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THE MUSIC FOR THE INTERNATIONAL
customed facility of M. Auber, who-writing (for the first time) a piece EXHIBITION.
expressly for the country where, sixty years ago, he spent what he
himself recalled as “a pleasant time” — scems to have put on renewed It cannot often be said with truth that a man gets more than he bargains youth, as though he wished to produce something for the occasion for, even when he pays liberally for the article of which he is in want. ' which the Vingt Ans immortalized by Béranger might, under agreeable The complaint, indeed, is generally the other way. Her Majesty's Com
circumstances, have suggested. The overture winds up, in the most missioners for the International Exhibition, however, have been fortunate
animated style, with a movement (un peu plus vite) which conveys the in their dealings with musicians, foreign and native. True, Rossini was idea of a quick march, just as the principal theme does that of a march either idle or perverse, and declined to give them anything at any price; of triumph. Nothing, in short, can be more piquant, nothing more but in every other quarter they have met with nothing but the readiest
engaging, nothing more completely Auber in his happiest mood, and assent. Sig. Verdi, who, whatever abstract distinction may be made by therefore, from so eminent a Frenchman, nothing more flattering to curious inquirers between Rossini and himself, is certainly the Rossini
ourselves on so special an occasion, than what, under the modest of his day-by which is meant, of course, the foremost of Italian com
nomenclature of Marche, has been furnished by this truly great posers-being asked for “a march," with a liberality unprecedented in
musician for our International Exhibition. one the value of whose minutes is reckoned by guineas (and to whom
M. Meyerbeer, too, has done his work for us con amore. Instead of the Czar guaranteed something like 6,000l. for an opera, which, though
the march that was expected from his practised pen, he has given three completed, bas not yet seen the light), instead of a march prepared a marches in one, with "Rule Britannia” in the bargain. He has shown, cantata for voices and orchestra, comprising a tenor solo, rife with | in fact, the high importance he attached to the task he was invited to modern Italian patriotism and modern Italian inspiration, which Sig. I perform, by producing an ingenious and elaborate masterpiece, the Tamberlik, the Italian Duprez, the artist who, next to Mario, is most composition of which must have cost no little time and no little thoroughly identified in a constitutional or Victor-Emmanuelian sense)
thought. We will in as few words as possible endeavour to describe ' with the “revolutionists” of his country, consented to sing. M. Auber, the plan of M. Meyerbeer's overture - for overture it is, and “ grand the very essence of French esprit, the king of French musicians, and the
overture” to boot. Its title is as follows:- Ouverture en forme de courtliest of high-bred French gentlemen, being also applied to for “a
Marche pour l'Inauguration de l'Exposition Universelle à Londres en march," has forwarded to the Commissioners an overture, worthy of
1862. The first movement (alleyret!o moderato), in the open and conbeing used as prelude to any of his most charming comic operas. From ventionally martial key of C, is entitled Marche Triomphale. It comHerr Meyerbeer, too, not only the greatest, but in some respects the
mences with an introduction, which, through a crescendo, leads graonly German dramatic composer living, a man of European-nay (for
dually up to the subject-proper, the orchestra gathering force as it prohis works are as well known in the New World as in the Old, and have
ceeds, until the climax, when the familiar rhythm unmistakeably tells even penetrated to Africa, Asia, California, and Australia), world-wide
that the veritable “ March ” has begun. The introduction is built upon reputation-"a march” was requested, and Herr Meyerbeer bas re a prominent feature of the leading subject, which, with measured pomp sponded with a composition written with so much pains that one would
and resonant instrumentation, amply bears out its denomination of have thought he had risked his reputation upon its success. Lastly, our “ Triumphal.” This grandiose strain, to which the entire united band own great--nay, why withhold the truth ?-greatest musician, Professor
gives tongue, is answered by the trumpets, flutes, oboes, and clarinets, Scerndale Bennett, was requested to contribute a corale, for which our
in a sort of fanfare, the whole orchestra counter-retorting in fortissimo; greatest modern poet (who if not “ Laureate ” would have put the
and thus, by degrees, we are brought to the second part of the subject, “ Laureate" to shame) was to write words. Well, Professor Bennett, in which some new and striking transitions will not pass unobserved by as though he had an inkling of what Verdi, Auber, and Meyerbeer were musicians. The “trio” (as the second theme of a march is tradiabout, instead of a simple “ corale”- with the co-operation of Poet tionally styled --- although seldom now allotted to the antiquated “three Tennyson (who, also, it would seem, was loth to be “ cabined, cribbed, wind instruments”) begins with a strain of graceful melody, allotted to confined,"on such a memorable occasion)-has supplied a grand cantata! | the first violins and bassoon, so delicately accompanied by “wind” and Thus, what was expected merely to serve as “ music” (from the Christ- "string,” that (although to the basses is assigned a pizzicato, which mas pantomime point of view), to prepare the vast assembly for more I might pass itself for a melody) it is always well defined, and stands out substantial and important matters, has resulted in nothing less than a with conspicuous clearness from the rest. The developement of this quadruple manifestation of “high art.” The musicians, to say truth, trio" is marked by successive beauties that will speak for themselves, proud of the occasion, were determined to show that they, too, had that and of which, indeed, we cannot attempt a description. Enough that within them which merited the world's attention ; that they, too, were the interest never ceases during its progress, and we feel almost sorry workers for the general good ; and that the merchandise in which they when the old crescendo (from the introduction), with its stirring imita. dealt was just as well worth exhibiting at its best as any other com- tions and responses, brings us back to the leading theme, now assuming modity included in the comprehensive “ Ode" of our Laureate, who (like increased magnificence by reason of its contrast with the melodious all the great poets, except Shakspeare and Shelley), although his Ode phrases of the “trio." The curtailment of the subject on repetition was to be sung by voices to the accompaniment of an orchestra, left
is managed with admirable skill, just so much of it being repeated as music, as a matter of course, out of his category, and yet, with his mas.
the laws of symmetry demand. The Marche Triomphale is followed by tery of verse, might have added “sounds” to
a Marche Religieuse (in the key of F), in which the most important "- shapes and hues of Art divine,"
part is allotted to the wind instruments. The time of that is andantino and in no way have arrested its "flow" or dislocated its rhythm.
quasi allegretto. It is announced, with appropriate solemnity, by some
mysterious notes on the drum, reiterated, at intervals, during the course And shapes, and hues, and sounds of Art divine
of the march. The soft and tranquil character of this andantino would not have been an inharmonious climax to the antistrophe.
which, not less original than beautiful, is arranged for the orchestra The admirable and universally popular composer of Masaniello, Fra with consummate art, and 'abounds in combinations as delicate as in. Diavolo, Gustave, Le Domino Noir, and so many other chef-d'auvres, genious --- has an inexpressibly soothing effect after the sonorous splenhas sent, under the title of Marche, composée pour l'Exposition Universelle dour of the movement that precedes it. A point that can hardly esde Londres, an overture, sparkling, brilliant, and exhilirating as any of cape the admiration of connoisseurs is the new accompaniment allotted his most renowned dramatic preludes, the key E major, the brightest of to the stringed instruments, when the leading theme is repeated, and the orchestral tones. It commences with a very brief preamble (andante fresh device of modulation to which its recurrence gives rise. Here is one maestoso), which leads to a delicious andante (in C), instrumented for of those fine touches that reveal the master's hand and the master's instinctrombones and cornets-à-pistons - a movement that for tuneful grace tive abhorrence of monotony. Meyerbeer's music is full of such points may rank with a similar passage in his celebrated overture to Masaniello. - occasionally, perhaps, almost to excess. The only sin with which the This is succeeded by a spirited allegro, which, prefaced by an introduc- Marche Religieuse can fairly be charged is its brevity. It should be tion in the minor key of E, culminates in a vigorous motivo alla marcia played pianissimo, almost throughout — a feat, we apprehend, however, in the major. Here is the leading theme, and anything more inspirit- as impracticable as it would be dangerous to attempt in the vast arena ing could hardly be wished. Its conduct is marked throughout by all of the International Exhibition. To the Marche Religieuse succeeds a the skill and happy invention of the composer, who, as a master of Pas Redoublé (in C), a lengthy and highly elaborated movement, which, orchestration, occupies a place apart among modern composers to whom while preserving from end to end the life and spirit of the military the full resources of the orchestra are familiar. The second theme (in “Quick Step," exhibits the musician's art and the musician's contrivance B major) is an elegant and charming cantilena, a French "Song with with a felicity rarely paralleled. The theme is as vif and rhythmical out Words,” a melody that speaks for itself. This is “capped” by a as the finale of Rossini's overture to Guillaume Tell (which, it should be ritornelle, just such as Méhul might have written (but did not) in his added, it in no other way resembles), and is conducted throughout with Chasse du Jeune Henri. The two motivi are developed with the ac. singular felicity. After it has been fully worked out we come to what, in the language of musicians, is termed a “pedal point”-that is, where racter of which it successfully emulates, without borrowing from it a a variety of changes of harmony, constructed upon a chosen theme, solitary idea. The passage, for all the voices in unison, to the words, may take place, while the bass, or lowest note, remains fixed and un.
“ Breaking their mailed feets and armed towers, alterable. Here the sccond violins and the bassoon alternately give
“And ruling by obeying nature's powers" snatches of the first bars of “Rule Britannia," which energetic and is strikingly new and wonderfully expressive. In short, Professor Benfamiliar tunc at length forces its way into prominence, and is thundered | nett ha
| nett has represented England in his musical capacity, as was expected out by the united orchestra, in extenso, interrupted after each section of
from him. the melody by an orchestral figure, borrowed from the theme of an
Sig. Verdi's cantata — but why speak of that which, after having episode in the Quick March - after the manner adopted by Bach, more
been written in such good faith, and with a feeling not less honourable than a century since, and by Mendelssohın, of our own time, in their
to its distinguished composer than complimentary to ourselves--has been treatment of the accompanied corale. Not content with this ingenious
unceremoniously rejected ? We should only be too happy to place on artifice, Herr Meyerbeer treats our great naval song as a fugue, with
| record how worthily Italy--the “Land of Song," the cradle and nursery which he combines the most striking phrases of his Pas Redoublé; and
of music-had done her part in this great festival. But that pleasing thus, at intervals, with extraordinary skill, works as many as three, and task has been denied us -- not by Sig. Verdi (to his credit be it said), sometimes even four, subjects simultaneously. The movement ends
but by Her Majesty's Commissioners.-- Times, April 30. with a coda, which, gathering power and intensity bar after bar, attains a climax rarely paralleled in brilliancy. We have merely hinted at the most prominent features of this remarkable piece, which does equal
MUSIC AT STRASBURG.* honour to the musician who imagined, planned, and constructed it and
Let us, before doing anght else, thank the management of the theatre to the occasion in honour of which it was produced. The first ever
for the splendid evening's entertainment it has procured us, and the composed by Herr Meyerbeer (whose name, nevertheless, is a “house
eminent virtuoso for having kindly acceded to the request of the ma. hold word” among us) for this country, let us hope it may not be the
nagement, when there was reason to doubt that he would include the last.
city of Strasburg in his professional tour. Professor Sterndale Bennett has shown himself worthy of setting the
The concert given yesterpoetry of the Laureate to music. His Ode is divided into three parts,
day, the 23rd of April, by M. H. Vieuxtemps, in the large room of the
theatre, possessed all the character of a musical solemnity, during with intervening recitatives and preambles--all choral. The words of the Ode having already appeared in The Times, it is only necessary to
which the great violinist never ceased to inspire admiration and enthu
siasm. refer to them as guides by which the design of the composer may be explained. The first strophe, “ Uplift a thousand voices full and sweet”
After having been greeted, on his appearance, by a salvo of bravos, -the short hymn of praise addressed to the Deity, with which it com
as redolent of gratitude as of the deference due to a prince of art, M. mences, is very appropriately presented as a four-part corale. The
Vieuxtemps speedily subjugated his audience, who followed him, quite style of this corale (in the key of F major) is precisely what it ought to
fascinated, from the very first bars of his Concerto in A minor, one of
his newest and not least admirable compositions. That which especially be-what, indeed, the words naturally suggest -- jubilant while impres
characterises M. Vieuxtemps—that which assures him the sceptre among sive, simple and severe while richly and nobly harmonized. The brief
the violinists of the day is the fact that with him the composer equals but eloquent reference to the late Prince Consort
the virtuoso, when one of these glories would be sufficient to render “O silent father of our Kings to be "
him illustrious. And what a composer is M. Vieuxtemps! Always - is wedded to music win a felicity that can hardly be too much ad.
selecting the most grandiose forms of musical art, he infuses into them mired. Here, while the four part liarrions is preserved, the strict form
the most clevated and most noble ideas; he knows how to develope of the corale, with its measured phrases wild periodical stops, is judici
them with more than common talent, and to enhance their value by an ously abandoncd. By this expedient a larger field is allowed for variety
instrumentation worthy the great masters of the Symphony. In a of treatment and for the employment of modulation as a medium of ex
word, the concerto is his favourite form of composition, and that most pression ; and of this Professor Bennett has availed himself with equal
suitable to his powerful and original organisation, as full of inspiration skill and feeling. The minor.key of F (which Mendelssolin, in the finest , as of knowledge. The concerto he played yesterday contains in an corale of St. Paul, has used with such deep sentiment) is justly adapted
eminent degree all these characteristic traits, besides affording an opto a theme so solemn; and the whole passage is as touching and path. / portunity for the most prodigious difficulties of execution. etic as it is masterly. The descriptive catalogue of human inventions
After an orchestral introduction in the highest style, the first allegro and human industries (which has engendered one of the most stirring
is classically developed, being equally divided between the most tender passages of the Ode), announced by a short and emphatic choral prelude
melodies and the richest, though always grave and logical, passages. At
the very first phrase of the exposition, the applause of the public burst to the words
out, and the virtuoso appeared much touched by this spontaneous ex“ The world-compelling plan was thine"
plosion of admiration, proving to him, as it did, how eloquent he was - is conveyed with admirable effect, through a measured recitative from the exordium itself. What was to be expected from the remainder (accompanied), the voices at first alternating with each other in naming of the oration? A brilliant and skilfully combined cadenza, which also particulars, and then uniting to signalize generalities. “Rich in model was greeted by the acclamations of the profane as well as by those of and design,” exclaim the tenors; “ Harvest tool and husbandry,” rc- the initiated, ushers in one of the finest adagios in existence. Soft spond the sopranos ; “Loom and wheel and cogin'ry," ejaculate the poetry in the melodic idea, unheard-of happiness in the effects of harbasses ; “Secrets of the sullen mine," the altos ; and so on. The who!c mony and instrumentation, magical exccution, and, in a word, all the of this is most effectively contrived, and carried out in the orchestra har- | elements of inusical ideality, are united in this adagio, which produced mony with such ingenuity that a sense of fragmentariness is never once a profound impression, and elicited enthusiastic marks of approbation experienced. The last three lines of this strophe,
from all parts of the room. The coda was the crown of this superb
morceau, after which M. Vieuxtemps was compelled to reappear for the " And is the goal so far away ? Far-how far, no man can say !
purpose of receiving the double ovation due to the inspired composer Let us have our dream to day"
and the inimitable violinist. The other pieces were but the continua--are well expressed, the women's voices asking the question, the men's
tion of this first triumph. They comprised the fantasia upon Lucia, a voices answering it, and the whole choir giving tongue to the final aspia | transcription to which M. Vieuxtemps has succeeded in adding the imration. A short introductory passage, in full harmony, conveys the press of his own individuality, and two septentrional importations, full admonitory couplet,
of “northic " colouring and nationality --namely, “Halka,” a Polish
romance, which has everywhere procured for the composer a success « Oh ye, the wise who think, the wise who reign, From growing commcrce loose her late:t chain;"
con furore, and “St. Patrick's Day," an Irish song, breathing a sweet
melancholy. In these pieces, M. Vieuxtemps charmed the audience with -the remaining lines, beginning,-
the sentiment, expression, and grace of his style, as much as in his “And let the fair white wing'd peace-maker fly,"
concerto he had astonished them by the power of his playing-by the and ending,
incomprehensible force which he possesses in his bow. " And gathering all the fruits of peace, and crowned with all her flowers,"
After the last salvos which yesterday crowned the triumph achieved
by M. Vieuxtemps, everyone said that, despite the threats contained in being set to a flowing and rhythmical movement (in F major- the key
the bills, a second concert will soon follow the first. Having rendered of the opening), equally noticeable for pure melodious beauty and musician-like construction-a movement, indeed, to be compared with the concluding portion of Mendelssohn's “Lauda Sion,” the peculiar cha
* From the Courier du Bas Rhin.
justice to the virtuoso, let us lose no time in addressing the congratula- Europe, returned to the platform to receive the tribute of enthusiastic tions it deserves to the orchestra, which, under the direction of M. Has.applause conscientiously adjudged him by the largest assembly of pro. selmans, accompanied the violinist with remarkable sagacity and deli- fessors and connoisseurs that by any means can be brought together in cacy. M. Vieuxtemps must certainly have been delighted at being this country- an audience of musicians, in short, 1,500 or 1,600 strong. thus understood and interpreted. The orchestra performed, also, in that The honour was great ; but that it was legitimately earned is un. style which long since established its reputation, a well written and deniable. highly applauded overture by one of its members, M. Bräsch, and that! Mozart's duet for two pianofortes with orchestral accompaniments to Tannhäuser, of merited celebrity. Several artists, moreover, lent M. (the same which was played two or three years since by Miss Arabella Vieuxtemps their brother assistance. M. Robyns executed a trombono Goddard and Mr. Hallé) was a musical treat of the highest order. The solo with much talent, and amid a storm of bravos ; Mad. Rauis sang executants on this occasion were Mr. Charles Hallé and Herr Stephen the “Shadow Song" from Dinorah to perfection; M. Raynal also de. Heller, and the performance was nothing less than irreproachable. Of lighted the audience with L'Huillier's romance, which turns upon a Mr. Hallé we need say nothing, inasmuch as his name is one of our shepherdess, a great nobleman and a dog, the whole with a simple musical household words. Herr Stephen Heller, however, cannot fairly pianoforte accompaniment; and the gentlemen of the choir sang two be passed over with a simplo record of his having played finely. That, choruses with satisfactory precision.
indeed, was what all who are acquainted with his talent perfectly well
E. SCHWAB. knew would be the case. Herr Heller has other claims to notice. His P.S.-We have heard with great pleasure that M. Vieuxtemps has visit to this country is, or ought to be, an event in the musical world. consented to give a second concert next Saturday.
A distinguished composer, no less than a classical pianist, he is one of those who persist in writing music for the pianoforte, in place of treating
it as a mere instrument for the exhibition of manual dexterity. His MONDAY POPULAR CONCERTS.
works, happily, have long enjoyed a European fame; and the good The instrumental pieces last Monday (at the 83rd concert) were from they have effected in arresting the progress of a school which-whatever Beethoven. Magnificently as Herr Joachim invariably plays upon this its merits, judged from the point of view of mechanical display-is at occasion he surpassed himself, and in the adagio, the Rasoumowski” | the best but a specious form of charlatanism, is incalculable. Herr quartet (E minor), fairly entranced his hearers. Herr Ries, Mr. H. Webb, Heller has never been tempted to court the frivolous taste of the day; and Sig. Piatti are no less deserving praise for the admirable manner in but, following the instinct of his own original genius, he bas produced which they supported their eminent leader. The sonata for pianoforte an extended series of works distinguished in an equal measure by serious alone (G major, op. 31) was introduced for the first time, by Mr. Chas.
purpose and felicitous invention. He is, in fact, one of the few existing Hallé, who was recalled on the conclusion of his performance--a com
champions of art in its purity. On Wednesday night his part in Mozart's pliment due to his masterly reading of the work. The trio for stringed | duet was noticeable for other reasons besides its faultless execution. He instruments in C minor, and the sonata for piano and violin in G had prepared a cadenza (a due) for the first, and another for the last major (op. 30), were equally well given, and equally well received by
allegro, which might pass for ingeniously constructed pieces, even with. an audience as appreciative as it was numerous. Misses Banks and out reference to the concerto in which they were interpolated. MoveLascelles were the singers, the first-named young lady receiving an encore
ment after movement of the duet was listened to with sustained interest, for her unaffectedly charming singing of * In my wild mountain valley”
and applauded with warmth and unanimity. (Lily of Killarney). Miss Lascelles' fine voice was heard to advantage
The plaintive and beautiful romance from Meyerbeer's Prophète was in Meyerbeer's "Les Souvenirs ” (one of the most beautiful of the
given with true sentiment by Miss Lascelles; and a magnificent perQuarante Melodies) ; while Paer's « Puro ciel," and Mr. Henry Smart's
formance of Rossini's ever-welcome overture to La Gazza Ladra “ When the summer wind is blowing,” were given to perfection by the
which for picturesque colouring and instrumental brilliancy has not two ladies. Mr. Benedict accompanied the vocal music.
been surpassed – brought to an effective conclusion a concert with which it would have been difficult to find fault.
Royal SocieTY OF MUSICIANS.--The annual performance of the MUSICAL SOCIETY OF LONDON.- The second concert took place on Messiah took place at St. James's Hall on Friday week. In rigorWednesday night in St. James's Hall, which, it is unnecessary to say, ously adhering to the text, Dr. Bennett shows how thoroughly he was crowded, inasmuch as very few of the members were absent. The understands the composer's meaning ; and the result is, that not a parperformance (which, at the express invitation of the Council, was honoured ticle of the truly religious and imposing character of the whole is for a by the presence of M. Meyerbeer) equalled in interest any that has been moment lost sight of. The enthusiastic warmih of Dr. Bennett's recepgiven since the foundation of the institution (in 1859). The programme tion, and the hearty applause which greeted him at the termination, had will speak for itself :
a marked significance. Mad. Guerrabella in the first, Miss Wilkinson in PART THE FIRST.
the second, and Mad. Lemmens-Sherrington in the third part, all disCherubioi.
tinguished themselves, the tirst-named lady delivering “Rejoice greatly." Duet - The Island of Calypso.
E. J. Loder, with much brilliancy. Mad. Sainton-Dolby's pathos in “He was despised" Choral Symphony No. 9 (Op. 125) ...
was as remarkable as ever; Miss Lascelles singing the remainder contrato PART THE SECOND.
music in her usual musician-like style. Mr. Weiss was londly applauded Concerto in E flat (two pianofortes) ...
Mozart. Aria "Pietà, pietà "-Le Prophète
in “Why do the nations ?” Mr. Thomas in "The trumpet shall sound," Overture_La Gazza Ladra
the obbligato, played as only Mr. T. Harper can play it, was capital ; Conductor, Mr. Alfred Mellon.***
while to Mr. Wilbye Cooper every praise is due for his careful singing The overture to Faniska is worthy of an opera which induced Haydn throughout. Mad. Weiss, not having sufficiently recovered from her and Beethoven to pronounce Cherubini the greatest dramatic com late severe indisposition, was prevented from appearing. The band and poser of his time-a verdict not long after quashed by Beethoven's own chorus were excellent from first to last. Leonore, which, under the name of Fidelio, has outlived Faniska more MR. APTOMMAS's Harp RECITALS.—The first was given on Tuesday than half a century. It was admirably performed. The duet from the last, at Messrs. Collards' pianoforte-rooms. The audience, as inight be Island of Calypso-extremely well sung by Miss Banks and Herr expected, was composed almost entirely of ladies, with whom the inReichardt — is a highly favourable specimen of a work written by Mr. strument is necessarily more popular than with the sterner sex. Our Edward Loder, one of our best composers, at the instigation of the long readers need hardly be informed that Mr. Aptommas is a player of the defunct “ National Concerts” (so called), got up at Her Majesty's first calibre, and his performance upon this occasion was in every way Theatre in opposition to M. Jullien (1849-50).
worthy of his reputation, the pieces selected being a symphony by Of Beethoven's Choral Symphony what now remains to be said, ex- | Krumpholtz, a fantasia by Parish Alvars, Welsh Melodies, and the duo cept that it is the grandest inspiration of its composer, and one of the concertante of Herz, “0 dolce concento," the pianoforte part being richest legacies ever bequeathed by genius to the art ? On the whole, played by Mr. Arthur Napoleon-one and all given in a style which the execution of this colossal master-piece was first-rate. The quartet displayed the thorough command and perfect knowledge of every reof solo singers-- Misses Banks and Lascelles, Herr Reichardt and Mr. ) source of the instrument, which Mr. Aptommas has literally at his Lewis Thomas — laboured zealously at their arduous task; the chorus | fingers' ends. Mad. Florence Lancia's pure flexible voice and excellent (80 professional singers) was remarkably efficient, and the band superb. | method were exhibited in Meyerbeer's prayer and barcarole, from So unanimous was the impression created, and so favourable, that, as L'Etoile du Nord, " I'm alone,” and “ A thousand miles from thee,” all though the same idea had struck every one in the hall simultaneously, 1 of which gave immense satisfaction. Herr Wilhelm Ganz conducted. no sooner had the echoes of the last chords died away, than the name of SIGNOR CAMPANELLA'S MORNING CONCERT was fully and fashionably the conductor was pronounced by every mout); and Mr. Alfred Mellon, attended. The vocalists were Mlle. Parepa, Signora Badia, Miss Marian an orchestral director - Englishman though he be --- second to none in Moss, Miss Allan (the two latter pupils of Signor Campanella), Mr.
Seymour Smith, Mr. Viotti Cooper, and the concert-giver himself, who! Under these circumstances, I shall esteem it as a favour if the Compleased his patrons greatly in several Italian songs. Mr. Viotti Cooper missioners will relieve me from the imputation now cast upon me, by made a highly favourable impression by his singing (in Italian) Beetho- | admitting the fact to be as I have stated above. -Believe me, dear ven's “ Adelaida,” and (in English) Benedict's popular ballad “ Eiley | Sir, &c., Mavourneen.” The programme was relieved by two harp solos, played
M. Costa. by Signor Bellotta ; and altogether the concert evidently pleased Signor F. R. Sandford, Esq., &c. &c. Campanella's aristocratic patrons. M. Sainton's Soirées. — The fourth (and last), which took
Exhibition Buildings, South Kensington, W., April 28, 1862. place on Wednesday evening, was equal in interest to any of its
Dear Sir,- In reply to your letter of Saturday, her Majesty's Compredecessors. As usual, the programme contained a novelty of
| missioners desire me to express their regret that you should have importance. This time it was a thoughtful, very clever, and re
experienced any annoyance from the unfounded reports to which you markably effective trio in C major, the composition of M. Silas,
refer, and to state that your letter gives a perfectly correct account of
the condition which you laid down with respect to the performance of performed by the composer himself (pianoforte), M. Sainton
any work by Dr. Bennett at the opening of the Exhibition, when you (violin), and M. Paque (violoncello). The work was received
kindly undertook to direct the musical arrangements for that occasion. with great favour, and, while every movement seemed to please, the I am to add that Dr. Bennett, when applied to by Her Majesty's Com. scherzo_quaint, and at the same time full of spirit-obtained the missioners, declined either to conduct his own chorale, or to name any most applause. Mendelssohn's early quintet (in A), one of the one whom he would wish to do so, or finally to state whether he would most wonderful productions of his boyhood, as melodious and prefer that his work should be entrusted to Mr. Alfred Mellon or Mr. symmetrical as Mozart, though resembling Mozart in nothing Sainton, when the Commissioners offered to invite either of these more than in these abstract qualities, and with a scherzo that fore- | gentlemen to fill his place in the orchestra. shadowed the music to A Midsummer Night's Dream, began the Under these circumstances, the Commissioners, knowing the confidence concert. This was given in first-rate style, M. Sainton (who is al
that you place in Mr. Sainton, and the position which he fills in your ways at home in the music of Mendelssohn, which he plays con
staff, invited him to conduct Dr. Bennett's work; and they have much amore and to perfection) taking the first violin, Herr Pollitzer
satisfaction in thinking that it is now in the hands of one so well the second, Messrs. Doyle and Hann the two tenors, and M.
qualified to do justice to its merits.--I am, dear Sir, &c.,
F. R. SANDFORD. Paque the violoncello. The quintet was listened to throughout
Michael Costa, Esq., &c. &c. with an attention worthy of its merits, and delighted every amateur in the room. A solo for violoncello, on airs from Un Ballo in Maschera, written and performed by M. Paque, was highly successful. An excellent thing of its kind, this solo, in the
Provincial. hands of its composer (accompanied, too, by M. Silas), derived every advantage from effective reading and finished execution. The second part included Beethoven's 6th quartet (in B flat) and a Prelude and Impromptu for the pianoforte by M. Silas (his own
The Birmingham Journal of Saturday, April 26, has a long accomposition). The instrumental music was most agreeably varied |
ed count of the last Subscription Concert of the Festival Choral Soby the singing of Mad. Sainton-Dolby, who in Haydn's canzonet,
| ciety, from which we condense some passages :"O tuneful voice," exhibited the refined and classical taste for “ The last subscription series was brought to a close on Thursday which she is distinguisheil. Her other pieces were the “ Evening evening with a selection from Samson and Haydn's Seasons. The coPrayer," from Mr. Costa's Eli, and Mr. Henry Smart's “ Lady of operation of the great English tenor, Mr. Sims Reeves, was foremost the Lea," one of the elegant “romances de salon " now universally |
among the many recommendations of the concert; and even without the in vogue. Mr. Deacon accompanied Haydn's canzonet in the style
association of Miss Emily Spiller, Miss Palmer, Mr. Inkersall, and Mr. of a thorough musician, M. Sainton's soirées will be remembered
Lewis Thomas, so eminent an artist, backed by so powerful and efficient as among the most agreeable and judiciously-managed of the
a choral force, ought to have sufficed, as it often has done cre now, to
fill the Town Hall to overflowing. Mr. Stockley was the conductor, Mr. season 1862.
Henry Hayward, first violin, and Mr. Stimpson, organist. Although
part, he contrived to find so many opportunities of distinction, that we MR, COSTA AND HER MAJESTY'S COMMISSIONERS. remember no instance in which his eminent qualifications have been
exhibited in Birmingham to greater advantage. The extreme difiiTo the Editor of “ The Times.”
culty of the music appeared to offer new occasions of triumph for his Sir.-I beg leave to inclose you the correspondence which has wonderful cxecutive skill, and in • Total eclipse,' in which the Israelite taken place between her Majesty's Commissioners of the Interna- |
giant bemoans his loss of sight, the heart-rending pathos and deep exprestional Exhibition and myself, with the persuasion that you will
sive power, in which Mr. Sims Reeves has ever been unrivalled, moved insert the letters as a simple act of justice after the attacks to
the audience in many cases to tears. In the remonstrance of Samson, which I have been subjected.-I am, Sir, yours, &c.,
• Why does the God of Israel sleep?' the marvellous fluency, power, and
accuracy of intonation of Mr. Sims Reeves were triumphantly revealed;
M. Costa. and in the duet with Harapha, Go, baffled coward,' the same rare gifts 59 Eceleston Square, April 28.
were exhibited in a yet more striking manner, and contributed mainly
to bring about the encore,' which the audience so enthusiastically 59 Eccleston Square, April 26, 1862.
urged, and the singers so cheerfully conceded. Miss Emily Spiller, in Dear Sir,--My attention has been called to several statements in the the 'Let the bright scrapluim,' gave evidenco cf a sweet flexible voice. public newspapers, reflecting upon me as to the performance of Dr. | Miss Palmer sang with evident hoarseness in the early part of the evenBennett's music at the opening of the Exhibition ; and as it appears to ing, but soon regained her purity and richness of voice, combined with be the object of the writers to induce the belief that I have, through feeling and dramatic power. Mr. Inkersall distinguished himself in the caprice, or some other unwortlıy motivo, created embarrassment by
tenor music of Albert in an excerpt from Haydn's Seasons, and Mr. “ suddenly” declining to conduct Dr. Bennett's composition, and Lewis Thomas, who took the onerous bass music of Manoah in Samson, virtually violated an engagement previously made between me and and of Simon in the Seasons, sang with great spirit and vocal skill. The her Majesty's Commissioners, I must request that you will favour me chorus appeared to enter fully into the spirit of the music of Samson by recalling to the recollection of the Commissioners that, at the very with which they are thoroughly familiar. Their performance was outset, when I was first consulted on the subject of the musical ar almost irreproachable. The orchestra, with the exception of the brass, rangements, early in July last, I made it a distinct condition of my instruments, discharged their duties with ability. Mr. Stockley conservices being available that I should not be expected to conduct any ducted with his usual good sense and presence of mind." work of Dr. Bennett, if he should be invited to furnish one for performance on the occasion of the opening, as I must, for reasons which were explained to the Commissioners, positively decline, with their complete assent, to do so.
ST. JAMES'S HALL,
what to style the Commissioners of the Anti-national ExRegent Street and Piccadilly.
hibition - a speculation which, whatever good it may do, is
certainly calculated to bring one nation into contempt. MONDAY POPULAR CONCERTS,
To say that they are utterly unfitted for the duties they have to perform would be nothing. There are numbers of
more or less incapable men about London, who are not TIGHTY-FOURTH CONCERT, ON MONDAY
necessarily low-minded because they are a little deficient in V Evening, May 5th, 1862. For the Benefit of MR. CHARLES HALLE.
To say that the Commissioners are blind to artistic beauty, PROGRAMME.
or, rather, that they are so gimlet-eyed as to discover what PART 1.-Quartet, in C major for Two Violins, Viola, and Violoncello, MM. JOACHIM, L. RIES, SCHREURS, and PIATTI (Mozart). Duet, “The moon has raised her | they mistake for, or wilfully affect to regard as, beauty in lamp on high," Lily of Killarncy, Mr. TENNANT and Mr. SANTLEY (J. Benedict). Song,
constructions which are veritable Parthenons of ugliness“ Yarico to her lover," Mr. TENNANT (Himmel). Recitative and Romance, “The Colleen Bawn," Lily of Killarney (by desire), Mr. SANTLEY (Benedict). Sonata, in A flat, for Pianoforte solo, Mr. CUARLES HALLÉ (C. M. von Weber).
PART II.-Sunat, in C minor for Pianoforte and Violin, Mr. CHARLES HALLÉ and | like the whole truth as regards these ignorant, paltry, Herr JOACHIM (Beethoven). Song, "Auf Flügeln des Gesänges," Mr. TENNANT (Men
thoroughly shabby representatives of a nation which, as a delssohn)Song, "L'Addio," Mr. SANTLEY (Schubert). Trio, in D minor, for Pianoforte, Violin and Violoncello, Mr. CAARLES HALLE, Herr JOACHIM, and Signor nation, is neither uninformed, nor unmindful of the dignity PIATTI (Mendelssohp). Conductor, MR. BENEDICT. To commence at eight o'clock precisely.
of art, nor generally low.
To say that they are foolish — but every one knows that NOTICE.--It is respectfully suggested that such persons as are not desirous of remaining till the end of the performance cau leave either before the commencement of the they are foolish, and not even inclined to repent of their last instrumental piece, or between any two of the movements, so that those who wish to hear the whole may do so without interruption.
folly; naked of wisdom, and not ashamed! After seeing * Between the last vocal piece and the Sonata for Pianoforte and Violin, an interval of Five Minutes will be allowed. The Concert will tinish before half-past
the South Kensington Museum, and knowing well that that ten o'clock.
hideous edifice - beyond a doubt the most unsightly in N.B. The Programme of every Concert will henceforward include a detailed analy. sis, with Illustrations in musical type, of the Sonata for Pianoforte alone, at the end of Europe - was the production of an architectural Captain of Part 1. Stalls, 58.; Balcony, 38.; Admission, Is.
Engineers, they straightway commissioned the said Captain A few Sofa Stalls, near the Piano, 108. 6d.
of Engineers to build another Museum on a larger scale. Tickets to be had of Mr. Austin, at the Hall, 28 Piccadilly ; CHAPPELL & Co., 50
There were two men in England of whom they ought at New Bond Street, and the principal Musicsellers.
once to have thought in connexion with the Exhibition
edifice. One was Sir Joseph Paxton, from his success first NOTICES.
in Hyde Park, and afterwards at Sydenham, where he has To ADVERTISERS.- Advertisers are informed, that for the future the Advertising Agency of THE MUSICAL WORLD is established
erected the most aërial, fairy-like building of modern times; at the Magazine of MESSRS. DUNCAN DAVISON & Co., 244
the other was Captain Fowke, by far the worst architect of Regent Street, corner of Little Argyll Street (First Floor). Ad this or any other age. Seriously, we do not believe that vertisements can be received as late as Three o'Clock P.M., on even the Royal Engineers could produce another man capable Fridays—but not later. Payment on delivery.
of devising such a thoroughly ugly, repulsire-looking struc. Two lines and under
ture as, under the title of the South Kensington Museum, Terms Every additional 10 words ... ... 6d.
has now been allowed for some years past to raise its bead To PUBLISHERS AND COMPOSERS.-AU Music for Review in THE
on its back, or backs—or whatever the boiler-roofs which MUSICAL WORLD must henceforward be forwarded to the Editor, care of MESSRS. DUNCAN DAVISON & Co., 244 Regent Street.
surmount the sheds are to be called in the otherwise A List of every Piece sent for Review will appear on the Satur
agreeable-enough suburb of Brompton. The Commissioners, day following in THE MUSICAL WORLD.
we repeat, ought to have thought of both these men. It was To CONCERT GIVERS.-No Benefit-Concert, or Musical Perform- | desirable that they should seek the one, essential that they
ance, except of general interest, unless previously Advertised, can | should avoid the other. They did the very converse of be reported in THE MUSICAL WORLD.
what they ought to have done of what would have been done, not only by persons of good taste, or even of common sense, but even by any moderately straightforward, wellmeaning corporation of imbeciles. It required a combination
of perversity of various kinds to make the Commissioners LONDON: SATURDAY, MAY 3, 186 2.
prefer the architect of by far the worst, to the architect of
by far the best, Exhibition-building ever seen in England. W HEN Napoleon I. called the English a nation of shop. But these unfortunate men have had a long artistic rope
keepers, he made a good insulting observation which given them, and we are glad to see that they are hanging has delighted the French ever since. But England is no themselves very fast indeed. Their last movement in this more a nation of shopkeepers than it is a nation of sailors, direction has been to reject a cantata offered to them in the or of cotton-lords, or of landed aristocrats : it is a nation of kindest manner, in the best and most generous spirit, by a variety of interests, and in which the shop-keeping one, Sig. Verdi. Some eminent composers, if you asked them so far from predominating, has, politically speaking, scarcely for a cantata, would give you a march ; Sig. Verdi, asked any voice at all. If Napoleon III., however, were to call for a march, gives a cantata. the Commissioners of the Brompton Anti-national Exhibi “ This is too long," say the Commissioners. "You send tion a body of shop-keepers, he would be paying them a us choruses, and even some solo verses to be sung by a man most unmerited compliment; for shop-keepers, after all, are named Tamberlik. You must not trouble us with anything a respectable class of men. Many of them are honest, a of this kind. Take back your contribution. It is a product few are even honourable. All are civil to those with whom of industry for which we can find no place.” they are likely to have dealings, and as polite as possible to We hope Sig. Verdi will understand the deep disgust them if there is a certainty that those dealings will prove which the news of the rejection of his kind, sympathetic profitable.
co-operation has caused among the musical and general We do not know, without using unbecoming language, public of London. Our Opera Houses are not endowed with
The Musical World.