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VOCAL ASSOCIATION.— The concert which took place yesterday sc'nwell sung by Mad. Guerrabella, but the rest of the vocal music calls for night was in aid of the unemployed operatives of Lancashire. The no especial comment. Mr. Arthur O'Leary accompanied. programme was peculiarly attractive, as some of the principal artists of MR. G. A. OSBORNE gave the first of a series of three Matinées of iler Majesty's Theatre, as well as other artists of eminence, assisted. | Classical and Modern Pianoforte Music, on Wednesday last, at his The full list of performers comprised—Singers, Mlle. Trebelli, Mlle. Ida | residence in Dorset Square. The programme included Beethoven's Gilliess, Mlle. Agnes Bury, Mlle. Georgi, Mlle. Marie Cruvelli, Mad. / Sonata, in B flat, op. 22; Selection from Mendelssohn's Lieder ohne Lemaire, Signor Armandi, M. Gassier, and Herr Theodore Formcs: | Worte; Nocturne by Chopin ; Tarantella by Thalberg ; his own Instrumentalists, the Brothers Munck (violin and violoncello), Mr.
“Fallen Leaves" (first book); a fantasia on Sonnambula ; and Osborne Henry Holmes (violin), M. Paquc (violoncello), Mr. Aguilar (piano and De Beriot's duet for piano and violin. Mr. Osborne displayed the forte), Mr. John Thomas and Mr. Aptommas (harp). The choir sang versatility of his powers in these various performances, and was honoured Mozart's “ Ave Verum,” Meyerbeer's “ Pater Noster.” Mr. Benedict's
with distinct applause in all. The company was fashionable and select. part-song, “ Blessed be the home,” Webbe's Glee, “ When winds breathe soft," and Handel's Madrigal, “ Oh! waste not, pining lovers." Meyer.
Mad. Louisa VINNING'S CONCERT. — The Matinée Musicale of this beer's “ Pater Noster” was perhaps the best achievement of the Associa
admired English vocalist took place at the Hanover Square Rooms on tion. One of the great hits of the concert was made by Mlle.
Wednesday last, and was well attended. Mad. Vinning, who sang the Trebelli, who took her audience by surprise. Her first effort
prayer and barcarole from L'Etoile du Nord, joined Mr. Santley in a was in the duo, “Ah! se di mali miei,” from Tancredi, with
duet from Rigoletto with much effect, and, gaining an enthusiastic encore Herr Formes, in which she was vehemently applauded and re.
by her brilliant execution of Francesco Berger's Waltz, “Ti sovvien,” called with enthusiasm. Mlle. Trebelli's other performances were the
substituted a new Scotch ballad (composed expressly for her by A. D. brindisi “Il segreto,” from Lucrezia Borgia (unanimously and
| Harrison), entitled “Dinna gang awa',” which may become popular. loudly encored), and the duet from the Barbiere “ Dunque io son," with
Mr. Wilbye Cooper was also encored for his tasteful rendering of “The M Gassier, which had as great a success as the other performances.
long waves come and go.” Miss Lascelles, Mad. Laura Baxter, and Mlle. Ida Gillies, another young lady whom the French capital has
Mr. Allan Irving with Miss Ada Jackson, a débutante, who sang, “My transmitted to us, was also a great surprise and a great success-greater
mother bids me bind my hair,” with taste and feeling - contributed to surprise, indeed, than Mlle. Trebelli, since Mlle. Gillies was quite un
the vocal part of the programme. Of Miss Jane Jackson, who brought known in London. Mlle. Gillies comes from the Théâtre Lyrique,
with her from Clifton a local reputation as a pianist, much must be said where she has been singing lately with distinguished success. Her
in praise. Her performance of Mendelssohn's Trio in D minor, in voice is a light high soprano, of brilliant quality, extremely flexible
which she was ably supported by M. Sainton and M. Paquc, and of two and nicely in tune. Moreover, she evidences undeniable artistic feeling,
movements of the Kreutzer Sonata (with M. Sainton), was highly to be and is, indeed, as far as we may surmise from hearing her on one oc
commended, and was deservedly applauded. Miss Jackson's neat and casion only, a thoroughly accomplished singer. She commenced with
facile execution was also shown to advantage in some pleasing variaan air from the Dragons de Villars of Maillart, and was recalled twice,
tions on Scotch airs, by M. Jules de Sivrai. Mr. Aptommas's harp solo creating, in fact, what might be called a furore ; and afterwards sang
came late, but was warmly received. The accompaniments were the “ Couplets de la Coupe ” from Massé's Galutée, with equal effect.
divided between Mr. Benedict, Mr. George Lake, and Mr. Francesco Mlle. Marie Cruvelli was another genuine success. She gave the air
Berger. “ Ah! mon Fernand” from the Favorite, and was unanimously recalled.
SIGNOR ANU MAD. FERRARI gave a Soirée Musicale at their resiOur readers cannot, we trust, have forgotten this talented lady, the sister dence on Friday last, before a distinguished and fashionable audience. of the incomparable Sofie, who debuted at Her Majesty's Theatre, Among the morceaux that pleased most may be named - a new duet some years since, in M. Thalberg's opera Florinda, with distinguished by Henry Smart, for soprano and barytone, " When the wind blows in success. Mlle. Marie Cruvelli's voice — a pure and even contralto
from the sea," gracefully sung by Sig. and Mad. Ferrari (to whom, has lost nothing of its quality, while the singer seems to have gained by
by the by, the duet is dedicated); the trio from Dr. Bennett's May experience a deeper knowledge into the arcana of her art. We have
Queen, sung by Mr. Wilbye Cooper and Sig. and Mad. Ferrari ; a said so much of the ladies that we must pass over the gentlemen, | new song by Mr. Hatton, “ The return," sung by Mr. Wilbye not forgetting, nevertheless, that Mlle. Georgi, with her fine low Cooper; the popular lied, “ Thou art so near,” and a “ Cradle song," notes, and Mlle. Agnes Bury, with her capital soprano, both found
sung by Herr Reichardt; the “Dream Dance," by Mr. Aguilar; a numerous admirers. M. Gassier was recalled after “Largo al factotum;"
Fantasia by Mr. John Francis Barnett, and a Capriccio from MendelsHerr Theodore Formes after the great tenor air from Der Freischütz ; | shon, by Miss Schiller, a young pianist of considerable talent. This and Sig. Armandi displayed immense force, if nothing else, in the Soirée may be cited as among thc most brilliant of the season. lovely air “La mia letizia,” from I Lombardi. We can only afford to PIANOFORTE Association.—The first of a series of day concerts say of the instrumental performance that, in consequence of the longi- for the performance of chamber music was given on Thursday, the 8th tudinity of the programme, which should have been calculated previously, inst., ai Messrs. Collards' rooms, in Grosvenor Street, by Messrs. the first movement only of Mr. Aguilar's trio in E, for violin, violoncello Baumer, Carrodus, Baetens, and Pettit, artists of the pianoforte, violin, and pianoforte, announced for performance, could be given. To make viola, and violoncello, who have enrolled themselves under the above amends to Mr. Aguilar, however, for his great disappointment, Mr. distinguishing title. The programme of the first concert consisted of Benedict is determined, we understand, that the trio will be given selections of the best order - viz., Beethoven's Quartet in E flat (Op. 16), in extenso at the next concert of the Vocal Association, so that a second for pianoforte and three-stringed instruments, excellently played by the opportunity may be afforded the friends of the composer of hearing it. gentlemen whose names we have just given ; Mozart's sonata in D
Miss Fanny CORFIELD'S MATINEE OF CLASSICAL PIANOFORTE (No. 3), for pianoforte and violin, by Messrs. Baumer and Carrodus; Music took place in Collard's Rooms on Wednesday, and attracted a Weber's Quartet in B flat by the four members of the association, a brilliant and numerous attendance. Miss Corfield joined with her in work, which in the eyes of the audience, carried off the palm, the the instrumental department Herr Molique and M Paque, and in the minuetto (sustained by pianoforte and violoncello, and a delicious piece vocal, Mad. Guerrabella and Miss Eleanora Wilkinson. When we of melody) being unanimously encored; and Mendelssohn's “ Andante say that the first part was restricted to the names of Mozart, Haydn, and Rondo Capriccioso" in É, a pianoforte solo, which was given with Beethoven, Clementi, Weber, and Mendelssohn, it will be seen how | admirable tastc by Mr. Henry Baumer, and warmly applauded. Miss rigidly the young hénéficiaire adheres to the designation of her pro. Emma Charlier, a young vocalist of genuine ability, sang Weber's grammes. Miss Corfield's play is at once distinguished for its grace scena, “Softly sighs," in German, with very considerable dramatis and energy, two qualities she may have derived from her master, Pro
intelligence and artistic feeling; and a prayer, “ Holy Father," by H. fessor Bennett. She has the true classical feeling, and devotes her
Baumer, which, though a work of more than ordinary merit, is of so talents almost entirely to the great master 3. At the concert on Wed.
completely solemn a character, that it seemed a little misplaced in a nesday she did permit the classic texture of her selection to be inter concert devoted otherwise to secular music. woven by two pieces from Stephen Heller's “Sleepless Nights; ” but HANOVER SQUARE Rooms. — Miss Catherine A. Thomson gave a these excepted-we do not except, as a matter of course, Professor Ben | concert on Thursday evening week, at the above rooms, in which Pronett's contribution, Chamber Trio, A major, pianoforte, violin, and fessor Bennett's May Queen formed the principal feature. This fine violoncello—all her other performances were taken from the classic work was admirably sung by Miss Thomson, Miss Kate Merritt, Mr. repertory. These were, Beethoven's Sonata (op. 30, No. 2), in C minor, Wilbye Cooper, and Mr. Chaplin Henry, and a highly efficient chorus, for pianoforte and violin ; Clementi's Sonata, in D major, for pianoforte under the direction of a “Mr. J. J. T.” In the miscellaneous part, Miss solus ; and Mendelssohn's “ Variations Concertantes,” in D major, for Thomson introduced a new ballad by Mr. Henry Smart, called "pianoforte and violoncello Hummel's offertorium “ Alma Virgo" was “ Thine"-a pretty song, very sweetly sung, without any attempt at display. The other vocalists were Misses E. Armstrong. Merville, E. melody of much of the ease and flow that are its salient characteristics
The ardour with which Mad. Goldschmidt delivered Eve's reply to Walker, Beaslane, and Eyles, Mad. Maxwell, Messrs. Finlayson, W. S.
Adam's glowing protestation,
"Spouse adored, at thy side
Purist joys o'erflow the heart,".&c. Henry Smart and Mr. F. Osborne Williams were the conductors.
the delicate gradations which accompanied the line
“ The breath of eve, the savours fruit, the fragrant bloom," — MAD. GOLDSCHMIDT-LIND'S CONCERTS.
and the enthusiastic fervor of the peroration, The second of the three concerts announced by Mad. Goldschmidt, in
“With thee is every joy enhanced,' &c.aid of certain charitable institutions, took place on Wednesday night in would, however, have atoned for a gråver delinquency than that of
would, however have tonen for o cravar dolino Exeter Hall, which was again as crowded and as uncomfortable as could
differing from Haydn's idea of the time at which his own music should
differing from Haydn's a well be imagined. The oratorio was Haydn's Creation, the generall be taken; and this duet, like the airs, “ With verdure clad” and “ On execution of which, under the direction of Herr Otto Goldschmidt, if mighty pens," was followed by rapturous and long-continued plaudits. not remarkably striking for so comparatively easy and familiar a work, On the whole (to conclude), Mad. Goldschmidt's Creation is superior was in many respects better than that of the Messiah some time since. to her Messiah, if not quite equal to her Elijah. In the duets of the About Mad. Goldschmidt's reading of the soprano part there is little to third part she was admirably supported by Sig. Belletti - an excellent add to what has been said already, more than once-less to modify. As musician, as all the world knows, and who proved it as emphatically in in the instance of the Messiah, it is more studied and carefully finished the descriptive and declamatory recitatives and airs of Raphael, in than before; and for this reason, perhaps, the third part is less effective the earlier, as by his delivery of Adam's more cheerful music in the than the rest. Mad. Goldschmidt seems more thoroughly at home with later portion of the oratorio. Mad. Goldschmidt and Sig. Belletti the narrational recitative and celestial homilies of the Angel Gabriel,
could not have found a worthier associate than Mr. Sims Reeves, who, than with the newly-awakened surprise at the wonders of Creation, or if he did not sing better than recently in the Messiah-which would the genuine vows of obedience and affection towards her husband, uttered have been difficult - sang quite as well. The pains Mr. Reeves takes with such fervid eloquence by the emancipated Eve. Of “The marvel- / at these concerts show in an equal measure his esteem for Mad. Gold. lous work” and “ With verdure clad” we need say nothing ; their con
schmidt and that self-respect without which an artist must never hope spicuous features are still vividly remembered ; but as an example of
to rise to and to sustain, as he has done, the highest position. We florid ornamental singing in the very highest school (to cite only one)
cannot speak of his performance in detail, but may single out from the the air, “ On mighty pens," has probably not been surpassed. Mad.
rest the well-known air, “In native worth and honour clad," as a Clara Novello gave this air (in which the powers of so many accom specimen of oratorio singing which long experience, natural taste, and plished singers have been tested) with less apparent exertion, and with artistic refinement alone could furnish ; and from among the recitatives more of the presumed impersonal quietude of a super-terrestrial being, that simple and noble passage, at the commencement of Part III., refraining, besides, from lingering for an indefinite period on the second describing the approach of morning (“In rosy mantle,” &c.)- an word of the line
example of vocal declamation as impressive as it was wholly without "And, cooing, calls the tender dove his mate,"
effort, and thus attaining the highest aim of musical soliloquy. "In to which Mad. Goldschmidt resorts as a means of effect closely allied to
native worth” was loudly redemanded, but (probably because the same the “theatrical.” But as a purely elaborate display, as a consummate
compliment had not been extended either to Mad. Goldschmidt or Sig. exercise of vocal skill, where the ars celare artem about which critics
Belletti) Mr. Reeves declined to accede. preach is boldly disdained for the sake of what musicians term “effect,"
Herr Goldschmidt conducted the performance well ; and the execu. the exhibition of our admirable English songstress was hardly corn
tion of several of the choruses (among others “The heavens are telling," parable to that of her illustrious Scandinavian rival. Even in the mat
“ Achieved is the glorious work,” and “Praise the Lord," the three ter of the “ cooing" Mad. Goldschmidt may found a solid argument
finest) was forcible and good. In the band (among other eminent for her own peculiar reading on the prevalent character of the middle
artists) was Sig. Piatti. The profits of this concert are destined for the section of the oratorio, where Haydn has illustrated that part of the
Hospital for Consumption and Diseases of the Chest at Brompton ; cosmogony relating to the production of living creatures - man, of
those of the next (Wednesday, June 4, the “Derby-day," when Mendelscourse, as the higher animal exceptedin a spirit unquestionably
sohn's Elijah will be given) are to be shared between the Royal theatrical. It would be difficult to quarrel with any very decided view
Society of Musicians and the Royal Society of Female Musicians. adopted by Mad. Goldschmidt of a musical passage, descriptive or otherwise, as arbitrary. She is, above all, intellectual ; and whatever may be thought of the pre-Raphaelite minuteness with which she oc.
BACH SOCIETY casionally dwells on periods the significance of which has escaped the The performance on Satuday night of the Grosse Passions-Musik, at attention of less diligent inquirers, she does nothing without a rea St. James's Hall, was a great success. Never before has the work been son. Her performance in The Creation is everywhere marked by so well done, and consequently never before have the energy, grandeur, this laborious attention to details, and the success achieved is pro sublimity, pathos and beauty of this sacred masterpiece of J. S. Bach portionate. In the concerted pieces (trios and duets) it is just been so thoroughly demonstrated. The orchestra and chorus were well the same ; not a point is ignored, not a phrase unfinished, not a chance up to the difficulties of the work, and the solo singing was beyond of forced or delicate contrast overlooked. In the trio for soprano, tenor, reproach. and bass (“Most beautiful appear"), all but the florid passages, which The dreamy melody of the opening double chorus, with the interyield to her voice less gratefully than of old, was perfect alike in execu jected quavers from the second choir, and the strangely-beautiful chorale tion and delivery; while that with chorus (" Achieved is the glorious for trebles only (sung by boy voices), were remarkable for the extreme work")—the stirring and splendid climax of the second part-was correctness of the singing, and even more so for fluent delivery and wholly irreproachable, the upper tones of the gifted lady soaring at in- perfect phrasing, which are, indeed, only too rare in choral perform. tervals above the vocal and instrumental harmony, as though their ances. The narrational recitative which follows, introduces the story youth, their vigour, and their beauty were perennial. The duets with with the words, “ When Jesus had finished all these sayings." Then Adam (in the third part) abounded with good intentions ; but while follows a chorale, “ O blessed Jesus, what is thy transgression?”-a pasthe expression was always warmly coloured, it was occasionally over sage for beauty of melody and contrapuntal harmony second to none of done. The apostrophe in which Eve owns her dependence upon Adam, the numerous chorales in the work. After another narrative passage, a and the position of the wife towards the husband is set forth: -
short chorus of wonderful impetuosity and force, “Not on the feast"Thou for whom I am-my help, my shield,
day, least there be an uproar among the people," ends that part of the My all, Thy will is law to me;
history. Then follows a recitative, “Now when Jesus was in Bethany," Só God our Lord ordains, and from obedience
and the story of the Magdalene, with a chorus somewhat similar to the Grows my pride and happiness"
| last in vigour of manner, “To what purpose is this waste?” Then was uttered with the measured cadence of a didactic oration, the words comes the first aria, “ Grief for sin,” preceded by an introductory pas" and from obedience” being dwelt upon with a slow and peculiar sage, “Thou blessed Saviour." These two pieces were suug by Mad. gravity that instead of suggesting earnestness almost gavė the idea of Sainton with such wonderful case and grace, that the extreme difficulty half-suppressed irony. The remainder of this duet, in which the chorus of the music was lost sight of, and there only remained to admire the takes so animated a part, was beyond criticism. So, too, would have chaste and dignified manner, and the beauty of expression which never been the still more tuneful and still more popular“ Graceful consort," fails this true artist. The obbligati parts to this song are a study in but for the unwonted slowness of the “tempo," which deprived the themselves. After three short recitatives comes the chorale, “ My sin it
was which bound thee,” the air of which is identical with that of many the science of the musician serves to express devotional feclings of the others subsequently occurring: but the harmonic treatment, or the key, I greatest intensity. The singing of the two picces by Mad. Sainton, renis 60 varied in each as to produce a new effect. Then comes a recita
dered Bach's admirers still more indebted to her. Another chorale and tive and air for soprano, “ Jesus, Saviour, I am thine," which for grace a recitative brings us to a beautiful air for bass voice, “'Twas in the and beauty rivals the tenor air that follows it. For what M. Fetis so
cool of eventide," which Mr. Wallworth sang with due appreciation of well describes as “rhythmic melody," the soprano song is, perhaps, the its excellence. Then the narration ends at the tomb, and a recitative and more remarkable. Miss Badks was the singer, and although since her chorus, “ Now doth the Lord in peace recline,” introduces the finale first appearance somo years ago, she has never failed to sing any music “In tears of grief,” a chorus of unapproachable melody and deep imshe has undertaken with unimpeachable correctness and artist-liko intel- | pressiveness. ligence, she has never had an opportunity of showing the height to
The oboe of Mr. Lavigne, the flutes of Messrs. Rockstro and Card, which she could rise till last Saturday. To deliver such a song with
and the violin of Mr. H. C. Cooper did great service in the obbligati Unfaltering tune, and to phrase its long passages with ease, is the work l parts. Mr. E. J. Hopkins was at the organ, and Mr. Lindsay Sloper of a mistress of the mechanical part of the vocal art: to imbue it with at the pianoforte, the latter instrument being introduced occasionally the spirit and life that animated Bach himself when he wrote it, is a with excellent effect. triumph such as is reserved for those who have great natural gifts, and
We have been thus particular in alluding to the several numbers of who bring laborious perseverance and study in aid of them. The ap- this important work, because Dr. Bennett and the Bach Society have plause which followed the song showed the feeling the singer created , a | our best wishes in their undertaking to make Bach's works better known more hearty and spontancous evidence of appreciation we never heard. / to the English public. The bugbears of “impossibility” and “unvoThree more recitatives, with another version of the chorale above men- | calism” have been long since destroyed, and a few more concerts, such tioned, to the words “ O Lord, thy love's unbounded." bring us to the as that of last Saturday, will further the good cause. Let us hope that Dr. tenor solo with chorus, “ With Jesus I will watch and pray,” a song | Bennett and his friends will not loiter by the way. They have gained varied in character, with oboi obbligati, and blended with the chorus / much ground by this performance, and we trust they will maintain it. with all Bach's felicitous skill. The florid parts of this song are original
N. even to being beyond limitation, and the sense of subdued strength imparted to the passage “ He endareth my griefs," is most impressive. CrystaL PALACE.-(Communicated.)-The Great Handel Festival The singing of Mr. Sims Reeves in this song was superlatively grcat. Orchestra, with its vast and imposing roof, is now acknowledged to be The brightness and power of his upper tones are almost indispensable to a success bcyond the most sanguine expectations. The performance of such a piece ; and the vigorous declamatory manner which distin the International Exhibition Music at the Grand Flower Show, on guishes him from all other tenor singers, found noble opportunities in Saturday last, demonstrated in a most satisfactory manner its acoustic the recitatives (of the Evangelist) throughout the work. A chorale, “O capabilities, the faintest tone, such as the high notes of a flute or violin, Father, let Thy will be done," and two short narrative passages are fol came out with remarkable distinctness, while the thunders of the giganlowed by a duet for soprano and contralto (the former part being sung tic organ were concentrated and thrown forward in such a manner, with great carc by Miss Martin), accompanied by a chorus of interjec as to render it highly probable that when the combined forces at the tional phrases of great power, leading to a chorus “ Have lightnings and Handel Festival are heard, the effect will be astounding. But it is thunders," which, as a marvellous combination of simplicity and power, not alone in increase of loudness that the Orchestra is remarkable, but is equalled only by that great number of Israel in Egypt, “ He gave for the clearness and distinctness with which each sound falls upon the them hailstones for rain.” Another chorus, " () man, thy heavy sin ear. The Sacred Harmonic Society are now exerting themselves to lament,” ends the first part of the oratorio which is remarkable for make the usual arrangements for the approaching Festival the the variety of choral effects produced during its progress, and the skill most complete of any on record. Upwards of 1,200 engagements with which phrases dissimilar in manner are connected together.
have been made with the Provincial choirs, and as these either The second part is introduced by an air for contralto, with chorus, have been or will be selected by the officers of the Society, the " Alas, now is my Saviour gone?" This may, perhaps, be more con- engagement of a class of performers far superior in musical ability to vincingly quoted as a proof of the tendernes3 of Bach's melodic genius those who took part in the former Festivals may be reckoned upon. It than any other air in the work. Mad. Sainton delivered the phrases of is expected that by the close of this week the whole of the engagethis exquisite piece in her own style. Such music must have beenments will have been completed. The final choral rehearsals in Lonwritten in the hope that such a singer would some day arise to do it don are appointed for Fridays, the 6th, 13th, and 20th of June, to be justice. The scene before Pilate is then described in several recitatives. held in the large hall, Exeter Hall. The great full rehearsal will take Mr. Sims Reeves, in “Then did they spit in bis face," produced å trc- place at the Crystal Palace, on Saturday, 21st June. At this, the mendous effect by his emphasis and force; and at the words “ He went whole of the performers, both choral and instrumental, as well as the out and wept bitterly," the pathetic expression imparted to the chro- | principal singers, will be present. The Messiah will be performed on matic passage was listened to in solemn silence, until the last note died the first day, and Israel in Egypt on the last day, of the Festival; the away, when the applause burst forth from all parts of the hall. The intermediate day (Wednesday) being devoted to a selection from chorale, “ O Lord, who dares to smite Theo ?" was redemanded and Handel's greatest works, not included in the before-named Oratorios. repeated; and it could not have been otherwise. Mr. Weiss created a The selection is not yet definitely arranged, but it will comprise cho. profound impression by his very admirable delivery of Have mercy on ruses from the Dettingen “Te Deum,” Samson, Saul, Judas Maccabeus, me, O Lord.” The recitatives which follow describe the appeal to the Deborah, Solomon, including the celebrated Passion Chorus, Jephtha, people as to the release of a malefactor, answered by the shout of the &c., &c. A novel feature in this day's programme will be the intro. choir, “ Barabbas!" which was the only very faulty piece of singing duction of selections from some of Handel's best-known secular works; of the evening.* The following number is the other great soprano air, among these will be found, “ Haste thee, Nymph," from L'Allegro, “From mercy will my Saviour perish,” à grand specimen of Bach's “ Wretched Lovers," from Acis and Galatea, “ Tyrants, now no more genius. Let any one who is accustomed to consider Bach a mere shall dread," from Hercules, “ As from the power of sacred lays," from chord-compiler, compare this song with some of more modern St. Cecilia's Ode, interspersed with some of the best-known solos. origin, and observe how thoroughly the Saxon ma ster was ac- The entire orchestra will comprise a larger force than were ever before quainted with the most delicate capabilities of the human voice. It was assembled, numbering in all nearly 4,000 performers. The stage and sung by Miss Banks, in a manner and with an effect no way inferior to scenery erected for Blondin's performances at Christmas have been her former display. The short chorus "Let Him be crucified,” which cleared away, and visitors may now form some idea of the value of the follows one of the recitatives, is then reiterated with increased emphasis more distant places. It is beliered by competent judges that the seats in a key a tone higher. Here the Evangelist's account of the Crucifix- | furthest removed from the Orchestra will now be amongst the best for ion is strictly followed, interrupted only by another version of the chorale hearing. Additional seats are now being erected in the gallery, plans above-mentioned to the words “0 Thou, whose head was wounded." of which will be ready for issue in a few days. A recitative accompanied, "O Golgotha," with air, “See the Saviour's MLLE. TREBELLI. — The cantata was preceded by the Barbiere outstretched arm,” for contralto voice, is truly sacred music, in which 1 (minus the finale), in which Mlle. Trebelli again made her appearance
as Rosina. In this young lady Mr. Mapleson has evidently found a
prize. So interesting and so well-endowed a vocalist, of the Alboni * Then the self-reproach and self-contempt of Peter are wonderfully school, has not been heard for many a day; and that she is destined to portrayed in a air to words judiciously chosen from the Psalms, and attain a high place in the public estimativn is palpable enough. It may sang by Mr Weiss with great power. The appeal to the people as to be mentioned that she last night abandoned Alary's variations on the releasing a malefactor at the feast time succeeds it, and the shouts “Sul Margine" for Arditi's well-known “Il baccio "--a better thing as of the crowd Barabbas !"
music, and a neater thing for display.- Observer.
ST JAMES'S HALL.
| least, to the Passion-Music according to St. John, and the
Grand Mass in B minor, being superior to the first in depth MONDAY POPULAR CONCERTS, of feeling and grandeur of expression, and in clearness of
form to the latter, which is almost unfathomably mystical.” TIGHTY-SIXTH CONCERT, ON MONDAY
The book of the Passion according to St, Matthew con
tains an account of Christ's sufferings, as related by that U Evening, June 2, 1862. PROGRAMME.
apostle. It commences at the 26th chapter, in which Christ PART I.-Quartet, in A, No. 5, for Two Violins, Viola, and Violoncello, Herr LAUB
informs his disciples of his approaching crucifixion, and of (his first appearance), Herr L. Ries, M. SCHREURS, and Signor PIATTI (Beethoven). Song. "Dain, gentle fower," Miss BANKS (Henry Smart). Song, “ Adelaida," Mr. his betrayal by Judas Iscariot. Jesus, Judas, Peter, Pilate, SIMS REEVES (Beethoven). Fantasia, in E fat, Op. 1, for Pianoforte solo (first time
the Apostles and the People, are the dramatis persone, their at the Monday Popular Concerts), Herr PAUER (Hummel). PART II.-Sonata, in E dat, for Violoncello, with Pianoforte Accompaniment (first
appearance being effected by the agency of the narrating time at the Monday Popular Concerts), Signor Piatti (Boccherini). Song, “Summer is 'sweet," Mr. Sims REEVES (G. Lake). Song, "Where the bee sucks (Tempest), Miss Evangelist. Between these dramatic-epic 'portions of the BANKS (Sullivan). Sonata, in A minor, Op. 23, for Vioiin and Pianoforte, Herr LAUB and Herr PAIER (Beethoven).
text, reflections and apostrophes addressed to Jesus are inConductor, MR. BENEDICT. To commeuce at eight o'clock precisely.
troduced, sometimes given (like the chorales, wbich are NOTICE.-It is respectfully suggested that such persons as are not desirous of remain always of a reflective cast) by the chorus, who represent the ing 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
listening flock, and sometimes by single voices (soprano or to hear the whole may do so without interruption.
contralto), representing separate members of the congreBetween the last vocal piece and the Sonata for Violin and Pianoforte, an interval of Five Minutes will be allowed. The Concert will finish before Half gation. With a reflection of this description sung by the Past Ten o'clock.
chorus, the work commences: “Come, ye daughters, and aid 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 Part I. Stalls, 58.; Balcony, 3s.; Admission, Is.
It was impossible for Bach to have begun more powerA few Sofa Stalls, near the Piano, 10s. 60.
fully than with this chorus. It is in E minor, and in 12/8 Tickets to be had of MR. AUSTIN, at the Hall, 28 Piccadilly ; CHAPPELL & Co., 50
rhythm. It is ushered in by an instrumental introduction of New Bond Street; and the principal Musicsellers.
sixteen bars, * and, with but few exceptions, the bass, which BIRTH.
is extremely low, preserves the rhythmical movement I. On Friday, May 23, the wife of Howard Glover Esq., of a daugh With this we have frequent points d'orgue, as at the very ter.
commencement; most unusual harmonies — cries of woe,
freezing the very marrow in our bones (see, for instance, bar TO CORRESPONDENTS.
14 of the instrumental introduction); and the most wonderful EFFIE. - Will our correspondent, in confidence of course, favour us
vocal combinations. Everything in this chorus, só powerwith her name and address ? FAIR PLAY. - Consult Godwin On Sepulchres, Brown on Urn Burials,
fully developed, serves the purpose of preparing the way for Cardan's Encomium Neronis, and Sir Thomas More's Praise of Folly. some awful event, and plunging the listener into a frame of When he has perused these tomes, let him take castor-oil; and dine, mind suitable for hearing great things, the whole being consup, and breakfast (or vice versa) on Phænicopter's Eggs. He must ceived as only the highest genius, and of which the subject go to bed early.
speaks immediately, could conceive it. This most wonderful ACCOUNTS of the following concerts are in type, and will appear forth. with:-Mr. Charles Halle's Recitals; Concerts of Mr. John Frances
piece is written for two choruses, so that the second chorus Barnett; Mr. Harold Thomas ; Mr. Hermann Slater ; Mlle. Bondy;
interrupts the first one in its lament with such questions a 8: Mrs. Dundas; 48th Middlesex Rifle Volunteers ; Herr Sprenger, “ How?”—“What?” -“Whom?"_“Whither ;” until at and others.
length, abandoning the part of a mere sympathising and
agitated listener, it takes part in the sorrowing strains of the NOTICES.
first. Above all the volume of sound of the two choruses, To ADVERTISERS.-Advertisers are informed, that for the future as well as of the full orchestra, there re-echoes, quite inde
the Advertising Agency of THE MUSICAL WORLD is established pendently, a chorale melodic sung by sopranos: “O innocent at the Magazine of MESSRS. DUNCAN DAVISON & Co., 244
Lamb of God, slaughtered on the tree of the Cross," &c. Regent Street, corner of Little Argyl Street (First Floor). Ad
We have dwelt with rather more than ordinary length on vertisements can be received as late as Three o'clock P.M., on
this piece, because it is one of the finest with which we Fridays—but not later. Payment on delivery. Two lines and under ... ... 28. 6d.
are acquainted from Bach's pen and because we meet in only
one other part, eren of this work-namely, the final chorus Terms | Every additional 10 words ... ... 6d.
- a similar instance of such power of expression. The above TO PUBLISHERS AND COMPOSERS.-AU Music for Review in THE
introductory movement is followed by several recitatives, a · MUSICAL WORLD must henceforth be forwarded to the Editor, care of MESSRS. Duncan DAVISON & Co., 244 Regent Street.
chorale, and smaller choral movements, which we may pass A List of every Piece sent for Review will appear on the Satur
over. No. 9 and No. 10, recitative and air, are devoted to day following in THE MUSICAL WORLD.
mournful reflections; they are sung by a contralto, and are To CONCERT GIVER8.—No Benefit-Concert, or Musical Perform both of moving beauty, being full of that meltingly-sweet
ance, except of general interest, unless previously Advertised, can naïvety which characterises Bach above all other masters. be reported in THE MUSICAL WORLD.
The recitative is in F sharp minor, 4/4, and is accompanied, in a regular gently-undulating semiquaver figure, by two flutes, to which are added pizzicato basses ; it is followed
by the air in F sharp minor, 3/8, an indescribably charming LONDON: SATURDAY, MAY 31, 1862. composition, though surpassed by the very neat air (No. 12),
in B minor, 4/4, sung by a soprano, "Bleed, thou dear heart, " A MONG the great works of Sebastian Bach,” says the
thou !" Further on, we must direct particular attention to A Recensionen (Vienna)—“the Passion-Music according to the Gospel of St. Matthew occupies, perhaps, the highest 1 * The Singacademie performs the work according to the version position. It is entitled to that position in preference, at adopted by Ferdinand Hiller for Cologne.
The Musical World.
the arioso in No. 17: “ Take, eat; this is my body" (C major, thunderbolts vanished in clouds ?” The basses of both 4:4). No. 18 is another remarkable recitative, constructed clioruses are now introduced in B minor, with a highly similarly to that in No. 9; only the bass proceeds in heavy energetic four-bar motive, descending in the first two bars quavers, with the fluttering Oboi d'amore; while, in the in the triad intervals from the C of the great octave to former instance, it merely accompanied in light touches the the C of the counter-octave-then springs up into the seventh, fute-arabesques hovering above it. It is followe'l by a very and closes in E minor; the tenors then follow in the fugato, graceful air (G major, 6j8), sung by a soprano, “I will give then the contraltoe, and then the sopranos; the basses acthee my heart"-charming, gentle, and full of mild expres- company first in short touches, and then at the word “ thunsion, although proceeding, from the first bar to the last, in derbolts” combine with the rolling movement of the instrurich, contrapuntal figuration. Beautiful chorales, and in- mental basses. After the motive has been developed by the teresting recitatives, full of characteristic expression, follow four voices, both choruses take it up and continue it alterin Nos. 20—25.
nately, in G major, D major, A minor, and E minor, comNo. 26, an air (C minor, 4/4), is a particularly remarkable bining once more in canonical form at the conclusion; the piece. An instrumental prelude a contrapuntal move-cellos and double basses accompany the whole development ment between the oboe (solo) and the violoncellos - begins uninterruptedly with a rolling movement of semiqnavers, it. At the eleventh bar, the tenor (solo) comes in, and takes until finally, in the last development, in order to give the up the melody of the oboe, the fiddles executing a counter- greatest possible force of expression, Bach makes the violins point, while the basses remain true to the course they were and violas, which have previously followed faithfully the previously pursuing. In the third bar we have the chorus contrapuntal movements of the vocal parts, accompany in answering, and thus the solo part and the chorus go on con- | harmonic semiquavers. tinually alternating. The tenor sings, “I will watch by my Compressed as the whole of this development appears Jesus ;” the chorus replies, “ Thus do our sins slumber :” for it comprises only 38 bars — it is most powerful. A the tenor then sings, “His soul's agony suffers for my death ;" general pause ensues, and then comes the development of the while the chorus answers, “ Therefore must his meritorious next verses. suffering be most bitter and yet sweet to us." These two
“ Eröffne den feurigen Abgrund der Hölle ! verses form the middle developing movement, thematically
Verderbe, zerschelle mit plötzlicher Wuth, and strictly worked out; the principal movements and the
Den falschen Verräther, das mord’rische Blut.” • first two verses then recur. The construction of this piece The first chorus begins in F sharp major, and opens with is admirable. In this, though still more in the foregoing the former motivo, which, however, is reversed ; it remains movement, a recitative, we are struck, as is frequently enough stationary upon the dominant chord of E minor, wbich it the case throughout the work, with what Bach expects the keeps up for three bars, while the second chorus executes voice to do. In the recitative in F minor, No. 24, the tenor the same motivo (with a reversal of the voices between sopart lies uninterruptedly exceedingly high ; and this too, prano and contralto), and then, in like manner, during the not in passages on which there is any particularly pathetic third development, in A minor, gives out the dominant accent, but quite non chalament; nay, he even writes as chord of this key ; the instrumental basses accompany the mere fioriture:
whole of the development, partly in a descending figure of semiquavers, and partly in harmonic figures, while the vocal basses invariably proceed in octaves, and the other chorus
of the stringed instruments accompanies, tremolando, in These are demands which our singers are no longer called
demisemiquavers. We must, furthermore, especially notice upon to satisfy ; fortunately they and similar passages can
the highly energetic turn with which this powerful movebe easily punctuated, and, as we have here to do with some
ment closes in the last four bars.
No. 34 consists of a long recitative movement; and we may thing which is by no means an artistic necessity, but, wholly
here remark parenthetically, that more than mere superficial and solely, a custom of the day, no one will hesitate taking
attention should be devoted to these recitatives, which are advantage of the fact. No 33 consists of two movements, an air for soprano and
always highly characteristic and full of profound thought. contralto (E minor, 4/4), and a slow movement (Allegro
A chorale, No. 35, “O man, bewail thy great sins !" con.
cludes the first part; that is to say, the movement is inscribed vivace 3/8), worked out with great breadth, for a double chorus. This air, also, commences with a somewhat
“ chorale,” though it is constructed in an essentially different
manner than to chorale movements usually, which always long instrumental introduction of sixteen bars; in the seven
consist of only a few bars, moving along steadily, and reteepth bar, the soprano takes up the melody, at first played
tarded by ties, and in which all four voices take an equal by the oboes and flutes, expressing its sorrow in the words, “Thus is my Jesus now taken !”
share. This exceedingly comprehensive movement (C major, Two bars further on, the
4/4) is to be called a chorale, only in so far as the oboe part contralto follows with the same lament. The voices are re
accompanies it throughout with the mention of a chorale newed; the soprano now executes the lower counterpoint,
melody, round which the other parts play in a lively manner, previously played by the oboes, and the contralto, in the
but in turns regularly recurring. With genuine Bachian octave, the higher one, previously played by the flutes. The
consistency, the orchestra accompanies this movement from contrapuntal basis given to the stringed instruments remains the same. The lament of the two solo voices is accompanied
first to last, in a strictly equal rbythmical manner; some by the chorus in pauses with short quavers, adding : “Let
quavers undulating up and down, and being connected in
twos. Everything in this movement, which is introduced him go ! Hold! Bind him not !” At length when the soprano and contralto, according to strict canonical principles,
by an instrumental prelude of seventeen bars, breathes a have, for twenty bars, carried on the verse, “ They led him
•• Throw open the fiery abysses of Hell! away; lie is bound,” the double chorus bursts forth like a
Quick! number the vile treach'rous slave with the dead! tempest with the words, “ Have the lightnings, have the
As price of his crime let his life-blood be shed !"