebted for the

GOOD FRIDAY AT THE CRYSTAL PALACE. production of the works of the great orchestral writers which would be The magic words “ Sims Reeves” having enticed to the Crystal Palace otherwise unknown amongst us, and hence would it be to be regretted last Good Friday more than 50,000 persons, the directors suspected that this society should amalgamate itself with any other, as it would that they could not provide a surer attraction this Good Friday; and thereby forego, in some degree, the object of its foundation. The the name of our great tenor in consequence figured conspicuously on Antient Concert Society is founded for the production of great choral | all the spare walls of the metropolis and suburbs for eight or ten days, works, and, by keeping a chorus together in weekly practice, was always whereby the public was informed that Mr. Sims Reeves would be heard prepared for the performance of oratorio ; while the Philharmonic, by in some of his grandest performances for “one shilling." The Lord training an orchestra also weekly, provides a means of interpreting the | Chamberlain could not interfere - Sydenham is beyond his jurisdiction symphonies and overtures of the greatest instrumental masters. Both - and indeed if he could, this year would not: all London was playsocieties in conjunction would lose the oneness of their object, and the ing holiday; and, as the day for the majority did not necessitate the advance of the art would be retarded. Besides, another phase of the same religious observances as Sunday, a trip to the Crystal Palace, with Philharmonic, and by no means the least important, is the engagement “ Sims Reeves " in the background, was sufficient to tempt an enormous of any great European artists, either vocal or instrumental, who may crowd, between 40,000 and 50,000 persons, not more than half of appear in London, thereby putting us on a par with the first city in the whom, however, could get within hearing distance. But how otherworld. This last object was made manifest by the engagements of wise? How could 45,000 persons sit down comfortably and hear one Mad. Guerrabella, Mr. Santley and Herr Pauer, for the concert under singer, who, had he the voice of Stentor, must be inaudible to some of notice, upon which we shall now make some observations. The them? No living singer can send forth tones from his throat with more

Jupiter ' symphony, with which the concert commenced, probably dis-/ power and more telling effect than Mr. Reeves; but there is a limit to plays more genius and learning than any other composition of the class. the voice of thunder. However, those who were seated near enough — Its proportions are colossal, its melody unbounded, and its ingenuity of viz., all indeed who were in the centre transept, within view of the device and combination almost marvellous; while the last movement-a theatre in front of the “Handel Orchestra,” and in the galleries - in fugue, with episodes on four subjects worked up together at the close, fact, the entire audience, except such as were far down the aisles, or is wonderful from its clearness of idea and magnificence of construction. shut out from the approaches — were excited to the highest pitch of It is sufficient to say that the performance of this great work on Friday enthusiasm, and made the crystal walls and roofs reverberate with acevening was the best we have heard in Dublin ; and though it lacked clamations. Mr. Reeves never exerts himself more zealously than the close attention to light and shade, and the oneness in the massing when singing before a crowd. His genius catches fire from a vast aswhich we have remarked elsewhere, yet on the whole it was a rendering sembly, and his powers augment as his audience grows bigger. Certhat all lovers of music should be thankful for. The overtuire to Der tainly Sims Reeves is the singer for the million, not only because he

tainly Sims Reeves is the singer for the milli Freischutz was also given most effectively, both works doing much cre can sing, but will sing; and herein lies the secret of his unexampled dit to band and conductor, Mr. Santley, who made his first appearance popularity. Mr. Reeves's performances were “Comfort ye, my people," here, must have impressed the audience by the finish of his singing with its florid pendant, "Every valley shall be exalted,” from the He sang a romanza, by Mercadante, with great power, exquisite feel Messiah ; " Lord, remember David," from the Redemption; and “The ing, and a largeness of tone we have seldom heard from any other enemy said," from Israel in Egypt. In the air from the Messiah he singer. The Colleen Bawn,' from Benedict's last opera, he also gave had proved on the Wednesday previous (his first appearance at Exeter with tenderness, and in a duo with Mad. Guerrabella, from Ernani, dis Hall since Christmas) that he was in splendid voice, after “roughing played a richness of culture, combined with extent of range, which must it," as the saying is, with Mad. Lind-Goldschmidt in the provinces for ultimately place him at the head of the barytones, no matter of what weeks; but now it appeared to us, he sang even with greater power country, in England. Mad. Guerrabella is a soprano of considerable albeit the screaming of some female in the crowd, just as he comexcellence. Her voice, which is of a very pleasing quality, is obedient menced the recitative, must have discomposed him. The air from the and telling. Her method is good, and she must be found an acquisi Redemption was delivered with exquisite grace and tenderness; but, as tion both on the stage and in the concert-room. She gave, with purity | might be supposed, the effect was produced in the air from Israel in of tone and style, Qui la voce 'and. I'm alone,' from The Lily of Kil- Egypt, which perhaps of all his Handelian efforts - not excepting larney; and in the duo, by Verdi, evinced dramatic instinct, with vocal | “Sound an alarm " - is the singer's grandest achievement. This, training of the best order. There can be only one opinion of Herr in which Mr. Reeves seemed to throw double energy and force, Pauer as a pianist—and that is, that he is little inferior to any on that created a furor, and the multitude only ceased from cheering when comprehensive instrument. What we particularly admire in him is, exhausted. that notwithstanding the prodigious quantity of music he has studied, | The other singers were Mad. Rudersdorff and Mr. Weiss. An he has yet a style of his own, quite distinct from others. He does not | apology was made for the lady by Mr. Bowley, on the score of “indispossess the power, fancy, and poetry, of expression which so distinguish | position, and one of the pieces set down for her was omitted; but, as the charming Arabella Goddard, neither the liquid brilliancy of Charles she had previously given “Let the bright Seraphim” with great brilHallé ; but, nevertheless, there is an individuality in all that he does, liancy and effect (accompanied magnificently on the trumpet by Mr. T. and, no matter what composer's work he plays, he renders it with Harper), the audience were somewhat puzzled by the announcement. truthfulness and ease. Indeed, as a pianoforte player, he has few equals. Mr. Weiss sang “Why do the nations,” from the Messiah, and “ The On Friday evening he played Ries concerto in C sharp-a beautiful trumpet shall sound," both superbly. This part of the performance work, little known, and one that we are thankful to him for disinterring | was preceded by Nicolai's sacred overture on Luther's Hymn, by the -also compositions by Willmers, Thalberg, John Field, &c., all with Crystal Palace band, under the direction of Mr. Augustus Manns, and equal grace and accuracy. Mr. Richard Smith deserves mention for the band of the Coldstream Guards, under the direction of Mr. C. his admirable singing of Meyerbeer's · Aria del Cacciatore,' the horn! Godfrey, and concluded with the National Anthem, the solos by Mad. accompaniments of which were carefully rendered, doing much credit Rudersdorff and Mr. Weiss. In the National Anthem, the Old to the society. Herr Eisner's violoncello obbligato to Mr. Santley's song Hundredth Psalm, and Haydn's “ Evening Hymn,” the audience took also calls for a word of praise. On the whole, the concert was one part, and the effect was very striking. worthy of the antecedents of the Philharmonic, and likewise one which There were other musical performances (including pieces on the shows that the society is worthy of the generous public support it re | organ by Mr. Coward) at various periods of the day, before and after ceives. We are happy to see from a report now before us that the sub the Sacred Concert. Enough to say that all comers at all hours found scribers have largely increased and are continuing to increase in num agreeable entertainment. Notwithstanding the crowd, we did not hear bers, and that, notwithstanding the expenditure necessary in keeping of a single complaint, much less of an accident, so excellent were the together a permanent band, and likewise the great cost of engaging regulations, and so admirable the conduct of the officials and police. artists of European celebrity, the Philharmonic has a considerable balance in hand to the credit of the society at the end of the 35th season. This enables the committee to act with that generosity which they

MOLIQUE'S “ ABRAHAM." - This great work has been permanifested last week in giving up their own night to the Amateur

formed with extraordinary success at Stuttgardt. The critics are Opera Recital, though by so doing they evidently lessened the attend- most flattering in their praises. Next week we shall publish a ance at their own performance. However, a society so well directed as full account, which has arrived too late for this number.

ST. JAMES'S HALL,

musical programme, on the 1st of May, at the opening of Regent Street and Piccadilly.

the International Exhibition. “ The Cambridge professor,"

says the Times, “is not too great a musician to be a man of MONDAY POPULAR CONCERTS,

business. His score was ready on the 31st ult., and the

vocal parts were even engraved. Nor is there any chance TIGHTY-THIRD CONCERT, ON MONDAY

(as many apprehended) of the work being set aside. On the | Evening, April 28, 1862. The instrumental pieces selected from the works of

contrary, it will be rehearsed and performed under the BE E T H O V E N.

direction of M. Sainton.” In an article on the general pre

parations for the opening, which appeared in yesterday's PROGRAMME.

impression, the Times makes the subjoined observations:PART 1.- Quartet, in E minor (Op. 59, No. 2), for Two Violins, Viola, and Violoncello (dedicated to Count Rasoumowski) (first time this season), MM. JOACHIM, L. Ries, H. WEBB, and PIATTI (Beethoven). Song, “Les Souvenirs," Miss LASCELLES “ All sorts of statements and misstatements as to the unfortunate (Meyerbeer). Notturno, " Puro ciel tranquilla notte," Miss BANKS and Miss LASCELLES

differences which have arisen as to who is to conduct certain portiors of (Paer). Sonata, in G major, Op. 31, No. 1, for Pianoforte solo (first time at the Monday Popular Concerts), Mr. CHARLES HALLE (Beethoven).

the music have been afloat for some time. Into these we certainly will PART II.-Trio, in C minor (Op. 9, No. 3), for Violin, Viola, and Violoncello, MM. not enter. The musical world has long made up its mind as to the JOACHIM, H. WEBB, and PIATTI (Beethoven). Song, “In my wild mountain valley,"

merits or demerits of the quarrel, and if it had not we should never Lily of Killarney, Miss BANKS (Benedict). Duet, " When the summer wind is blowing," Miss BANKS and Miss LASCELLES (Henry Smart). Sonata, in G (Op. 30, attempt to guide it to a decision one way or the other. Where there No. 3), for Pianoforte and Violin, Mr. CHARLES HALLÉ'and Herr Joachim (Beethoven),

are many musicians no one expects harmony; so it is sufficient to say - Conductor, MR, BENEDICT. To commence at eight o'clock precisely.

that this portion of the opening arrangements is complete.” 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 Another morning contemporary—the Daily News-aplast instrumental piece, or between any two of the movements, so that those who wish to hear the whole may do so without interruption.

pears less satisfied with the result, if we may judge by the ** Between the last vocal piece and the Sonata for Pianoforte and Violin, an

following article in yesterday's paper, headed · The Music interval of Five Minutes will be allowed. The Concert will tinish before half-past ten o'clock.

for the Exhibition,and printed in “ leader” type:N.B. The Programme of every Concert will henceforward include a detailed analy. bis, with Illustrations in musical type, of the Sonata for Pianoforte alone, at the end of

« The difficulty into which the commissioners allowed themselves to Part I.

be involved through Mr. Costa's refusal to conduct the performance of Stalls, 58.; Balcony, 3s.; Admission, Is. A few Sofa Stalls, near the Piano, 10s. 60.

Dr. Bennett's music has been got over, after a sort,' by their having Tickets to be had of Mr. Austin, at the Hall, 28 Piccadilly ; CHAPPELL & Co., 50

appointed M. Sainton to conduct this performance. Dr. Bennett reNew Bond Street, and the principal Musicsellers.

ceived notice of this step having been taken without having had any

previous information on the subject, and at the same time he received a TO CORRESPONDENTS.

courteous note from M. Sainton, expressing his hope that his appointA Dutch SCRAPER.--Jews (or rather members of the Jewish profes ment would not be disagreeable to the composer. Dr. Bennett at once

sion) are not allowed either to sing or play at the concerts of the acceded to the arrangement, and has since been occupied with M. Felix Meeritis (the Amsterdam Philharmonic), but they are allowed | Sainton in preparing for the rehearsal. So the matter is settled, and to subscribe as auditors. A Dutchman, and more especially a / the public have reason to be glad that the joint labour of the first of “ Dutch Scraper,” should have known that.

English poets and the first of English musicians is not to be thrown SUBERSCHMIDT. -The report of Mad. Goldschmidt Lind having given away. But this, after all, is only cutting the knot, not untying it. It

40,000l. towards building a new music hall in the Strand has been does not in the least justify the conduct cither of Mr. Costa or the Comdenied.

missioners--of the former in allowing a vindictive feeling, arising out VERDIST.-Mad. Verdi has been here some time, avd we believe Sig. of a private quarrel, to interfere with the fulfilment of a public duty

Verdi is expected. The “sortita guerrieraintended for Sig. Tam. which he had undertaken; or of the latter, in yielding to a stipulation berlik was rejected. The Cantata is the property of whocver has imposed on them by Mr. Costa, which they ought to have indignantly purchased it, and will be heard by those before whom it is per rejected as an insult ; for it turns out that Mr. Costa had made it a formed. A “solo” for any voice, under such conditions, would be condition of his acceptance of the office tendered to him, that he should absurd.

be at liberty to refuse to conduct the performance of a work by Dr. Bosch. “Unterschlagen gewesen und nun zu Stande gebracht.” Bennett; and, what is still worse, that Dr. Bennett should have been Bosh!

allowed to complete his task in entire ignorance that any such stipula

tion existed. Nor have the Commissioners acted rightly in their choice NOTICES,

of a substitute for Mr. Costa. We have great respect for the character

of M. Sainton, and great admiration of his taient as a performer on To ADVERTISERS.-Advertisers are informed, that for the future

the violin. He has now and then conducted the band at the Royal the Advertising Agency of THE MUSICAL WORLD is established

Italian Opera in Mr. Costa's absence, but he has never, so far as we have at the Magazine of MESSRS. DUNCAN Davison & Co., 244

ever heard, conducted a great choral performance in his life. He is an Regent Street, corner of Little Argyll Street (First Floor). Ad

able man, however, and we trust will get through the business creditably. vertisements can be received as late as Three o'Clock P.M., on But the whole musical world knows that, failing Costa and Bennett, Fridaysbut not later. Payment on delivery.

there is one man who has a paramount title to the employment in ques. Two lines and under

... ... 28. 6d. tion-- Alfred Mellon--who is not inferior to either in all the qualities Terms | Every additional 10 words ... ... 6d. and attainments of a chef d'orchestre, and who, moreover, is an EnglishTo PUBLISHERS AND COMPOSERS.- All Music for Review in The man-a circumstance not to be disregarded on the occasion of a great

MUSICAL WORLD must henceforward be forwarded to the Editor, national celebration.” care of MESSRS. DUNCAN DAVISON & Co., 244 Regent Street. However, what musicians and amateurs in England will A List of every Piece sent for Review will appear on the Satur

most care to be assured of is that the Ode of their honoured day following in THE MUSICAL WORLD.

countryman will play the part originally destined for it at To CONCERT GIVERS.—No Benefit-Concert, or Musical Performance, except of general interest, unless previously Advertised, can

the Festival to which Great Britain invites all the peoples of be reported in THE MUSICAL WORLD.

the earth; and that if we cannot have a national conductor,
we shall at least have a national composer to represent us.

The Poet Laureate's share in the Ode is worthy the pen of
Alfred Tennyson. Let our readers judge: -

“Uplist a thousand voices full and sweet, LONDON: SATURDAY, APRIL 26, 186 2.

In this wide hall with earth's inventions stored,

And praise th' invisible universal Lord,

Who lets once more in peace the nations meet, DROFESSOR Sterndale Bennett's Ode-our readers will

Where Science, Art, and Labour have outpour'd I be pleased to learn--is not to be excluded from the

Their myriad horns of plenty at our fect.

The Musical qdorld.

“O, silent father of our Kings to be,

formed, FOR THE FIRST TIME (!), in Vienna, by the SingMourn'd in this golden hour of jubilee,

academie. “ The custom," says Die Recensionen, “of repreFor this, for all, we weep our thanks to thee !

senting in a musical and epico-dramatic form the sufferings : “ The world-compelling plan was thine,

of the Saviour, during Passion week, is a very ancient one. And, lo! the long laborious miles Of Palace; lo! the giant aisles,

In the Roman Catholic Church the plan pursued has, accordRich in model and design,

ing to all tradition, invariably been for one singer to sing Harvest-tool and husbandry,

the narrative of the Evangelist, for another to deliver the Loom and wheel and engin'ry,

words of Christ, and for others to give the dialogue of the Secrets of the sullen mine,

remaining personages introduced; the people are represented Steel and gold, and corn and wine,

independently by the choir. This plan throws the dramatic Fabric rough or fairy fine, Sunny tokens of the Line,

element far into the back ground, and places the music in a Polar marvels, and a feast

very subordinate position, since everyone taking part in the Of wonder, out of West and East,

performance gives all that is entrusted to him in the simple, And shapes and hues of Art divine!

strongly marked choral tone, while, in conformity with a “ All of beauty, all of use,

decree of the Church, all instrumental accompaniment is That one fair planet can produce,

wanting. The Passion' is connected with the ceremonies Brought from under every star, Blown from over every main,

of the liturgy, and hence any dramatisation or musical And mixt, as life is mixt with pain,

development of the subject is impossible.” The works of peace with works of war.

A very different course is adopted in the Protestant “O ye, the wise who think, the wise who reign,

Church, in which the composer, hampered by no consideraFrom growing commerce loose her latest chain,

tion imposed by the ritual, has a much wider field for his And let the fair white-winged peacemaker fly

exertions. Protestant composers availed themselves, at a To happy havens under all the sky,

very early date, of the opportunity. But, however admirable And mix the seasons and the golden hours, Till cach man find his own in all men's good,

were the works of Heinrich Schütz (1585-1672), Sebastiani And all men work in noble brotherhood,

(1672), Kaiser and others, not one of them at all approaches Breaking their mailed fleets and armed towers,

the Passion nach dem 'Evangelium Matthäi, by John And ruling by obeying nature's powers,

Sebastian Baclı, the first performance of which magnificent And gathering all the fruits of peace and crown'd

production took place on Good Friday, 1729, in St. Thomas's with all her flowers,"

Church, Leipsic. That the works published by Bach, under The allusion to the late Prince Consort was a happy the title of Passions-musik, were subsequently allowed to after-thought of the Laureate's, and, we have reason to slumber, for years and years, amid the dust of libraries is believe, has inspired the musician with one of the most im- attributable to the wars and political troubles which burst pressive movements that ever came from his pen.

out after his decease, and by the sad condition of musical Those who care to refresh their memories with a history | matters for a time in Germany. We must designate as the of the original dispute between Mr. Costa and Professor

real reviver of the Matthäus-Passion, Mendelssohn, who Bennett, will find it in the MUSICAL WORLD, April 16th, caused it to be performed on the 11th March, 1829, at the 1853. Punch also, shortly after, gave his version of the Berlin Sing-academie. Since then, the most celebrated affair, which, being shorter, we can find room for, and, being vocal associations in Germany have vied with each other in good-tempered, will cause no offence :

performing it annually, with constantly increasing success. THE EMBROGLIO AT THE PHILHARMONIC,

Vienna alone was left behind, even by many small towns as

well as by the larger ones, and will not have atoned-let us Done into verse by a very old Subscriber and Poet.

hope in a manner worthy of her rank --- for this piece of (From Punch)

neglect till next Friday, the 18th April, 1862, at the concert “ Sterndale Bennett was Indignant with Costa

of the Singacademie. For not playing Bennett's Composition faster ;

Very shortly, we hope to be able to present our readers Costa few into Excitement at Lucas For showing him Bennett's Order, or Ukase,

with a musical analysis of the Passion according to St. Haughtily resigned the Seat which he sat on,

Matthew, from the pen of a distinguished critic. As ProAnd Contemptuously told Lucas himself to Take the bâton, fessor Sterndale Bennett is likely to give the London public Moreover Stipulated this Year with the Directors

another opportunity of hearing this great work in the course That Nobody was to read Him any more Lectures;

of the ensuing summer, such an analysis will doubtless be Also he made it a Condition strict He was only to conduct what Pieces of Music he lik’d,

perused with more than ordinary interest. Whereby this Year Costa doth Prevent

- --Any performance of Music by Sterndale Benn'i; Likewise Xcluding the young and gifted Miss Goddard,

To the Editor of the Musical WORLD. Whom with admiration all the critic Squad heard ;

SIR,—There is a great deal in the last number (19th All to be Deplored, and, without more Amalgamation, The Philharmonic will Тarnish its Hitherto Deservedly High

D April, 1862) of the MUSICAL World, which managers Reputation.”

and singers may read and re-read with advantage. For our own parts, we wish to live in peace with all the

Firstly, the prospectuses of the two Italian Operas are world; and, having washed our hands of the matter, have

specimens of bad taste, such as it may be hoped, after readno intention to resist it.

ing the capital article quoted from the Illustrated News, directors will never indulge in again. Nothing is more dis

agreeable-not even a barrel organ— to the ears and eyes of TOHN SEBASTIAN BACH'S Grosse Passions-musik

those who frequent the Italian Opera than bombast. nach dem Evangelium Matthäi* will shortly be per

Next the farewell address of the directors of the Royal

English Opera is the worst sense and the veriest bosh as a • "Passion-music,” according to the Gospel of St. Matthew, composition that was ever committed to paper. Miss

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