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THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT MUST BE DEDUCTED ; IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES" - Göthe.
SUBSCRIPTION_Stamped for Postage_20s. PER ANNUM Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28 Holles Street, Cavendish Square, London, W.
A UBER'S GRAND EXHIBITION MARCH will be
HENRY F. CHORLEY.
HURST & BLACKETT, PUBLISHERS, 13 GREAT MARLBOROUGH ST.
1.WELSH NATIONAL MUSIC,
SUNG BY 400 VOICES, GRAND EXHIBITION CONCERT AT EXETER HALL.
ACCOMPANIED BY A BAND OF HARPS.
TO BE GIVEN BY
The Programme will include Meyerbeer's “Grand Exhibition Overture." Anber's
Stalls, 5s.; Reserved Seats, 3s. 6d.; Tickets, 2s. and 1s.
ST. JAMES'S HALL, FRIDAY EVENING, JULY 4'
HERR REIC-H ARDT will Sing his Popular
FULL PARTICULARS WILL SHORTLY BE ANNOUNCED.
109 GREAT PORTLAND STREET.
MADAME PUZZI'S MATINEE, Hanover SQUARE ROOMS;
THE BEAUMONT INSTITUTION;
MRS. MEREST'S THIRD SOIREE;
MISS SAINTON'S CONCERT, MYDDELTON HALL;
ST. JAMES'S HALL. - Mr. J. LEA SUMMERS'
Second GRAND EVENING CONCERT, Friday, May 30, under distinguished
PART II.-Duo Bolero, “Les Diamants de la couronde," the Sisters MARCATSIO (Auber); Sonata, Pianoforte and Violin, J. L. SUMMERS and Herr JOACHIM (Beet. hoven); Duo, “Giorno d'orrore," the Sisters MARCHISIO (Rossini): Barcarolla, “Sulla Poppa," Sig. CossELLI (Ricci); Solo, Pianoforte, J. L. SUMMERS (Mendelssohu).
Conductors : Sig. Li CALSI and Mr. GEORGE LAKE.
" SHE MAY SMILE ON MANY, SHE WILL LOVE BUT ONE.' Composed expressly for him by Mr. Howard GLOVER, at St. James's Hall, June 7; Exeter Hall, June 9; Her Majesty's Theatre, June 20.
NUEEN'S CONCERT ROOM, Hanover Square.
GRAND CONCERT in aid of the Band Fund of the 48th Middlesex Rifle
Volunteers (the Havelock), under the command of Lieut.-Col. GEORGE CRUICKSHANK, Thursday Evening, May 29, under distinguished patronage.
Artists : Mlle. PAREPA, Mile. GEORGI, and Mad. LAURA BAXTER; Mr. GEORGE PERREN, Mr. LAWLER, Mr. RAMSDEN, Mr. George BUCKLAND.
Violin : Mr. H COOPER ; Oboe, Mr. GRATTAN Cooke; Grand Pianoforte, Mr, KIALL MARK
To commence at 8 o'clock. Reserved Seats, 78.; Unreserved Seats, 58. Tobe hnd at the Queen's Concert Room, Hanover Square, and at the principal Musicshops.
INTER- PRIMA A
IERR ALFRED JAELL will play at the INTER
NATIONAL EXHIBITION on Thursday next, May 29, at 5 o'clock precisely, on STEINWAY & Sons' GRAND NEW YORK PIANOS, in the American department
WILL SING HIS NEW SONG, "HAST THOU NO TEAR FOR ME?"
ST. JAMES'S HALL.-- NEW PHILHARMONIC
CONCERTS.-ELEVENTH SEASON. 1862. PROGRAMME of the FOURTH CONCERT, on Wednesday Evening, May 28, to commence at 8 o'clock.
The PUBLIC REHEARSAL will take place This Afternoon, at half-past two o'clock.
PART I,_Overture, Fingal's Cave (Mendelssohn) ;' Duo, “ Quis est homo?" the Sisters MARCHISIO (Rossini); Symphony, in C minor, 1. Allegro, 2. Andante, 3. Scherzo, 4. Finale, Allegro (Beethoven); Grand Duo, “Di quai soave lagrime,” sati, the Sisters MARCEISIO (Pacini); Overture, Jessonda (Spohr).
PART 11.- Concerto, in G minor, for Pianotorte and Orchestra, Pianoforte, Herr JAELL (Mendelssohn); Duo, “Serbami ognor," Semiramide, the Sisters MARCHISIO (Rossini); Overture, Der Freischütz (Weber).
Conductor: Dr. WYLDE. Single Tickets for the Public Rehearsal-Stalls, 78.; Balcony, 5s., Gallery and Area, ls: For the Concert -Stalls, 10s. 6d. ; Balcony, 10s. 6d., 78., 58., and 3s.; Gallery and Area, ls. To be had of Messrs. Cramer & Co., 201 Regent Street ; Messrs. Chappell & Co., 50 New Bond Street ; Mr. Ollivier, Old Bond Street; Messrs. Keith, Prowse & Co., 48 Cheapside; and at Mr. Austin's Ticket Office, St. James's Hall,
W. GRAEFF NICHOLLS, Hon. Sec.
| COMPOSED EXPRESSLY FOR HIM BY CIRO PINSU TI,
MADAME PUZZI'S CONCERT, HANOVER SQUARE Rooms;
MISS ELIZA BRUCE'S EVENING CONCERT ;
ST. JAMES'S HALL-Mr. W. G. CUSINS' GRAND
CONCERT, with full Orchestra and Chorus, Thursday Evening, June 5.
Professor Sterndale Bennett's Exhibition Ode, under the Composer's direction, and Auber's Grand Exhibition March will be performed; also a new MS. Overture, by Mr. W. G. Cusins, and Beethoven's Grand Concerto, Concertante, for Pianoforte, Violin, and Violoncello, with Orchestra.
Stalls, 10s. 6.; Tickets, 5s., 3., 1s. At the Hall, and the Music Warehouses. Stalls may be had of Mr. W. G. Cusins, 2a Cavendish Street, Portland Place, W.
MR. DEACON'S THIRD AND LAST SÉANCE of
M CLASSICAL INSTRUMENTAL MUSIC will take place on Monday, May 26, at 16 Grosvenor Street, W. (by permission of Messrs. Collard), commencing at 3 o'clock.
Programme: Quartet in D, Mendelssohn: Sonata Pastorale, Beethoven : Pensées fugitives, Ernst & Heller; Sonata in E flat, Violin and Piano, Mozart; Berceuse, Schumann; and Lieder ohne Worte, Mendelssohn; Pianoforte Quintet in D, Spohr.'
Executants : M. SAINTON, Messrs. CARRODUS and H. WEBB; Sig. Pezze, and Mr.
BREIDENBACH'S “Wood Violet Perfume.”
ALL EQUALLY FRAGRANT.
157 NEW BOND STREET, LONDON.
MESSRS. LOUIS and ADOLPH RIES beg to an11 nounce that their MORNING CONCERT will take place at the Hanover
MISS STEELE begs to announce that her EVENING Square Rooms, May 29, to commence at 3 o'clock.
CONCERT will take place on June 13, at the Hanover Square Rooms. Vocalists: Mad. RIEDER, Mlle. HAUSCHTECK, Mlle. BEHRENS.
Vocalists: Mad. LEMMENS - SHERRINGTON, Miss MARTIN, Miss STEELE, and Mrs. Pianoforte : Mr. A. Ries; Violin, Mr. L. Ries: Violoncello, Mr. E. VietXTEMPS. MEREST; Messra. TENNANT, TRELAWNY COBHAM, and SANTLEY.
Tickets to be had at the principal Musicsellers, and of Messrs. Ries, la Devonshire Instrumentalists: Herr JOACHIM, Messrs. Kuhe, LAZARUS, and LIDEL.
Tickets, 108. 6d. and 7s.
28 Upper Gloucester Place, Dorset Square. MADAME LIND-GOLDSCHMIDT.-EXETER HALL, WEDNESDAY NEXT, MAY 28.
MADAME LOUISA VINNING begs to announce her
I MATINEE MUSICALE at the Hanover Square Rooms, on Wednesday, May M R. MITCHELL begs to announce that arrangements 28, at 3 o'clock. I have been made for the performance of Haydn's Oratorio, “ The Creation."
Artistes : Vocal - Mad. Louisa VINNING and Miss ADA JACKSON, Mad. LATRA and Mendelssohn's “Elijah," the proceeds of which will be presented by Mr. and
BAXTER and Miss LASCELLES ; Messrs. WILBYE COOPER, ALLAN IRVING and SAXTLEY. Mad. Goldschmidt respectively to the undermentioned Benevolent Institutions i
Instrumentalists: Miss JANE JACKSON, cf Clifton (Pianoforte), Messrs. SAINTOX 1. Wednesday Evening next, May 28, " THE CREATION," by HAYDN, in behalf
behalf and PAQUE. of the Hospital for Consumption and Diseases of the Chest, Brompton.
Conductors : Messrs. J. BENEDICT, GEORGE LAKE, and FRANCESCO BERGER. 2. Wednesday Evening, June 4, MENDELSSOHN'S" ELIJAH," in support of the
Tickets, 10s. 6d. and 78. 6d. or Mad. Vinning, 13 Hanover Villas, Ladbroke Square, Royal Society of Musicians and the Royal Society of Female Musicians. The principal
| Notting Hill, W.; of the principal Music Warehouses; and at the Rooms. vocal parts in these performances will be sustained by Mad. LIND-GOLDSCHMIDT, Miss PALMER, Mr. Sims Reeves, Mr. W. H. Weiss, and Sig. BeLLETTI. The Band and CHORUS will be complete, comprising upwards of 500 performers.
MLLE. CAROLINE VALENTIN has the honour to Conductor, Mr. Orro GOLDSCHMIDT. To commence on each occasion at 8 o'clock precisely.
M announce her MATINEE MUSICALE on MONDAY, June 2, at the Hanover Reserved and Numbered Seats, One Guinea ; Unreserved Seats, Half-a-Guinea.
Square Rooms, at 3 o'clock precisely. Seats will be appropriated according to priority of application, which may be
Artists: Miss Banks, Mad. Nita NORRIE, Miss LASCELLES and Mr. GEORGE obtained at the principal Libraries and Musicsellers, and at Mr. Mitchell's Royal
PERREN; M. SAINTON, and M. PAQUE. Library, 33 Old Bond Street, W.
Conductors : Herr WilueLM GANZ and Mr. GEORGE LAKE.
Tickets, 10s. 6d.; Reserved Seats, 15s. Or Messrs. Ashdown & Parry, 18 Hanover Square: Duncan Davison & Co., 244 Regent Street: of Mlle. Valentin, 6 Duke Street,
Manchester Square; and at the Rooms. M RS. MEREST'S (late Maria B. Hawes) Third
and Last SOIREE will take place on Friday Evening next, May 30, at 7 Adel. phi Terrace, at half-past eight o'clock, under the Patronage of their Royal Highnesses MER. APTOMMAS'S HARP RECITALS on the followThe Duchess of Cambridge and the Princess Mary Adelaide. Family Tickets, admitting three, One Guinea; Single Tickets, Half-a-Guinea. To
11 ing Tuesdaya, May 27, June 10, 24, and July 8. The following eminent be had ot Mrs. Merest, 7 Adelphi Terrace.
Artists will assist
Vocalists : Mlle. PAREPA, Mad. FLORENCE Lancia, Mad. LAURA BAXTER, Miss
MESSENT, Miss RANSFORD; Mr. SwipT, Sig. FORTUNA, Mr. ALLAN IRVING, Mr. LEONARD MISS FANNY CORFIELD begs to announce that her
Piano: Herr Kune, Mr. CHARLES SALAMAN, Mr. G.A. OSBORNE, Mr. ARTHOR MORNINO CONCERT will take place at 16 GROSVENOR STREET (by kind permission of Messrs. Lollard) on Wednesday, May 28, at half past three o'clock.
NAPOLEON ; Organ, Herr ENGEL ; Violoncello, Mr. GEORGE COLLINS; Violin, Mr. H. Vocalists: Mad. GUERRALELLA and Miss ELEONORA WILKINSON.
Welst HILL; Harp, Mr. JOAN THOMAS, Herr OBERTROR, Mr. APTOMMAS. Instrumentalists: Herr MOLIQUE, M. PAQUE, and Miss FANNY CORFIELD.
Conductor : M, BENEDICT, Herr WILHELM GANZ, M. EMILE BERGER, M. FRAN. Conductor, Mr. A. O'LEARY.
CESCO BERGER, and Sig. CAMPANA.
At the recital of Tuesday, May 27. Mr. AproMMAS will play Spohr's sonata for Harp Single Tickets. Half-a-Guinea; Family Tickets (to admit three), One Guinea. To be had of Miss F. Corfield, 29 Burton Street, Eaton Square, and of Cock, Hutchings
and Violin, with several morceaux by ZANETTI, GODEFROID, and JOHN THOMAS, & Co., 63 New Bond Street.
To commence, on each occasion, at 3 o'clock. Tickets, 10s. Gd. and 78.; Three Tickets for one Recital, 15s.
hall.past three o'clock
Instrumentalists: Herr MOLLA and Miss Éle
LERR REICHARDT will Sing “COME, DEAR
1 ONE, BACK TO ME," composed by J. L, Summera, at St. James's Hall, May 30.
TERR MOLIQUE begs to announce that his CON
I CERT will take place at the Hanover Square Rooms, FRIDAY MORNING, June 13. Full particulars will shortly appear.
rich in Rossinian singers now; and as the “Sisters Marchisio" are likely to restrict their labours this year to Semiramide, we would suggest the production of Cenerentola with the following cast : Angelina-Mlle.
Trebelli ; the Prince—Sig. Bettini ; Dandini-M. Gassier ; and Don HER MAJESTY'S THEATRE.
Magnifico-Sig. Zucchini; with the proviso, be it understood, that the On Saturday, the announcement of I Trovatore, with Mlle. Titiens and two sisters (why not the “Sisters Marchisio”?) be well sustained. Sig. Giuglini, attracted a large attendance. The admirers of Verdi, Of Mlle. Titiens' magnificent impersonation of Leonora it is enough however, were doomed to disappointment, as Sig. Giuglini was suffering to say that, if anything, it was more magnificent than ever, and that the from indisposition, and, according to a medical certificate distributed / audience was never more deeply moved by her singing and acting. through the house, could not sing. The Barbiere was therefore given Sig. Giraldoni essayed the part of the Count Di Luna, with moderate instead, with Mlle. Trebelli as Rosina; and we must say the young lady success ; and Sig. Bossi (we missed M. Gassier) was industrious and showed a greater regard for the interests of the establishment than her | painstaking in Fernando. own special advancement. The audience were not in the mood to re
On Thursday the Trovatore was repeated. ceive her, and when she came on the cold reception that awaited her
OOO must have dispirited an older and more experienced artist. Fortunately, Mlle. Trebelli is not wanting in confidence in her own abilities, and
ROYAL ITALIAN OPERA. although somewhat abashed, shown particularly in her acting, she sang On Saturday Rigoletto was given for the first time this season. the opening cavatina with a charm of voice, a freedom of delivery, and
About the Gilda of Mad. Miolan Carvalho, the Maddalena of Mad. a facility, that immediately created an interest in her favour. The duet Nantier-Didiée, the Duca of Sig. Mario (with his incomparable with Figaro, “Dunque io son," was even more to the taste of connois “ Donna o mobile "), or the Sparafucila of M. Tagliafico, we have seurs, inasmuch as it was given entirely (all but entirely, the Alboni | nothing new to say. Enough that they were all as effective as before. variation in the ensemble excepted) as Rossini wrote it. That Mlle. Of Sig. Delle Sedie's Rigoletto we prefer speaking in detail after å Trebelli is a thorough mistress of the florid school was at once univer second hearing. It is no slight matter to succeed Ronconi in such a sally allowed ; and from the duet onward the career of the young artist | part; and Sig. Delle Sedie is too conscientious an artist to be dismissed was watched with curiosity and interest. The piece introduced for the without ceremony. lesson song was written expressly for her by Sig. Alavy, and consisted The opera on Thursday night was Don Giovanni, and the house the of variations to “Sul margine d'un rio,” and might indeed be denomi
most crowded of the season. Perhaps in no character has Mlle. Patti nated a vocal fantasia. Anything more difficult, or more ineffective, we
more completely won the sympathies of the English public than in that never heard. Mlle. Trebelli sang it with wonderful fluency, but there
of Zerlina. The village Airt, idealized by Mozart's music - who can was no response from the hearers. It failed to charm them. It was no soothe her jealous lover with such enchanting melodies as “ Batti batti" fault of the singer, most assuredly, who, had she sung Rode's air with and “ Vedrai carino," and coquet with his libertine rival to the the same quality of voice and the same brilliancy of execution, would | insinuating strains of “ Vorrei e non vorrei”-appears to fit her to have created an enthusiastic sensation. In the last scene the audience the life. Engaging as was her assumption last season, it is still warmed up a little, and being prepared by the singing in the trio, “ Ah better now. A very little, indeed, is wanting to make it quite perqual colpo !” absolutely condescended to encore “ Zitti, Zitti."
fect; and, to judge from experience, that little will be spcedily M. Gassier sustained the part of Figaro, Sig. Bettini that of Alma acquired. Even since the first representation of Don Giovanni, some viva, Sig. Zucchini that of Bartolo, and Sig. Laterza that of Basilio. ten days ago-to which we were only able, at the time, to devote a senSig. Zucchini was entirely new to the English public, a thing to be won. tence- Mlle. Patti has made alterations and improvements which afford dered at, seeing that he is a thorough good buffo, and that buffos are good reason to believe that, off the stage as well as on, she is constantly difficult to obtain. His humour is somewhat dry, but he has humour, thinking of her art. Her costume now, instead of the ball-dress of a and sings well without much voice. His débût was decidedly successful. lady, is the veritable attire of a peasant-gay and parti-coloured, beM. Gassier makes a capital Figaro--the best, indeed, on the operatic cause she is on the eve of her wedding, but in no respect exaggerated. stage after Ronconi. His acting is full of life and spirits, and he sings Her share of the duet with Giovanni, ihe inimitable “La ci darem la the music, not only with unusual facility, but great command of voice
mano,”—especially her archly hesitating delivery of the stanza, apart, The Basilio of Sig. Laterza is slow and solemn, and not very artistic. “ Vorrei e non vorrei ” (“I would and I would not”), and her exclaSig. Bettini executed all the music of the Count with care and fluency, | mation of sympathy for the absent Masetto (" Mi fa pietà Masetto”) and that is saying no little for such music. That he is, however, the was already irreproachable. “Batti batti," however charmingly fresh, beau ideal of a Spanish nobleman we cannot assert.
still admitted of some slight improvements. There used, for example, The overture was a most admirable performance, but did not obtain
to be a trifling cadenza (not Mozart's) connecting the first movement one hand of applause. So much for reputation. A slight acceleration with the last “ Pace, pace, o vita mia ")— besides a point or two of the tempo in the first finale was not an improvement,
which, wearing the semblance of calculation, robbed the acting in a To gratify the Verdi-disappointed, Mlle. Titiens sang the mad scene measure of its spontaneity; but the cadenza — to the great satisfaction from Lucia, which in reality woke the audience from their slumbers, and | of purists — is abandoned; while the artificial bye-play (it is needcreated a perfect furore.
less to enter into particulars) has been so toned down that no. The new ballet-divertisement followed.
thing can possibly be more natural, nothing more artlessly graceful. On Tuesday the Trovatore was again announced; and this time it was | Rarely, indeed, has this incomparable scene with Masetto been more really given, and with Sig. Giuglini too, though somewhat shorn of his | admirably played, never more exquisitely sung. “Batti batti," " Vedrai vocal strength. Sig. Giuglini indeed was determined to make a martyr | carino"-in which Zerlina consoles Masetto for the drubbing he has re. of himself sooner than disappoint the public a second time: and so he | ceived at the hands of Don Giovanni, as with " Batti bat she appeases appeared, and, in spite of an evident hoarseness, sang the entire of the his jealousy on account of the same personage - and “ La ci darem” music of Manrico. For this the audience cheered him lustily, and cer were redemanded unanimously, and all three repeated with increased tainly he never seemed in greater favour than when he was least able to effect. Sticklers for Mozart's text in its absolute integrity - except the
transposition of the last note in “Batti batti,” and a very delicate emMlle. Trebelli took ample revenge in Azucena for the coldness with bellishment in the middle of “Vedrai carino,” which might be rejected which she was received in Rosina. This time, indeed, the audience without detriment-have now literally nothing to criticise. Apart from were prepared for the young lady; and although they did not greet her the music, which on the whole could not be more chastely or more exwith enthusiasm on her first appearance, they listened attentively to her. I pressively rendered, Mlle. Patti's general conception of Zerlina is as and applauded her unsparingly in the first air of the gypsy. « Stride la nearly as possible faultless. And then, to complete the channel, one vampa ;” and still more in the long narrative song, “ Condotta ell'era.” | looks the character to perfection. Mad. Penco's Donna Aina has been which she sang and acted with immense fire and energy. After this I highly spoken of, and not without cause. In such parts as Ninetta (La scene she was unanimously recalled. In the scene before Count di l Gazza Ladra), &c., she is doubtless more at home; but a singer trained Luna's tent—she had now challenged attention- she produced a still in the most legitimate school, and an actress familiar with the traditions greater effect by her powerful actiner and admirable singing, and was l of the stage, this clever lady is not likely to rain any mog sne undertakes. again recalled with enthusiasm. In the prison scene Mlle. Trebelli's The Donna Elvira, too, of Mad. Csillag is earnest, correct, and intelligent singing was entitled to the very highest praise. The beauty of the voice, Thus the women parts in this extraordinary work, which is far more popu. the perfect intonation, the phrasing and the method, were all worthy of lar now than when it was first produced, three-quarters of a century since Alboni-and higher praise it is impossible to bestow. To be brief, Mlle. -are, without reservation, in the hands of artists competent to sustain the Trebelli achieved a great and legitimate success in Azucena, and cannot classical repute of the Royal Italian Opera ; and not only “Batti batti” fail to prove an immense acquisition to the theatre. Mr. Mapleson is 1 and “Vedrai carino,” but those loftier flights of dramatic song, " Or che
gai l'indegno” (Anna), and “ Mi tradi quell' alma ingrata” (Elvira) are with extraordinary grandeur-just such a theme, and just so treated, in fairly and effectively interpreted. Of M. Faure's Don Giovanni we can short, as was fitted to illustrate a high and important solemnity. The only say now wliat we said last year-that, Frenchman though he be, continuation, led off by the small orchestra, and answered by the great since the justly renowned impersonation of Tamburini, whether looked one--each, as it were, striving to appropriate to itself the most responat from a musical or dramatic point of view, there has been none sible share of the mclody - is admirably in keeping. Nothing could worthier than his. His “La ci darem” is winning and persuasive, his contrast more forcibly with this than the peculiarly Meyerbeerish “Finchè dal vino” full of spirit, and his interview with the statue, in passage, in “unison” (for all the “strings"), which immediately the finale to the last act, dramatic and powerful. How well in this un follows. Here the wind instruments are occasionally made to join in equalled passage he is supported by M. Tagliafico, the best “Com- with an effect both novel and piquant; and the effect is as stirring mendatore ” ever heard, and by Herr Formes, the most busy and as- as in what goes before it is pompous and majestic. When, through piring of Teutonic Leporellos-too busy, indeed, with this particular scene, | a skilfully managed crescendo the leading theme is resumed where the interest should be centred exclusively in Don Giovanni and in extenso, we have, in an appropriate key, the first “ Trio" - anthe statue, and Leporello kept modestly in the background, just as Herr nounced by kettledrums, grosse caisse, bassoons, &c. — one of Formes used to represent it - it is scarcely requisite to add. Signor those graceful and continuous "songs" with which M. Meyerbeer Ciampi's Masetto is painstaking and dry, not nearly so humorous as that has the secret of relieving what might otherwise be termed the of Sig. Ronconi, and not nearly so pleasant and natural as that of Sig. “ monotonous splendour” of his marches. The instrumentation of Polonini. In “Ho capito " he reminded us frequently of Dr. Bartolo, this trio is fanciful and replete with charm, the short and abrupt re. and here and there the melody was rather shouted than intoned. Sig. sponses of the smaller orchestra, at the end of each sentence of the Tamberlik's Don Ottavio is as manly, vigorous, and striking as ever, opening phrase, being suggestive of a desire to interrupt at intervals and, although he respectfully declined the “encore” awarded to “Il the tranquil course of the melody. After a quaint, half-plaintive epi. mio tesoro," the house was not less anxious to hear it again than the sode, in which the minor and major keys are curiously alternated, the four pieces -- including the trio of masks, “ Protegga il giusto cielo," subject of the “Trio" is given fortissimo, by the large orchestra, the with Mesdames Penco and Csillag, which, by the way, would lose none responses of the lesser ore being now, in turn, pianissimo. Thus, a of its effectiveness if sung in time—which were actually repeated. The fresh interest is created, and that variety of colouring attained which, band was magnificent; the chorus, in the superb finale of the first act judiciously and sparingly employed, becomes one of the most powerful where, it may be relevant to state, Mozart did not intend & chorus instruments of effect. Another very striking crescendo - in which the any more than he intended one in the finale to Le Nozze di Figaro-all | obstinate reiteration of one particular note (“ B flat ” — the “ dominant that could be wished; and the execution of the opera generally one of note,” if the technical expression may pass, of the principal key), the most efficient we remember of late years, under Mr. Costa's direc- against all sorts of changes of harmony, will hardly escape the atten. tion. Nevertheless, we must protest against the introduction of the tion of musicians-once more introduces the leading theme. Only the minuet “à due" in the ball scene, by which Mozart is made to repeat first strain is now repeated -a sccond “ Trio," in a new key, appearing himself in a manner altogether at variance with his consummate notions | unexpectedly and without preliminary. The character of this second of symmetry. However well done (and it is invariably well done at “ Trio," not less gracefully melodious, from the manner in which it is Mr. Gye's theatre), this is a blot upon a magnificent finale, which ought instrumented, from the part assigned to the smaller orchestra (and from not, under any circumstances, to be tolerated.
occasional faint reminiscences of a certain duet in the Prophète), is esThe Barbiere, to-night; the Sonnambula, Monday; Tuesday, Martha; sentially opposed to that of the first. When developed it is interrupted Thursday, Don Giovanni; Saturday, Les Huguenots, with a new singer by another crescendo (especially daring in its progressions of harmony), Mlle. Antonietta Fricci, as Valentine.
which brings back once more the leading theme, and the opening bars of which are again made to suffice. The coda is now heralded by the
drums, and a lively theme - in a different tempo, though in the same CRYSTAL PALACE CONCERTS.
key — announced by the smaller orchestra and answered by the other, It was a "field-day” on Saturday at the Crystal Palace. Herr Auguste imparts fresh interest and animation to what one might have imagined Manns, the spirited commander of the musical forces of the “Com stood in no further want of either. This new subject is, however, pany," had invited Meyerbeer to a concert; and the renowned musician, merely a brilliant preamble to the real climax, the Prussian national with proverbial courtesy, not only accepted the invitation, but superin air ". Ich bin ein Preusse” (composed by the late Augustus Neidthardt, tended the rehearsals of his Grand March composed expressly for the founder and conductor of the celebrated Berlin Dom chor), in the sonocoronation of the reigning King of Prussia. To this march, on the rous and magnificent setting forth of which M. Meyerbeer, with the day of the concert, the place of honour was assigned ; and, in happiest results, has combined the resources of both orchestras. It order to give due effect to its execution, the Crystal Palace band was would have been difficult to end an inspiriting march in a more entirely nearly doubled, the additional performers consisting of practised instru. satisfactory and imposing manner. mentalists from the “ metropolis,” together with a military brass band, The execution, under the direction of Herr Manns, who probably under the direction of Mr. Godfrey, stationed in the gallery, to the left never till now had the good fortune to conduct so large and powerful an of the platform. Thus the composer's design of having two separate orchestra, was superb from beginning to end. The design of the master orchestras was literally carried out. Since the coronation of the King was as clearly and pointedly expressed as he bimself could have desired,
was as clearly and pointedly expressed : of Prussia at Königsberg last October, when it was played by the com- and as he himself could have made it, had he wielded the bâton inbined military and concert bands during the Royal procession from the stead of Herr Manns. The sensation produced on the audience was Chateau to the Church, M. Meyerbeer's Grand March had nowhere been spontaneous. The applause, deafening and prolonged, was mingled performed till now. That he should have produced it first in England with repeated cries for “Meyerbeer," till at length the great musician must, therefore, be regarded as a direct compliment to the musical public was led forward by Herr Manns and vociferously cheered. The March, of this country, where his works are so universally admired and popular. by unanimous desire, was then repeated, and the second performance M. Meyerbeer has certainly no reason to complain of his reception here; was, if possible, even better than the first. and, bearing in mind the enthusiastic greeting he has met with in every The concert began with one of the finest performances of Beethoven's quarter, he may probably, when the last touch is put to the already cele prodigious C minor symphony to which we have ever listened, in Engbrated, though still invisible and intangible Africaine, be induced to pay land or elsewhere. This grand masterpiece, it is pleasant to record, us another visit.
was keenly appreciated, and, after each successive movement, warmly The “Coronation March " is scored, as we have said, for two applauded. The clever and popular sisters, Carlotta and Barbara Mar. orchestras—a grand orchestra of "string,” “wind,” and “percussion," chisio, contributed three of their favourite duets, “Quis est homo?” and and a smaller orchestra of “brass.” The ingenuity with which the two / “ Giorno d'orrore,” from the “Stabat Mater” and Semiramide of Rosbands are alternately isolated and combined is not less remarkable than sini, and a cavatina by Pacini, all of which were sung to perfection. the vigour and originality of the phrases and harmonies allotted to each. The last picce in the programme was Weber's Jubilee overture, termiA much less elaborate compocition than that which M. Meyerbeer con- | nating with our own national anthem of “God save the Queen" - the tributed to the opening of our International Exhibition, the Coronation “ Ich bin ein Engländer,” to match with the “ Ich bin ein Preusse" of music lays no pretension whatever to the overture form, but adheres | Herr Neidthardt. exclusively to the rhythmical character of the march. Like the Coronation March in the opera of the Prophète (to which gorgeous piece, by the way, it offers some other slight resemblances), it is written in the
SONS OF THE CLERGY. key of E flat. The leading theme, which is frequently heard, and THE 208th festival of the Sons of the Clergy "in aid of the funds of always with new and striking features to signalize its reappearance, is the corporation for assisting necessitous clergymen, pensioning their bold and measured, strongly accentuated, and laid out for the orchestra widows and aged single daughters, educating, apprenticing, and provid
ing outfits for their children” – took place on Wednesday afternoon, in this anthem was, therefore, by choice, not necessity ; and his success under the dome of St. Paul's Cathedral. It would be superfluous to do must be accepted as a legitimate achievement. The trio gives way to more than solicit renewed attention on the part of the public to this very a short recitative for tenor voice (solo), the preamble to a vigorous fouradmirable institution, the origin, purport, and claims of which have been part chorus—“For in the wilderness shall waters break out" - in the described over and over again. A brief quotation from the circular course of which tho “ treble" voice is felicitously treated as “solo," and address of the governors, nevertheless, may not be out of place -- more | phrases assigned to it as melodious as they are richly harmonized. especially inasmuch as it throws some light upon the actual condition of Mr. Goss, indeed, writes for voices, whether in “parts" or in "solo," the charity and upon the most urgent aim and wants of those who are with masterly clearness. To the chorus — the only fault of which is intrusted with its administration:
ics brevity - succeeds a choral recitative, for tenors and basses (“ And “ The society annually assists by pensions and donations about 1,250 a highway shall be there'), somewhat after the style of Mendelssohn, persons—clergymen, their widows, aged single daughters, and children. | though in no respect a plagiarism ; and out of the recitative springs, During the last year 17,0311. bave been distributed among these classes; naturally and effectively, a full chorus (allegro)—“And the ransomed but so numerous are the applicants that the funds permit only of very of the Lord shall return” (again erring on the score of conciseness) limited, and often inadequate, grants being made. It is especially de which terminates, as happily as could be desired, a work no less adsired to raise the amount of the pensions to the widows and aged single mirable for purity than for scholarly correctness and musical charm — daughters of deceased clergymen, of whom there are at present no less a work, in short, which, composed without effort, has not the less comthan 712 receiving pensions from 101. to 25l, per annum; and the pletely attained its object. The anthem, after the sermon, was one of governors feel confident that there must be many wealthy and benevo the loveliest of the choruses in Mendelssohn's Elijah – “He that shall lent individuals who would be happy to assist in so just and good an endure to the end shall be saved.” On the whole the musical performobject, did they know the extent of the pecuniary distress, and conse ance was excellent. Mr. Goss's anthem (accompanied on the organ, quent suffering and privations into which a large number of excellent like the other pieces, by himself) was well given, considering that, beladies are thrown by the death of husbands and fathers, whose life fore the rehearsal, it was unknown to the united choirs. That it will incomes as clergymen afforded no means of laying by a provision for frequently be heard we cannot doubt; and that “Goss in G” may their widows and orphans."
henceforward take the place of the worn-out platitudes "in C," “in The festival was celebrated, as usual, by full choral service, the ordi. F,” or “ in D”— with which our church service has been degraded we nary choir of St. Paul's Cathedral being reinforced by the choirs of Her earnestly hope. It is well to possess a cathedral organist able to compose Majesty's Chapels Royal, Westminster Abbey, St. George's Chapel anything so sensible and attractive. The organ used on this occasion (Windsor), &c.—in all about 250 voices. Service commenced at half-past was the one recently purchased for the services “under the dome”three o'clock, by which time the whole of the spacious area under the perhaps the finest ever built by the eminent firm of “ Hill.” That it dome was filled, the chief civic and cathedral dignitaries being, accord- | should still remain unfinished, uncased, unfurnished, and consequently ing to annual custom, among the congregation. Mr. Goss, Organist of unsightly; that it should still be unsupplied with the hydraulic process St. Paul's (assisted by Mr. George Cooper, of St. Sepulchre's the ex- | boasted by its venerable companion and predecessor, the work of Father cellent Sub-Organist, Mr. Goss's occasional representative), superin. Smith; still be dependent for its “voices” on the muscles and sinews of tended all the musical arrangements with his wonted ability. The eight stalwart organ-blowers; and still inevitably be out of order, seems prayers were intoned by the Rev. J. A. Coward, and the lessons read by ! difficult to explain. A general opinion is current that had this splendid the Rev. J. V. Povah, minor canons; the sermon being preached by the instrument been the property of a Gothic Cathedral such would not Rev. A. W. Thorold (Rector of St. Giles's), who chose for his text the have been the case—that money, in short, would have been found to 8th verse of the 14th chapter of St. John—" Lord, show us the Father, provide every requisite. Why this indifference should exist with regard and it sufficeth us.” The music to the "suffrages” was by Tallis; and to the noblest Italian ecclesiastical structure out of Rome, those may we believe it would be impossible to improve upon the solemn and stately
best explain who entertain it. The present condition of the new organ harmonies which the fine old English master has bequeathed to us for ' in St. Paul's Cathedral is at any rate, a disgrace to the “ metropolis.” this important part of our Cathedral service. As much can hardly be The meeting of the Charity Children is to be held on Thursday said for the music of Kent—"Cantate Domino” and “ Deus miseretur" June 12. -after the first and second lessons. That something worthier than this can be written, and by English composers, too, has in many instances been shown, and was triumphantly proved on the occasion under notice
THE MUSICAL SOCIETY OF LONDON. by Mr. Goss himself, to whose new anthem, introduced for the first time
(From the Morning Post.) at a grand public religious ceremonial, we shall presently allude. The final chorus from Dr.Croft's Anthem in E ("Cry aloud and shout, thou inhabitant " The third concert of the season took place on Wednesday evening of Zion"), which followed the third collect, is just as favourable an ex at St. James's Hall. The first piece in the programme was M. Meyerample of our English school of church music as the anthem of Kent is beer's overture composed for the opening of the International Exhibition. the contrary. Croft's harmony, though by no means elaborate, sounded In one sense this admirable composition was done ample justice to, for almost sublime in juxtaposition with such twaddle, the perpetuation of it was very finely performed; but in another sense the work and the which can answer no object, unless it be that of lowering the taste of world-wide reputation of its author, no less than the vehementlychoir siugers. Croft was a master of whom we have reason to be proud; | expressed re-demand of the entire audience, were somewhat cavalierly Kent a commonplace musical pettifogger - cathedral composer“ by treated. Why did Mr. Alfred Mellon so obstinately resist the quite courtesy." The anthem of Mr. Goss is the work of a master. Less unmistakeable call for repetition that spontaneously and unanimously ambitious than the one he wrote for the funeral of “the Great followed the capital execution (under his able direction of this wonderDuke," it is in some respects even more attractive. Its form is fully brilliant and masterly piece of music? Does the old English quite new, the trite conventionalities which have long been re adoration of clever dullness of those musical poets,' who write as spected, as canonical, being set at naught, and music allowed, for once, Tybalt fought, by the book of arithmetic '-still govern the proceedto speak in tones as captivating as impressive. The words (suggested ings even of our young societies?' If not, whence this rather contempby the Rev. W. C. Webber, to whom the anthem is dedicated) are tuous treatment of the great author of Les Huguenots, Robert le Diable, borrowed from the 35th chapter of Isaiah. An introductory recitative Le Prophèle, L'Etoile du Nord, Dinorah, and other masterpieces too for solo bass voice (Mr. W. Winn, of the Cathedral choir, one of our numerous to mention--this implied rebuke to the audience for their most eminent public concert-singers), “ The wilderness and the solitary want of taste? Who is the man connected with the direction of the place shall be glad for them,” leads to a trio for alto, tenor, and bass deservedly-famous Musical Society of London capable of writing a " Strengthen ye the weak hands”- the flowing melody, the tasteful and march in the form of an overture,' or in any other form, half so ingeniously varied harmony of which by no means invests it with a melodious, genial, brilliant, and to the purpose, as this fresh, vigorous, secular character, but amply reflects the devotional fervour of the text. and delightful production of M. Meyerbeer's genius? Why, then, was The words, “ He will come and save you, even God,” are set with a it not duly honoured? Why was not the undeniable encore it elicited feeling closely akin to the “poetical " - beautifully set, indeed, and as readily taken as was that awarded to another instrumental composinot less appropriately than bcautifully. Unobtrusive as this passage / tion of greatly inserior merit. may appear on paper, unimpressive, possibly, to Gregorianists and to “After the audience had laboured in vain for a long time to procure a those who hold that cathedral music should either consist exclusively of repetition of M. Meyerbeer's overture, Mlle. Parepa came forward, and diatonic harmonies or of intricate contrapuntal contrivances, it could sang in her very best manner, and with the happiest effect, Mendelssohn's not under any circumstances have occurred to an ordinary thinker, or noble scena “Infelice.' Then we had a clever rendering of Spohr's conto an ordinary musician. That Mr. Goss can compose elaborately, certante duet (with orchestral accompaniments) in B minor, by Messrs. when it pleases him, is tolerably well known; the style he has adopted Alfred and Henry Holmes ; next, a scena, by Hummel, “Riuscito sono