HOMAGE TO HANDEL. — Three Arrangements for the Pianoforte, by H. W. Goodban. No. I, "Messiah j" No.;2, " Selection No. 3, " Israel in Egypt.1' Price, 3s. each.

Metzlbr & Co., 37, 38, 35 and 10 Great Marlborough Street, W.

HERR REICHARDT will sing G. Linley's New Romance, " GO, WHISPERING WIND," at Mill Liziie Wilson's Concert at the Hanover Square Rooms, June 26.

Published by Metzlbr & Co., 37, 38, 35 and 16 Great Marlborough Street, W.



Tuesday, June 24, at Three o'clock, ossified by Mile. Parkpa, Mr. Wilbyb Cooper, Herr Obbrthur, &c.

Conductor: Sig. Campana. Mr. APTOMMAS wilt play Weber's CONCERT-*STUCK, several Morceaux by Db Wittk, Mr. Charles Salaman, Ac, and a Grand Duo for two harps (from " Les Huguenots ") with the Composer, Mr. Charles Obbrthur.

Tickets, 5s. and 10s. 6d. At the music shops, and of Mr. Aptommas, 6 Lalghton Grove, Kentish Town, N.W.

ST. JAMES'S HALL.—THURSDAY, June 26, 1862.
First Union of tho 1st and find Choir*, making a Choir of too Voices.
The Programme will be selected from the ^extensive repertoire of [the Choir, and
will include Mendelssohn's '* Judge me, O Lord," Meyerbeer's "Pater Noster," and
Handel's " Hallelujah Chorus"

The following distinguished artists have been engaged:—Mad. Lemmbns-shrrKington, Herr Joachim, and Mr. Charles Halle.

Stalls, 5s.; Balcony, 2s. Cd.;*and Area, Is. Can be obtainrd with Programme at the leading Muslcsellers, at Austin's Ticket Office, 28 Piccadilly, and at the Hanover Square Rooms.

ST. JAMES'S HALL. —MR. BENEDICT has the honour to announce his ANNUAL GRAND MORNING CONCERT on Monday, June 30. The Programme is now ready.

ogramme .

Immediate application for the few remaining Sofa and Balcony Stalls, One Guinea each, is respectfully solicited. Reserved Scats in the Area and Balcony, 10s. 6d., maj be obtained at the principal Muiic-sellers't and of Mr. Benedict, 2 Manchester Square.

MRS. MEREST (late Miss Maria B. Hawes) has the honour to announce that her GRAND MORNING CONCERT will tike place on Tuesday next, June 2-1, in the Picture Gallery of Dudley House, Park-Lane— the Earl of Dudley having most kindly offered it for the occasion. I Under the immediate patronage of their Royal Highnesses the Duchess of Cambridge, the Grand Duchess of Mecklenburg Strelltx, and the Princess Mary Adelaide.

Artists already, engaged: Mile. Titibns, Mad. Weiss, Miss Mkllar, Mrs, Merest; Herr Reichardt, Mr. Weiss, Mad. Sidney Pratten, Herr Lidel, Mr. Laxarus, and Mr. Charles Halle.

Tickets, One Guinea each. To be had of Mrs. Merest, 7 Adelphi Terrace, and at the libraries and music shops.

[ocr errors]

UEEN'S CONCERT ROOMS, Hanover Square.—

MR. ARTHUR NAPOLEON begs to announco that his GRAND MORNING CONCERT will take plioe at tho above rooms, on Thursday, June 26, 1862; on which occasion he will be assisted by the following distinguished artists :—

Miles. Carlotta and Barbara Marchisio; Mad. Lbtizia Borgoononi (prima donna from "la Scala" in Milan, and all the principal Italian Theatres; her first appearance in London), Mad. Nita Norrie, Miss Heywood, and Mile. Pabepa; Signor Bbttini, Mr. Walter Bolton, Signor Gassier, Signor Cosselli, and Signor ZucChini (by kind permission of Mr. Mapleson).

Pianists: Herr Paurr and Mr. Arthur Napoleon J Violinist, Herr A. Pollitzer Violoncello, M. Paqub; Harp, Mr. Aptommas. Conductors: Herr Wilhelm Ganz and Mr. Edward Land. Concert to begin at Half-past Two o'clock.

Reserved Seats, 10s. 6d.; Unreserved, 7s. 6d. To be obtained of Messrs. Cramer, Beale & Wood, Chappell & Co., Schott & Co., and all the principal muslcsellers.

KUHE begs to announce that liis GRAND

ANNUAL MORNING CONCERT will take place on Thursday June 26, at St. James's Hall, at 3 o'clock.

VocAlists: Mesdames Lbmmbns-sherbinotoh, Gubkrabblla, Steele, and SaintonSoldy; Messrs. Kbiciiabdt, Tbnnant, and Formes.

Violin: M. Sainton. Harp: Mr. Aptommas. Pianoforte: Mr. Kuhb. Conductors: MM. Benedict and Francesco Berger. Sora Stalls, 10s. Gd.j Reserved Seats, 5s.; Balcony Seats, 3s„ Area Seats, 3s.; Gallery, 2s. To be had of Mr. Kuhe, 12 Bi ntinct Street, Manchester Square, W.; of Mr. ""n. Ticket Office, St. Jamei'i Hall; and of all the principal Musicselleri.


-LVL TURK will be Performed at Mr. BENEDICT'S MORNING CONCERT, St. James's Hall, June 30.

MRS. JOHN HOLMAN ANDREWS' SOIREE of CLASSICAL CHAMBER MUSIC will take place on Wednesday, July 2, at her Residence, 50 Bedford Square.

Tickets, 10s. Cd. each, may be obtained, at the Music Warehouses, and of Mrs. Holman Andrews.

NATIONAL CHORAL SOCIETY—"ELIJAH."—In consequence of the great success of this Society's performance of " ELIJAH" on Wednesday last, a GRAND REPETITION PERFORMANCE will be given at Exeter Hall, on Thursday, June 26. To commence at Half-past Seven.

Tickets, Is., 2s., 3s.( 5s., now ready, at ;Mr. [Martin's office, U aud 15 Exeter Hall first floor J, for which early application It necessary.

HERR S. LEHMEYER has the honour to announce that his GRAND MA TIN HE will tafcc place onThursdaj, June 26, at Collards*, 16 Grosvenor Street. Vocalists: Hiss Augusts Thomson, Miss Anna Whitty, and Mr. Tennant. Instrumentalists: Herr Nicholas Robinstei.n, Herr Becker, M. Paque, and Herr W. Gasz.

Tickets, lOf, 6d. Tn be had it OU.v.er*i, 19 Old Bond Street, and Herr Lehweyer's,

19 Arundel Street, Coventry Street.

HERR WILHELM GANZ begs to announce that his ANNUAL MORNING CONCERT will take place at the HANOVER SQUARE ROOMS, on THURSDAY, July 3, at 3 o'clock, assisted by the following eminent Artists: —

Mesd. PaRipA, Solari, Messent, Wilkinson, Roden, Brhrens, 'geokgi, and Lascelles; Messrs. Reichardt, Irving, Formes, Paque, Aptommas, Benedict Lake, and Eduard Ganz.

Stalls. 10s. 6s.} Reserved Seats, 5s.; Unreserved, 2(. 6d, To be had of the principal muslcsellers, and of Herr Wilhelm Ganx, 15 Queen Anne Street, Cavendish Square, W.

ST.'JAMES'S HALL. —MISS PALMER begs to announce that her ANNUAL CONCERT will take place on Thuriday Evening, Julv 3.

Vocalists: Miss Banks and Miss Palnbr, Mr. Sims Reeves and Mr. Lewis Thomas.

Instrumentalists: Pianoforte—Mile. Anna Molique and Mr. Charles Halle, Violin—Herr Molique and the Pianoforte Quartet Association; Messrs. Henry Baumer, Carrodus, BAETt:Ns,and Pettit.

Accorapanylats: Mr, <i. Lake, Mr. A. Sullivan, and Mr. J, L. Haitqn.

Doors open at Seven, commence at"a Quarter to Eight. Sofa Stalls, 5s.; Area and Balcony, 4s. 6d.; Gallery, Is.

Tickets to be had at Austin** Ticket Office, Piccadilly; aud of Mr. Headland, 9 Heathcote Street, W.C

[ocr errors]

ISS LIZZIE WILSON has the honour to announce

that her ANNUAL CONCERT will take place at the Hanover Square

Rooms, on Thursday, June 26, under distinguished patronage. To commence at

8 o'clock.

Vocalists; Mile. Elvira Behrens, Miss Lizzie Wilson, Herr Reichardt, and Herr


r Instrumentalists: Pianoforte—Miic.cecilia SuMMERHAYEsand HcrrWiLHELM Ganz;

Violin—Herr Deichman.

Conductor^: Mr. George Lake. Stalls, 10s. 6d.; Unreserved Scats, 5s. To be had of Keith, FrQWse & Co., 48 Cheapside; and of Cramer, Beale Jk.Wuod, 201 Regent Street.

MISS ELEANOR ARMSTRONG will give an EVENING CONCERT at Hanover Square Rooms ou Tuesday, Jul/ J. To commence at 8 o'clock.

Vocalists: Miss Messunt, Miss Eleanor Armstrong, Miss Lascelles, Mr. Georgb Pbkrbn, Mr. Suchbt Champion, and M. Dp Fontamer. Instrumentalists: Herr Adolpii Ribs, Herr Lidel, and Herr Oberthub. Conductors: Mr. Frank Mori, Herr Adolph Ries, and Mr. Gborgb Lake. Tickets, 5s.; Reserved Seats, 7s. 6d.; Stalls, )0s . 6d. To be had at Miss Armstrong's residence, 36 Osnahurgh Street, Regent's Park; at the Hanover" Rooms, and of the principal musicsellers.

[ocr errors][merged small][ocr errors][merged small][merged small]

THALBERG'S MATINEES, Hanover Square Rooms.— THALBERG'S LAST APPEARANCES " will take place on Saturday next, June 28, and Monday, July 7, being positively the LAST and ONLY occasions S. Thalberg can .possibly appear In London this Season. Each Matinee; to.comraenctt at Half-past Two o'clock.

Stalls, 21s. ; Unreserved Seats, 10s. 6d, A few good Stalls in the best situations can be secured by an early application to S.Thalherg's Secretary, Hanover Square Rooms.

Programmes and Tickets may also be had at Mitchell s; Ollivier's; Chappell'*, Cock & Hutchings', Bond Street; Cramer & Co.'s, Regent Street; Keith * Prowse's, Cheapside; and at the Hanover Square Rooms.

r 1 —•—:

HER MAJESTY'S THEATRE. Much as there was to praise in the first performance of Meyerbeer's Robert le Viable at Her Majesty's Theatre on Saturday night, it cannot, on the whole, be justly reported as anything more satisfactory than a dress-rehearsal. As far as the resources of the theatre and the dimensions of the stage would admit, everything was done in the way of scenery and general effect that could possibly have been desired; and at least two of the scenes painted by Mr. W. Callcott and his assistants — the Rnined Cloisters, and the Interior of the Church, where Alice and Robert kneel before the altar — may be pronounced beautiful and picturesque. The costumes arc showy and carefully designed ; the arrangement for the ballet, with Mile. Morlacchi as chief of the nuns, as well-contrived as anything which the fertile talent of M. Petit has invented; and the corpt of daiiseuset both numerous and efficient. All the mere stage-business, however, stood in need of one or two extra rehearsals; and, in a fair spirit of indulgence, the representation of Saturday can only be criticised from that point of view. It, at any rate, offered some hints of which those immediately concerned will probably take advantage. For example, in the scene where the dead nuns arc summoned from their graves by the demoniacal invocation, not a few of the resuscitated sisters were so ill caparisoned in their conventual garments as to allow the mora glittering and mundane trappings of the "ballerine" to be plainly detected underneath, some time before the departure of Bertram gives the signal for the actual transformation. Other points might be signalised ; but it is not our business, in speaking of a quasi rehearsal, to suggest the duties of the acting manager. Enough was achieved even on this occasion to encourage us in the persuasion that still more will be effected in anticipation of the next.

With regard to the music —which, being Meyerbeer's, is inevitably complex, elaborate, and difficult—almost the same remarks, in a general sense, will hold. The chorus evinced a want of even more than one or two extra rehearsals; and, as Robert le Diable abounds in choruses, this was a serious drawback. The band, if not perfect, was infinitely better; and, indeed, the improvement of the orchestra, which has lately attracted such universal attention, should—if only in justice to Signor Arditi, the conductor—be emphatically placed on record. All that is materially wanting now is some reinforcement of the stringed department—the solo wind-instruments, in many respects (thanks, we apprehend, in a great measure, to Herr Auguste Manns and Professor Sterndale Bennett), being literally unsurpassed.

To "cast" such an opera as Robert le Diable with efficiency is, at the present time, a task by no means easy of accomplishment. That Mr, Mapleson has been in every instance successful, it would bo fully to assert. He has done something, however, to propitiate all tastes; he has given us such an embodiment of the earnest, single-minded, and devoted Alice — the most sympathetic, if not the most romantic, of Meyerbeer's operatic heroines — as we have not witnessed since (in 1847) Mile. Jenny Lind first essayed the character in England. No amateur, however stanch an enthusiast for the glowing and heartfelt music which the genius of Meyerbeer, in its early vigour, poured forth with such warmth and unrestrained facility, could be otherwise than charmed with the Alice of Mile. Titicns—a performance, from a lyric and a dramatic point of view, alike remarkable. The first interview with Robert sufficed to show that a new and genuine Alice was before the lamps. The delicious romance, " Vn, dit elle" (we cite the French title as most universally familiar), though taken more slowly than was intended by the composer, could hardly have been surpassed in unaffected pathos. It was the perfection of expressive simplicity combined with a pure and richly modulated vocal tone of late years rarely paralleled. In tho highly characteristic music of the third act MUc. Titiens was not less happy. True, wo missed the long sustained notes on the words "Rambaldo! Rambaldo I" with which, when calling for her lover from the winding path among the rocks of St. Irene," Jenny Lind" usod to elicit subdued murmurs of delight; while in tho graceful romance (" Qnand j'ni quitte la Normandie ") where Alice recounts the hermit's prophesy — the exquisitely protracted "shake," the quaint and consummately wrought-out cadenza, which (again in the instance of " Jenny Lind ") were wont to bring back the melody, no longer met the ear; but in •very other particular the declamation of the recitative and the vocal execution of the romance were absolutely faultless. In the unaccompanied Iri ;■ :th Robert and Bertram) the superb high tones of Mile. Titiens " thrilled" through the house; and the unerring intonation with which she dwelt upon and modulated the "holding notes," so important to the even balance of the harmony, proved that, if it had occurred to

her as indispensable, she was quite equal to supplying what — to the disappointment probably of many who remembered "Jenny Lind " — was absent from the preceding recitative and air. The grandest display of Mile. Titiens, however — that in which her power as a singer and her remarkable energy as an actress were united with the most striking and complete effect — was the final trio. In none of his subsequent operas has Meyerbeer excelled this truly magnificent piece; in none has he more strongly individualised the chief actors in his drama, while combining them musically in an ingenious and artistic whole. The struggle between the good and evil principles, as represented in the persons of Alice and Bertram ; the vacillations of Robert, now^lcaning to one now to the other side, now on the point of redemption now on the verge of perdition ; the reading of the last admonitory words of Robert's departed mother; and the climax of despair, when, "midnight" having struck, tho fate of Bertram is scaled, his intended victim saved, and the joy of Alice vents itself in an exclamation of devotional rapture, were one and all points suggestive of the highest poetical treatment, and one and all inspired the composer with appropriately impressive and elevated ideas. When we add that in each successive movement of this splendid trio Mile. Titiens was more than equal to its vocal and dramatic expression, and that, though it was nearly one hour after midnight before it had commenced, she rivetted the attention of the audience from first to last, we need say no more in her praise.

We must conclude with a mere allusion to the other characters in the dramatit persona'. Mile. Carlotta Marchisio was Isabella; Sig. Vialetti, Bertram; Sig. Bcttini, Rambaldo (Raimbaud); and Sig. Armandi, Robert; while M. Gassier and other performers of merit strengthened the cast by representing the Priest, the Herald, tho Cavaliers, and other subordinate parts. We shall return to the subject, but at present must be content to have limited our observations to what was most remarkable in this in many respects praiseworthy revival of Meyerbeer's grand romantic opera.

Robert le Diable was repeated on Tuesday, Wednesday, and Thursday, and will be given for the fifth time this evening.


On Saturday the Huguenot* was repeated. . i

On Monday Don Giovanni was again given, and again the house was crammed to suffocation. Mile. Patti's Zerlina seems to bo the great "hit" of tho operatic season.

Mile. Marie Battu, who made her first essay on Tuesday night before an English audience, is a very young singer (not yet twenty, we believe), already enjoying a certain reputation in Paris, where, little more than a twelvemonth since, she made her debut at the Theatre Italien. One of the pupils of the celebrated Duprez, MUc. Battu has never studied in the Conservatoire, nor, if we are rightly informed, has she at any time sung in French opera. Under these circumstances, she claims the indulgent criticism to which every new aspirant is entitled, and which should on no account be withheld from timid inexperience. This indulgence may be extended with the less chariness inasmuch as Mile. Battu, in addition to youth and a pleasing exterior, possesses the germs of unquestionable talent, and exhibits, moreover, a degree of promise which at her years is well worth nurturing. Her voice, a light soprano—though at present deficient in power, and more or less unequal throughout ill register—is of extremely agreeable quality, and some of its natural tones, when unforced in the delivery, are exquisitely sweet and pure. That she has real musical feeling was evidenced on Tuesday night in more than one passage ; and that she is by no means without the instinct of dramatic expression was rendered equally apparent. The character of Gilda, in Rigoletto, was a severe ordeal for an untried and unknown artist to brave, in presence of such an audience as that of the Royal Italian Opera, which even the vocalisation of Madame Miolan Carvalho could not persuade for one instant to forget the incomparable performance of Angiolina Bosio, or force to believe that a singer with voice, teste, manner, and execution essentially French would ever prove entirely acceptable in a part ranking high among the highest creations of the modern Italian stage. That Mile. Battu is just as eminently French in style as Mad. Carvalho, without Mad. Carvalho's practised experience in the vocal art, is undeniable, and that this would, in some degree, militate against her entire success was to be anticipated. But, with extreme youth in her favour, and the fact of her not having yet bad time or opportunity for straining the capabilities and damaging the freshness of her voice by constant exposure to the musically artificial atmosphere of the Theatre Lyrique, Mile. Battu may, and doubtless will, get over that peculiar mannerism which, of all national idiosyncracies, is the most antagonistic to the pure Italian method. Many parts in her performance were charmingly unaffected; some few (as, for example,

the duet with Signor Mario in Rigoletto's garden) were marked by genuine sensibility; others by a natural ease, which, when further study shall have brought with it the self-composure that alone ensures to a singer unfailing command of her resources, may help Mile. Battu to become, what at present she is far from being—a thorough artist. Her defects of style and execution were most conspicuously declared in the beautiful melody which Gilda sings before retiring to rest j but, as wc have every hope that she will eradicate these in time, we shall not dwell upon them in detail. The audience.evidently prepossessed by the youthful grace and modest bearing of the young singer, warmly encouraged her throughout her arduous task; and we may, without hesitation, pronounce her first appearance a fair and legitimate success.

The Rigoletto of Sig. Delle Sedie is a thoughtful and carefully wrought-out performance, which, if not lit up anywhere by the divine spark of genius, cannot fail to impress, as a well-conceived and perfect whole. This cler* gentleman is always en scene, and, though at times exaggerated in gesture, and overdrawn in vocal expression, never offends by negligence, or shocks by half-finished execution. In short, Signor Delle Sedie is an intelligent actor, and had he the voice to obey the impulse that moves him from within, would be an admirably accomplished, if not positively a great singer ; and this in spite of something artificial in his manner, which occasionally prevents him from arousing the feelings, even when he most thoroughly satisfies the ear. Of Mile. Nan tier Didiee and Sig. Tagliafico—whose Maddalena and Sparafucile, as picturesque dramatic sketches, could hardly be surpassed — we need only say that they were all that they have ever been. Sig. Mario was even better than usual. His acting and singing in the duet with Gilda, which terminates with the beautiful "Addio," were of that transcendent quality which the Italian lyric stage can ill afford to lose, and which, when gone, is not likely to be soon replaced. No more convincing proof of Signor Mario's wonderful histrionic talent could be shown than in the difference hetween his courtship of the wily Maddalena and his protestations of constancy to the innocent Gilda—the first offhand and unscrupulous, the last graceful in their delicate reserve and romantic in their earnest and impassioned utterance. Probably no actor has ever made love upon the stage more eloquently, and at the same time more naturally than this accomplished singer. Of the charming insouciance of his "La donna e mobile" we need not speak, nor say more of the admirable quartet, "Bella figlia dell' amore" (commencing, by the way, with the' very passage in which the Duke pays court to Maddalena, while the hapless Gilda is an unconscious witness) than that it was sung to perfection and encored with enthusiasm.

Rigoletto is Sig. Verdi's masterpiece, and there are few modern operas in which the fine orchestra and chorus of the Boyal Italian Opera are more effective. On Tuesday night there was not a fault to find, and the entire performance was a genuine musical treat.

The revival of Meyerbeer's grand romantic opera, Robert le Diable, was attended by one of the most brilliant audiences ever assembled within the walls of Covent Garden Theatre, and certainly since the Boyal Italian Opera first usurped the arena for the exhibition of our national drama, and astonished the public with its conjoint lyric and scenic splendours, no work has been placed upon the stage with more imposing completeness in one sense, or more lavish magnificence in the other. At present, however, all we can do is to record the fact of its entire success, and to state that the principal characters were allotted to Mcsdames Penco and Miolan Carvalho (Alice and the Princess), Hcrr Formes (Bertram), Sig. Neri Baraldi (Bambaldo), Sig. Tamberlik (Bobert), and Mile. Salvioni (Elena). It was nearly one o'clock when the curtain descended upon the last scene. The second performance is announced for to-morrow night.

Last night the Barbiere was repeated to another enormous audience. Mario's Almaviva and Adelina Patti's Bosina seem likely to exercise their combined and irresistible attraction to the end of the season.



NEW PHILHARMONIC CONCERTS. The fifth and last concert of the eleventh season took place on Wednesday evening, in presence of an audience that filled every part of St James's Hall. The programme, one of great and varied interest, included Cherubini's overture to Elise, Beethoven's Pastoral Symphony, and Mendelssohn's overture to Ruy Bias, each calculated to exhibit to advantago the splendid orchestra under Dr. Wylde's direction. Of Beethoven and Weber it is unnecessary to say anything; but the warmest praise is due to the director of these excellent entertainments for the attention he so frequently bestows on the dramatic preludes of Cherubim, all of which, though some of them {Elise among the number) are

by no means generally known, merit the highest consideration, as works of inventive genius and remarkable constructive power. The concerto was Spohr's in D minor (No. 2), an early but masterly composition, which, in the hands of an accomplished violinist like Herr Becker (whose leading of quartets at the Monday Popular Concerts must be still fresh in the remembrance of amateurs), was sure of producing all the effect at which the composer aimed. Herr Becker enters thoroughly into the spirit of Spohr's music, which he plays con amore, and which suits him as though it had been written expressly for his fingers. The concerto under notice is one of those which, being least frequently heard, are consequently the more welcome. Herr Becker's performance was in every respect admirable; and its merits were fully appreciated by the audience, who unanimously recalled him at the conclusion. The other "solo " was for the pianoforte—the pianist being M. Nicolas Bubinstein, a player of great ability, who, nevertheless, would have done more wisely in selecting a bond fide production of some great master, rather than an " arrangement" of Weber by Dr. Liszt. If Weber had intended orchestral accompaniments to his characteristic Polonaise, he could, in all probability, have furnished better than those invented by Dr. Liszt. M. Bubinstem's execution, nevertheless,",was so vigorous that he too obtained the honour of a genuine "recall." Although there was only one singer, the vocal music was as attractive as could be desired. Mile. Trebelli, in two of her most admired pieces and one of her brilliant and showy characters, completely enchanted the audience. How this so recently known and yet already very popular artist sings " Una voce," from the Barbiere, and Urbain's second air (" No, no, no"), from he Huguenots, our musical readers need not be informed. Enough that she gave them on Wednesday night in her most finished and engaging style, and was no less happy in the scena, "Di tua fede," from Mercadante's II Giuramento, after which, as after the romance of Meyerbeer, she was loudly summoned back to the orchestra. The obbligato flute accompaniment in Mcrcadante's air, it should be added, was played to perfection by Mr. R. S. Pratten, and acknowledged by a distinct round of applause.

Dr. Wylde's concerts have never been, and never deserved to be, more prosperous than now. In the course of the scries just expired his arrangements have been unusually liberal. His orchestra, always firstrate, still further reinforced ; his chorus numerous and thoroughly efficient; his solo singers, including such artists as Mile. Tit/ens, the sisters Carlotta and Barbara Marchisio, Mile. Trebelli, &c. ; his solo instrumentalists, snch players as Herr Joachim, Herr Becker, M Alfred Jael, Mr. J. F. Barnett, Herr N. Rubinstein, the brothers Edward and Henry Holmes, and Mad. Arabella Goddard; his programmes on each occasion well selected and rich, no less than varied in interest—one and all combined in rendering the New Philharmonic Concerts continually attractive. The greatest symphonies, overtures, and concertos of the greatest masters have been introduced with rare discrimination; and as performance succeeded performance the attention of the musical public was more and more excited. Dr. Wylde, in short, merits well of his patrons; and, as the result proves, they have not shown themselves insensible to his claims—his concerts having been crowded even at a period when the opening of the International Exhibition might have been expected to eclipse every other public attraction. Mr. W. Graeff Nicholls, Hon. Sec, announces that they will be resumed in April, 1863.

Vocal Association. — The last concert of the Vocal Association (Friday se'nnight), under the able direction of Mr. Benedict, was one of the most attractive ever held at St. James's Hall. The members of the society gave several part songs, and among the rest "The Reaper," and "The Birds," two genial and charming specimens from the portfolio of Mr. G. Osborne; Mr. Benedict's spirited and characteristic "Hunting song " (encored); the same composer's even more musically interesting serenade ("Bless'd be the home"); a Fisherman's chorus ("Good night"), by Dr. Bennett Gilbert — like the compositions of Mr. Osborne, " New from the mint;" and, last not least, Mendelssohn's inimitable "Departure," better known as "O hills and vales of pleasure." With ^the whole of the foregoing the audience, which filled every part of the building, were manifestly 'gratified. Besides these very agreeable exhibitions of the choir there was an unaccustomed variety of solo singing, by some of the most distinguished artists attached to Her Majesty's Theatre. Mile. Trebelli — who is quite as welcome, because quite as versatile and clever, in the concert room as on the stage, and who, by legitimate means, is rapidly attaining the height of popularity—created a marked sensation in the polka, "Gia della mente involasi " (from Sig. Alary's Tre nozze), in a duet from the Trovatore, with Sig. Naudin, and in the famous "Dunque io son," with M. Gassier, all three being loudly applauded, and the first two unanimously encored. A similar compliment was well earned by Sig. Naudin, with "La donna e mobile," and might have been claimed with equal reason by M. Gassier, whose vigorous and animated delivery of Figaro's immortal "Non piu andrai" was warmly appreciated. Miss Alice Dodd and Mrs. R. F. Abbott—the first a young and rising singer, the last a member of the Association—were also contributors to the solo department. Miss Alice Dodd has not only promise but actual capability, which she proved, to her own credit and the entire satisfaction of her hearers, in both of the songs set down for her, in each instance being warmly applauded. Moreover, Mile. Louise Liebhart, a vocalist hitherto unknown to England, though long celebrated at Vienna as one of the most eminent artists belonging to the Imperial Court and Imperial Opera, made her first appearance with unqualified success. Miles Liebhart introduced a graceful serenade, by Proch, entitled "Morgenfenstcr;" a Hungarian national air, arranged by Kiicken; and a genuine Swabian song. An extremely agreeable voice, and a style of singing full of sensibility and expression—accompanied, too, when requisite (as in the Swabian melody) by a certain quaint humour — so strongly enlisted the sympathies of her hearers, that each of Mile. Liebhart's three pieces was called for again, and in two instances she was forced to comply with the somewhat inconsiderate demand. Mile. Titiens was to have taken part in this concert, already rich in attractions; but detained at Her Majesty's Theatre for the night rehearsal of Robert le Diable, she was unable to appear. The an in nee. however—who, in addition to what has been cited, were treated to an admirably written trio (in E), for pianoforte, violin, and violoncello, the composition of Mr. Aguilar, and a fantasia, for violoncello, on themes from Lucia di Lammermoor—had little cause for complaint. The trio was played by Mr. Aguilar himself, a pianist no less than a composer of well known and recognised ability j Mr. Henry Holmes, one of the brothers (Alfred and Henry Holmes) whose remarkable performances of Spohr's violin duets elicited the marked approval of that illustrious musician (with what solid reason was made brilliantly evident at a recent concert of the Musical Society of London); and M.. Paque, the frequent and worthy substitute for Sig. Piatti at the Monday Popular Concerts. The fantasia, M. Paque's own production — as cleverly executed as composed — met with unanimous approval. Mr. Benedict was, as usual, conductor, and Herr Wilbelm Gam a zealous and competent pianoforte accompanyist. On the whole, the Vocal Association has rarely given a better or more pleasantly varied entertainment.

National Choral Society. —The performance of Elijah, on Wednesday last, was perhaps the most successful effort of this promising association. The principal singers were Miss Eleonora Wilkinson, who, steadily advancing in her profession, bids fair to become a valuable addition to our oratorio singers ; Mad. Laura Baxter, whose superb contralto voice has seldom been exhibited to greater advantage, — the airs "Woe unto them," and " O rest in the Lord," creating a marked sensation (the latter being warmly encored); Mr. Swift, who gave particular effect to the tenor music; and Mr. Weiss, whose noble delivery of the music of the prophet is fortunately too well known to require any notice, beyond the statement, that he has never sung more finely, or created a deeper impression. The trio, "Lift thine eyes," in which Miss Fosbroke joined the first-named ladies, went so well that a unanimous demand for its repetition was insisted upon,—a similar compliment being paid to the unaccompanied quartet, " Cast thy burden upon the Lord." If the band was numerically weak, and in more than one department somewhat inefficient, the chorus made ample amends, and we must confess to agreeable surprise at their very decided improvement. Although in one or two instances,—such as " The fire descends," and " He that shall endure "— there were occasional tokens of unsteadiness, on the whole the choral singing was most praiseworthy, the bright fresh voices of the sopranos telling out with wonderful brightness. The progress his chorus has made reflects credit on Mr. G. W. Martin. The large room at Exeter Hall was as crowded as it usually is at the concerts of the Sacred Harmonic Society, though perhaps with less inconvenience to the public, owing to a better arrangement of the seats. As the prices ranged from one shilling to five, all classes of hearers were accommodated; and seldom has a more attentive audience been assembled.

M. Tualbero's Matinees. M. Thalberg's second concert took place on Monday, at the Hanover Square Rooms, which were crowded in every part. This was no more than might have been expected, after the extraordinary impression created by his first performance a week previous. On the present, as on the former occasion, M. Thalberg's programme was chiefly limited to the productions of his own pen. The only exceptions, indeed, were one of Mendelssohn's Lieder ohne Warte (tho Volkslied in A minor), and another of those fugitive rhapsodies with which the illustrious author of Guillaume Tell has been lately solacing his leisure hours. In the Prilude de rAncien Regime the "Pianist of the Fourth Class" again emphatically vindicates his claim to the title

of "Pianoforte-composer of the First" The fugato, which constitutes an episode in this so-called Prelude, is as quaint and original as it is elaborate. M. Thalberg's own compositions included a new fantasia, on subjects from the Trovatore (MS.)—a work of enormous difficulty, but planned and laid out with all the ancient skill, and embellished with all the ancient felicity ; the masterly fantasia on Lucrezia Borgia ; that on " The last rose of summer;" and that on tho Prayer, " Sleep song," Tarantella and March from La Muette de Portici. The execution of these elegant and ingenious tours de force, in which grace and brilliancy go hand in hand, was faultless—the applause elicited, in each particular instance, enthusiastic. "The last rose of summer"—with which, in M. Thalberg's long absence, Mad. Arabella Goddard has made the English public so intimately acquainted, and which never fails to please wherever it is heard—was listened to with rapt attention. Equally well received was the melodious and graceful Barcarolle—which, however familiar, must be rendered in M. Thalberg's own inimitable style to be thoroughly understood and appreciated. Three numbers from the Soirtes de Pausillippe—the last (No. 6) an inspiriting tarantella; the " transcription" of the quartet from Rosini's Most in Egitto (" Mi manca la voce "); and the " Neapolitan Air"—a very attractive excerpt from The Art of Singing applied to the Piano— completed the programme. M. Thalberg's playing, in these as in the other pieces, reached the highest ideal to which "virtuosity" (in the cuphuistic vocabulary of musicians, who avail themselves indiscriminately of foreign idioms) can reasonably aspire. To say nothing of his marvellous powers of execution, M. Thalberg's universal command of expression carries with it a charm that might atone for a multitude of comparative deficienccs; but, as in the exclusively mechanical side of his art this accomplished professor is irreproachable, his performance of his own music can be appropriately described under no other name than that of "absolute perfection."

Mad. Ley's Concert.—Mad. Shepherd Bay, a lady possessing the fine mezzo-soprano voice, and a singer of more than ordinary talent, gave a concert at the Hanover Square Rooms, on Tuesday last. She was assisted by several excellent artists, who by their performances contributed greatly to the success of the entertainment. Among the vocalists were Mad. Lemmens-Sherrington, Miss Rangford, Miss Messent, and Mrs. Merest (late Miss Hawes), Mr. Montgomery, Mr. Morland, &c. The instrumental music was entrusted to Herr Lidel (a violoncellist of known ability) and Herr Wilbelm Coenen, one of the numerous pianists who have been attracted hither by the prospects of a brilliant season. Herr Coenen, in two pieces—a grand Polonaise by Chopin, and a Fantasia on English airs, of his own composition—displayed talent of no common order. Indeed, the young virtuoso, after playing Chopin's Polonaise with extraordinary vigour and precision, created a great sensation by the performance of his own Fantasia, written for the left hand only. The two airs, " God save the Queen," and " The last rose of summer," are so ingeniously treated that one could not but admire the contrivance of the composer no less than the dexterity of the performer. Herr Coenen played upon a grand pianoforte well calculated to exhibit all the characteristics of the modern school of execution. Here and there we might have wished for greater delicacy of touch, or rather, more subdued power; but on the whole, Herr Coenen's performance is entitled to very warm commendation.

Mr. Salaman's Concert.—Mr. Charles Salatnan (who, by the indefatigable politeness and perseverance he has evinced in discharging the onerous duties of honorary secretary to the Musical Society, has of late made good as strong a claim upon every member of the profession as he long since established on the general public by his sterling talents in the twofold capacity of pianist and composer) gave a concert, on,Tuesday evening, of unusual pretensions. The Hanover Square Rooms were well filled, and the audience were so much interested in the programme presented to them that the majority remained until they were dismissed by Mr. Salaman himself. Among the most noteworthy features of the concert must be mentioned a MS. song from the pen of the binificiaire, "Lov'd one, I think of thee," an exceedingly charming and elegant composition, rendered to perfection with the splendid voice and faultless style of Mr. Santlcy; and an expressive serenade, also by Mr. Salaman, "Gia la notte," sung with his usual taste by Herr Reichardt. Besides taking part with his pupil, Miss Emma Lewis, in Moscheles' well-known duet for two pianos, "Hommage a Handel," and playing some "songs without words" of his own composition, Mr. Salaman gave marked interest to his concert by performing solos from Handel and Scarlatti upon a double harpsichord, manufactured by Tschudi, the predecessor of Broadwood; upon just such an instrument, in fact, as both those composers must have themselves used. Mr. Salaman was assisted by Mad. Guerrabella, Mile. Parcpa, Mad. Shcr::ngton, M. de Fontanier, Herr Laub, and the Messrs. Holmes.


Tub anniversary meeting of the Charity Children at St. Paul's took place on Thursday, the 12th inst., under the dome of the church, when, as usual, full cathedral service was performed, with anthems and the ordinary musical accompaniments. Owing to the removal of the scaffolding erected by the Dean and Chapter for the special services, it was necessary to make new arrangements for the choir and instrumental performers. Mr. Arthur S. Newman, architect of the Festivals, however, whose successful cooperation at these interesting meetings has so often been acknowledged in appropriate terms, has this year, as on all previous occasions, shown himself equal to the emergency, and although, at the wish of the Dean —who, with a just feeling of pride, objected to any temporary structure interfering with the general aspect of the magnificent cathedral under his charge, at a time when a host of foreigners would be likely to inspect it—the raised platform for the accommodation of the public, at the west end of the building, was dispensed with, the general aspect of the interior was as imposing as ever. The children from the various schools were distributed precisely in the same manner as formerly; aud the "spectacle," picturesque and exciting even to those to whom for long years it has been familiar, must have impressed strangers with mingled feelings of astonishment and delight.

The prayers were intoned by tho Rev. Mr. Simpson, and the lessons read by the Rev. Mr. J. V. Povah—both minor canons. The choir included, as from time immemorial, not only the singers exclusively attached to St. Paul's, but emissaries from St. George's Chapel (Windsor), the Chapel Royal, the Temple, Westminster Abbey, &c, —about eighty in all, Mr. H. Buckland (vicar-choral)—upon whom, and Mr. George Cooper, organist of St. Sepulchre's and sub-organist of St. Paul's, devolves the very important charge of training and practising the young singers for the important ceremony at which they are annually expected to assist—Ibeat time, from an elevated pulpit, so conveniently placed as to be within sight of the great majority. At the organ (the superb new instrument recently purchased by the Dean and Chapter—an invaluable adjunct) were Mr. Goss, chief organist, under whose superintendence the whole of the musical part of the festival is prepared, and Mr. George Cooper; whilo near the organ were stationed the four trumpets (Messrs. T. Harper, Irwin, Jones, and Macfarlane) and the drums (Mr. Chipp)—the "orchestra" so indispensable in maintaining the equilibrium and adding to the sonority of tho performance. Tho musical " programme" was almost precisely the same as in former years. Of course the "Preces" and "Responses" were those of Tallis, who, though writing as early as the reign of Elizabeth, and little known through his other works, seems to have accomplished something in this instance which, by universal consent, is regarded as inseparable from the cathedral service of the Church of England. Before prayers the 100th Psalm—" All people that on earth do dwell"—set to the most simple and at the same timo most impressive of hymn tunes, with which Haydn, for whom the music of M. Berlioz would not have been music at all, and M. Berlioz (more than half a century later), to whom the music of Haydn was never over and above congenial, were equally enchanted—was sung by the children; and in saying that the " unison" of their " thousands" of fresh voices, employed upon BO familiar^a strain, in a great measure realised the ideal of sublimity, we are only echoing the opinions of some of the greatest musicians and musical judges. The Chant was that of Dr. Crotch (in C), a pleasing, but in some sense trivial melody, which barely retains its freshness after the many repetitions which the necessities of the service entail. Although, perhaps, more than 1,000 chants are to be had for the asking, it is not less true that scarcely one exists (or, at least, is in general use) that can bo cited as worthy. The " Te Dcum " and " Jubilate" were sung as usual to " Dr. Boyce in A," which, unaffected and graceful as, in some respects, it undoubtedly is, should long before have given place to something — we do not say more erudite, but better. Surely there are musicians among us capable of setting these essential portions of our service to strains more eloquent and inspiring. It is only tho other day that, at the Festival of the Sons of the Clergy, in this very same cathedral, we had to mention, in terms of unqualified praise, a new anthem, by Mr. Goss, written for the occasion. Now, as Mr. Goss is organist of St. Paul's Cathedral, it is hardly too much to exact from his pen—if not every year, at all events now and then—a new anthem, in which the voices of the charity children might be judiciously combined with those of the choir. Here is'Jan^opportunity of which Mendelssohn would have availed himself with eagerness — an opportunity for effects, however simple, both novel and impressive. Mr. Goss is a master, as all the musical world is aware. He is also (as his printed works have shown) a composer of genius. Why, then, when his duties so exclusively connect him with St. Paul's Cathedral, should not his talents be devoted to

such a work f Dr. Boyce is very well in his way; more than respectable, indeed; but we are much mistaken if Mr. Goss could not produce an anthem to console all lovers of sacred music for at least the temporary secession of his time-honoured predecessor, whose "Te Denm" and "Jubilate," composed for the coronation of George Ill., have lost much of their freshness by a century's wear and tear. One of the grandest performances on this occasion — and, indeed, one of the grandest wo ever heard —was that of Handel's superb anthem, "Zadok the Priest, and Nathan the Prophet, anointed Solomon King "— composed in 1727, for the coronation of George II. Never in our experience have the children (the choir was necessarily perfect) sung so well as in this truly magnificent piece. The unison for boys' voices on the words, "May the King live for ever," and other points that we have no space to particularize, produced a thrilling sensation, and made us more than ever long for some composition from a modern pen — native or foreign, M. Meyerbeer or Mr. Goss — in which such elements of legitimate musical effect could bo expressly, instead of (as in the case of Handel's anthem) accidentally, employed. The whole performance (accompanied by Messrs. Gross and Cooper on the organ) was splendid. Precision and delicacy went hand in hand. The words, the music, the place, and the occasion, all combined in creating an impression that under any other circumstances would be impossible. No praise ecu be too high for Messrs. Buckland (leader of the choir at the special Sunday evening services) and George Cooper, who in the interval between the present festival and the last have trained the children to such good purpose.

Immediately before the sermon we had the 118th Psalm (" Ye saints and servants of the Lord ") to the fine old tune of Ganthany (1774) — which would, we think, lose nothing by the omission of the chorus, "Hallelujah," added by some unknown hand, and quite out of sorts with tho rest. The contrast between the " tutti "—where the trumpets aid in giving extra force and sonorousness to the choral unison — and the passages allotted to the voices of the girls alone ("His rising beams or setting rays " —" Who made the Heaven wherein He dwells, &c) lends a peculiar attraction to this tune, which, old as it is, seems to be endowed with perennial freshness. Still nobler is the setting by Dr. Croft (1702) of the 104th Psalm, which followed the sermon. This was even more admirably given by the children, whose "high E" on the word " fame" (" So passing in glory, so great is Thy fame") was as clear as a bell, and as resonant as a trumpet. In the "Hallelujah" — the immortal "Hallelujah" from the Messiah — with which the service always terminates, and with which it is likely to terminate a century hence, supposing the festival endures as long — the juvenile host of singers reached their culminating point of excellence, in some of the unison passages (as, for example, "For the Lord God Omnipotent rcigncth"), not only rivalling, but excelling, the precision with which, in the earlier part of the service, they gave the "Gloria Patri" of old Tallis, after the reading Psalms. Of course, the chorus was taken slower than it would be at Exeter Hall, but the impression created was, under the circumstances of place and executancy, all the more solemn. So well have the children been drilled by their teachers since last festival that they not only sang more than twice as much of the chorus as on any former occasion, bnt tho organists, Messrs. Gross and Cooper, were enabled to play the whole of the accompaniments, arranged from Handel's score. A point worth mentioning is the manner in which the exquisitely beautiful phrase, "The kingdom of this world is become the kingdom of our Lord," was breathed rather than declaimed. Finest of all, however, was the astonishing passage of ascent, on the words, "King of Kings," &c, — from D up to F, with tho long sustained notes at each step in the progression. The effect of the multitudinous unison in this instance beggars description. But enough has been said of the children. A strong word of praise is due to the united choirs for their almost faultless execution of everything assigned to them in the musical service. It would be no compliment to such practised musicians to say that they had improved, but certainly wo never heard them sing better. The sermon was preached by the Bishop of Durham, who took for his text, chapter 7, verse 12, of Ecclcsiastes —" For wisdom is a defence, and money is a defence," &c.

Notwithstanding the extreme inclemency of the weather—the pelting rain (which almost turned the exodus from tho cathedral after the service into a scene of confusion)—the attendance was very large. After so signal a success, let us hope that there may be no further talk of bringing these admirable, useful, and humanizing anniversaries to an end. What if one year's receipts should not exactly balance the expenses? An indifferent season or two ought not to be taken seriously into account, if it be true, as is generally reported, that the Society of Patrons have between 7,000/. and 8,000i in hand. Why not manage things a little more after the manner of other societies?

« ElőzőTovább »