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Louisa Pyne and Mr. Harrison could not have read, much not sent in my composition. I shall be very much obliged if you less have written, this wretched trash before it was con- will make this public, by inserting it in your most valuable paper. signed to the printer. English Opera has much to contend

| I am, Sir, yours, truly,

G. VERDI. with; let us hope that it will never be damned by such

43 Alpha-road, Regent's Park, April 23.,

Signor VERDI has arrived in London - not, it appears, to another production.

1 bear the cantata which he so readily and kindly prepared for the Then let those of our English singers who fancy that a l opening of our International Exhibition. He was present on foreign name will be more acceptable than competence, read Thursday evening, during the entire performance of Meyerbeer's and consider your praises of Miss Louisa Pyne, Mr. Santley, Prophété, at the Royal Italian Opera. and Mr. Sims Reeves. It appears extraordinary that, Miss Louisa PynE AND MR. HARRISON.-- The Royal English among some hundreds of English singers, numbers of whom Opera Company has commenced a series of performances in the possess excellent voices, there should be only some half

Theatre Royal, Dublin. The first was Mr. Benedict's Lily of dozen who may be termed really first-rate. What is the

Killarney, which was received with enthusiasm. A detailed report

(from our usual correspondent) will appear in our next. reason? There is not employment; there is no demand for

BIRKENHEAD.— At the last " Wirrall Philbarmonic Concert" more. It is notorious that. at the only institution we possess here. Mad. Guerrabella was the singer, and Mad. Arabella God(all praise and thanks to Miss Louisa Pyne and Mr. Harrison dard the pianist. The programme was excellent, and the per. for the establishment), where constant employment is formance one of the most brilliant ever heard out of London. afforded to singers, only two, or at most three, really first- Our correspondent's report is in type, and will appear next week. rate vocalists are employed — a soprano and a barytone, | THALBERG.– This celebrated pianist, now in Paris, will visit who could not be replaced at present, who sing every night

London during the International Exhibition. for six months, and for whose very lives even, in the midst of such exertion, and remembering the fate of Malibran, we

ROYAL ITALIAN OPERA. tremble; and a tenor who, as an actor unequalled on the

LA Favorita, without Mario and Grisi, loses much of its charm for the English stage, and as a singer remarkable for expression

English public, who have been so long accustoined to associate them and energy, yet makes his listeners long for the exquisite with the hero and heroine of Donizetti's best French work. Neverthetones of a Mario, a Giuglini, or a Sims Reeves.

less, the performance at the Royal Italian Opera which actual conditions What is the remedy for this state of things, I mean in render possible is by no means destitute of attractions. Mlle. Csillag's regard to English singers and Opera ? You have said, sir,

Leonora is one of the most thoughtful and carefully finished of that

very clever lady's assumptions. Like all she attempts, it is marked that you do not know what remedy to suggest, and urge

throughout by earnestness and strong dramatic feeling ; and if it does everybody should be silent ; but you will not dissent from not at all times go so directly to the hearts of the audience as to induce the following:

them, at the conclusion, to absolve the repentant "Favorite," and enGivenThe Puritan's Daughter and Robin Hood, the dorse the forgiveness of the wronged and unhappy Ferdinando, this Lily of Killarny and the Amber Witch, with the original

| must be laid to over-anxiety on the part of the Teutonic songstress, who,

by studiously elaborating every scene, leaves a certain impression of artiprincipals, and on alternate nights, the conductor, the band

ficiality, rather than to any shortcoming in her musical delineation of chorus, &c., of the Royal (under these conditions the the part. The interest she creates is vivid, if not profound; and we quit National) English Opera, and who would be the sufferers ? the theatre under the persuasion of having witnessed a remarkable exProbably the Italians, the Germars, the French, and hibition of artistic skill, if not precisely one calculated to raise those Americans, who now hold possession of our two great

emotions which it is only in the province of genuine sensibility to in

spire. Sig. Neri Baraldi might reasonably lay claim to indulgence as theatres; certainly not Miss Louisa Pyne and Mr. Harrison,

having undertaken the character of Ferdinando at an unusually short nor

Join Bull. notice, in consequence of Sig. Gardoni's indisposition, Happily, how-ooo

ever, he stands in need of no apology, the manner in which he acquitted

himself entitling him to the most favourable consideration. Nor had MEYERBEER AND AUBER.—Special invitations were for he any reason to complain of want of sympathy on the side of the warded to these illustrious musicians to be present at the audience, who lost no opportunity of extending to him that generous performance of their new works, on the 1st of May, at the

encouragement which, under the circumstances, he had a just right to

expect, and which could alone have supported him in his arduous task opening of the International Exhibition. As Auber never

-arduous in a twofold measure, inasmuch as he had not only to make leaves Paris, there is no chance of his renewing acquaint. | up for the absence of Sig. Gardoni, but to contend with the indelible ance with London (after an absence of sixty years !) impression left by one of the most accomplished artists and unirersal Meyerbeer, however, has arrived, and will doubtless be pre.

favourites that ever trod the lyric boards. In the last scene, and espesent at the rehearsals of his Grand March on Tuesday and

cially in the famous duet, “ Vieni a Vieni," he fairly divided the applause

with Mad. Csillag. The plaintive romance, “Spirto gentil," which he Wednesday.

sang with unaffected expression, was rewarded by an “encore” that in M. VERDI AND THE GREAT EXHIBITION.- (To the Editor of

hearty unanimity has seldom been exceeded. M. Faure's Alphonso is the Times.)—Sir, – Just arrived in London, I hear that in one of in the truest sense a kingly impersonation ; nor could the beautiful air your articles of the 19th inst it is stated that of the four com- " A tanto Amour" (* Pour tant d'amour”), in which the hypocritical posers who were to write each a piece of music for the opening of monarch beguiles the unsuspecting hero whom he degrades while feignthe International Exhibition I am the only one who has not yet | ing to honour, be inore admirably delivered, or more thoroughly have sent in mine. I beg to say this is not the fact. On the 5th inst. a justified the “ encore” that usually awaits it, and which, though declined gentleman appointed by me wrote to the secretary, Mr. Sandford, by the singer on the present occasion, was naturally not withheld. Sig. that my composition was in his hands completely finished, and at

Nanni, a new comer, has at least one requisite for the part of Baldasthe disposal of her Majesty's Commissioners. I have not composed

sare, the priest-chat of a deep and sonorous bass voice; but he must a march, as it was first arranged, because Auber told me in Paris

be judged of definitively in a part where there is something besides, that he was composing one for the occasion. I composed instead |

mere declamation to test his capabilities. The general execution of the

| Favorita requires no description. Amateurs need hardly be reminded a vocal solo with choruses, which Tamberlik kindly offered himself

that, whether as a scenic exhibition, or as a musical performance, this to sing. I thought that this change would not have displeased the

opera is one of the most complete and imposing in the Covent Garden Royal Commissioners, but instead they intimate that twenty-five

repertory. days (sufficient time to learn a new opera) were not enough to On Saturday night Mr. Santley made his second appearance as Conte learn this small piece, and refuse to accept it. I wish to state this di Luna, and fully established his success. On the whole, the result of fact, not to give any importance to a transaction in itself of no opening the theatre in Passion Week can scarcely be said to have vinconsequence, but only in order to rectify the mistake that I have dicated a departure from the ancient plan. The house was very well

attended on Tuesday, it is true ; but this was not the case either on flanked by ninety double basses and violoncellos, with three sets Thursday or Saturday.

of kettle drums at equal distances in front of the chorus. An The present week at the Italian Opera has been a busy oné. On echo having been found to exist under the dome, the orchestra Monday (first “extra” night) Guillaume Tell (fourth time) was repre will be covered at a proper height with a drumhead-shaped, oiled sented, Mr. Gye's “Easter-piece.” The “great temple of the lyric and hardened striped canvass awning, which will not only destroy drama” (contrary to precedent) opened its doors at the very commence

the echo, but materially aid in prppelling the tone through the ment of the Easter holydays. That the magnificent opera of Guillaume

length of the nave and transepts. The vocal music will be exTell, with its pieturesque incidents, still more picturesque scenery, and,

clusively choral. Even the solo portions of “God save the Queen" most of all, picturesque music, superbly placed upon the stage, and sung

will be sung in unison by all the voices. The “ Hallelujah and played as the public have been taught to expect at Covent Garden, would suffice to enchant without the adventitious aid of fairy tale, bur

Chorus” and the “Amen Chorus," from the Messiah, will also be lesque, or melodrama, might have been taken for granted. Happily, not

performed. The remaining vocal music will consist of Professor alone the chorus and orchestra---which have rarely shown to greater

William Sterndale Bennett's Ode, the words by Dr. Tennyson, advantage in this opera, so full of varied choral effect and bright orches the poet-laureate. This work is entirely choral, with full orchestral colouring-but the principal singers before the lamps were in the tral accompaniments. At the request of the International Combest possible mood; and thus the Easter audience enjoyed such a musi missioners, M. Sainton-who assumes the bâton whenever, from cal treat as is not on every occasion vouchsafed to those who attend on any circumstance, Mr. Costa is unable to conduct at the Royal ordinary Opera nights. The great second act, in which the representa. Italian Opera or at the Sacred Harmonic Society's Oratorios-will tives of the four Cantons assemble on the banks of the lake, to swear be the conductor of Professor Bennett's Ode. The instrumental the oath of patriotism and liberty, has, perhaps, never been more striko | music will comprise an Overture by Meyerbeer, and a March by ing. Mad. Miolan-Carvalho gave the music of Mathilde better even Auber. The Sacred Harmonic Society, remembering the inthan usual. In the trio for Arnold, Tell, and Walter--the finest picce

convenience caused by the rush for tickets at the last moment, of concerted music in the opera-Sig. Tamberlik almost surpassed his

have engaged the Lower Hall, Exeter Hall, as a Ticket Office. previous efforts, imparting a force and pathos to the slow movement, and a fiery vigour to the allegro, which made every note and every accent tell with thrilling effect. He was supported most admirably by M. Faure and M. Zelger, who in the swearing of the Cantons were as dig

MONDAY POPULAR CONCERTS. nified and imposing as ever. The whole scene was what it rarely fails | ON Monday night Mr. Arthur Chappell supplied the numerous pato be at this theatre-a scenic and musical triumph; and the curtain trons of these concerts with an entertainment of rare attraction, and fell amid loud and unanimous plaudits. Mr. Costa presided in the or this without any departure from the plan which up to this time has inchestra. On Tuesday, La Favorita was repeated ; and on Thursday, variably, and with such manifest advantage been adhered to That the Prophète was given for the first time this season, with Mad. Csillag good music is as great a temptation to amateurs in the Easter holydays as Fides and Sig. Tamberlik as Jean of Leyden. The “spectacle” as at any other period of the year was shown by a fact the eloquent presented all the grandeur of former years, and the magnificent music truth of wbich was incontrovertible. St. James's Hall, in area, orchestra, was listened to throughout, by a crowded audience, with unabated in. and galleries, was literally thronged. The first piece in the programme terest. We reserve our remarks on the performance until our next, was that particular quartet of " Papa Haydn," in which his attachment merely mentioning here that it was one of the most generally excellent to the Imperial House of Austria was shown by his adopting in his slow we remember of late years.

inovement the Austrian Hymn, “God Save the Emperor,” as a theme for some graceful, touching, and ingenious variations (No. 3, Op. 76, in

C major). The performers were MM. Joachim, Wiener, Baetens, and HER MAJESTY'S THEATRE.

Piatti. The quartet was followed by one of the most expressive lieder This Theatre reopens to-night, under the direetion of Mr. J.

of Schubert ("A winter's walk,” according to the newest and best EnH. Mapleson, with Verdi's Ballo in Maschera, the artists being

glish version), and this in its turn by “ The Colleen Bawn," from Mr. Mlles. "Titiens and Dario, Mad. Lemaire, Signors Giuglini, Gi

Benedict's Lily of Killarney. The first was intrusted to the clever and

rising Mad. Florence Lancia; the last (unanimously encored) to Mr. raldoni, Casaboni, and Gassier. At the rehearsal, yesterday,

Santley, after whom it would be no enviable task for any other barytone Sig. Giuglini showed that he had entirely recovered the use of his

to attempt it. The first part ended effectively with Beethoven's univervoice, and the new barytone, Sig. Giraldoni, promised to be a sally known and (perhaps unfortunately) almost as universally played real success.

sonata in C minor (Op. 13), entitled Sonata patetica, for pianoforte

solus, the hearty reception accorded to which will astonish none (not MR. CAARLES DICKENS'S READINGS.-On Thursday evening, in St. even those amateurs who, with more or less success, have attempted it James's Hall, Mr. Dickens read selections from Nicholas Nickelby for themselves) when it is added that Mr. Charles Hallé-who, according the first time. The passages selected were those descriptive of Nicholas's to custom (this time yn easy task) played without book, and according adventures during the Dotheboys Hall phase of his adventurous career, to custom, was recalled-was the pianist. which, when they were first published, carried despair to the heart of The second part began with John Sebastian Bach's extraordinary many a Yorkshire schoolmaster. The present selection was as connected Chaconne in D minor, for violin solus, performed by Herr Joachim. and complete as the story of little Emily which Mr. Dickens has been Whether the deep and varied reading; the life-like individuality imrecently reading from the volume of David Copperfield, and which, with parted to variation after variation-as if, though, one and all, the legitithe slightest link of the niemory, bore all the appearance of a consecutive | mate offspring of the quaint old dance-tune (which Bach elevated, as he and entire narrative. The wonderful description of the tea party, to did every theme that took his fancy), they were, in the midst of a strong which Miss Squeers invites honest John Browdie and mischievous little family resemblance, idiosyncratically unlike each other; the unerring Miss Price, was given with the happiest diversity of tone and dialect; | manual dexterity with which passages, many of them of unexampled and the scene in the school-room, where Nicholas rescues Smike from difficulty, were executed; or the impression of unity left by the whole the clutches of his brutal persecutor, was received with as much en (after all the greatest triumph of artistic skill), be taken into considerathusiasm as if all the circumstances had passed actually before the eyes tion, this performance of Herr Joachim was one of the most original of the audience. The extraordinary powers of personation which Mr. / and wonderful we can recall, and created, as might have been anticiDickens possesses are never pushed to extremes, and, although all his pated the utmost enthusiasm. The remainder of the concert included readings are essentially dramatic, he disdains making an actor's points, the pathetic romance “ I'm alone" (the “gem" of the Lily of Killarseldom pauses for applause, and succeeds entirely from an exhibition of ney), sung with exquisite feeling by Mad. Florence Lancia; a pretty art and not of artifice. The immortal trial of “ Bardell versus Pickwick” | Italian stornello, by Sig. Mariani, which Mr. Santley gave with his concluded the reading, which evoked continual applause and laughter accustomed spirit and musician-like correctness; and the famous sonata from a crowded and appreciative audience.

for pianoforte and violin dedicated by Beethoven al suo amico, Kreut

zer” (whom some adventurous biographer ventures so far as to say the EXHIBITION OPENING.

great composer had never even seen - although he was introduced to

him by Bernadotte at Vienna). This last was in the competent The musical arrangements are complete. The places and stands

hands of Mr. Hallé and Herr Joachim-which is equivalent to saying in the great orchestra are all marked cut. The band will occupy that the execution was all that could have been wished. Mr. Benedict the front part of the platform, the violins disposed on the right accompanied the vocal music as he invariably does--a panegyric of and the left, and the wind instruments in the centre, the whole itself.

This concert, varied and throughout excellent as it was, came to an played to perfection-as it was on this occasion-we can hardly think end before the hand of the clock pointed to “ 10." If all concerts were well calculated for so vast an arena. The singers were Miss Armytage as short (and as good) the number of amateurs would speedily be qua (a very rising pupil of the Academy) and Miss Camilla Chipp, who, drupled.

though young, has already earned laurels in some of the Italian towns. The concert terminated with one of the brilliant dramatic preludes

of Auber. VOCAL'ASSOCIATION.—The third concert took place on Wedpesday | LYCEUM THEATRE.-M. Fechter has leased this theatre of Mr. evening. The programme contained twenty-three pieces—some of them Arnold for five years. He enters in possession before Christmas not of the shortest. This was really too much, and the deserted state next. Mr. Falconer, it is said, has “his eye” (his “peep of day") of the room long before the end was a significant commentary. The upon another house. Monday Popular Concerts owe much of their success to the judicious 'THE INTERNATIONAL EXHIBITION. It is announced that on the lit length of their programmes. No concert should exceed two hours and of May, with the opening of the London Exhibition, the South Eastern a half in duration, allowing for the interval between the parts ; for if Railway Company will accelerate their service between Paris and Lonthe music is of a serious cast the strain upon the attention induces even- | don via Boulogne and Folkestone, to nine and a half hours, and vice tual lassitude, while, on the other hand, three hours of what is conven. versâ. The through journey is to be accomplished by special tidaltionally termed “ light music" is worse than a pill and a draught. The

trains, in connexion with two of the fastest steamers in the Channel, selection was happily as varied as it was lengthy, and the efforts of the Victoria and Eugenie, making the passage between Boulogne and singers and players were not thrown away upon an inappreciative au- | Folkestone in 95 minutes. Moreover, a cheap. third-class ticket, for dience. Place aux dames ! Let us first record the doings of two fair 25f., available by the night train only, will probably be an additional débutantes— Miss Constance Roden and Mlle. Auguste Mehlhorn, the

inducement to travellers of slender means who may wish to avoid the latter taking the part set down for Mlle, Marie Cruvelli, who was pre long sea passage; and return tickets will be issued for one month, at vented from appearing by indisposition. Miss Roden has a voice of reduced fares. fine quality, which appears to have been wisely cultivated, and pro- | LES VOLONTAIRES. — The first representation of the Voluntaires de mises well for its possessor, as was shown in Kücken's “Ave Maria” | 1814 took place on Tuesday evening at the Porte St. Martin, with, on and the “ Waters of Elle,” both of wbich were nicely sung and favour

the whole, but moderate success. It is just to say that the piece had ably received. Mlle. Mehlhorn made a fair impression in “Dove

been weeded of everything offensive to foreign Governments. It conSono" and in Schubert's “Gretchen” and “Barcarde.” Herr Formes

sists of not less than fourteen tableaur; and as the intervals between the sang the “ Wanderer," an air from the Seraglio, and a ballad of his own acts are not short, it takes up more time in the performance than is composition, all vigorously, the last with so much expression as to elicit agreeable. It begins at seven, and is not over till past one o'clock. No an encore. The original words, “In sheltered vale” (the ballad in piece, however dramatic in its incidents, spun out to such length could question), are in Eichendorff's Volkslied (“ Das Mühbrad”), the English be completely successful. There is, of course, a good deal of miliversion being from the accomplished pen of Mr. Campbell Clarke. Miss tary show, bustle, and firing. The purely patriotic allusions seemed to Messent gave “Deh! per questo," and a sing called “Maiden gay,” | touch the national fibre, and now and then produced a decided effect; both in her best manner. The Misses Hiles, besides attempting “ Ebben the portion which was purely Napoleonian fell rather coldly on the a te ferisci," with no marked success, in “O glorious age of Chivalry”

public ear. When the piece is reduced within reasonable compass it the sparkling and melodious introduction to Mr. Howard Glover's will prove successful. Times (Paris letter). operetta “ Once too Often, the music of which seems just as attractive in the concert-room as on the stage- won a merited encore, to which they merely replied by returning to the orchestra "and curtesying their sense of the compliment. Miss Eleanor Ward (who also joined her distin.

STANZAS FOR MUSIC.* guished master, Mr. Benedict, in a brilliant duet of Kalkbrenner for

(From the Liverpool Porcupine.) two pianofortes) obtained a well-earned encore in Litollf's Spinnlied, for which she substituted a galop. Mr. Joseph Heine evinced qualities in

“ Dr. Russell, of world-wide renown, his performance of Ernst's fantasia on airs from Il Pirata, which would

Leaves America some early day; elicit admiration under any circumstances, but are really wonderful in a

And the 'new correspondent' will be player who is stone blind. Mr. Heine was unanimously and deservedly

Dr. Mackay, the poet, they say. recalled at the conclusion of his solo. Miss Chipperfield (member of

“ Thus the Yankees, so tarnation 'cute, the “Association”) essayed Mr. Benedict's “ La fedelta,” which at present

Have their Monitor' sent from the fight; is beyond her capabilities. The most ambitious effort of the choir, after

And the Times, with a kind tit for tat, Mozart's “ Ave verum" (the first thing in the programme), was Men

Sends a “merry Mac' to them to write." delssohn's “ Hear my prayer,” in which Miss Susanna Cole's charming voice and chaste style gave due effect to the solos. These, and Meyer

* The words of this song (whoever “sets” it) will remain the copybeer's “ Pater-noster” in which fresh beauties develope themselves at right of the poet who conceived and wrote them down. each successive hearing), and “The Vale” (an arrangement by Mr. Brinley Richards of " Ar-hyd-y-nos”-alias "Poor Mary Ann") were all more or less noteworthy examples of choral part-singing.

Jdvertisements. CRYSTAL PALACE CONCERTS.--At the concert on Saturday week, Mr. Sullivan's music to the The Tempest was repeated, with confirmed success. On Saturday last (19th inst.), Herr Auguste Manns provided his D VANS'S ENGLISH HARMONIUMS for Cottages, supporters with another splendid concert, the symphony being Beeth U Schools, Drawing Rooms, Churches, Literary and other public Institutions, are oven's magnificent “ No. 7." (in A major), and the solo player Herr made in every possible variety at prices from 6 to 140 guinea. The Manufacturers

have to announce the complete success of a New Patent Sell-Acting Blowing Machine, Joachim. The first piece selected by this unrivalled player, was the

the only self-acting blower that has ever succeeded, which may be seen in operation at Scena Cantante (or “ Dramatic Concerto,” as it is styled among our" Holles Street daily. own amateurs), a work which, though not strictly a concerto in form, is

The most distinguished living musicians, including Balse, Sterndale Bennett, Cirri.

ani Potter, Best, Henry Sinart, &c., have testifieu to the extraordinary merits of perhaps, of all the so-called “concertos ” of Sphor, the most generally Evans's Harmoniums. popular, as it is undoubtedly the richest in imagination and the most See testimonials attached to Illustrated Catalogues of Harmoniums, to be had gratis

of the Manufacturers, interesting both as to plan and developement. To surpass Herr

BoosEY & CHING, 24 Holles Street, London, W. Joachim's cxecution of this difficult and noble composition would be impossible. To equal it is a feat that still remains to be accomplished. TVANS'S ENGLISH MODEL HARMONIUM, with Poetical expression, grand and varied reading, and irreproachable me.

two rows of keys, price 66 guineas in oak case, or 70 guineas in rosewood case. chanical skill go hand in hand, so as to leave absolutely nothing to wish combines every modern improvement. The most beautiful and varied orchestral effects for. No wonder that, by the very musical audience which Herr Manns can be produced upon this instrument, which possesses every gradation of tone from

the greatest power to the most delicate piano pieces. The English Model Harmonium (who conducted the accompaniments with a scrupulous care and ability,

is managed with that facility which characterises all Evans's Harmoniums, and is that must have placed the solo performer entirely at his ease) may be equally effective both in the drawing room and church,

Boosey & CHING, Manufacturers, 24 Holles Street, London, W. said to have "invented” at the Crystal Palace, this remarkable performance of a remarkable work should excite the enthusiasm that in.

WVANS'S PEDAL HARMONIUMS, with independent variably attends it at those more venerable and classical entertainments

U Pedal Reeds, can be had either with a single or double row of keys, at prices where it is occasionally heard. Herr Joachim's second piece was Beeth

from £51 to 130 Guineas; also with the new patent self-acting blowing waachine." oven's delicate and melodious Romance in F major, which even when

BoosEY & CHING, Manufacturers, 24 Holles Street, London, W.

NEW AND REVISED EDITION.

Price 12s.
THE VOICE AND SINGING.

AIRS, BALLADS, &c. IN THE OPERETTA " ONCE TOO OFTE N.”

COMPOSED BY HOWARD GLOVER. Performed with the greatest success at the Theatre Royal, Drury Lane. “ OH! GLORIOUS AGE OF CHIVALRY," Duet.

Sung by Mlle. JENNY BAUR and Miss EMMA HEYWOOD... 48. Od. " THE SOLEMN WORDS HIS LIPS HAVE SPOKEN.”

Grand Air. Sung by Mlle. JENNY BAUR ... ... ... 48. 6d. " THE LOVE YOU'VE SLIGHTED.” Ballad. Sung by

Mlle. JENNY BAUR ... ... “ STRATAGEM IS WOMAN'S POWER.” Ballad. Sung

by Miss EMMA HEYWOOD ... ... ... ... “LOVE IS A GENTLE THING.” Ballad. Sung by

Miss Emma HEYWOOD “ A YOUNG AND ARTLESS MAIDEN.” Romance.

Sung by Herr REICHARDTH “ THERE'S TRUTH IN WOMAN STILL.” Romance.

TILL"'Romance. Sung by Herr REICHARDT ... “ THE MONKS WERE JOLLY BOYS.” Ballad. Sung

by Herr FORMES " IN 'MY CHATEAU OF POMPERNIK.” Aria Buffa.

Sung by Herr FORMES ... ... ... ... ... ... ... 3s. Od.

". The Formation and Cultivation of the Voice for Singing.' By ADOLFO FERRARI

London : Duncan Davison & Co., 244 Regent Street. “ The great and deserved success of this work has brought it, in no long time, to a second edition, carefully revised, and enriched with a number of additional exercises which greatly increase its value.

"Since its first publication this book has met with general acceptance, and is now used as a vade.mecum by many of the most eminent and intelligent vocal instructors both in the metropolis and the provinces. We say vocal instructors, because it is only to instructors that works of this class can be of material use. Singing is not an art which can be learned by solitary study with the help of books, and those who are self-taught (as it is called) are always badly taught. But a good treatise, in which the principles and rules of the art, founded on reason and experience, are clearly expressed, is of infinite value, first to instructors, in assisting them to adopt a rational and efficient method of teaching, and next to pupils themselves, in constantly reminding them of, and enabling them to profit by, the lessons of their master. In both these ways Signor Ferrari's work has been found pre-eminently useful."-Illustrated News. ;

FANTASIAS, QUADRILLES AND WALTZES.

LONDON: DUNCAN DAVISON & CO., 244 Regent Street, W. Brinley Richards' Fantasia, on “Once too Often” ... ... 4s. Od. Emile Berger's Fantasia, on “ Once too Often” ... ... ... 38. Od.

Just published, price 4s., Quadrille, “ Fontainbleau,” by Strauss. (Handsomely Illustrated) 45. Od. ALTER MACFARREN'S TARANTELLA for the Waltz, “ La Belle Blanche," ditto ... ... ... ditto ... 48. od.

PIANOFORTE, dedicated to WILHELM KUHE. " Mr. Glover's operetta is a decided, and, what is better, a legitimate, hit. The

London : DUNCAN DAVISON & Co., 244 Regent Street, w. songs before us have already attained a well-merited popularity. The monks were jolly boys' is as racy as the best of the old English ditties, harmonised with equal quajntness and skill, and thoroughly well suited to the voice of Herr Formes. The

Jast published, price 2s. each, love you've slighted still is true' (lor Mlle, Jenny Baur) has a melody of charming

Imwo POPULAR GERMAN MELODIES. No. 1. freshness. Not less a model ballad in its way is A young and artless maiden' (for Herr Reichardt), which sets out with an elegantly melódious phrase. Perhaps more to

1 “ Weber's celebrated Cradle Song.” No. 2. “Du, Du, liegst mir im Herzen." our liking, however, than any of the foregoing, excellent and genuine as they are, is

Transcribed by Immanuel Liebich. Love is a gentle thing' (for Miss Emma Heywood), which enters the more refined

London : DUNCAN Davison & Co., 244 Regent Street, w. regions of the ballad-school, and attains an expression as true as it is graceful. The opening holds out a promise which the sequel entirely fulfils." - Musical World. London : DUNCAN DAVISON & Co., 244 Regent Street, W.

Just published, price 3.,

RAND MARCH for the PIANOFORTE. Dedicated I NAVIGANTI (The Mariners).

to Lieut. Col. the Hon. Henry HALL GAGE (1st Cinque Ports Ride Volunteers,

Hastings), Composed by IMMANUEL LIEBICH.
BY ALBERTO RANDEGGER.

London : DUNCAN DAVISON & Co., 244 Regent Street, W.
TRIO, for Soprano, Tenor, and Bass, Price 4s.
(With English and Italian Words.)

Just published, price 25. 6d.,

8. 00., London : DUNCAN DAVISON & Co., 244 Regent Street, W.

56 AFTERNOONS IN FEBRUARY.” New Song.

The Poetry by LONGFELLOW. The Music by EMANUEL AGUILAR,
Just published, price 38.,

London : DUNCAN DAVISON & Co., 244 Regent Street, w.
NEW ITALIAN SONG, “ Parvemi il volo Scioglere."
Melodia. Musica di E. MECATTI.

Just published, price 38.,
London : Duncan Davison & Co., 244 Regent Street, W.

R. LEWIS THOMAS'S NEW SONG, “ A long good

night to thee.” Composed expressly for him by J. L. HATTON.
Just published, price 3s.

London : DUNCAN Davison & Co., 244 Regent Street, W.
N EW SONG, “When thou and I last parted."
Poetry by JESSICA RANKIN. Music by W. VINCENT WALLACE.

Just published, price 3s.,
London : DUNCAN DAVISON & Cu., 241 Regent Street, W.

WILBYE COOPER'S NEW SONG, “ The Re

arn,” Composed expressly for him by J. L. HATTON. - Just published, price 33.

London : DUNCAN DAVISON & Co., 244 Regent Street, W.
MISS STAB BACH'S NEW SONG.
“THE MORNING RIDE." Poetry by CLARIBEL. Music by Bern.

Just published, price 3s.,
HARD ALTHAUS.
London : Duncan Davison & Co., 244 Regent Street, W.

INE, LOVE! YES OR NO?” Composed by
EDWARD LAND.

London : Duncan Davison & Co., 244 Regent Street, W.
Just published, price 4s.,
WHEN THE WIND BLOWS IN FROM THE

Just published, price 6s..
SEA.” Duet for Soprano and Barytone. The Music by HENRY
SMART.

EMINISCENCES of the TROVATORE and TRA.
London : DUNCAN Davison & Co., 244 Regent Street, W.

VIATA. Grand Fantasia for the Pianoforte. Composed by WILSON BROWN.

London : DUNCAN DAVISON & Co., 244 Regent Street, w. Just published, price 2s. 6d., “ LITTLE BERTHA.” Music by W. GUERNSEY. MHE LORD'S PRAYER, by MEYERBEER, with English London: DUNCAN DAVISON & Co., 244 Regent Street, W.

1 and Latin words, as sung by Mr. Benedict's Vocal Association on Wednesday,

at St. James's Hall, is published in score for Soprano, Alto, Tenor and Bass, price 3s. Just published, Price 3s.,

(with organ ad. lib.), and in separate vocal parts, price Gd, each, by Duncan Davison

& Co., 244 Regent Street, W. “GOOD NIGHT” (Cradle Song). Composed and Sung

by ALEXANDRE REICHARDT. “ Herr Reichardt was encored in a Cradle Song' of his own composition, one of MEYERBEER’S SERENADE, « This house to love is the most charming bagatelles we ever heard, and yung with irresistible sweetness and U holy,” as sung by Mr. Benedict's Vocal Association, is published for Eight expression."-Edinburgh Courant.

Voices (two Sopranos, two Altos, two Tenors, two Basses), in score, price 4s., and in se. London : DUNCAN DAVISON & Co., 244 Regent Street, W. :

parate vocal parts, 6d. each, by Duncan Davison & Co., 244 Regent Street, W.

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METZLER & CO.,

THE LILY OF KILLARNEY,

A ROMANTIC OPERA, 37, 38, 35 & 16 GREAT MARLBOROUGH ST., LONDON. DION BOUCICAULT AND JOHN OXENFORD,

WRITTEN BY

COMPOSED BY

NEW MUSIC FOR THE PIANOFORTE.

J. BENEDICT.

THE OPERA, COMPLETE, BOUND IN CLOTH, 258.

MADAME OURY.

3

0

SUNSHINE. Valse de Salon .
OSCAR. Mazurka. " Un Ballo in Maschera"
LA CHASSE DE COMPIEGNE. Fantaisie ...
ROSALIE. THE PRAIRIE FLOWER. Impromptu ...
KING OF ITALY'S GRAND MARCH. Transcription ...

40

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2

ASCHER.
ESPOIR DU CEUR. Mélodie ...
MARCHE DES AMAZONES
VIRGINSKA. Mazurka Elégante

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H. W. GOODBAN.
LE CHANT DES PECHEURS. Barcarolle..
MOONLIGHT ON THE GONDOLA. Nocturne ...
UN BALLO IN MASCHERA. Fantaisie
GENTLE ANNIE. Transcription

ACT I.
OVERTURE . .
40 |

| SONG—A bachelor's life. (Hardress)
DUET — The moon has rais'd the lamp above. (Hardress

and Danny Mann) .
SONG- The above arranged as a song,

, 2 SONG - It is a charming girl I love. (Myles.) In B flat and in A 2 6 SONG -- In my wild mountain valley. (Eily.) In D and C minor 2 6

SONG, with CHORUS, ad lib.—The Cruiskeen Lawn • 2 6 ... 30

ACT II.
CHORUS- The Hunting Chorus -

3 6
AIR and DUET-The eye of love is keen. (A.Chute & Hardress) 4 0
... 30 SCENA — A lowly peasant girl. (Danny Mann) - - 3 6
... 26 | ROMANCE (separately)– The Colleen Bawn. (Danny Mann) 2 6
... 30 BALLAD-I'm alone. (Eily.) In E flat and in C -
... 40
DUET -I give the best advice. (Eily and Myles) - , 4 0

ACT III.
SONG - The Lullaby. (Myles). In A and in F

• 2 6
TRIO— Blessings on that rev'rend head. (Eily, Myles and
Father Tom.) In D and in D flat

30 DUET- Let the mystic orange flowers. (For two equal voices) 2 6 BALLAD- Eily Mavourneen. (Hardress). In F and in D - 26 RONDO FINALE-By sorrow tried severely, (Eily)

A. DAUSSOIGNE MEHUL,
SANTA LUCIA. Transcription ... ...
OBERON. Transcription ... ... ... ...
PENDANT LA RETRAITE. Marche Caprice
CHANT D' AMOUR. Romance sans Paroles
L'ABSENCE. Reverie . ... ... "
ROMANCE VARIEE

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SCHLO ESSE

PIANOFORTE ARRANGEMENTS. CHARLIE IS MY DARLING. Transcription. ... ...

3 01 DER FREISCHUTZ Fantaisie ...

THE OVERTURE. Arranged by the Author

• 4 0 DORS MON ANGE. Berceuse ...

26 THE FAVOURITE Airs. In two Books. W. H. Callcott FAREWELL, BUT WHENEVER. Transcription 3 0 Ditto. As Duets. In two Books. W. H. Callcott

- 6 0 GIORNO D'ORRORE. Semiramide

3 0 | THE FAVOURITE AIRS. In two Books. Franz Nava - - 50 LASS O' GOWRIE. Transcription

... 3 0 Ditto. As Duets. In two Books. Franz Nava L'HEUREUX GONDOLIER. Impromptu ... ... 2 6 SET OF QUADRILLES. Charles Coote

• 4 0 MEETING OF THE WATERS. Transcription. ...

DITTO. As Duets - MERAN. Styrienne ... ... ... ... ... ... ..

SET OF QUADRILLES. “The Cruiskeen Lawn.” Pierre Laroche.

Illustrated by Brandard - -
TALEX Y.

Waltz. "Eily Mavourneen." Chas. Coote. Illus. by Brandard 4 0 LA BELLA MARIA. Polka de Salon ...

SET OF WALTZEs. Pierre Laroche. Illustrated by Brandard . CHANT DU MONASTERE. Marche Religieuse

GALOP. Pierre Laroche - .
BRINLEY RICHARDS, “Eily Mavourneen

“ I'm alone" . METZLER & CO.'S New Vocal Catalogue is now Ready, and may

" It is a charming girl I love” be had on application,

“ The Cruiskeen Lawn". Kuhe. Fantasia on favourite Airs

Grand Waltz

G. A. OSBORNE. Fantasia on favourite Airs.
WHOLESALE AGENTS FOR

»

“Ricordanza” . ALEXANDRE'S HARMONIUMS.

GOODBAN, H. W. Serenade, “ The moon has raised

| MADAME OURY. Fantasia on favourite Airs -
A very large and Varied Stock always on hand.

LINDSAY SLOPER. Fantasia on favourite Airs -
RIMBAULT. Six favourite Airs, casily arranged :-
No. 1. “In my wild mountain valley'

2. “The Lullaby" . .
3. “It is a charming girl I love”

10 METZLER & CO.,

4. “Eily Mavourneen".

. i 0

5. “I'm alone". 37, 38 & 35 GREAT MARLBOROUGH STREET, W., 6. "The Colleen Bawn”

AND
PIANOFORTE AND HARMONIUM WARE ROOMS AT No. 16,

CHAPPELL & CO., 50 NEW BOND STREET.

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