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alfin' (from the opera Matilde di Guisa), cleverly instrumented by Mr.music he and the Society have brought out has been of the best and Alfred Mellon, and sung with great energy and dramatic accent by highest class, and their exertions to execute it worthily have been most Mr. Santley; and the first part was brought to a close by Mr. Arthur praiseworthy. The stimulus supplied by the facility of so admirable a Sullivan's music to the fourth act of Shakspeare's Tempest, the vocal Hall for its production will, we trust, have its effect in rendering the parts in which were admirably sustained by Mlle. Parepa and Miss Ro- | Classical Harmonists a still advanced and advancing Society.' bertine Henderson. The exemplifications of Mr. Arthur Sullivan's “And when it is remembered what has been accomplished by the talent introduced on this occasion served but to confirin us in the opi- Society under his teaching; that four years ago the oratorio was, one nion we have already expressed respecting it. Few, perhaps, could may say, unknown in Belfast, and that Mr. Allen was considered quite imitate a great master like Mendelssohn so consistently or attractively; an enthusiast for proposing to perform one; that since then several of the but Mr. Sullivan must emancipate himself-be warned by his own finest have been given, besides a large number of cantatas, anthems, native rage '-before we can accord him the artistic position which bis &c.; and more particularly that it was through his and the Society's friends seem determined to claim for him. The instantaneous repeti exertions and requirements that this splendid Hall bas been built, it tion of his servilely Mendelssohnian Dance of Reapers, after the inex must, I think, be allowed that the honour shown was not undeseryed. orable resistance to the desire of the public in the case of Meyerbeer's “I was also glad to see the warm reception given to Mr. H. Loveday, overture, was neither flattering to Mr. Sullivan nor honourable to the the leader and teacher of the Society's band. Society.

“The performance on the second night consisted of Der Freischütz and “The second part of the concert opened with a superb performance a miscellaneous selection which embraced some of the popular songs of of Mozart's so-called · Jupiter Symphony,' a work which, despite all the day. Mad. Sherrington was encored in • The shadow song,' which that has subsequently been written in the same department of compo- she sang to perfection. Miss Moseley and Mr. Thomas were respectively sition, still stands its ground as a monumental model of creative art. encored in The gipsy girl,' and "There's nothing like a fresh’ning This was followed by Sig. Verdi's duet (from Rigoletto), Figlia! mio breeze;' and Miss Whitham, Mr. Perren, and Herr Elsner were only expadre,' beautifully sung by Mlle. Parepa and Mr. Santley, the concert cused from repeating their solos on account of the lateness of the hourterminating brilliantly with Spontini's overture to Nourmahal.

near twelve o'clock. * The hall was crowded in every part."

“ As the Hall was well filled on the first night, and was crammed with an audience of 2,500 on the second, the Society has every reason to be gratified with the success of its concerts in every point of view, and of the kind appreciation of their efforts by the public of Belfast.”

Provincial.

Letters to the Editor.

Our own Correspondent at Belfast sends us the following interesting particulars of the inauguration of the new Ulster Hall:

SIR,_Permit me to call your attention to the notice of Mr. Richard « The long-expected event the opening of the Ulster Hall - has

Seymour's concert at St. James's Hall on Saturday, May the 10th, at last taken place, and Belfast may now justly pride itself in possessing

as reported in last week's Musical World. It is there asserted one of the finest rooms in the kingdom as regards size and beauty, and

that Mad. Louisa Vinning was hissed, as were Mr. Fielding and Miss one only excelled in its acoustical properties by the Birmingham Town

Rose Hersee. This is untrue. I most positively affirm they met with Hall, which, however, it vastly excels in conveniences of overy kind,

genuine, hearty, persevering and unanimous applause, and in proof I especially for the artists, whose comforts have not been forgotten. For

mention their several encores. For the song of “The open window” details of the Hall I refer you to the description given by the Weekly

Mad. Vinning gave “ Coming thro' the rye." Mr. Fielding responded News.

to the call for a repetition of “Live in my heart" by giving the last “ The directors have thought it advisable to postpone the proposed

verse of the same. Miss Rose Hersee, after the cavatina “Bid me dis. festival until the organ, now being built for it by Hill, at a cost of

course," gave Arnaud's French romance “Chantez, ô ma fauvette" ac33001., is crected (which will be in December); and they gave the

companied by herself; and in the second part of the concert, when enhonour of opening the Hall to the Classical Harmonists' Society, who

cored in the song of “Cherry ripe," owing apparently to the lateness of exerted themselves to the utmost to produce something worthy of the

the hour, instead of complying, the young lady returned her obeisance occasion; and I must congratulate them on the great success achieved

for the compliment. As the reviews in the MusicAL WORLD are by their two concerts of Monday and Tuesday last. The work chosen

held as high authority by the musical public, such crrors are of great for the opening night was the Messiah, the judiciousness of which selec

importance ; you will, therefore, I trust, excuse me for pointing out the tion is thus treated by the critic of the Northern Whig :

misprint or mistatement, and believe me, respectfully yours, • No selection of music for the opening of the new Hall could have

PLAIN TRUTH, been more judicious or in better taste than that made. It was very fit

[The word hissedwas of course a misprint for “bissed" (encored). that the first sounds that should be listened to by a publie audience in

-ÈD. M. W.] a building destined for many future purposes of recreation and enlightenment should be the divine harmonies of the grandest and most devotional music ever written, and that the name of Handel and his

BISSED” NOT “HISSED.Messiah should be for evermore associated with the opening of our new SIR,- On arriving here to fulfil my engagement with the Sacred Har. Music Hall. Connected with the first step in any new undertaking | monic Society of Newcastle, to sing the soprano solos in their performthere is always a shadow of the grave seriousness that attends the last, ance of the Messiah on Thursday next, the Musical World of the 17th and no music would have been so appropriate to the occasion or so con- instant was placed in my hands, and my attention was directed to the sonant with good feeling as that composed by the greatest musician to following passage in your report of Mr. Seymour's Concert, St. James's the greatest theme.'

Hall:" To render the oratorio worthily, the following singers were en- | “Mad. Louisa Vinning was hissed in the ballad ('The open wingaged:- Mad. Lemmens-Sherrington, Miss Whitham, Miss Moseley, dow'), Miss Rose Hersee in Cherry ripe,' and Mr. Fielding in a balMr. Perren and Mr. Thomas; and the society's band was largely aur. | | lad by Lover," – which combination of words would imply that Mr. mented by instrumentalists from Dublin and elsewhere, among whom Fielding and myself met with a reception directly the reverse of that we observed Mr. Levey, Mr. Hughes, Herr Elsner, Mr. Clements, &c.; with which we were honoured. I did not hear Mad. Louisa Vinning the total number of performers, vocal and instrumental, exceeding 200. sing her ballad; but your reporter will, I am sure, testify to the fact (of The performance was, on the whole, very good. But I must not take up which Mr. J. L. Hatton and M. Emile Berger are witnesses) that both your valuable space with further criticism; nor is it indeed necessary, as Mr. Fielding and myself were unanimously encored in the two songs the singers are too well known to require it. The cordial reception named. I trust I may be excused for adding that my only other song, given to the conductor, Mr. George B. Allen, must have been most “ Bid me discourse," was also encored, and was the first vocal encore of gratifying to him, and is thus commented on by the Northern Whig :- the evening.

"We were glad to note the warm reception given to Mr. Allen, con- I must rely on your sense of justice for the insertion of this letter, and ductor to the Society, by both audience and orchestra, and feel assured | the correction of an error which,-although, no doubt, purely accithat no one could better deserve it. The labour of bringing a Society | dental-might be seriously injurious to me at the present moment. from almost incompetency to its present pitch of efficiency can have

I remain, Sir, your most obedient servant, been no slight one, and Mr. Allen's exertions have been uniformly

Rose HERSEE. those of a true artist, and in the path of a genuine musician. The 2 Jesmond Terrace, Newcastle-on-Tyne, May 20, 1862.

ba

BISSEDNOT HISSED.

Mayerbeer; and finally Giacomo Meyerbeer. I repeat that I do not Sir, My attention having been drawn to a critique in your columns

attach very much importance to the name,- there's nothing in that, yet, of the 17th May on “ Mr. Seymour's Concert," in which you state that

for the sake of the future historian, it would be well to have all doubts Mad. Louisa Vinning was hissed in “ The open window.” I beg of removed while it is still within the bounds of possibility, you to give this statement a most unqualified contradiction. The song

Very truly yours, was a decided success; and Mad. Louisa Vinning, whose long intercourse

8 Powis Grove.

Joux Towers. with the public leaves her no longer anxious to accept any but the most unanimous encores, was, on this occasion, compelled to reappear on the

Mad. StuttaFORD,--The Sydney papers speak in high terms of this platform, and substituted another ballad — so loud and undivided was

lady, who was 'performing with Sig. Bianchi's Operatic Company at the applause.

the Lyceum Theatre. “Mad. Stuttafora,” writes the Bendigo Advertiser, Trusting you will find space for these few lines, I have the honour to “ appeared as Amina in La Sonnambula, and achieved a triumph by be, Sir, cbediently yours,

her pure and delicate rendering of some of the choicest morceaux of

-S. HEYWOOD.. this, the most refreshing and original opera of the present age. In the 13 Hanorer Villas, Notting Hill.

solos • Whilst this heart its joy revealing,' and the celebrated “Do not mingle,' as well as in the duet with Elvino (Signor Bianchi), ‘Take now

this ring,' she gave as ample proof of the flexibility and natural BISSEDNOT “HISSED."

richness of her voice, as of the soundness of her musical knowledge and · SIR,—In your notice of the above-named concert, it is stated that proficiency." Mad. Louisa Vinning was hissed in the ballad " The open window," SOCIETY FOR THE ENCOURAGEMENT OF THE FINE ARTS.-The Miss Rose Hersee in Cherry ripe," and Mr. Fielding in an Irish ballad fourth conversazione of the season took place on Wednesday evening, by Mr. Lover, “Live in my heart.”

at the gallery of the Society of British Artists, in Suffolk Street, and As such was not the case, but on the contrary each of those artists was more numerously attended than any preceding meeting, the rooms, was encored (Mr. Fielding with enthusiasm), I trust you, with your lighted with gas, and adorned with pictures, presenting an attractivo usual fairness, will please to insert this, or explain the cause of the mis- appearance. The musical entertainment provided by Mr. Alfred tatement. Yours obediently,

Gilbert, who conducted, was of unusual attractiveness and excellence, Richard G. SEYMOUR.

including the services kindly volunteered of Mad. Gilbert, Miss Van 2 Mabledon Place, W.C., May 23, 1862.

Noorden, Mad. Lemaire, Miss Anna Whitty, Miss S. Cole, Miss Bellingham, Mlle. Titiens, Herr Reichardt, Mr. Sweeting, and Herr Formes;

Mr. Swensden (flute), Messrs. A. and H. Holmes (violin), and Miss THE CRYSTAL PALACE.

Cecilia Summerhayes (pianoforte), and a most agreeable evening was SIR,—Whether or not the refreshment contractors at the International the result. Exhibition complain of the obstruction of their view of the Kensington

MR. AND MRS. CHARLES MATHEWS AT HOME.—The new entertainHorticultural Gardens does not concern me. Suffice it to say that, if the ment provided by Mr. Charles Mathews, and now given nightly in the 200 acres of gardeus and park, with the broad expanse of true English

Bijou Theatre in the Old Opera House, bas been written by Mr. H. J. scenery, to be seen from our refreshment rooms, were hidden from view

Byron, and is in two parts, the first called My Wife and I, and the by a series of ugly tents, I think both the public and the contractor

second The Sensation" Fork! or, The Maiden, the Maniac, and the would not be long before they, like your reporter, pointed out the in

Midnight Murderers. Mr. Byron adheres to his burlesque predilections, consistency.

and fills his two parts, or pieces, with puns of all kinds, good, bad and I must beg your permission, however, to enter a friendly protest

indifferent. The peculiarity of My Wife and I consists in the variety against the statement of the Secretary of the Horticnltural Gardens, that!

of characters sustained, and the quaint changes of costume. The “tents are preferable to any other structure yet tried for the exhibition

Sensation" Fork is pure extravaganza, but so well is it acted by Mr. of flowers."

and Mrs. Mathews, as to resolve itself into an eminent success. To see Although I may be chargeable with a partiality for the old adage,

Mr. Charles Mathews as the bandit Stickitinhisgizzardi in the plenitude "Nothing like leather," I trust you will permit me the opportunity for

of his robber costume, and to bchold him take “sensation heads " saying that, in common with a rather numerous class, I think the

into the torrent, when he is driven mad by the base accusation of steal. “Crystal Palace is preferable to any other structure yet tried for the

ing a silver fork, is enough to create laughter under the ribs of death. exhibition of flowers," particularly when the floral exhibition is com

Whoever is desirous of obtaining a new sensation provided he has bined with the attractions of a great musical fête.

seen Lord Dundreary a dozen times or so — should incontinently pay a My experience of flower shows leads to the conclusion that visitors

visit to the Bijou Theatre at Her Majesty's, and sec Mr. and Mrs. are attracted to them as much from the pleasure of meeting and as

Charles Mathews in The Sensation" Tork. sociating with friends, and looking at other visitors, as from à love of

POLYTECHNIC INSTITUTION.- Under the skilful and energetic manllowers or of music; and, as the spacious naves and transcpts of the l agement of Professor Pepper, this excellent institution is now conCrystal Palace afford far more opportunity for promenade, &c., than

ducted in a manner cqually creditable to the director and advantageous the tents of the Horticultural Society, with the additional advantage of

to the public. It is now at once a pleasant place of recreation and a being protected from wet or cold weather, I do claim for the Crystal

valuable educational establishment; and what greatly adds both to its Palace no inconsiderable superiority as a place for the exhibition of

merit and its attractiveness is, that its sphere of usefulness is from time to flowers

time increased by the introduction of lectures, exhibitions, models and I am, sir, your obedient servant,

panoramic views relating to topics of fresh and contemporancous inRobert K. BOWLEY, General Manager,

icrest. The latest, and not the least valuable, addition of this description

is a panorama painted in oil on 9,000 feet of canvas, and showing the

Crystal Palace. Crystal Palace, Sydenham, May 20.

temples, streets, bridges, public institutions, rivers, mountains, and general scenery of the Japanese empire. This unique panorama is

said to have been painted secretly by native artists, who would, if disMEYERBEER'S AGE.

covered, have incurred the penalty of death. Sir,-A few months ago the question of Meyerbeer's age was being “CATCHING A Husband."-A new Operetta under the above title has very freely discussed, both in the English and Continental press. With been produced with success at The New Royalty Theatre, under tho out attaching so much importance to the question as many persons | direction of the Veteran Ben Barnett. The singers are Miss Mira seemed to do, still I took the trouble of scarching diligcnily in such Stanley; Mad. Juanita Garcia; Mr. Walter Bolton, and Mr. G. Addison, authorities as were at hand. The result of the cnquiries appeared in who all acquit themselves to the evident satisfaction of the audience. the Brighton Gazette, dated Nov. 21, 1861. It was there shown that | The music is light and pretty, and is the work of a young composer, the majority of his biographers fix the year of his birth at 1794. TOM. Procida Bucalossi, who has hitherto been known only as a composer this assertion no contradiction has as yet appeared. It bas, on the of dance inusic. other hand, received no further confirmation. My object in writing is EFFECTS OF Music ON TIIE Mind DISEASED. — The influence of to provoke, if possible, a clencher from Herr (not Monsieur) Meyerbeer David's harp-playing upon Saul is the next event recorded in the Holy • himself. He is now amongst us, and if upon this and another point he Writ. Similar effects have been produced thousands of times since

would kindly deign an explanation, the future historian would be spared those days, and I hold it to be one of the noblest and most humane much fruitless labour and research. The other doubtful point is Herr uses to which music can be put, to restore peace and comfort to those Meyerbeer's real name. It has been variously spelt. For instance: unhappy mortals whose mind has wandered from its lofty seat.-Mr. Meyer Baer; Meyer Liebman Beer; Meyer Beer; Jacob Meyerbeer; John Towers on Military Music,

ST. JAMES'S HALL.

The Concerts of Mr. John Francis Barnett, Mr. Harold Thomas and

others, are unavoidably postponed until next week.

MR. CHARLES HALLE'S

BEETHOVEN RECITALS.

The Musical World.
LONDON: SATURDAY, MAY 24, 1862.

NOTICES.
To ADVERTISERS.- Advertisers are informed, that for the future

the Advertising Agency of THE MUSICAL WORLD is established

at the Magazine of MESSRS. Duncan DAVISON & Co., 244 (SECOND SERIES.)

Regent Street, corner of Little Argyl Street (First Floor). Advertisements can be received as late as Three o'Clock P.M., on

Fridaysbut not later. Payment on delivery. MR. CHARLES HALLE begs to announce that he

( Two lines and under

... ... 2s. 6d. I will repeat his “ Beethoven Recitals," in the large Room of St. James's Hall,

ctns | Every additional 10 words
Terms

... ... 6d. on the afternoons of the subjoined dates :

Friday, May 23 and 30; Friday, June 6, 13 and 20 ; Saturday, June 28; Friday, To PUBLISHERS AND COMPOSERS.- Al Music for Review in THE
July 4 and 11.
To commence each day at 3 o'clock precisely.

MUSICAL WORLD must henceforth be forwarded to the Editor, The programmes will, as in 1861, be exclusively devoted to the Sonatas composed

care of MESSRS. DUNCAN DAVISON & Co., 244 Regent Street. by Beethoven, for Pianoforte without accompaniment - the whole to be introduced in regular succession, according to the original order of their publication, for which the

A List of every Piece sent for Review will appear on the Saturnumbered • Operas" respectively assigned to them are warrants. The universal po day following in THE MUSICAL WORLD. pularity of these works in England, as elsewhere, and their admitted superiority to all other compositions of the class to which they belong, support Mr. Hallé in the belief To CONCERT GIVERS.- No Benefit- Concert, or Musical Performthat such an uninterrupted presentation of the entire series may elicit the attention both of students and of connoisseurs. Many of the Sonatas, never having been publicly

ance, except of general interest, unless previously Advertised, can performed until his “ Recitals," in 1861, though familiar to prosessors, are unknown be reported in THE MUSICAL WORLD. to the majority of amateurs; and some of these are quite as worthy admiration as others, which, owing to their frequent appearance in concert programmes, have ob. tained unanimous acceptance.

In exemplification of the gradual advance of their composer's talent, from its early stages to its ripe maturity, the Pianoforte Sonatas of Beethoven may be consulted with no less advantage than the Quartets or the Orchestral Symphonies. They begin at the commencement of his “ First" manner, play a very conspicuous part in his “ Second," and extend far into the meridian of his " Third." No less than thirty-two in number, there are enough of them to illustrate, more or less pointedly, every phase of the great musician's artistic progress; and, if merely regarded as a series of compositions for a single instrument, in variety, beauty, and originality, they stand wholly unparalleled.

At each of the eight performances two vocal pieces will be introduced. The pro AN enterprising London firm is preparing, we understand, grammes will contain descriptions, historical and analytical, of the Sonatas as they

A a complete edition of the pianoforte sonatas of Mozart, occur, the object aimed at in these descriptions being not so much to guide the taste as to assist the apprcciation of the audience.

edited by Mr. Charles Hallé. If this be true, let us hope Prices of Admission : Sora Stalls, Numbered and Reserved, for the 'Series, 22 2s., Single Tickets, l0s. 6d.; Balcony, for the Series, £i 11s, 6d., Single Tickets, 78.; that Mr. Hallé will carefully separate the Sonata in C minor Unreserved Seats, for the Series, £1, Single Tickets, 3s.

Subscribers wishing to retain the same Sofa Stalls for this Series which they occupied and the Fantasia in the same key, which have hitherto, in last Season, are requested to inform Messrs. Chappell & Co. of their intention on or

every edition we have seen, been carefully put together, as before May I.

Subscriptions received at Chappell & Co.'s, 50 New Bond Street ; and at Mr. Charles though they formed a single work, whereas they have really
Hallé's, 8 Mansfield Street, Portland Place.
THE FIRST CONCERT will take place on Friday Afternoon, May 23, to com-

no connection with each other. They are not merely commence at 3 o'clock precisely. "

plete in themselves, but were even composed in different Programme: Sonata, Op. 2, No. 1, Beethoven. Song, “ Zuleika," Mendelssohn. Sonata, Op. 2, No. 2, Beethoven. (Interval of ten minutes.) Sonata, Op. 2, No. 3, years. Beethoven. Song, “ The Secret," Schubert. Grand Sonata, Op. 7, Beethoven. Pianoforte, Mr. CHARLES HALLE; Vocalist, Miss BANKS; Accompanyist, Mr. HAROLD

If any one particular composition of Mozart, for pianoTHOMAS.

forte without accompaniment, may be singled out as a quasi

prophecy of Beethoven, it is probably the Sonata in C Owing to the comparatively trifling character of the Sonatas (in G major and G minor). O. 49. Mr. Hallé will on this occasion substitute in place of them the well

minor, composed in October, 1784. In the first and last known Andante in F major (originally composed for the Grand Sonata, dedicated to

movement especially we find indications of what Beethoven Count Waldstein, Op. 53), and the Thirty-two Variations on an Original Theme in C minor.

at first- no doubt unconsciously-in a great measure ap

propriated, and subsequently elaborated and developed with MONDAY POPULAR CONCERTS. — The next that wonderful richness of imagination which has placed him

CONCERT will take place on Monday Evening, June 2, at St. James' Hall. at the head of all composers for instruments. The slow Pianoforte, Herr PAUER; Violin, Herr LAUB (his first appearance this season); Violoncello, Signor PIATTI.

movement, however, is Mozart pure— untouched, unapVocalists. Miss BANKs and Mr. SIMS REEVES. Conductor. Mr. BENEDICT.

proached, and inimitable, whether the unimpeded flow and For full particulars see programme.

Sofa Stalls, 58.; Balcony, 38.; Admission Is. Tickets a: Chappell & Co.'s, 15 New exquisite simplicity of its melody, or the warmth and at the Bond Street.

same time unaffected grace of its expression, are taken into

consideration. Nothing is known of the Fantasia in the TO CORRESPONDENTS.

same key, except that it was written in May, 1785. It might DILETTANTE.-Sig. Galvani has sung in England, as the subjoined

be imagined just the sort of thing Mozart would have imarticle, which appeared in the Times the day following his debût, will show:

| provised. Notwithstanding its peculiar form (or want of

| form), few of Mozart's compositions are more crowded with " In consequence of the indisposition of M. Tamberlik, the opera or I Martiri, which was to have been produced on Saturday, was postponed, and La Sonnambula was played in its stead. The only novelty connected with this production was the début or Sig. Galvani, a new vocalist from the Theatro della Scala, at Milan, in the character or binations of harmony. Mr. Macfarren, in a very interesting Elvino. He is a singer of that modern school which religiously eschews all ornament, and his voice, which comes entirely from the chest, is not without sweetness, though

essay upon Mozart and his works (published in the MUSICAL evident labour is required to produce the higher notes. The usual honour of a call WORLD, 1849), seems, like the rest of the world, to connect was awarded him, but we can hardly suppose that Elvino is to be taken as an earnest of his future position. In a character which is remarkable for its great opportunities the Fantasia and Sonata in C minor as one work. “Great for passionate display, and which has so often been illustrated by the most eloquent singing and acting, he failed to rouse himself even for an instant into a burst of genuine

as is the merit,” says the distinguished composer and critic, emotion, and left the sympathies completely untouched. Rarely, we suppose, has “ of his (Mozart's) many pianoforte works, his solo Fantasia • Tutto e sciolto,' that poignant expression of amatory despair, been sung with equal coldness. And yet there were signs of intention about Sig. Galvani. Every now and and Sonata in C minor will ever stand out, even from among then he seemed preparing for an outbreak, but the spirit did not obey the call, and the part rolled on in monotonous respectability. That, as a good steady vocalist, he may

them, as a composition of singular power ; and it is remark. he useful in the second rank, is probable enough ; but he has not the qualities which

able as containing - most particularly in the last moveentitle an artist to take the lead in a grand operatic establishment. Mad. Castellan's Amina is so well known that we need only say that it is still marked by that sweetness, ment-a complete prototype of the peculiar style which that delicacy of execution, and that artless modesty of deportment which have so oíten fascinated the London public."

modern critics distinguish as Beethovenish, and which in the

gns of intentioamatory despair arely, we sup

middle works of the great author of Fidelio is recognised as about the Missa Solennis, No. 2, and to which no answer his most salient characteristic.”

arrived, actually never reached the hands of Cherubini, Both Sonata and Fantasia are to be found in the cata- , who was not aware of its existence till after Beethoven's logue, drawn up in Mozart's own handwriting, of works death. composed between February 9, 1784, and November 15, | The three quartets, which have all been played at the 1791, and published by J. André, of Offenbach on the Maine. Monday Popular Concerts, with the exception of a sonata The 145 compositions, great and small, produced during that for two organs, six solo sonatas, and a fantasia for the pianointerval, however, do not represent all the labour of Mozart forte, constitute all the chamber music from the pen of this in those fertile years; for, without reckoning the many | great musician which has hitherto come to light. Much pieces he gave away, and of which he kept no copies, the more, however, is supposed to exist in manuscript. Requiem, and in all probability the two masses in C major (published by Breitkopf and Härtel, as Nos. 1 and 2), belong to the same period. Among the most extended compositions

MONDAY POPULAR CONCERTS. for the pianoforte without accompaniments, and those through

To the Editor of the Musical WORLD. which, as it has been hinted, he may be said to have fore

SIR,- In spite of the numerous entertainments now being shadowed the marvellous labours of Beethoven in the same

D held daily in London, and the establishment of Monday direction, are the sonatas in A minor (not in the catalogue), C minor (October, 1784), F major (January 1788), in B flat

as an opera night, these classic musical concerts continue (February 1789), D major (July 1789), &c. The prefer.

to attract, at which no one will wonder who reads the folence of Mozart, however, was for the pianoforte with or

lowing programme:chestral accompaniments, or in conjunction with other

Part I. instruments, obbligati, in the various forms of chamber

Quartet in F, Op. 59, No. 1 .

Beethoven,

Duet from Faust music. This is shown by the small number of important

.

Spohr.

· New Song .

Frank Mori. and extended works which he has left for the instrument

Concerto for pianoforte solo . . . J. S. Bach. solus, when compared with the vast number of his concertos, &c. The sonatas above specified, however, besides some

Part II. half-dozen others, and among the rest those introduced by Andante (Fugue in C for violin) . . J. S. Bach. Miss Arabella Goddard and Mr. Charles Hallé at the Mon

New Song . . . . . .

G. A. Osborne. New Song ,

J. Benedict. day Popular Concerts, triumphantly prove that inclination in

Trio in B flat, Op. 99 .

Schubert. one way, not inability in the other, led to this disparity.

Conductor, Mr. Benedict.
Of the four instrumental works, three were new to the

audience, and each of them is an instance from a field as CORRESPONDENT wishes us to tell him something

yet but little laboured in by managers of concerts. The - about Cherubini, and something about Cherubini's

strength and majesty of Beethoven's second or middle peconduct to Beethoven on a certain occasion which has been

riod will not need commendation or affirmation on our parts, frequently discussed.

and that the Quartet in F is one of the best representatives Cherubini, then, one of the greatest and most justly re

of that class, no one who listened to the playing of Joachim, nowned of musical composers, was born at Florence, Septem

Ries, Schreurs and Piatti, on Monday last, will deny. The ber 8, 1760, and died in 1843, at Paris, where he was suc

third movement, Adagio molto, in F minor, is intensely me. cessor to Paer, and predecessor of Auber, as Director of the

lodious and beautiful, and leads to the Finale Allegro (in F Conservatoire. The following account of his studies is

major), of which the principal subject is a Russian air, and, affixed, in his own hand-writing, to the catalogue of bis

like most music of real Muscovite origin, plaintive and exworks :

pressive in the extreme. “I began to learn music at the age of six, and composition at pine ; The concerto (why not sonata ?) for pianoforte solo of the elements being taught me by Bartolomeo Cherubini, professor of

Bach was most welcome. The works of the illustrious music — my father. My first two instructors in composition were Bartolomeo Felici, and Alessandro Felici, his son. About the year 1777 or

Cantor of Leipzig are gradually making the English people 1778 I obtained a pension from the Grand Duke Leopold, to continue believe in their author, although he was a sealed book to my studies, and to perfect myself with the celebrated Giuseppe Sarti, them for so many years. If music is to be regarded as a under whom I worked for three or four years. It was by the counsels science as well as an art, those writers whose effects are due and the le sons of this great master that I acquired my knowledge of

to contrapuntal achievements, to the glorious fugue in its counterpoint and dramatic music. As an exercise to me, and to assist him in his labours, he made mc sit by him and compose all the airs of the

many varieties, and to "imitation ” of the most correct sort, secondary characters of his operas. These pieces, which did not appear | will never cease to gain popularity. But to all listeners to under my name, and none of which I possess, are not included in the music, we may confidently say that Bach's works will repay present catalogue, but are to be found in the various scores of my

| attention to any amount. Mechanical construction and fugal master."

imitation were the forms in which music lived among men in Cherabini excelled equally as a composer for the church his days; and Bach being the greatest musician of his age, of and the theatre. He wrote more than thirty operas, and course excelled in these more than any of his contemporaries. several masses, which may rank with any similar productions. But he did more and therein he proved the greatness of When Faniska was produced at Vienna (1805), Haydn and his genius far more effectually than if he had wantonly Beethoven simultaneously proclaimed the author of that transgressed the rules of his art — he obeyed the law to the work the greatest dramatic composer of his time. The letter, and yet transfused into every bar such spirit, grace, Deux Journées, as a comic opera, stands nearer to Mozart tenderness, beauty, majesty, and strength, as have only been than anything else of its class. Beethoven's high opinion equalled since by that great composer who is his one rival, of Cherubini was often expressed ; and it is gratifying to and whose forms of art were yet-strange as it may seem know that the letter written by the composer of Fidelio most strikingly at variance with his own. “That the talented author of the preface to the book of words, “Grosse French, and the question whether he would have approved Passions-Musik," 1858, from which the above sentences are of the non-acceptance would have been considered. But quoted, has taken the only right view of the question, I am Verdi's case is different : how different everyone knows. It well assured. The specimen of last Monday (in the Italian is not necessary to insist that the Commissioners are neither style, says Bach himself) has more of the nature of a the delegates nor the representatives of the musicians of this fantasia in it than the students of Beethoven's and Mozart's country ; but it is right that Verdi should be made aware sonatas are accustomed to; but sonata, fantasia, or concerto, that they are neither the one nor the other. English musithere is an infinity of beauty in it. The themes are / cians sympathise with the composer of Il Trovatore, and elaborated with skill unknown up to Badistime, and unsur- feel on the subject as if the insult had been offered to thempassed since, and the science of the harmonist is everywhere | selves. accessory to the highest expression. It was played by Herr! Now it occurs to me that it is not a very difficult thing for Ernst Pauer, his first appearance at these concerts. Mr. us to prove to Verdi our sense of the conduct of the ComArthur Chappell's patrons are so accustomed to the greatest missioners in this respect. There is a Society called the excellence in pianoforte playing, and criticise it to such a | Musical Society of London. At its concerts are present degree, that Herr Pauer must take my candour in no un- / some fifteen hundred musicians. It has yet to give for the friendly spirit, when I say that his performance of the third present season a concert and a conversazione. Might not movement of the sonata was far better than that of the two the Cantata be performed at one of these, the renowned compreceding ones, which was hard and unsympathetic, albeit poser being invited to attend ? and could we not then demonperfectly correct. He seemed to warm to the Presto giojoso ; strate to Verdi our estimate of him, and contrast that with and indeed the musician who would not warm to it must be our estimate of the conduct of the Commissioners? Or a very block. The violin fugue was, of course, played by perhaps it would be better even to have a special performance Herr Joachim with all his surprising execution of difficul. before the members of the Society, having the same object ties and ravishing expression. What Bach has done by in view. I offer this suggestion as being worthy the immemaking science a medium for the exhibition of beautiful diate attention of our Council, for I doubt not the members ideas in composition, that does Herr Joachim (and one other of the Society generally feel as I do respecting the harsh great executant, on another instrument) in performance. | manner in which the Commissioners have acted towards Indeed, to complete the idea, Bach should have lived Verdi, in return for his honourable response to their invitaanother century, and heard Joachim and Arabella Goddard. | tion.

MUSICUS. The violin solo was vociferously encored, and the player May 5, 1862. responded with a “ Gavotte,” very similar to that played so frequently and so well by Sig. Piatti.

To the Editor of the Musical World. The trio of Schubert must be heard again for many reasons, the chief of which is that the beauty of it is by no

SIR, — The musical public, pianists especially, will hail with means all on the surface, and also because so excellent a

pleasure the return of M. Thalberg to London. Unforwork ought to be thoroughly well known. The Scherzo in

tunately, as present arrangements exist, the only people who B flat is really a delicious passage.

will have the advantage of hearing bis wonderful playing The vocal music was sung by Miss Louisa Vinning and

are a very select few. He announces four matinées, but the Dír. Santley. The duet from Faust was welcome, as an

prices of admission are so high (one guinea, and a half excerpt from an opera that ought to be performed entire

guinea, the latter being the lowest price), that the general again, and the song “ T'amo” of Mr. Benedict is beautiful

| public would be entirely debarred from attending them. I in the extreme. It was delivered by Mr. Santley with the must not be understood to say, that to hear that eminent wonderful ease and grace, and the fresh voice from the | virtuoso is not worth the price he asks—it is to those who bottom of the chest, which are carrying that gentleman's

can afford it; but what can those people do to hear him who fame all over the kingdom. Miss Louisa Vinning spoilt

can not afford it? The English public have, through the Mr. Osborne's pretty song with too much gesticulation.

Monday Popular and other Concerts, heard other great The composer of the “Pluie des Perles" needs no aids | artists at prices as low as one shilling — Arabella Godto fame but strictly musical ones.

dard, Charles Hallé, on the pianoforte; Vieuxtemps, Sainton, N. Wieniawski and Joachim, on the violin; Piatti, Paque, and

numerous others on various instruments, besides the most

eminent English and Foreign vocalists, have been heard by To the Editor of the Musical WORLD.

thousands at the price I have just mentioned. Then why

does not M. Sigismond Thalberg introduce some lower prices QIR, - I do not question for a moment that all your readers at his matinées ? One cannot help thinking that they are N approve the terms of indignation which the conduct of given exclusively to the aristocracy. If the public cannot the Commissioners of the Exhibition towards Sig. Verdi be admitted to these four concerts, I hope M. Thalberg will drew forth in a recent “ leader.” Every musician with give them the opportunity of hearing him elsewhere. I am whom I have conversed on the subject speaks of this beha sure he will find amongst them his most ardent admirers, viour as neither more nor less than a deliberate insult. For who would appreciate his magnificent pianoforte playing, wbich of his great works was Verdi treated with this con- and would give him, not a cold, but an enthusiastic receptumely? Had the rejection anything to do with Rossini's tion. I hope that my letter will attract the attention of M. refusal of the invitation of the Commissioners to write a Thalberg, and if you will kindly find a place for it in the March for the occasion ? Or is there any latent significance MUSICAL WORLD, I should feel greatly obliged. in the act? The question of time for the study of the

A PIANIST. Cantata was simply ridiculous. On the supposition that Auber's composition had not been sent early, would it have M. MEYERBEER left London for Berlin viâ Calais, on been rejected? There is such a man as the Emperor of the Tuesday evening.

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