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to every phrase in the music of Elvira. It was not merely in "Mi tradi quell'alma ingrata," that her vocal capability was conspicuous, but in all the concerted music, and notably in the trio " Protegga il giusto ciel." Donna Anna is well adapted for Mad. Fenco. In no character is her admirable style of singing of more essential service. M. Faurc, although he does not altogether realise our ideal of that "ever fresh, young, loved, and delicate wooer," the all-conquering hero of the work, personates Don Giovanni with skill, intelligence, and dignity, and sings with perfect accuracy. Sig. Tamberlik's "II mio tesoro " has gained for him lasting fame as well as the mere compliment of a nightly encore. Herr Formes' sonorous voice gave emphasis to all the'.important music allotted to Leporello, from the opening " Notte e giomo faticar " to the supper scene, in which the German basso's acting is as powerful as it is original. Signor Tagliafico's metallic tones are as well adapted as ever to the ghostly declamation of the Comniandatore; and both chorus and orchestra — if we except the wind band which performs upon the stage in the fete scene — were as irreproachable as usual. The mise-en-scene it is superfluous to praise, seeing that the Royal Italian Opera is the subject of our remarks.
On Tuesday, Vn Hallo in Maschera was repeated, and on Thursday the Barbure in Siviglia. On each occasion the house was brilliantly attended. To-night Rigoletto, for the first time.
THE ENTERPRISING IMPRESARIO.
The London season over, my Impresario makes arrangements for some of the principal members of his opera company to visit the provinces. He organises a touring party. The newspaper paragraphs which announce the fact, generally attribute his doing so to the purely philanthropic desire of affording the provincial public a treat, without any view to his own emolument. And indeed, whether foreseen or not, such is often the result of these excursions, which frequently prove profitable to all concerned except the Impresario himself. Artists of the greatest reputation are selected. Their pay is doubled, they travel and live like princes at the manager's expense. A pleasant time they pass. Generally speaking, no "happy family " can be more united and on better terms than B touring party of musical celebrities. The prima donna assoluta and the soprano leggiero dine daily at the same table, exchanging the most affectionate compliments upon each other's appearance. The primo tenore and his vulgarly supposed mortal enemy the bass take long walks together, and are inseparable. The barytone, the wit of the party, passes his time in getting up new jokes for the amusement of his companions,
Let anybody who imagines that musical people are a quarrelsome, jealous set fall in with a touring party. He will very probably be induced to change his opinion. Instances, of course, occur when the irritability of one of the travellers mars for a while the pleasure of the rest; but, generally speaking, I do not believe the members of any other profession would continue so long together upon such friendly terras under similar circumstances. But they are well paid and live well: what more can they require? Truly, but they are still following their profession, and the same causes of jealousies and quarrelling exist. The doctors are well paid, when the slightest breach of etiquette will cause a dissension between them. The barristers are well paid, when they will fight among themselves for a mere matter of form. And the clergy, those who ought to set an example to all the rest, do not they too often allow "the pride of place " to destroy that brotherly feeling which should exist between them? The musical profession as a body is more united than any other, better feeling one for another is to be found among its members, who, whether individually or collectively, whether for themselves or others, are moreover always foremost in the cause of charity. But, in my enthusiasm for the musical profession, I am forgetting the Impresario and his provincial undertakings. The commencement of his campaign is generally at the greatest distance from London. Dublin is a favourite starting point. There an Italian Opera Company always meets with a hearty reception. The voyage thither from Holyhead presents a touring party in a new phase of existence. The slightest breath of wind, and sad is the discomfort of the foreign magnates. Ere the vessel leaves the harbour, Lucrczia lies helpless in the cabin, overcome by the terror of what she knows too well will happen to her. Gennaro paces the deck, cigar in mouth boldly for a while, but soon to give over smoking and sing in plaintive accents to the steward. Oroveso wraps his mantle round him and hides himself in a snug corner by the engine, until Adalgisa finds him out and appeals to his manly feeling for the place of refuge. The steam is up. the vessel moves, and in a few minutes is ploughing the open sea.
Lucrezia's worst fears are realised. "Gennaro 1 Gennaro I Mi trovo male 1" in vain she calls; Gennaro is hanging speechless over the side of the ship, and no antidote is at hand. Lucrczia suffers, but not alone. Orsini on the opposite sofa participates in her distress. A heavy sound is heard, the stewardess rushes to assistance—Orsini has tumbled off the sofa, and fallen with a weight which threatens the safety of the ship on to the floor j there she remains motionless till a friendly hand removes her out of Lucrezia's reach. Prima donna, bass, tenor and contralto arc at length exhausted: they moan and groan in almost inaudible tones to the end of the voyage, when they leave the vessel with sallow cheeks and inflamed eyes, to repose themselves at Morrisson's Hotel, and prepare for the first night of the Italian Opera season at the Theatre Royal, Dublin.
Band Of Messrs. Broadwood's Manufactory.—On Friday evening, the 9th inst., a grand concert was given in St. James's Hall, by the Military Band of Messrs. Broadwood's famous establishment. The programme was of much interest, the band, conducted by Mr. Sullivan, on whom, as the instructor, great credit is reflected, playing three pieces in the course of the evening with precision and spirit, and gaining an encore in Rene Favarger's "Pas Redouble," which was composed expressly for it. We learn, from a report sent to us, that the wind-instruments, the cost of which was considerable, have been paid for by the members. This report mentions a library—re-established since the fire at the manufactory—of two thousand books for the instruction and recreation of the workmen, and more recently a drum and fife band for the boys, who were present at the concert. The immediate patrons of the (concert were Earl Grosvcnor and Lord Gerald Fitzgerald, the Lieutenant-Colonels of the Queen's (Westminster) Volunteers, to which regiment Messrs. Broadwood's eminent firm supplies a strong company, with which the bands, in suitable uniforms, frequently appear. The numerous assembly in the Hall showed the interest taken in the success of the concert; and frequent encores, honourably earned by the distinguished artists who gave their services, prolonged the performances, nearly the whole of the audience remaining until the end. The pianoforte was well displayed under the hands of Herr Charles Halle and Herr Ernst Pauer, who gave Chopin's rondo for two pianos with high finish and brilliant; and by Mr. Walter Macfarren, who played pieces of his own composition, and with M. Francesco Berger, Mr. A. Ries, and Mr. A. Sullivan, his brilliant quartet for four performers on two pianos, which might be heard oftener in public. Mad. Sainton-Dolby sang the "Spirit Song" and the "Lady of the Lea," and, with Miss Banks, a duet by Francesco Berger, entitled "Peace and Love," which was unanimously redemanded. Miss Banks, too, was deservedly encored in Arthur Sullivan's setting of "Where the bee sucks," which cannot fail to be one of tho most acceptable songs of her repertoire during this season. Mr. Santley's "Colleen Bawn" was encored, and was called for a third time. Mr. Wallworth, Mr. Lawler, and Mr. Wilbye Cooper, with Miss Robertine Henderson, who was much applauded, completed the vocal part of the evening, instrumental solos being given by M. Sainton, Mr. Benjamin Wells (encored), and on the violoncello by M. E. Vieuxtemps, an excellent professor of that instrument. Messrs. Louis and Adolph Ries played a brilliant duet on themes from Oberon. The accompanyists were from the pianists above mentioned, with the addition of Mr. Marcellus Higgs. The concert gave the greatest possible satisfaction, and was highly creditable to those who made the arrangements.
St. James's Hall.—Mr. Richard Seymour's benefit concert took place on Saturday evening last. The vocalists with Mr. Seymour, were Mad. Lonisa Vinning, the Misses Banks, Rose Hersee, Martin, Palmer, Leffler, Messrs. Wilbye Cooper, Tennant, Fielding, Winn, Allan Irving, Chaplin Henry, Herr Formes, and the Glee and Orpheus Union; the instrumentalists, Mr. John Francis Barnett (piano), and Master Drew Dean (flute). The concert was a long one, and we can, therefore, merely point to thoso performances which appeared to afford the greatest pleasure. Master Drew Dean was encored in a flute fantasia, whereupon he went directly and played a piece on the piano. Was this a satire aimed at those who, when they are encoded in one song, sing another? or was it sheer vanity to show his capacity on two instruments? What if the audience redemanded the pianoforte piece? Miss Bunks was encored in "Where the bee sucks," not Dr. Arne's, but Mr. Arthur S. Sullivan's; the Orpheus Glee Union were made to repeat Kiicken's part-song, " The Soldier's Love," and Mr. Hatton's partsong, " When evening's twilight;" Mad. Louisa Vinning was hissed in the ballad '• The open Window," Miss Rose Hersee in "Cherry ripe," and Mr. Fielding in an Irish ballad by Mr. Lover. Herr Formes was rapturously applauded in the "Wanderer" of Schubert, and his own song, " In sheltered vale ;" and Mr. Richard Seymour deserved to be encored in Alexander Lee's song, "I'll not throw away the flower," and the barcarole from Marino Faliero. These were most applauded, but other pieces pleased ourselves fully as well ; to wit — Miss Palmer in " Oh 1 that we two were maying;" Mr. Wilbye Cooper in Mr. Hatton's descriptivescena "The Return,"' and Mr. John Barnett for his pianoforte performances. The attendance was fair, but not so large as the attractions warranted.
On the 12th instant, after a long and painful illness, borne with Christian fortitude, Elizabeth, the beloved wife of Mr. W. H. Holmes, of 36 Beaumont Street, Marylebone.
ST. JAMES'S HALL.
MONDAY POPULAR CONCERTS.
EIGHTY- FIFTH CONCERT, ON MONDAY Evening, May 19th, 1861.
Part I Quartet, in F, Op. 59, No. I, for Two Violins, Viola, and Violoncello.
MM. Joachim, L. Iiies, Schreurs, and Piatti(Beethoven). Canzonet, " Sympathy" Mad. Louisa Vinning (Haydn). Song, " Now Sleeps the crimson petal," Mr. Santlby (Frank Mori). Sonata, in the Italian style, for Pianoforte solo, Herr Paver (J. S. Bach).
Part II—Andante Fugue, in C major, for Violin solo, Herr Joachim (J. S. Bach). Song, " The Violet Girl, Mad. Louisa Vinning (G. A. Mncfarren). Song, " T'amo," Mr. Santley (J. Benedict). Trio, in B flat, Op. 99, for Pianoforte, Violin and Violoncello, Herr Bauer, Herr Joachim, and Signor Piatti (Schubert).
Conductor, Mr. Benedict. To comment: ce at eight o'clock precisely.
Notice—It is respectfully suggested that such persons as are not desirous of remaining till the end of the performance can leave either before the commencement of the last instrumental piece, or between any two of the movements, so that those who wish to hear the whole may do so without interruption.
V Between the last vocaV piece and the Trio for Pianoforte, Violin, and Violoncello, an interval of Five Minutes will be allowed. The Concert will finish before Half-past Ten o'clock.
N.B. The Programme of every Concert will henceforward include a detailed analysis, with Illustrations in musical type, of the Sonata for Pianoforte alone, at the end of
To Advertisers.—Advertisers are informed, that for the future the Advertising Agency of Tile Musical World is established at the Magazine of Messrs. Duncan Davison & Co., 244 Regent Street, corner of Little ArgxjU Street (First Floor). Advertisements can be received as late as Three o'clock P.M., on Fridays—but not later. Payment on delivery.
~ J Two lines and under Is. Gd.
(UrillS l Evmj additional \Q worfo 6rf
To Publishers And Composers.—All Music for Review in Tjje Musical World must henceforth be forwarded to the Editor,
. care of Messrs. Duncan Davison &' Co., 244 Regent Street. A List of every Piece sent for Review will appear on the Saturday following in The Musical World.
To Concert Givers.—No Benefit-Concert, or Musical Performance, except of general interest, unless previously Advertised, can be reported in The Musical World.
not crowded; and we have seen Rotten Row, in many former years, during the middle of May, thronged far more densely by equestrians fair and foul. In fact, people are beginning to entertain a remote suspicion that we shall have barely an average season after all, whereby grievous disappointment will be engendered in the minds of Her Majesty's lieges. Why speculate as to the cause? Let us look to facts, and facts that merely concern ourselves. Music has certainly not a very promising aspect. At the Italian Operas the attendance has been only decidedly "great" up to this time, at the Royal Italian Opera, on the occasion of the first performance for the season of the Barbiere, the first performance of Don Giovanni, and, indeed, the nights on which Mlle. Patti has appeared. These, doubtless, would attract under any circumstances, and in the dullest season, more especially if recommended by the reigning favourite of the day, for such Miss Adelina Patti is—Adelina-RosinrtZerlina Patti, as she might truly be denominated. Some insist that the season has not commenced yet, and that people have put off coming to town until the Exhibition is in a fit state to be seen. We fear this will be no speedy consummation, and consequently are inclined to believe that the season, for many musical purposes, will not come up to the highest expectation.
That, however, it will make little difference to Jenny Lind and her Charity Concerts, we may infer, not merely from the crowded appearance of Exeter Hall on Wednesday evening, when her first concert was given, but from the manner in which she was received. Not when in the height of her reputation and the zenith of her powers did the Swedish cantatrice exercise a more potent influence over the public than she does now. She has but to sound the tocsin or beat the drum for her appearance, and a vast concourse, which no other living individual could bring together, answers to the summons. Whether she appeals boldly in the cause of benevolence, or meekly for herself; whether she sings^ in some lordly music hall or humble concert room; whether she appears in town, city, or burgh; in sacred oratorio or profane entertainment, the world bows its head, submits to the noose, and allows itself to be dragged along by the reputed spells of her enchantments. The world is a faithful world—by which we mean a world full of faith. It believes all it hears, believes it well and believes it long, and takes no note of time in its calculations. What Mad. Lind-Goldschmidt has been in her "nightingale " days it is physically impossible she could be now. The fire still burns within—the soul still shines through all; but the voice no longer answers to the tremendous memories of the past, and mortal nature falters in her latest efforts. But Faith is brighter than Hope, and will not be disappointed. Its apostles are blind to faults and deaf to error. Mad. LindGoldschmidt has but to open her lips, and transport seises on them. Her first notes are the "hallelujahs" within the gates of Paradise that invite them to bliss. To such, poor human criticism must be fallacious, if not sacrilegious. Let us respect their hallucinations, and not disturb them in their dreams. They may, however, console themselves with the fact that Mad. Lind-Goldschmidt is still the most remarkable vocal artist before the public.
Upon concerts in general the Exhibition seems to have had a depressing influence, their numbers being far less numerous than last season up to the same period. One would have thought that, in anticipation of the crowds expected to flock to London on this special occasion, musical entertainments of every kind would be provided by speculators and bineficiaires, and that every afternoon and evening would present its matinee or its soiree at the Hanover Rooms, St. James's Hall, Willis's Rooms, Collards' Rooms, Exeter Hall, or private residences. This is not the case; and although we have concerts and to spare, morning and night, their numbers do not approach, much less exceed, those of the past year. No doubt, as the season advances, they may increase; but as yet the musical year, in this respect, is an ordinary one, for which we are thankful, as Benefit Concerts—unless two or three, like Mr.'Benedict's and Mr. Howard Glover's, which are conducted on an unusually liberal scale—are not, generally speaking, entertainments of the most tempting kind. Nor have as many virtuosi as was reckoned upon been tempted to visit London. "We did indeed think that the Exhibition would attract to England all the celebrated and would-be-celebrated pianists, violinists, and other instrumentalists of the Continent, and are most agreeably disappointed to find that few have honoured us with their presence. Those who have—of whom we may specify M. Henri Herz, of world-wide renown, who is now amongst us, and M. Thalberg, equally celebrated, who is daily expected -—are among the most distinguished of the day, whom we are bound to receive with cordiality and favour. We trust we shall have to change our opinion, but up to the present moment, in a musical point of view, the year of the Great Exhibition is singularly disappointing. We have one good hope—the Handel Festival at the Crystal Palace.
AFRESH grave in the churchyard belonging to the Dom parish is the grave of the Royal Musical Director, Augustus Neidthardt, founder and conductor of our universally celebrated Domchor. The ivy spreads its thick green foliage over it, while at the head, close behind the tombstone, a weeping willow, planted by the widow of the deceased as an emblem of grief, is destined to cast its shade over the mound. It is now some time since the Domchor had a monument, in the form of an obelisk of light grey Silesian marble, erected in honour of their beloved and respected master. The monument, seven feet high, on a pedestal of granite, bears the following inscription :—
"Augustus Neidthardt, Royal Musical Director, born August 10, 1794, died April 18, 1861. The members of the Royal Domchor honour his memory."
On April 18, 1862, the anniversary of Neidthardt's death, which, this year, happened to fall on Good Friday, the monument was inaugurated by silent prayer and song. At half-past eight in the morning the members of the Domchor, with their present director, Herr von Hertzberg, the mourning widow, and friends of both sexes, stood around the grave, which was richly decorated with wreaths and flowers. Despite the nipping, cool morning air, the chorus sang in a devout spirit the chorale " Wenn ich einmal soil scheiden," from J. S. Bach's Passions-musik, and the deceased's moving composition, " Set getreu bis in den Tod," with inimitable purity and sentiment. After this, Herr von Hertzberg called upon all present to offer up a silent prayer.
The eminent services which the deceased rendered in his official capacity have been nnrrated in Theodore Rode's "Biography and Necrology." What he did as a national composer is evident from the fact that, besides his national song, "Ich bin ein Preusse," many others of his melodies have found their way into every class of our nation. Thus will his name, which shone brightly in the firmament of art, and which still continues to shine as that of a man who en
joyed the universal love and respect of his contemporaries, 'be mentioned with reverence by all future generations. We close this short notice with the words of a German poet, who died a hero's death on the battle-field :—
"Vcrgisst der treuen Todten nicht und schmiicket * Auch ihre One mit dem Eichcnkranz ;" *
which any true Englishman may translate for himself.
» "Do not forget the faithful dead, but twine T-j The oaken wreath around their funeral urn."
THE Bach Society, having for the last four years confined its operations to private performances and practice for the gratification of its members, announces the "Grosse Passions-Musik" (the version according to the text of St. Matthew's Gospel) for Saturday evening next. Limited in numbers, and consequently in means, this little association has been quietly and unobtrusively serving the cause of the art for many years.
That the pianoforte and violin works of Johann Sebastian Bach should delight the crowds of amateurs that attend the Monday Popular Concerts is not to be wondered at, the more so when it is remembered that they have been almost always allotted to Miss Arabella Goddard and Herr Joachim, two artists unrivalled as executants. But the Bach Society at' tempts more. It aims at demonstrating to the public at large that it is, par excellence, in his choral works that the beauty and grace, the pathos, grandeur, and sublimity with which Bach clothed his ideas, are to be found. The last performance of the greatest of his oratorios (in March 1858) was attended by the Prince Consort, and created such an impression on that by no means incapable judge, that he desired to have it given at Windsor Castle in the following year, which was accordingly done in April 1859. These two performances have familiarised the choir of the Society—a body now, as ever, under the zealous care of Professor Sterndale Bennett—with the work.
Without attempting an extended analysis of this marvellous union of inspiration and skill, we would call attention to some characteristics of the Grosse Passions-Musik. Not only in the chorus is the antiphonal form largely resorted to, but the double choruses are accompanied by two orchestras— an arrangement of immense importance to the general effect, but, in less skilful hands than those of Bach, likely to induce confusion. The breadth and massiveness of the writing in the choral parts is unparalleled. There is a never-failing impression left on the hearer, that the hand of a giant has done it. In the orchestral parts the contrapuntal skill will be of course granted; but any listener who has not heard it before will be astonished at the ready adaptation of the resources of the somewhat limited orchestra to infinite variety of effect. The delicate shades of expression are innumerable; indeed, the workshould be played by a band of eminent soloists.
The principal vocal solos — written for contralto—are as melodious, intense, and passionate as can be imagined. There is a largeness and dignity about these solos which were known to and appreciated by Handel and Mendelssohn —witness, "All danger disdaining " (Deborah); "Music, spread thy voice around !" ( Solomon); "Hear ye, Israel!" and "O rest in the Lord!" (Elijah), where that fact is abundantly shown. The great tenor solo of the oratorio, with chorus and wind obbligaii parts, is Bach pure—Bach without equal, and inimitable.
The desire of the Bach Society is to popularise this and other great works from the same illustrious pen; and if the attendance next Saturday at St. James's Hall is worthy the occasion, a great step will have been made in advance. The managers have engaged Miss Banks for soprano, Mad. Sainton-Dolby for contralto, Mr. Sims Reeves for tenor, and Mr. Weiss for bass. Further, Dr. Bennett has just published a very handsome English edition of the oratorio, in pianoforte and vocal score, translated and adapted by Miss Helen Johnston, a member of the Society.
Crystal Palace.—M. Meyerbeer having given permission, his "Grand March," composed for the coronation of the King of Prussia, will be performed at the concert this day, by a double orchestra of nearly 150 performers. M. Meyerbeer kindly undertook to superintend the rehearsals of this work, which will be heard for the first time in this country. The Sisters Marchisio also sing. The roof of the Handel orchestra will be completed by the Flower Show on Saturday week, the 24th inst.
Mb. H. C. Cooper.—The able musical critic of the Morning Post, himself an accomplished violinist, thus speaks of Mr. Cooper's performance at the last Philharmonic Concert:—" Mr. H. C. Cooper, in Mendelssohn's Concerto, proved that his genuine talent, which many years ago created for him a reputation such as few violinists have achieved, has suffered no deterioration during his long sojourn in the United States, whence he has just returned. Mr. Cooper was unanimously applauded at the conclusion of each movement, as he well deserved to be."—Morning Post, May 6, 1868.
Me. W. Vincbrt Wallace, our readers will be glad to learn, is rapidly improving in health. He has left Brighton, by advice of his physician, for Norwood.
Sio. Yebdi is still in London, and will remain till the end of the month. He will, of course, preside at the rehearsals of his International Exhibition Cantata, which was not performed at the opening of the International Exhibition, but will be performed at Her Majesty's Theatre on Thursday evening, between the acts of the Barbiere di Seviglia (in which, by the way, Mike. Trebelli will play Rosina; and a good, saucy, buxom, "-eveillee" Rosina may be expected).—After the above had been printed, we learned that, in consequence of the indisposition of Sig. Giuglini the Trovatore, announced for this evening, has been postponed, and that the Barbiere will be given instead, with Mlle. Trebelli as Rosina, and Signer Zucchini (his first appearance in England) as Doctor Bajtolo.
Sigismond Thalbbeg.—This imperial virtuoso will be shortly in London. He has announced four matinees, at which not only several new compositions of his own, but also several of the pianoforte pieces recently composed by Rossini, which the gran maestro has confided to his charge, will be performed.
Distress In Lancashire And Cheshire. — The proceeds of the concert to be given in St. James's Hall on Friday evening next, May 23, will be presented by the committee of the Vocal Association to the unemployed operatives in Lancashire and Cheshire. The artists of Her Majesty's Theatre, with other artists of eminence (vocal and instrumental), will assist on the occasion. The choir of 200 voices will sing Webbe's descriptive glee, "When winds breathe soft," and Meyerbeer's "Paternoster." The performance will be under the direction of Mr. Benedict.
MAD. GOLDSCHMIDT-LIND'S CONCERTS.
Mad. Goldschmidt-lind seems again to have reconsidered her determination of retiring into private life. Three times she has vanished, and three times re-appeared — much less to the surprise, it should be added, than to the satisfaction of the public, who, taught by the example of their very greatest favourite, Mad. Grisi, have learned to place little faith in such resolutions on the part of eminent artists. After all, there is no evident reason why Mad. Goldschmidt should cease from exercising those talents which enable her to confer such
substantial benefits on others without impoverishing herself, or in any material degree lessening her artistic renown. She has but to raise a finger, and the public immediately steps forth with no end of guineas to bestow upon any hospital or charity to which Mad, Goldschmidt may have taken a fancy. Her English admirers have helped her not only to be munificent in these islands, but to present her own native city of Stockholm with valuable institutions for the succour of the poor and ailing. In appraising her benevolence, this important fact has perhaps been too steadfastly kept out of sight. Were the Mad. Goldschmidt of to-day the Jenny Lind of 1847—the "nightingale " who delighted all ears, subdued all hearts, and rescued Her Majesty's Theatre from imminent ruin—it would, of course, be both irrelevant and impertinent to call attention to any such delicate point; but, as the relentless Edax rtrum has by no means exhibited such a tender partiality for this richly-endowed lady as to refrain altogether from making inroads upon the physical gifts which for so many years allowed her to enchant the world, her powers have necessarily in some measure deteriorated, like those of many among her contemporaries. That she is still in possession of wonderful means, and that the soul which from the first gave life and vigour to her song still soars and dominates as of old, is unquestionable. Nevertheless, the extraordinary influence she continues to exert is essentially, if not exclusively, a moral one. The public are always eager to accept her as their herald in the work of charity; and, hallowed by such associations, her voice — the trumpet to announce glad tidings and revive the spirits of "the poor that cry"—can never make a vain appeal, nor its last tremulous accents fail to arouse vibrating sympathy in susceptible English hearts. Let this be borne in mind, and each fresh apparition of the philanthropic songstress will be hailed with genuine satisfaction, unchecked by the arriere pensie that even "Jenny Lind" has no absolute right to cheat her admirers into a belief that she is taking a final leave, when it is her secret intention, some time onward, again to transport them with those dulcet notes of which it is almost impossible to tire.
Since October last, when Mad. Goldschmidt sang for "London over the Border," though her voice has been unheard in London, it has rejoiced the "provincial" towns and cities. As in the capital, so in the country; her unexpected reappearance was everywhere feted; her charities were dispensed with the accustomed large-handedness, and her concerts attended with the accustomed remunerative success. Returning to London at such a busy period, nothing was more natural than that, encouraged by the reception she had experienced on all sides, Mad. Goldschmidt should present herself once again in public. That the attraction of her name had in no degree diminished was proved by the enormous audience that filled Exeter Hall on Wednesday night, at | the first of three concerts which have for some time been announced, when Handel's Messiah was performed by a first-class chorus and orchestra, and first-class principal singers, under the direction of Herr Otto Goldschmidt. Mad. Goldschmidt's execution of the soprano music in this incomparable oratorio is even more studied and elaborately finished than before. Every word in the recitative is emphasised and dwelt upon, as if it had a peculiar significance; but in the midst of .nil this careful enunciation flashes of genius light up the text, and, as if by inspiration, reveal a hidden meaning which no common reading could possibly impart. Of the airs the least effective, because the most apparently laboured, was, " How beautiful are the feet," a more flowing and unstrained delivery of which would certainly be in strict consonance with its purely unaffected character. u Come unto Him " (the second verse of " He shall feed His flock ") was, so to say, preached rather than sung; but the preaching was most eloquent, and the expression given to the sentence, " He is meek and lowly of heart, and ye shall find rest unto your souls," little short of divine, in spite of one or two slight divergences from the text of Handel, which might have exposed a singer of less distinguished eminence to criticism. "Rejoice greatly, O daughter of Zion," was a superb display of bravura singing, not quite so pure as we used to be accustomed to from Mad. Clara Novello, but, on the other hand, far more graphic and inspiriting. Best of all, perhaps, was, "I know that my Redeemer liveth," which had the advantage of not being "dragged," as is too often the case, and which (in spite of a " variation " or two) was profoundly impressive from one end to the other. Here, again, the sentence, " Eor now is Christ risen from the dead "—delivered as we be
live no other singer ever has delivered or ever could deliver it was an
inspiration in the truest sense. The last air, " If God be with us, who can be against us ?" has always been a favourite with the Swedish lady, although by the majority of singers—in consequence of its appearing so late in the oratorio — usually omitted. The reception awarded to Mad. Goldschmidt, like the applause bestowed upon everything she sang—and most especially upon "Come unto Him," and "I know that my Redeemer liveth "— was enthusiastic in the extreme.
Associated with Mad. Goldschmidt as " principals" were Miss Palmer, Signor Belletti. and Mr. Sims Reeves, who, as might have been expected on such an occasion, took unusual pains. Miss Palmer, in "He was despised," and Signor Belletti in "Why do the nations?" received (and deserved) marked tokens of approval. Mr. Sims Reeves has never sung more finely. The beauties of "Comfort ye, my people" and "Every valley" were comparatively lost to the major part of the audience, through the incessant disturbance caused by "late arrivalsi" but the sublime recitatives and airs of the "Passion" (the whole, in accordance with the composer's design, intrusted to the tenor voice) were heard with uninterrupted attention; and the impression was such as can only be created by Handel's most perfect music delivered to perfection, without a note changed or an "ornament," however simple, introduced. To those who best appreciate Handel such singing must ever most strictly represent the ideal Handelian standard. The choruses were generally well given, if not uniformly so well as at the concert of the Sacred Harmonic Society. The band was excellent; and Herr Otto Goldschmidt, not for the first time, showed thorough aptitude as a conductor. During the magnificent "Hallelujah" the whole audience remained standing.
The profits of this concert are most generously allotted by M. and Mad. Goldschmidt to the institutions in Hinde-strect and elsewhere for the relief of the London needlewomen. Those of the next (on the 28th inst, when Haydn's Creation is to be performed) will be handed to the Brompton Hospital for Consumption and Diseases of the Chest; those of the third, and last of the present series (on the 4tb of June, the oratorio being Mendelssohn's Elijah), are destined for the Royal Society of Musicians and the Royal Society of Female Musicians—two admirable institutions, which, by the way, should long since have united their fori under one general title, their objects, though diversely represented,
New Philharmonic Concerts.— The third concert was worthy in every respect of its predecessors, as a glance at the programme will assure the reader :—
Overture (Lodoiika) ..... Cherubini.
Concerto, pianoforte, in B flat .... Beethoven.
Concerto, violin, E minor .... Mendelssohn
Scena, "Casta dion " (Norma) .... Bellini.
Overture ( MatanitUo) ..... Auber.
The thanks of all true lovers of good music are due to Dr. Wylde for the introduction of Cherubini's overture into his programmes. The Anacreon and Let Deux Jouniet have been given so repeatedly that one might have thought Cherubini had written no others. Under Dr. Wylde's paternal care, the overtures to Let Abencerrages, Lodoiska, and we trust others — for there are more of the old masters — (L'Hdtellerie Portuguaite, Ali Baba, and Elite for example)—stand as good a chance of becoming popular. The overture to Lodoitha is quite as masterly as that of the Abencerraget, given at the second concert, and is as picturesque, and highly coloured. Need it be told how the band of the New Philharmonic executed it? Spohr's symphony put the players on their mettle, and the execution was brilliant. M. Jaell, the new pianist, created a marked sensation in Beethoven's grand concerto, which he played with a thorough appreciation of its beauties. Finer play we never heard on the violin than that of Herr Joachim in Mendelssohn's concerto, and an audience more profoundly stirred it would be impossible to see. Mile. Titiens was the vocalist ; her second appearance this year. She gave the air from Don Giovanni with such power as to create an enthusiasm which nothing but a repetition of the last movement could satisfy. The air from Der Freischiitz, violoncello obbligato, and the Cavatina from Norma, showed Mile. Titiens as perfect a mistress of cantabile as of bravura. Mile. Titiens was recalled after both performances. The exhilirating overture to Masaniello served brilliantly as a final piece. Notwithstanding the "Jenny Lind '> Concert in the Strand, St James's Hall was filled in every part. The "Sisters Marchisio " are engaged for the fourth Concert.
Mo. Giulio Regondi And Herr Lidel's Concert, on the 14th instant, attracted to the Hanover Square Rooms a numerous and fashionable audience, who appeared thoroughly gratified with the varied and interesting programme. It is seldom that binfficiaires indulge in the luxury of a full orchestra; but upon this occasion the ordinary rule was departed from, and a highly efficient band, under the able conductorship of Mr. Alfred Mellon, gave considerable total to the proceedings. An artist must be possessed of exceptional powers to be enabled to produce much effect with such inadequate means as the concertina and
guitar,1 but Sig. Regondi's performance is really something marvelous; and one hardly knew which to admire most, his truly wonderful execution of Herr Molique's admirable and ingenious concerto in D for the first, or his own air varii for the last-named instrument, the latter eliciting an enthusiastic and deserved recall. Herr Lidel's qualifications as a violoncellist are fortunately too well known to require any comment at our hands. It is, therefore, simply sufficient to state that, in Goltermann'a concerto and a brilliant fantasia on Italian airs, the performer was most warmly applauded, while Behrer's. duo cancertante by the concert-givers formed an appropriate close. A harp solo by Mr, Boleyne Reeves, and some very excellent singing by Mile. Parepa and Mr. Santley—the former particularly distinguishing herself by her brilliant execution of Arditi's valse, " La Scintilla;" the latter no less so in a scena and aria of Hummel's, cleverly instrumented by Mr. Alfred Mellon, whose song, " Beloved one, name the day," also fell to the share of our eminent English barytone, together with Beethoven's magnificent overture to Egmont—constituted the rest of this extremely well-arrange,}
We hear from Portsmouth that the English Opera Company under the direction of Mlle. Jenny Baur, have during the week been playing a series of English operas under the patronage of the elite of the town. Mile. Baur, Miss Emma Hey wood, and Mr. Swift are highly eulogised by the local press. Miss Emma Heywood introduced on several occasions the popular ballad, "Love is a gentle thing," from Mr. Howard Glover's operetta Once Too Often, in which she always elicited an enthusiastic encore.
A correspondent writes from Penzance, that the Choral Society gave a Concert of Sacred Music on Tuesday evening, April 29, in the Assembly Room, on which occasion Handel's Dettingen "Te Deum " was performed for the first time in Cornwall:—
"This fine work was much appreciated by a large audience, and, on the whole, the performance may be pronounced a great success. Mendelssohn's Cantata, 'Praise Jehovah' (Lauda Sion), commenced the second part. As we have remarked upon this brilliant composition on a former occasion, we shall now only add, that it was performed throughout after the best manner of the choir. We regret that our limited space precludes the possibility of our criticising the performance of the other pieces, and can only add, that the' Hallelujah' (Messiah) was splendidly sung, and brought to a close the most successful concert ever given in this town or neighbourhood; and the result must have been very gratifying not only to the Committee of Management, but also to the conductor, Mr. John H. Nunn."
From the Malvern Advertiser ' of May the 10th, we extract the following account of the opening of the Priory Church Organ, which we give in a condensed form:—
"A short timo ago the splendid Organ of the Priory Church underwent a thorough renovation and repair, together with the addition of several stops, by Mr. Nicholson, of Worcester, the original builder. The following list will give some idea of its dimensions and power:—
Choir Organ (All New).—1. Dulciana, 8 feet.—2. Stopped Diapason (wood), 8 feet.—3. Clarabella, C, 8 feet.—4. Viol di Gamba, C, 8 feet.— 5. Harmonic Flute, C, 4 feet.—6. Stopped Diapason.—7. Principal, 4 feet. — 8. Cremona, 8 feet.—9. Piccolo, 2 feet.
Swell Organ—CC to O.— I. Bourdon (metal and wood).—2. Open Diapason metal, 8 feet.—3. Stopped Diapason (wood), 8 feet.—4. Flute (open), 4 feet.—5. Principal, 4 feet. — 6. Doublette, 2 ranks—7. * Sesquialtera, 3 ranks—8. Oboe,-- 9. Cornopean.—10. Clarion.
Great Organ—CC to G.— \. * Bourdon (wood), 16 feet.—2. Open
Diapason (large), 8 feet 3. Ditto ditto (small), 8 feet.—4. Stopped
Diapason (wood), 8 feet.—5. Principal (metal), 4 feet.—6. Wold Flute, 4 foet.—7. Fifteenth, 2 feet.—Twelfth, 2j fect.-^-9. Sesquialtera, 3 ranks. 10. 'Mixture, 2 ranks.—11. 'Trumpet, 8 feel.—12. *Clarion, 4 feet.
Pedal Organ—CCC to F.—l. Open Diapason, 16 feet—2. 'Bourdon, 16 feet.—3. Principal, 8 feet.—4. 'Stopped Flute, 8 feet. — 8. 'Fifteenth.—6. *Sesquialtera, 5 ranks.—7. 'Trombone, 16 feet. Six Composition Pedals.
Couplers.—1. Swell to Great.—2. Ditto to Choir.—3 Great to Choir.
4. Pedals to Great.—5. Ditto to Swell.—6. Ditto to Choir.—7. Super
Octave Swell.—8. Ditto to Pedals. Total stops, 46.*
» New stops.