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ing till the end of the performance can leave either before the commencement of the
ST. JAME S’S HALL.
and purposes, inasmuch as people from the country and from
abroad are likely, as a matter of expediency, in the majority MONDAY POPULAR CONCERTS. of instances, to make London their home during the festival;
while the flower of the performers, vocal and instrumental,
to say nothing of the bulk and intelligence of the active TIGHTY: FIFTH CONCERT, ON MONDAY
management, can only be supplied from the same exhaustless U Evening, May 19th, 1862. PROGRAMME.
source. The proportions of the London festival, compared PART 1.- Quartet, in F, Op. 59, No. 1, for Two Violins. Viola, and Violoncello, with those of the Birmingham, will fairly represent the difMM. JOACHIM, L. KIES, SCHREURS, and PIATTI (Beethoven). Canzonet, “Sympathy" Mad. LOUISA VINNING (Haydn). Song, “ Now sleeps the crimson petal," Mr. SANTLEY ference in magnitude, wealth, and population between the (Frank Mori). Sunata, in the Italian style, for Pianoforte solo, Herr, PAUER (J. S.
capital of England and the commercial emporium of the Bach).
Part II.-Andante Fugue, in C major, for Violin solo, Herr JOACHIM (J. S. Bach). “Black Country.”
The Handel Triennial Festival is the legitimate offspring loncello, Herr PAUER, Herr JOACHIM, and Signor PIATTI (Schubert).
of progress—of progress especially noticeable within the Conductor, MR. BENEDICT. To commence at eight O'clock precisely. I
last quarter of a century, in the course of which, thanks to NOTICE,- It is respectfully suggested that such persons as are not desirous of remain
the initiatory example and universal influence of the Sacred last instrumental piece, or between any two of the movements, so that those who wish
Harmonic Society, choral singing has attained a proficiency to hear the whole may do so without interruption.
Between the last vocal piece and the Trio for Pianoforte, Violin, and Violon which was formerly not even contemplated. Although the cello, an interval of Five Minutes will be allowed. The Concert will finish before hall-past ten O'clock.
strong fresh voices of Yorkshire, Lancashire, and Norfolk N.B. The Programme of every Concert will henceforward include a detailed analy
are now occasionally cited in disparagement of the comparasis, with Illustrations in musical type, of the Sonata for Pianoforte alone, at the end of Part I.
tively jaded organs of our harder-worked fellow-citizens, Stalls, 58.; Balcony, 3s.; Admission, Is. A few Sofa Stalls, near the Piano, 108. 6d.
those who remember the country music-meetings of not Tickets to be had of Mr. Austin, at the Hall, 28 Piccadilly ; CHAPPELL & Co., 50 more than twenty years ago must unanimously admit that New Bond Street, and the principal Musicsellers.
performances then not merely tolerated, but admired, would
scarcely be found tolerable in the present day; and, supTO CORRESPONDENTS.
posing them equally conversant with what has been since PUBLIUSTULUB :-" Adieu, plaisant pays de France !
going on in London, they will hardly refuse to acknowledge O, ma patrie ! La plus chérie
that the impetus of progress has proceeded directly from the Qui as nourri ma jeune enfance !
capital, and that the gradual advance of the Sacred Har. Adieu, France! adieu nos beaux jours ! ” monic Society in excellence and public fame first led to the
foundation of similar institutions, of more or less utility and NOTICES,
significance, in almost every considerable town of the United To ADVERTISERS.-Advertisers are informed, that for the future
Kingdom. As the Handel Triennial Festival, however, will the Advertising Agency of THE MUSICAL WORLD is established draw its executive materials from all parts of Great Britain, at the Magazine of MESSRS. DUNCAN Davison & Co., 244 every choral society appointing chosen delegates to represent Regent Street, corner of Little Argyll Street (First Floor). Ad it, there can be no feeling of jealousy between town and vertisements can be received as late as Three o'clock P.M., on
country (either in amateur or professional circles) about this Fridays—but not later. Payment on delivery.
particular question, which, after all, is simply one of histori.
cal interest. That London furnishes the best solo singers verns | Every additional 10 words
... 6d. To PUBLISHERS AND COMPOSERS.- AU Music for Review in THE
and the best orchestral players to all the country festivals is MUSICAL WORLD must henceforward be forwarded to the Editor,
notorious; and it is but fair that they should send their most care of MESSRS. DUNCAN DAVISON & Co., 244 Regent Street. efficient choristers, men and women, to our one projected A List of every Piece sent for Review will appear on the Satur festival in return. Where, indeed, competition is altogether day following in THE MUSICAL WORLD.
impracticable, jealousy would be absurd. It may, therefore, To CONCERT GIVERS.—No Benefit-Concert, or Musical Perform- be concluded that the first Handel Triennial Festival will
ance, except of general interest, unless previously Advertised, can | meet with as hearty co-operation from all sides as was ex. be reported in THE MUSICAL WORLD.
tended to the “ Commemorations” of 1857 and 1859—the imposing “trial” and the triumphant “centenary;" and that, in the venerated name of the greatest of sacred com
posers, the Biblical musician par excellence, a pact of LONDON: SATURDAY, MAY 10, 186 2.
musical fellowship, at once sincere and enduring, will henceforth be signed and sealed between London and its country
rivals. The united efforts of musical England in the proTHE Handel Commemorations — as we anticipated in motion of so excellent a cause come all the more gracefully
I noticing the very remarkable performances at the in the year of the Great International Exhibition. Crystal Palace-have ultimately and justifiably resolved. The dates of the three performances are fixed for Monthemselves into the “ Handel Triennial Festival.” The day, the 23rd, Wednesday, the 25th, and Friday, the 27th of “ Commemorations” of 1784 and 1834 at Westminster June. On the first day The Messiah, and on the last Israel Abbey, revived, and, it must be admitted, far surpassed in in Egypt will be given. The Wednesday is to be devoted grandeur by those of 1857 and 1859 at Sydenbam, naturally led to a selection, comprising some pieces from the Dettingen to this result. There is no reason whatever why London should “ Te Deum” (the great effect produced by which in 1859 not hold a musical festival once in three years just as well may still be remembered); others from Saul, Judas, and as Birmingham and the rest; and although the performances Sampson; the double-choruses, “ Immortal Lord” (Debomust necessarily take place at Sydenham—which possesses rah), “From the Censer” (Solomon), and the series descripthe only building vast enough for such a purpose within reason- tive of “the passions " (ibid.); together with, probably-and able distance of the capital—the Handel Triennial Festival | every lover of Handel's music must hope this will be the will constitute a great London music-meeting to all intents case—“ Wretched Lovers,” from Acis, and a chorus from
arme Ş Two lines and under
The Musical World.
Alexander's Feast. On the whole, no better or more attrac material to that of the sides and back led to the employment of a vast tive programme could easily be devised. The Messiah is
oiled and hardened awning of canvas, after the manner of the Velaria,
by which the Colosseum and other similar buildings of ancient Rome indispensable to every English festival; while the omission
were covered during great public displays. This, although effective to of the colossal Israel, after the unparalleled sensation it
a considerable extent, did not, it is candidly admitted, effect all that had created both in 1857 and in 1859, would lead to a general been anticipated. Neither in form nor structure could all be attained outcry. In addition to this, these two oratorios are incon that was intended. And thus the force and clearness of the choruses, testably the grandest and most perfect of Handel's sacred
improved as they were, did not reach the point anticipated from the
additions made to the numbers of the orchestra, while it was no less compositions. That the performances will, in a marked
evident that still more required to be done to aid the solo singers. It degree, excel even those at the “Centenary” (1859) may be has, therefore, been determined that the entire orchestra, and the space looked upon as positive. For three years not only has the beyond it as far as the intersection of the great transept with the naves, “ London contingent” of 1,600 singers held repeated prac- shall be solidly roofed in. The orchestra at the Crystal Palace, 216 tices in Exeter-hall under the superintendence of Mr. Costa
feet wide, is double the diameter of the dome of St. Paul's, or nearly
equal to that of the great dome of the 1862 Exhibition building and (who is again to be director), but the country societies
Exeter Hall combined ; while it is nearly as deep from front to back as have been no less industrious. Moreover, festivals have Exeter Hall is long. The sides are about sixty feet high, or nearly the been celebrated in the interval at Bradford, Norwich, Bir- same as the Birmingham Town Hall. Wooden cross-lie girders being mingham, Gloucester, Worcester, and Hereford ; while all carried across, in the form of an arch, rising about forty feet in a clear over England, independently of London, unaccustomed signs
span of 216 feet, the underside will be filled in with tic-bracings lined
with well-seasoned match-boarding, bound closely together by ingenious of musical activity bave been manifest. A general tendency,
appliances until the whole surface becomes as hard and as resonant as a
appliances until the whole surface indeed, to advance by gradual steps up to that point of drum-head." efficiency which might warrant a claim to take part in the
The admissions contained in the foregoing are candid, and first Handel Triennial Festival-as the culminating event in
their candour justifies a belief in the efficacy of the proposed the musical annals of Great Britain—would seem to have
modifications and additions. We must, however, desist for exhibited itself far and wide. On the other hand, the com.
the present. Enough has been adduced to show that there mittee, with Mr. Bowley as their organising chief, the officers
is every chance of the first Handel Triennial Festival surof the Sacred Harmonic Society, deprived of whose imme
passing in imposing grandeur any previous musical “ solemni. diate countenance and support such an undertaking would
sation," and the fact of its coming off during the meridian of the be little short of Utopian, and those who are most active in
“Great International Exhibition” warrants a conviction that promoting the interests of the Crystal Palace itself, are not if the
if the “Commemoration” of 1859 was attended by “81,319
Co likely to have allowed three years to elapse without care
persons,” the Festival of 1862 may be patronised by at least fully weighing all the means and appliances requisite to
as many more. There is plenty of room in the Crystal profit by the experience of 1859—just as, in the shorter in- | Palace
Palace; and the “stewards" for "1857" and "1859" have terval between the first and second Commemorations, they sufficiently convinced the public that the comfortable accomably and honestly profited by the experience of 1857. That
modation of a vast multitude is, with tolerably skilful such is the case may be gathered from the appearance of a
management, by no means an impossible achievement. “programme of arrangements,” in the shape of a little
D. pamphlet, entitled The Great Triennial Festival at the Crystal Palace in 1862, bearing the familiar signature of “ Robert K. Bowley, General Manager to the Crystal Palace THE Cantata written by Sig. Verdi for the opening of the Company.” In this we are reminded in sufficiently plain 11 International Exhibition is not doomed to unmerited language, dashed by a modicum of not inexcusable enthu- | neglect. Because the Royal Commissioners, in their wisdom siasm, of the wonderfully successful issue of the “ Handel or their spleen, have thought proper to reject a work of one Commemoration” in 1857, and, with equal justice, of the of the most popular of living dramatic composers—a work marked progress evinced in the subsequent attempt—the expressly ordered by themselves, and refused without a real “ Centenary” - for which the first experiment was vir- shadow of reason-it does not therefore follow that the tually a preliminary rehearsal on a grand scale. Mr. Bowley public would not desire to hear it elsewhere, or that it could points with satisfaction to & passage in the correspondence not be performed in any other locality than the wretched of Mrs. Delany (Mary Grenville), who in 1756, three years apology for a Crystal Palace in Kensington. Art, indeed, before Handel's death, having attended a performance of the could hardly be said to be in the ascendant in this country, grandest of all choral works, wrote—“ Israel in Egypt did if a new composition by the author of Rigoletto, the Trovanot take ; it is too solemn for common ears.” But at the tore, and many masterpieces, written to celebrate the greatest " Commemoration” in 1859, says, triumphantly, Mr. Bowley, event of our own immediate time, should, when heedlessly “ the sum of 16,0001. was received for tickets" to hear " that cast aside, be suffered to pass away without inquiry, and no stupendous masterpiece of the musical art.” True there was effort be made to drag it from obscurity into light. Fortuno Sacred Harmonic Society in the year 1756; and no Mr. nately, the whole feeling of the country in this instance is Bowley, much less a Crystal Palace, to render practicable with the Italian Maestro, and against the Commissioners. such enormous undertakings as have been lately set on foot ; The cry has gone forth from one end of the kingdom to the or, perhaps, even Mrs. Delany might have hesitated before other that a grievous wrong has been done, and that restitumaking common cause with “common ears.” The following, tion is imperatively demanded. What can make amends to with reference to the Handel-orchestra in the central transept Sig. Verdi for the extinguishment of his hopes ? That he of the Crystal Palace, may be read with interest :
put bis whole soul and mind to his task, having to compete * For the festival of 1857 the larger portion of the present orchestra with the three greatest masters of Germany, France, and was built. In 1859 it was enlarged to such dimensions as experience England, we may readily imagine. As the representative had dictated to be advisable for the largest practicable choral festival.
of Italy he would not willingly be rearmost in the artistic It was also inclosed at the sides and back with screens of the most
struggle, but would bend his most strenuous efforts to gain resonant material, the good effect of which at the performances of 1859 was admitted on all hands. Disinclination, however, at that time to
a place, if he could not be first, in the contest. No doubt undertake so large a work as entirely roofing the orchestra with similar Sig. Verdi was deeply offended at the conduct of the Com
missioners. No doubt his vanity was probed to the quick thereof at least a fortnight before the rehearsal took place. He was by their refusal. It may be that he considered himself
induced to take this course from the delays which had occurred in
forwarding to him the music performed in the former season; and as lowered, if not degraded, in the eyes of Europe. Out
the concerts of the society took place during the opera season, he found wardly, however, the popular composer appears to have it matter of difficulty to get opportunity for the perusal of works which borne the indignity thrust upon him with philosophical were new to him. In the course of the season 1848, an overture of composure. Nothing could be freer from acrimony or ill
Mr. Bennett's was placed in the programme. Some days beyond the
stipulated time having elapsed without receiving the score, Mr. feeling than the letter addressed to a morning contemporary
Costa sent to one of the directors for it. In reply thereto, he was inexplanatory of the reasons why he wrote a Cantata instead
formed that Mr. Bennett bad been applied to for the score, and had of a March, and showing how there was time more than suf answered that he had not one in his possession, but would get one from ficient for its rehearsal -- that being one reason advanced by some of his pupils, and send it. Days passed on, no music arrived ; the Commissioners for its rejection. The tone of Sig. Verdi's and on Saturday (the morning of the rehearsal), as Mr. Costa was about letter was eminently calm and dignified. He uttered no
to proceed to the Hanover Square Rooms, a parcel was put in his hands,
which he was told contained the music of Mr. Bennett's overture. Not complaint; he made not a murmur. He stated a fact, which
a little vexed at this disregard of the understanding he had with the he was called upon to do, and left his case, without sugges- | directors, Mr. Costa took the score with him, and as he rode to the tion or comment, to be adjudicated by the world. But that concert room looked it over sufficiently to enable him to see there was letter, in its quietude and self-possession, gained him more
nothing very difficult in the character of the work. The overture was friends than if he had issued the most eloquent protest, or if
rchcarsed by the band with unusual care --- it was played over three
| times. At the conclusion of the rehearsal many of the members of the he had rung the changes on his position, his treatment, and
orchestra complimented Mr. Costa upon the manner in which Mr. his expectations. All Art-England has made joint cause Bennett's overture had been played. Mr. Bennett was absent from with Sig. Verdi, and his popularity will moult no feather the rehearsal, and Mr. Costa heard nothing from him until five from the ruffling it has received at the hands of the Royal
minutes before the commencement of the performance on the Monday Commissioners.
evening, when Mr. Lucas placed in his hand a slip of paper, on which
was written :Sig. Verdi's Cantata, we are informed, is about to be pro
“My dear Lucas ---A pupil of mine at the rehearsal last Saturday has duced at Her Majesty's Theatre, with full band and chorus, told me my overture was very badly performed; the movements taken wrong; under the superintendence of the composer. The solo parts, the pianos and fortes neglected. As you have conducted the overture many originally intended for Sig. Tamberlik, have been altered for
times before, be good enough to tell Costa how to do it.'
" Not a little annoyed at such an uncourteous mode of communication, Mlle. Titiens by Sig. Verdi. The public will, therefore, be
Mr. Costa thereupon acquainted Mr. Lucas (then a director of the Phil. afforded an opportunity of forming an opinion of a work the
harmonic Society) that, after such an intimation from Mr. Bennett, he rejection of which from the programme of the Inauguration must decline conducting his work at the performance; and when the of the International Exhibition has created so much sympa- period arrived in the programme for Mr. Bennett's overture, Mr. Costa thy. It will then be seen how much the great preliminary
called Mr. Lucas down from his stand to conduct it, and left the orches
called Mr. Lucas down from musical festival has lost. Not that the real merits of the
tra. Mr. Costa then informed the Directors of the Philharmonic Cantata have anything whatever to do with its rejection;
Society that, after the unjustifiable insult he considered he had received
from Mr. Bennett, he must positively refuse to conduct any more of his nor that, should it fall short of expectation, the Commis- | music. It is well known that this resolve has been adhered to." sioners will be exonerated from censure. The utmost Now no one better than yourself is aware that the above curiosity and interest are excited about Sig. Verdi's pro- l statement is in almost every particular inexact, and that scribed work, and no doubt a large crowd will be present at
the letter to Mr. Lucas is a pure invention. Moreover, the last the first performance. This, we may presume, will constitute
sentence, “ It is well known that this resolve (Sig. Costa's some slight recompence to the popular composer for the treat- ) resolve not to conduct any more of Mr. Bennett's music) has ment he has received.
been adhered to" - involves an untruth. I have a programme before me to prove it - a programme of the Phil.
harmonic Concert of April 22, 1850:To the Editor of the MUSICAL WORLD.
PART 1. CIR,-Although I applaud your reticence at this festive | Sinfonia in D (MS.)
C. Potter. time with regard to the Bennett-Costa misunderstanding,
Aria, “ L'Addio," Mr. Wbit worth . .
Mozart. I still think you ought not to allow false statements to pass | Scena (Der Freischütz), Miss C. Hayes,
Concerto, violin, M. Sainton.
Weber. current which you have it in your power to set right I re-Overture (MS.), Ruy Blas.. : Mendelssohn. member reading in your pages, as far back as 1853, a very
PART II. luminous and, I must add, a very impartial, history of the Sinfonia in B flat (No. 9) . . . Haydn. whole dispute, from its first beginning in 1849. Why do Aria, “Fon mi dir,” Miss Catherine Hayes Mozart. you not republish that? It would enlighten many who are | CAPRICE, pianoforte, Miss Kate Loder. W. STERNDALE BENNETT. desirous of passing a fair judgment and estimating the dis
lis Aria (I Fuori citi), Mr. Whitworth , Paer,
Mozart. pute at its value, and is, I must add, absolutely indispensable
Conductor, MR. Costa. now that such a version as the one I subjoin has appeared in a paper of such wide circulation, extensive influence, and
The dispute was in 1849, and this concert (at which I was high respectability as The Observer.
present, and the whole of which was conducted by Sig. Costa)
took place in the year following. You, sir, however, can, if “ The following is the history of the objection raised by Mr. Costa to
you please, set us all right in the matter, which in fairness to conduct Dr. Bennett's music:-« In 1846 Mr. Costa was appointed conductor of the Philharmonic
Sig. Costa, Professor Bennett, and the public, you ought to do. Society. Immediately preceding this the operations of the society had
AN ENGLISH MUSICIAN. not been attended with very great success. The first season of Mr. London, May 8, 1862. Costa's association with it was one of the most prosperous. He was reinvited to continue the conductor of the Society, which invitation he
PROFESSOR STERNDALE BENNETT has presented to M. complied with up to 1854, when he discontinued his association with it. Prior, however, to his acceptance of office, he made it a stipulation with
Sainton the MS. score of the Cantatu written for the
Sainton the NS. score of the directors that, if any music with which he was not familiar was in. opening of the International Exhibition, handsomely bound, troduced at the concerts of the society, he should receive the score as a souvenir.
MusicAL SOCIETY OF LONDON.–At the next concert, instead by the hand we love--a mother's sister's, wife's-say, is it not a ministrant of the overture to Struensée, which was to begin the performance, of love to child, to man-a household deity, now meeting our moods, it has been decided (in accorılance with M. Meyerbeer's own | answering to our needs, sinking to depths we cannot fathom, rising to wish) to substitute the Grand Overture composed expressly for
heights we cannot reach-leading, guiding, great and grand and good, the International Exhibition.
and now stooping to our lower wants, our souls reverberating from its THE CONSERVATIVE Land Society.—The Executive Committee
keys? The home that has a piano, what capacity for evening pleasure presented Mr. Gruneisen, the Secretary, on the 6th inst., with a
and profit has it! Alas, that so many wives and mothers should speak handsome testimonial, accompanied by a letter signed by Viscount
of their ability to play as a mere accomplishment of the past, and that
children should grow up looking on the piano as a thing unwisely kept Ranelagh, the chairman, in the name of the board, stating that for con
for company and show ! Rev. J. F. W. WARE. the presentation had been subscribed for amongst themselves, as a token of their esteem for the Secretary's indefatigable exertions.
Provincial. M, Fetis is in London. He will report upon the musical department in the International Exhibition for the Belgian Government.
M. Henri HERZ has arrived in London. Among the foreign manufacturers who exhibit pianofortes at the International Exhi
The two concluding concerts of the Bath Classical Concert Sobition M. Herz (who, it should be added, has abandoned neither
ciety, we are informed by the Bath Chronicle of Thursday last, composition nor playing) is one of the most eminent.
were among the most complete and brilliant ever given by the SoMiss ALICE MANGOLD.—'Those of our readers who heard this
ciety. At the evening concert on Tuesday, Handel's oratorio, young pianist last year, and recognised her unusual talent, will
Samson, was performed, with Miss Banks, Miss Palmer, Mr. Sims learn with much regret that domestic afllictions, followed by a
Reeves, and Mr. Weiss as principal solo singers. Miss Banks serious illness, will prevent her from accepting any engagements to
seems to have pleased greatly, and Mr. Sims Reeves is lauded to play in public during this season.
the skies. Mr. Weiss, too, is mentioned in no measured terms of HERR DAVIDOFF.—This celebrated Russian violoncellist will
praise. The chorus was somewhat weak in treble voices. At the arrive in London in time to perform at the next (the fifth) Phil. |
morning concert on Wednesday, Mr. Sims Reeves made a special harmonic Concert
hit in Mr. George Lake's new ballad, “ Summer is sweet," obtainMR. CAARLES D'ALBERT, the popular and well-known coin
ing an enthusiastic encore; and Miss Palmer received the same poser of dance-music, bas quite recovered from his late severe
| compliment in Mr. Hatton's ballad, “ The sailor's wife." Madame illness.
Louisa Vinning sang in place of Miss Banks. We extract a paraM. DEPRET. — The report of the death of this gentlemen is
is graph or two from the Chronicle. The subjoined refers to Messrs. without foundation. “ Depret is not dead, but alive at Florence,
Sims Reeves and Weiss :-and (writes a correspondent) counts amongst the most distinguished “The splendid voice of Mr. Sims Reeves never appeared fresher. He amateurs of that city.”
sang in his best style, and higher praise could not be awarded him. His Sig. RONCONI is still very ill, at Granada. It is stated that he delivery of the recitative, 'O loss of sight,' and the famous succeedhas undergone a successful operation for the stone. Whether this
ing air, •Total eclipse,' was distinguished by that wonderful pathos be trueor not, his reappearance among us will be hailed with uni
which never fails to entrance the hearer. When the composer was him
self blind, it is said he shed tears on this air being sung in his presence; versal satisfaction. MR. AGUILAR's first “Reception " this season will take place
but it is impossible that he could have listened to a more exquisite de
lineation of the piece than that given by our first English tenor. Anat his residence on Saturday evening the 17th inst.
other air to which Mr. Reeves imparted the consummate expression of Nice.—Herr Ernst, who has been staying here for a considerable
which he is so great a master, was, “Why does the God of Israel sleep?' period, in the hopes of recovering his health, is in an exceedingly
| Again, in .Thus when the sun in's watery bed,' he displayed the marprecarious condition. The intelligence of Halévy's death has had vellous beauty of his voice to such perfection that the audience apa most prejudicial effect upon the health of the celebrated violinist. plauded him with acclamations. The pièce de resistance of the evening
MR. ELLIOT GALER is about to open the New Royalty Theatre as was the duet between Mr. Reeves and Mr. Weiss, Go, batiled coward, an Operetta House. He will have the assistance of Mr. and Mrs. 1 go.' Mr. Reeves utters this defiance with a withering contempt and exHenri Drayton and Miss Fanny Reeves. This little theatre is pressive taunt unequalled by any living singer. Its performance was especially suited to the production of light operatic works, and as Mr. greeted by overwhelming applause, and encored in a manner that was Galer has had considerable experience in that line, there can be little not to be resisted. The deep sonorous tones of Mr. Weiss were heard doubt of his success.
to eminent advantage in the music of the Philistine. He was particuAll Saints' CHURCH, St. John's Wood.-Mr. Walter H. Sangster,larly happy in the air, Honour and arms, and the indignation with late organist of St. Michael's, Chester Square, gained the appointment, which he delivered the line, 'I'd left thy carcass where the ass lay by competition, of organist to the above church on Tuesday last. A dead,' was magnificent. He is certainly the most accomplished English large organ by Bevington is being built for the church.
basso of the day." SCHUBERT'S opera of Die Verschworenen, oder der Häusliche Kreig,
| Of Mr. Edward Roeckel, at the morning concert, our contemhas been published, in a complete pianoforte edition, with words, by A. Spina, of Vienna.
porary writes as follows:GALLERY OF ILLUSTRATION.—After a successful tour in the provinces, “Our fellow-citizen, Mr. Edward Rocckel, appeared for the first time Mr. Mark Lemon has returned to give those agreeable archæological at these concerts, and gave two pianoforte solos in a style so finished lectures “ About London” which he delivered for the first time last win and masterly, that his performances will be looked for with pleasure at ter. Taking place on three afternoons in the week, and on Saturday future concerts. His selections were Beethoven's Sonata Appassionata evening, these lectures do not interfere with Mr. and Mrs. T. G. Reed's (Op. 57), and a lively piece of his own writing. He possesses a sensientertainment.
bility of touch and a facility of manipulation uncommon in provincial professors, and is without any of those pretentious airs which men of
greater, as well as of lesser, capability too frequently assume. There MUSIC AT HOME.- What shall the amusements of the home be? When cannot be a doubt that he is a musician of superior taste and skill.” there is the ability and taste, I regard music, combining in happiest proportions instruction and pleasure, as standing at the head of the
Of Messrs. Sims Reeves and Weiss again :home-evening enjoyments. What a never-failing resource have those “Three songs were allotted to Mr. Reeves, viz. Kücken's Twilight homes which God has blessed with this gift! How many pleasant is dark’ning,' Mendelssohn's • Hunter's Song,' and Lake's 'Summer is family circles gather nightly about the piano ! How many a home is sweet.' They were all finely interpreted, and in Summer is sweet,' the vocal with the voice of song! The piano is a great and universal boon accomplished tenor, being enthusiastically encored, graciously repeated and comforter. One pauses and blesses it, as he hears it through the the song. It is admirably adapted to Mr. Recves's voice. The author open farmhouse window, or detects its sweetness stealing out amid the is, we presume, Mr. Geo, Lake, musical critic of the now defunct Mornnoise of the town-an angel's benison upon a wilderness of discord, ing Chronicle, the defunct Musical Gazette, and the still hale and hearty soothing the weary brain, listing the troubled spirit, pouring fresh Sunday Times, besides being composer of Daniel, an oratorio of great strength into the tired body, waking to worship, lulling to rest. Touched merit, first performed in Cork in 1853. Schubert's Wanderer,' and
Arne's ‘Flow thou regal, purple stream,' are equally fitted for Mr. | “Mr. H. C. Cooper, who has taken up his abode amongst us, gave his Weiss's splendid bass, and in both he was heartily applauded.”.
first Soirée Musicale at the Old Ship Assembly Rooms on Monday M. Bianchi's pianoforte 'accompaniments at the concert are
evening, assisted by Mad. de Tonnelier as vocalist, and by M. Edouard
de Paris, Mr. Gutteridge, Mr. Eugène Boileau, and Mr. R. H. Nibbs as highly praised. One more extract and we have done :
instrumentalists. The programme comprised Beethoven's Quartet in “We regret to state that the season has been in a monetary point of
A (op. 18), concerto for the violin by Mendelssohn, with pianoforte ac. view a failure. The Classical Concert Society have sustained a loss on companiment by M. E. de Paris, and Spohr's Quartet (op. 43). In the four concerts of 1501. The causes that led to this unwelcome result each of these Mr. Cooper's fine sterling style of playing was displayed are various. Elijah, for the production of which an outlay of more to great advantage. In breadth and vigour he has scarcely a rival; his than 2001. had to be incurred, brought the first loss, the attendance being
intonation is faultless, and we have never listened to finer staccato unremunerative through the death of the Prince Consort. Another
bowing. Mr. Cooper has improved since we last heard him in Brighton, serious deficiency was created by the refusal of Sig. Giuglini to fulfil his
and he had then been pronounced to be the first English violinist engagement, and the consequent postponement of the second concert.
of the day, and in that capacity worthily upholds the musical The performance of Samson has added to the debt. This state of things reputation of his country at the Philharmonic Concerts. Spohr's must be discouraging to the gentlemen who have devoted time and
quatuor is chiefly intended for the first violin, and here again money to the provision of music for the inhabitants of Bath, without Mr. Cooper showed his mastery of the instrument. M. Edouard de any idea of gain, but for the sole purpose of enhancing the attractions Paris, besides the pianoforte accompaniment (arranged by Mr. Cooper) of the city, and ministering to the gratification of the public. We to the Concerto, gave Beethoven's Moonlight Sonata. Mad. de Tonhope the loss will be made up. It cannot be expected that the con- nelier has a fine voice, particularly the upper notes, and has been well certs will be maintained if those who undertake the labours connected instructed. She sang • Robert, toi que j'aime,' and Come per me with their preparation are saddled with pecuniary liabilities. The sereno,' in a very pleasing style and with great distinctness of execusociety was established in 1855, with the view of providing musical tion. Mr. Cooper, now that he is settled among us, will doubtless give gatherings equal to those of the metropolis. Each year two oratorios other opportunities to the lovers and patrons of art to show that they have been produced, and for them, as for the miscellaneous concerts, the
can appreciate music of a high class and thus admirably executed." services of vocalists and instrumentalists of celebrity have been re
A Correspondent writing from Colchester sends us the following tained. The annual expenditure, during six years, has averaged 7001. It is of importance to the city that a source of amusement so refined
account of Mr. Coe's Concert and Readings at the Public Hall : should not be permitted to languish. The committee have worked “On Wednesday evening Mr. Coe (stage director at the Theatre indefatigably, and deserve the thanks of the people of Bath and the Royal, Haymarket) gave • Readings from Shakespeare, Sheridan, Tensurrounding neighbourhood.”
nyson, Thackeray, Bulwer, Sheridan Knowles,' &c. The Readings' All this is much to be regretted.
were interspersed with music of an appropriate character. Mlle. Georgi A correspondent from Bristol writes enthusiastically about Miss
sang • Una voce poco fa,' •Le muleteer de Calabre,' " 'Tis the harp in
the air' (Maritana), in all of which she was greatly applauded. Mlle. Jane Jackson, the pianist, who gave her annual benefit on the 28th ult. in the Music Hall. The lady played Hummel's Grand
Georgi, a pupil of Mr. Benedict's, well known in London for her fine
contralto voice, promises to take a high position in her profession. Mr. Concerto in A flat and Mr. Benedict's fantasia “ Erin." Her
John Hill and Mr. D. Spillane varied the entertainment agreeably by success was remarkable, according to the writer, and entirely sa
a brilliant duet for pianoforte and violin.” tisfied her warmest admirers, of whom she would seem to have a host in these parts. The Concert, in other respects, was of unusual interest, commencing with a selection from Der Freischütz, the
A REVIVED POET. principal parts being sung by Mr. Sims Reeves, Mad. Louisa Vin
(See Mr. Punch for ever so long ago.) ning, Miss Ada Jackson, and Mr. Weiss. The chorus was com.
I am the Poet of the Philharmonic, posed of the Clifton Vocal Association, who seem to have given
Who some years back composed in Punch a Tonic, their share of the music with excellent effect. Our correspondent which I hoped would bring peace between BENNETT and Costa. is even inore enthusiastic about Mr. Sims Reeves than about the
But regret animosity has been permitted to foster. bénéficiaire. His singing of the grand scena “Oh! I can bear Surely it is time Costa should alter his Demeanour, my fate no longer," he tells us, was as magnificent a specimen of And forget all that mistake and Nonsense about Parisina. grand dramatic singing as ever was heard. Mr. Weiss sang the STERNDALE is not stern, and they state has made a Sign music of Caspar with great vigour and power; Mad. Vinning That he will forget and forgive if Costa behaves Benign. was very effective in the scena “Before my eyes beheld him;" and Now MICHAEL should trample on the Devil of Wrath and Spleen, Miss Ada Jackson, sister of the concert-giver, was highly useful in
Apologise like a gentleman, and let all be serene, the concerted music, besides singing the air "Tho'clouds by tem
And as has been suggested by an able Contemporary, pests may be driven " with nice sentiment and feeling. Mr. Sims
Make some Amends as humanum est Semper errare, Reeves's success did not stop with the music of Weber. He sang
Request the gracious MR. GYE to ask Dr. BENNETT Kücken's song “Twilight is dark’ning,” and was encored in a hurri
To produce his Ode at Corent Garden, the Musical Senate,
Mr. Costa conducting it firm and brilliant as Marble, cane of applause. Our Correspondent adds that Mr. Swift has been
Which might indeed be Deemed making Amende honorable : singing with marked success at the theatre, where English Operas
Then the Public will rejoice at the reunion of the gifted Secessioners, are being now produced, in the Bohemian Girl, the Trovatore, And with one heart turn round and cordially kick the International Fra Diavolo and Guy Mannering.
Commissioners. From a correspondent at Canterbury we learn that, Mr. Longhurst's Grand Annual Concert took place on Monday Evening, April 28th, and was attended by a numerous and fashionable TWENTY-SIX LETTERS OF JOSEPH HAYDN. audience. Among the most attractive features of the Concert were Miss Eleanor Armstrong's singing of “Bel ruggio," from Semiramide,
(Continued from page 103.) in which she was encored, and the latter movement of which she re
(No. 3.)-MAD. GENZINGER TO HAYDN. peated; also a very pretty song, composed expressly for her, which she sang with great taste.
Oct. 29, 1789. The old English Ballad, "Jockey to the fair," sung by Miss Eyles, was another genuine success. “The soldier's dream."
I hope you have duly received my letter of Sept. 15, together with the sung by Mr. Cummings, and the duet “ Parigi O Cara," from La Tra
first movement of the symphony (of which I sent you the andante some viata, by the same gentleman, with Miss Armstrong, were much ap
months since); and herewith follows also the last movement of the plauded. Mr. Rodes, a local barytone, acquitted himself favourably. A Concerto of Beethoven's was well played by an amateur, accompanied
same, which I have arranged for the pianoforte to the best of my ability
--wishing only that it may please you and most humbly praying you, by the orchestra. Mr. Weist Hill, the violinist, played one of his own solos with brilliant effect. The Concert terminated with a selection from
in case I have made any mistakes, to make at your leisure all needful
corrections, which, most estimable Herr von Haydn, I shall at all times the Prophèle arranged for the orchestra by Mr. Longhurst.
| receive with heartiest thanks. I pray you have the goodness to inform The Brighton Herald devotes half a column to Mr. H. C.
me whether you received my letter of Sept. 15th, with the piece which Cooper's Soirée, from which we take the following:
accompanied it, and whether it was to your taste, which would be a great