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alternately delineated with a sublimity of which only Handel possessed done — something that shall make the effect less dependent upon the the secret, and succeed each other without intermission, so as to form an position of the auditor, less variable, in short, as heard from different uninterrupted chain of descriptive pieces altogether unparalleled. The parts of the transept and galleries - must be admitted, even by those brief pause allowed by Mr. Costa between each two of the choruses, who with praiseworthy ambition and indefatigable zcal have progressed though unauthorised by the score, was by no means unadvisable. It so far towards the imaginary goal of perfection. That science, properly allowed the singers to attack one after another with all the more spirit; directed, can remedy all that is deficient we conscientiously believe; and certainly we have never heard anything to approach the precision, and that the spirit to compass and effect the desired improvements will force, and grandeur of their delivery. We cannot enter into a detailed not be wanting may be looked upon as certain. “If no more, why so account of the execution of each successive piece; nor is it necessary, much?” says Lord Grizzle to the ghost of King Arthur. A similar where such general excellence was shown. . Chorus after chorus was interrogatory, put by the musical public to the Crystal Palace Company heard with delight and applauded with fervour; and so unanimous was - or rather to the Sacred Harmonic Society and the enterprising Mr. the demand for a repetition of “He gave them hailstones,” that Mr. Bowley, who, in fairness, may be said not merely to have suggested, Costa had no alternative but to comply. As an example of unfailing but to have carried out the Handel Festival — would probably elicit a intonation, “He sent a thick darkness” has never been excelled in our more vigorous reply than that vouchsafed by the kingly spectre to his remembrance. The choruses in the second part-the Song of Moses, garrulous and inquisitive courtier. “Wait and see,” would be Mr. recapitulating the miracles described in the first-although more intricate Bowley's answer. The solution, however, will be satisfactorily given in and difficult in many instances, were equally well giren. “The horse | 1865, at the second anniversary of the Handel Triennial Festival. and his rider," with which the song of thanksgiving begins and ends, | Meanwhile we cannot in justice withhold our tribute of hearty praise and “Thy right hand, O Lord,” its rival in vigour and brilliancy, from the really extraordinary achievements of the past week. Never produced an effect that may be described as “electric;" while even was vast undertaking so admirably organised. The 4,000 singers and those most elaborate and recondite pieces, “ With the blast of Thy players seemed to get in and out of their places, day after day, at the nostrils,” and “ The people shall hear and be afraid,” which seldom rehearsal and at the three successive performances, as if by magic. We escape censure, inasmuch as they are seldom irreproachably rendered, wonder if any among the thousands attracted on each occasion asked were as nearly as possible faultless. In short, the choral performance of themselves how and by what means such a formidable host of executants yesterday was the triumph of the festival.
ever came together ?-how, with such military discipline, they were at It is no easy task for solo singers to produce a marked sensation in a given moment marshalled in regular order within an enclosed space ? the oratorio of Israel in Egypt. Though he has not dispensed with - how, in obedience to the signal from a solitary conductor's stick them altogether, Handel has awarded them but few opportunities for (even though that conductor was Mr. Costa) they instantaneously and distinction. The lengthy duet for bass voices — “ The Lord is a man simultaneously shouted “God save the Queen" as though they had been of war,” — is, however, so dramatic that it almost universally wins shouting it in concert from time immemorial ? Upwards of 120 towns, applause; and this was the case now, thanks to the forcible declamation and among them thirty-two cathedral or collegiate cities, sent delegates of Sig. Belletti and Mr. Weiss. Mad. Sainton, besides the air we have to the Handel-Festival Orchestra, which, both in its vocal and instrumentioned, gave “ Thou shalt bring them in" in the purest and most | mental departments, was the largest and most splendid ever assembled. classical style, and (with Mr. Sims Reeves) “ Thou in Thy mercy” - Had their united performance been merely tolerable, there would have a somewhat ineffective duet, as well as it could possibly be sung. Mlle. been sufficient cause for surprise ; that it was, for the most part, admiTitiens had only one favourable chance for display - namely, the solos rable, trenches on the marvellous. So unprecedented an undertakingof Miriam the Prophetess, which precede the final chorus, “Sing to at least, during the time of its early probation — merits exemption from the Lord.” This she gave with splendid energy. Her only air, “Thou petty fault-finding. Once established as a periodical affair, it must, of didst blow with Thy wind” (with its quaint “ground bass” in the | course, run the gauntlet of animadversion, and accept praise or blame accompaniment), was sung with unexceptionable taste and warmly as it may be honestly administered, like any other speculation appealing applauded; and, indeed, had Mr. Costa, been disposed, he might have to public support. This conviction has hitherto influenced us in speaking accepted the demonstration of the audience as an “encore." In the of the Handel Festival. That we could have pointed out many positive duet, “ The Lord is my strength,” Mlle. Titiens was supported with defects, and many comparative shortcomings, may be readily imagined; ability by Mad. Rudersdorff, a practised musician, as all our inusical but whether, under the circumstances, such minute criticism of detail readers are aware. The solo, however, which bore away the palm from would have been of the slightest use to anybody, we may be permitted the rest, and in the impression it created rivalled the most successful of to doubt. Enough that the general effect was wholly unexampled ; that the choruses, was “ The enemy said, I will pursue." At the festivals the performances of the Messiah and Israel in Egypt, allowing for draw. of 1857 and 1859, this wonderfully spirited and characteristic air backs more or less inevitable, were the grandest and noblest on record; and allotted on both occasions to Mr. Sims Reeves - produced a sensation that the second day's selection was one of the most richly varied and inthat is even now remembered. In Israel in Egypt Handel - in most teresting ever made-calculated, moreover, in an eminent degree and with of his great works so prodigal - has only granted one opportunity to convincing eloquence to set forth that versatility, that adaptability of his the solo-tenor; and, for this reason, the great singers, from the elder genius to the felicitous illustration of all sorts of subjects, which entitles Braham downwards, have by no means affected the oratorio. Mr. Handel to be regarded as “the Shakspearc of Music.” The marked imReeves, however, more reverentially appreciating Handel, has, by his provement in the choral singing of masses, to which not only the exertions energetic and dramatic reading of “The enemy said," raised the tenor of the Sacred Harmonic Socicts, forming the nucleus of the so-called part in Israel to an importance scarcely inferior to that attributed to “Metropolitan Contingent” at home, but the periodical practices, The Messiah, Samson, and Judas Maccabæus. Finely as he has commencing as far back as 1859, of so many choral bodies throughout delivered this air on previous occasions, he perhaps never sang it so the country, have been instrumental-may, in a very great measure, be magnificently as yesterday. The “encore " that followed was so attributed to the Handel Festival, a laudable desire to play a creditable spontaneons and unanimous that to repeat the air was no more than an part in which has prevailed on every side. If the same spirit of act of deference to the audience, who, after the second performance, emulation is kept up, the same unremitting diligence exerted, the results burst out into loud, enthusiastic, and long-continued cheers, in between this and the next celebration of the Triennial Festival-not which the whole army of singers and players in the orchestra heartily only with reference to the colossal exhibitions in the now successfully joined.
completed Handel Orchestra, nor to the public performances of the After the oratorio, the National Anthem was given in such a manner Sacred Harmonic Society, but to choral singing in every part of the as to constitute a worthy climax to a musical festival altogether without kingdom--are incalculable. Music, and more especially choral music, parallel, Mr. Costa then retired from the orchestra amid loud and now claims go influential a share in the moral and intellectual training general plaudits.
of the middle and lower classes of this country, that the question of its
being good or bad is one of considerable import, and can no longer be June 30.
viewed with indifference. Whatever tends to its healthy progress has The Handel Triennial Festival may now be regarded as an established an indisputable right to encouragement; and that the triennial gatherings fact. The experience of three gigantic meetings has done its work. in the Crystal Palace, under the sanction of a name not only worldThe first (1857) was an interesting experiment; the second (1859) a famous, but revered by cvery community in every part of England-if remarkable advance ; the third (1862) a brilliant success. The first only on account of the improving social intercourse to which the might almost as well have been in the open air ; the second was aided requisite preparations for each successive meeting must necessarily lead by some ingenious expedients, with a view to the concentration of sound; -are likely to be of inestimable advantage can hardly be doubted. the third will be remembered, not merely as the first celebration of the For this reason we wish well to the Handel Festival, and offer our Handel Triennial Festival, but as the first trial of the now thoroughly hearty congratulations to those who have conducted it so ably, and so completed “ Handel Orchestra." That still something remains to be much to the general satisfaction, whether as regards the arrangements of the orchestra or the comfort and convenience of the public. Did suggestive as to make it a matter of wonder that the idea had not space permit, we would willingly, in bearing testimony to the spirit and already been acted upon.” Mr. Oliphant's English version, we are indefatigability of Mr. Bowley (General Manager), the admirable given to understand, is by no means a literal translation of the Welsh discipline enforced by Mr. Costa, the extreme courtesy of Mr. Grove poetry, but rather a paraphrase, whenever the idiom of the two (Secretary) and other functionaries of the Crystal Palace, mention, one languages would permit, of Talhaiarn's original.conceptions, many of by one, the names of gentlemen (including many members of the Sacred which are very beautiful. In other instances he has followed his own Harmonic Society) who, in various official departments, have shown no ideas, founded, as before mentioned, on the names of the songs. His less ability, and who, towards the public and the representatives of the verses are full of imagination and feeling, and most delicately fitted to press, have exercised no less undeviating civility than the chief directors the rhythm and character of the music ; and so scrupulously careful has of the Festival. As it is they must accept this general acknowledgement. he been to preserve the melodies unaltered, that he has not even taken Into the pecuniary results of the week we refrain from entering. An the very slight liberty of occasionally splitting a note into two for the official statement is in preparation, and no doubt will be published and admission of a word. The collection consists of twenty-four melodiescirculated as soon as completed.
twelve in each volume. Each melody is printed with the Welsh and English words, first for a single voice, and then harmonised in four
parts. For this process the melodies of Wales are much better fitted JOHN THOMAS'S WELSH MELODIES.
than those of Scotland and Ireland, owing (as we have already said) to A GOOD collection of the vocal melodies of Wales has hitherto been a | their regular construction and conformity to the established rules of desideratum ; a surprising circumstance, considering the antiquity and composition. Mr. Thomas has furnished them with accompaniments beauty of the music of the Principality, and the love and pride with for the harp or pianoforte, and harmonised them as four-part songs, which it is regarded by all classes of the Welsh people. The music of with masterly skill, and a thorough perception of their national character. England, Scotland, and Ireland has occupied the attention of learned The collection includes almost all the airs (and their number is very antiquaries as well as skilful musicians, who have assiduously collected small) that are familiar to the English public - " The ash grore, the popular strains of those countries, investigated their history, “ The rising of the lark,” “ All through the night" (generally known scrutinised their genuineness, and placed them before the public in as “ Poor Mary Anne"), “The march of the men of Harlech," " The their best and purest forms. Little or nothing of this kind has been rising of the sun," " Lady Owen's delight," &c., together with several done for the music of Wales. Some collections of it have been made, stated to be taken from the collection of a lady in Wales, which have but, till now, not one by a person competent to the task. In the best been selected on account of their antiquity and beauty. The work is of them the melodies are inaccurately given ; many are admitted that truly an anthology - a bouquet of the fairest flowers of Cambrian are entirely spurious; they have been vamped up and furnished with melody and song. - Daily News. harmonies and accompaniments by musicians ignorant of their character, and united to modern poetry at variance with their true expression. Hence it is that we in England know almost as little of the music as of
MR. BENEDICT'S CONCERT. the language of the “ancient Britons." A Welsh melody is seldom The morning concert par excellence of the season is usually that of Mr. heard among us; and the few that we know we have learned from Benedict ; and no wonder, taking into consideration the many attrac. hearing them sung on the stage. “For example," says the preface of tions it invariably presents. This year the programme was even richer the work before us, “the graceful Llwyn Onn (the Ash Grove) appears than ordinary, and St. James's Hall (on Monday) was crowded to the in a mutilated form as “Cease your funning' in Gay's Beggar's Opera; doors by the élite of the fashionable world. Anything like a detailed while the bold and warlike strain, Y Gâdlys (the Camp), has suffered account of so enormous an entertainment is out of the question. The the degradation of being wedded to Tom Durfey's doggrel song, Of selection - while good in every respect, and so skilfully arranged with noble race was Shenkin,' introduced into the Richmond Heiress." | a view to contrast that each successive piece seemed rather to whet the Such being the case, a work like the present will be heartily welcomed appetite than pall upon it — must, to sober amateurs, have appeared by all who love the national music, not of Wales only, but of the | almost “interminable.” When we left --- at 6 o'clock p.m.-- there were British Isles. As the antique melodies of the Principality become | still three pieces to come --- viz., a duet by Donizetti, for Mlle. Georgi better known, it will be found that they rival in beauty and expression and Mr. Santley ; Mendelssohn's “ O hills and vales" (part-song); and those of England, Scotland, and Ireland, while they are strongly Mozart's overture to Figaro; and as the concert began precisely at 2, marked with a character of their own. One of their peculiar features more than four hours of vocal and instrumental music must have been is the regularity of their structure, and their conformity to the established administered to the great majority of the audience - in other words, to laws of the art. The Welsh are the most ancient race in Britain, and between 1,500 and 1,600 amateurs. A “bird's-eye view " of the whole their music is doubtless of corresponding antiquity; but the generality concert is therefore all that can be attempted. of Welsh airs seem the work of yesterday, compared with the wild and The first piece was the grand orerture composed by Meyerbeer for rude tunes of Scotland and Ireland, which are in reality much more the opening of the International Exhibition ; to which succeeded the modern. This must arise from the immemorial possession by the Welsh “ Inauguration Ode” of our Poet Laureate and Cambridge Musical of an instrument with a complete scale and capable of the combinations Professor — “Uplift a thousand voices, full and sweet." Both these of harmony. The Welsh sang to the harp as early as the twelfth fine compositions were admirably given, under the direction of Mr. century; and this species of accompaniment must have modified the Alfred Mellon — for whom Mr. Benedict had provided a first-class construction of the melodies.
band, together with the excellent chorus of the Vocal Association The collection before us is a most elegantly got-up publication in two some 200 strong. M. Meyerbeer's overture laboured under the disfolio volumes. It is edited by Mr. John Thomas, whose name, as a advantage of being played while a vast number of the audience were in general musician, an adept in the music of the Principality of which he quest of their seats ; but Professor Sterndale Bennett's Ode was listened is a native, and a performer on the Welsh national instrument, the to with comparatively undisturbed attention. Each, however, was harp, is a complete guarantee for his fulfilment of this duty. In the admired and applauded according to its deserts. About two hours poetical department, the editor has for his coadjutors Mr. John Jones | later there was an equally effective performance of Sig. Verdi's Cantata, (Talhaiarn), a poet who has a renown throughout Wales similar to that written for the same memorable occasion, but, as all the world is aware of Burns in Scotland and Moore in Ireland, and Mr. Thomas Oliphant, (without precisely being able to explain the reason), not produced ; and, the accomplished honorary secretary of the Madrigal Society of London, shortly after, the Exhibition overture of M. Auber, the most brilliant of whose talents and entertainments we have had many occasions to and French of brilliant French musicians, was given in a no less speak. Each melody is united to Welsh and English verses ; the satisfactory manner. In the Cantata Mlle. Titiens declaimed the solos former by Mr. Jones, the latter by Mr. Oliphant. Of the Welsh poetry - which, though originally intended for Sig. Tamberlik, are so well we cannot judge, but we understand that it is worthy of the author's suited to her voice — with the soul and energy that “electrified ” the high reputation among his fellow-countrymen. Mr. Oliphant is public at Her Majesty's Theatre, when Sig. Verdi himself was present. generally known as one of the most elegant lyrical poets of the day. This and M. Auber's overture (which concert-givers persist in denomiIn Mr. Thomas's preface it is said: “In regard to the adaptation of nating “ Grand March ") were also conducted by Mr. Alfred Mellon. the words, it will be observed that, in all cases, the name by which each Thus we had the whole of the International Exhibition music-a concert melody has been long known is taken as the ground-work on which in itself, as one might have thought, and enough to satisfy ever so the Welsh and English poets have framed their fanciful ditties, in ardent a " fanatico.” But Mr. Benedict's patrons are worse than keeping with the spirit of the music. Those names are generally so fanatics — they are downright cormorants.
Not inferior in interest to the pieces we hare named were several
specimens of Mr. Benedict's own talent as a composer, the introduction * Addison, Hollier & Lucas.
of which afforded unanimous satisfaction, Bume of these were extracts from his operas. The Gipsy's Warning, by which he was first made before or after it, although the instrument this time was the horn instead known to the British public, furnished two examples — “ Scenes of my of the voice -- which will astonish none of our musical readers when youth" (ballad), and “Rage, thou angry storm” (scena), which last it is added that the player was M. Vivier. Besides the orchestral has kept possession of the concert-room for upwards of twenty years, and conductors, Messrs. Benedict and Mellon, a regiment of pianoforte has every chance of keeping it for twenty more. This was intrusted to accompanyists, including Messrs. Lindsay Sloper, W. Ganz, F. Berger, Mr. Weiss ; and the ballad (as graceful as the scena is spirited) to Randegger, Harold Thomas, E. and Lake, had tasks assigned to them Miss Parepa, the harp obbligato being in charge of Mr. John Thomas - in this lavish feast of harmony-- the most lavish, perhaps, cver provided the Welsh Orpheus. From The Crusaders (produced at Drury Lane even by Mr. Benedict, a prodigal among musical Amphitryons. Theatre, under Mr. Bunn's management, in 1846) were taken the sparkling final duo (with chorus) allotted to a pair of syrens no less seductive than Mlle. Titiens and Miss Louisa Pyne, the ballad,
BEETHOVEN RECITALS. “ Thine, only thine !” — once so popular and still attractive, which | While the dazzling feats of M. Thalberg are week after week crowding was lucky in being confided to the care of Mad. Guerrabella ; and the the concert rooms in Hanover Square, M. Charles Hallé's “recitals" of musicianly quintet, intrusted to Mlle. Titiens, MM. Bettini, Reichardt, Beethoven's pianoforte sonatas are attracting another kind of audience Santley, and Weiss. The Brides of Venice (an opera preceding The to St. James's Hall. M. Hallé already approaches the termination of Crusaders by two or three years in the order of production) supplied the arduous and honourable task he has this year for the second time the duettino, “Like the storm now passed away” (Miss Parepa and | imposed upon himself- only two more “recitals ” (comprising the last Mad. Lemaire), and “By the sad sea waves" (Mlle. Georgi — harp
six sonatas) remaining to be given. At the fifth, he wisely discarded obbligato, Mr. Aptommas, the Welsh Apollo); a genuine and expressive the sonatinas, Op. 49, which are merely bagatelles, substituting the ballad, bringing with it memories of one of the most gorgeous of con beautiful Andante in F, originally intended for the Grand Sonata dedi. tralto voices that of Mrs. Alfred Shaw. Last, not least (and earlier cated to Count Waldstein, but rejected by the not easily satisfied in the programme), The Lily of Killarney was taxed for a still more composer, for the short introductory adagio which now takes its place, ample contribution. From this charming opcra four “numbers ” were and the Thirty-two Variations on an Original Theme in C minor-one of gathered the serenade duet (" The moon has raised her lamp above"); the most strikingly " original" inspirations of Beethoven. At the sixth the ballads “I'm alone" (Eily) and “Eily Mavourneen” (Hardress);
recital, on Saturday, which was more numerously attended than any of and the recitative and slow movement, « The Colleen Bawn," from
the others, the programme comprised the magnificent Sonata in F minor, Danny's scena, in the scene of the water-cave. How well these beautiful Op. 57, which Cranz, the Hamburg music publisher (not Beethoven, who extracts fared may be understood when it is stated that Miss Louisa hated fantastic and affected titles), christened Sonata Apassionata. Pyne represented Eily, Mr. Santley Danny Mann, and Mr. Sims Reeves How M. Hallé performs this great work it is needless to relate; but it
How M. Hallé performs this great work it is needless Hardress. To the operatic selections (all performed under the direction may be readily understood that on such an occasion he took more than of the composer) were added specimens from Mr. Benedict's part-songs, ordinary pains. Still more welcome, nevertheless, because so seldom “ Invocation to sleep," the tuneful character of which has anything but heard, were the Ops. 54, 78, and 79. The first (in F) has occasionally a soporific tendency; and “Old May-Day." The last, to words from been promised at the Monday Popular Concerts, the director of which Beaumont and Fletcher, was heard for the first time, but -- if what is admirable entertainments is hardly open to the charge of being wanting genial and pure deserves to live — assuredly not for the last. The in eclecticism; but, for reasons unexplained, it has invariably been postsingers were the choir of the Vocal Association, under the direction of poned. Why, we are at a loss to guess, inasmuch as, though one of the the composer himself. Further, Mr. Benedict came forward not merely shortest, it is one of the most decidedly effective of all the thirty-two as composer, but as an executant of instrumental music, - first in the sonatas. The second (in F sharp), as romantic and beautiful as the Andante and Scherzo from a sonata in E minor, for pianoforte and other is vigorous, has, we presume, been left in abeyance chiefly on violin - interesting enough to cause general regret that the first and account of the difficult key (six sharps) in which it is set. It used doubtless most important movement should have been omitted ; and to be a great favourite some years ago with the patrons of Mad. Arabella secondly in two attractive little duos - Berceuse and Monferina — for Goddard's soirées, where the latest and most recondite of Beethoven's piano and violoncello, so well balanced that they might have formed sonatas first came into vogue ; and no wonder, for, while demanding component portions of a single work. Mr. Benedict of course played | rare perfection both of mechanism and style in its performance, when the pianoforte part in each, his associate in the violin sonata being these are at hand it cannot fail to delight a really musical assembly, notHerr Joachim, and in the violoncello duets Sig. Piatti -- undisputed withstanding its tranquil and unobtrusive character. The third (in Gkings of their respective instruments. To conclude the versatile concert- of a less elaborate cast than either of its companions - but for its giver was associated with M. Ascher, in a showy fantasia for two pianos,
holdly independent form might have been one of the earliest efforts of on themes from Rossini's Guillaume Tell, prepared by M. Ascher the composer, who was fluent and masterly even before he had attained expressly for the occasion, and brilliantly executed.
absolute individuality, and who may be said to have first equalled Mozart Our readers, even the most musical, will involuntarily exclaim at this and then thrown off his allegiance. Op. 79 has been styled “ The Queen point, “ Surely this is all." Not so ; we have yet to take account (as | of Sonatinas”-sonatina being the name for a short and easy sonata; briefly as possible) of many performances too sterling to be passed in but endless sonatas on the largest scale exist which are unable to boast silence. For instance, there were a couple of trios for men's voices, of half its invention or a tenth part of its beauties. These three comboth capital in their way — “ Pensa e guarda," from Meyerbeer's paratively unfamiliar picces invested the sixth “recital ” with an Margherita d'Anjou, and the (at a long concert) inevitable “ Pappataci," attraction apart, and, played in M. Hallé's most careful manner (his from Rossini's Italiana in Algeri — the first (for basses) undertaken by execution of Op. 54 was a model of finished excellence), were listened MM. Santley, Belletti, and Gassier, the last by MM. Bettini, Belletti, 1 to with intense gratification. The last two “recitals ” (July 4th and and Zucchini. Then there were three duets, all of the richest favour - 11th) comprise the whole of the latest sonatas, and will naturally, on two by Mlles. Carlotta and Barbara Marchisio, viz., “Giorno d'orrore" that account alone, be the most interesting of the series. (Semiramide), and “Le Gitane" (the Gipsies), written expressly for The introduction of a vocal piece between each two sonatas is an the clever sisters by Rossini ; and one from the same composer's agreeable relief. The singer on Saturday was Miss Banks, who in delicious Soirées Musicales, “ Mira la bianca luna," set down for Mlle. Dussek's extremely popular canzonet, " Name the glad day" (one of the Trebelli and Sig. Bettini. Then a string of solos, to which Sig, | valuable "revivals" for which the musical world has to thank the Monday Giuglini contributed "M'appari tutt'amor” (Martha) ; Mlle. Titiens, Popular Concerts), and Mr. Henry Smart's graceful song, “ Dawn, gentle * The last rose of summer ;" Miss Parepa, “ My long hair is braided," flower," maintained her rising and well-earned reputation. Mr. Harold from Mr. Wallace's Amber Witch ; Mlle. Trebelli, “ Il segreto per esser | Thomas was the accompanyist. felice," from Lucrezia Borgia (a much more vigorous antidote to the “spleen” than “ Away with melancholy "); Fraulein Liebhart (from Vienna – of whose distinguished talent as a singer of “national airs” THE HANDEL FESTIVAL.—Each of the following one hundred and we spoke some time ago), the quaint serenade of Proch, called twenty-two places furnishes its contingent to the Handel Festival “ Morgen-Fensterln,” which she gave in the genuine Austrian dialect ; Orchestra:-- Aberdare, Aberdeen, Armagh, Aylesbury, Balmoral, BarMad. Lemaire, a romanza from one of Sig. Verdi's operas; Herr Reich net, Barnsley, Bath, Beeston, Belfast, Bingley, Birkenshaw, Birmingham, ardt, the graceful ballad, “Young and artless maiden," from Mr. Bolton, Bradford, Bristol, Bromley, Bromsgrove, Brussels, Burgh, Howard Glover's Once too Often; Mlle. Gilliess - a young English Cambridge, Canterbury, Carshalton, Cashel, Chatham, Chester, Chi(or Scottish) singer from the Paris Conservatoire and Théâtre Lyrique, chester, Chorlton-on-Medlock, Clayton, Cleckheaton, Clifton, Cork, with a very agreeable voice and considerable promise --- an air from Coventry, Croydon, Derby, Dereham, Dewsbury, Dorking, Dublin, Les Dragons de Villars ; and lastly (at last!) the tenor song from La Durham, Eccleshill, Edinburgh, Ely, Eton, Exeter, Farnhaun, Frome, Favorite (" Ange si pur"), as expressively sung as anything that came Genoa, Glasgow, Gloucester, Guiseley, Hailsham, Halifax, Haworth,
The Musical World.
MONDAY POPULAR CONCERTS.
Heckmondwike, Hereford, Hertford, Huddersfield, Hull, Hyde, Ingate-
Wells, in first-rate characters. The history of the Italian Opera Wakefield, Wantage, Wells, Wimborne, Winchester, Windsor, Wolver. hampton, Woodford, Woollaton, Woolwich, Worcester, and York. Of
in England, we believe, presents nothing parallel to this. these 32 are cathedral or collegiate towns.
English artists have sometimes trod the Italian boards on Royal HORTICULTURAL SOCIETY.--The council of this Society, emergencies, or frequently in second-rate parts, as many yielding to the frequently expressed wishes of many of the Fellows,
may recall to mind; and English tenors have more than resolved to repeat the experiment (tried a short time since with such
once played “ first business," as it is called, at her Majesty's great success) of the performance of choral music by the band of the Royal Artillery, in the Conservatory, at South Kensington. The public
Theatre and the Royal Italian Opera - Braham and Sims as well as the Fellows had thus an opportunity of judging how well
Reeves to wit; but the fact of an English prima donna some of our soldiers can and do employ their leisure hours.
and an English barytone occupying the highest position in an Italian operatic troupe is altogether unprecedented. In
speaking of Italian Opera we, of course, allude solely to Her ST. JAMES'S HALL.
Majesty's Theatre and the Royal Italian Opera, and take into no account the occasional performances of Italian Opera at Drury Lane and elsewhere, otherwise our position would be untenable. Every visitor to the Italian Opera is aware
that Miss Louisa Pyne did not appear for the first time on GT THE LAST MONDAY POPULAR CONCERT OF THE the Italian stage in London when she played Zerlina in SEASON.
Don Giovanni last week at Her Majesty's Theatre. Some ON MONDAY EVENING, July 7, 1862, the DIREC
years since she performed, for a few nights, at the Royal U TOR'S BENEFIT, being the ONE HUNDREDTH CONCERT since the
Italian Opera, the character of the Queen of Night in the commencement of the Series in February, 1859. The Prograinme selected from the Works of all the great Masters.
Zauberflöte, which few singers could attempt, the music PROGRAMME. PART I.--Quartet, in E flat, Op. 44, for two Violins, Viola, and Violoncello, MM. being written so high, and Miss Pyne was engaged for that JOACHIM, WIENER, SCHREURS, and PIATTI (Mendelssohn); Song, “A bird sat on an
part only, to replace Mlle. Anna Zerr. That such an artist alder bough," Miss BANKS (Spohr); Song, “The Wanderer," Mr. WEISS (Schubert); Sonata. in A, for Violoncello solo, with Pianoforte Accompaniment, Sig. PIATTI ( Boc. as our English prima donna should for so many years have cherini); Song. “ Dalla sua pace," Mr. SIMS REEVES (Mozart); Harpsichord Lessons, Mr. CHARLES HALLE (Scarlatti).
been overlooked by our Italian managers is surprising, when PART II.- Elégie, for Violin solo, with Pianoforte Accompaniment (repeated by general desire), Herr JOACHIM (Ernst); Songs, " The Savoyard," " The Kiss," Mr.
the difficulty of finding good singers is taken into consideraŠIMS REEVES (Beethoven); Canzonet, "The Mermaid's song,” Miss BANKS (Haydn); tion. How many parts there are in the Italian repertory Sonata, in A major, dedicated to Kreutzer, for Pianoforte and Violin, Mr. CBARLES Yalle and Herr JOACHIM (Beethoven).
which would suit Miss Pyne's talent we need not point out. • Conductor: Mr. BENEDICT.
Now that Mlle. Kellog, of whom the greatest anticipations To commence at Eight o'clock precisely.
were held out, is prevented coming to England this season NOTICE.It is respectfully suggested that such persons as are not desirous of remaining till the end of the performance can leave either before the commencement of the by a severe domestic calamity, may we not expect that • last instrumental piece, or between any two of the movements, so that those who wish
Miss Pyne will take her place, and that the Nozze di Figaro, to hear the whole may do so without interruption.
Between the last vocal piece and the Sonata for Pianoforte and Violin, an inter which formed so conspicuous a feature of the prospectus, will val of Five Minutes will be allowed. The Concert will tinish before Half past Ten o'clock.
not be withdrawn for want of a representative of Susanna ? Sofa Stalls, 58.; Balcony, 3s. ; Admission, ls. Tickets to be had of Mr. Austin, at the Hall, 28 Piccadilly; Chappell & Co., 50 New
Moreover our admirable English vocalist might, for once, Bond Street, and all the Principal Musicsellers.
descend from her curule chair -- if it would be descending MR. CHARLES HALLE'S LAST BEETHOVEN
- and consent to play Adalgisa in Norma — the production 1 RECITAL, on Friday Afternoon next, July 11, at St. James's Hall.
of which with Mlle. Titiens the subscribers and the public The Programme will include the Sonatas Ops. 10s (in E), 110 (in A flat), an are anxiously awaiting - and show, in reality, how the music (in C minor)-the 32nd and last Sonata of Beethoven. Accompanyist: Mr. HAROLD THOMAS.
should be sung. It has been almost invariably the custom Sofa Stalls. Jos. 6.; Balcony, 7s.; Unreserved Seats, 3s. Tickets at Chappell & Co.'s, 50 New Bond Street, Cramer & Co.'s, 201 Regent Street ; and at Austin's,
with directors of Italian operas to assign the part of Adalgisa to a second-rate artist. This is a mistake, and not at all
what the composer intended. Adalgisa is a subordinate but NOTICES.
by no means a second-rate part, and has seldom been properly To ADVERTISERS.-- Advertisers are informed, that for the future represented in this country. The fact of Miss Louisa Pyne
the Advertising Agency of THE MUSICAL WORLD is established undertaking the character of the young priestess would invest at the Magazine of MESSRS. DUNCAN Davison & Co., 244
the performance of Bellini's opera with a new interest. Regent Street, corner of Little Argyll Street (First Floor). Ad
The engagement of Mr. Santley at the Italian Opera we vertisements can be received as late as Three o'Clock P.M., on Fridays—but not later. Payment on delivery.
have spoken of before. It seems indeed to have been an Two lines and under
absolute necessity. Italian barytones and basses grow i ... ... 2s. 6d. Terms Every additional 10 words .. ... 6d.
1. scarcer every day, and the French and German theatres now
almost entirely supply the operas with singers of that class. To PUBLISHERS AND COMPOSERS.— All Music for Review in THE MUSICAL WORLD must henceforth be forwarded to the Editor,
Among these our English barytone may well take his rank care of MESSRS. Duncan DAVISON & Co., 244 Regent Street.
as one of the most distinguished ; and therefore the wonder A List of every Piece sent for Review will appear on the Satur
is, not that he should be engaged as first barytone at the day following in THE MUSICAL WORLD.
Italian Opera, but that he should have been ignored so long. To Concert GIVERS.-No Benefit- Concert, or Musical Perform-' It is gratifying to our artistic vanity to find that two of
auce, except of general interest, unless previously Advertised, can our native singers occupy the highest position on the Italian be reported in THE MUSICAL WORLD.
stage. It is a proof that national talent is more prized than
28 Piccadill, New Bona Srlcony, 73.: Mr. HAROLD. .
formerly, and may have its uses in encouraging young can- of the theme at the beginning of the composition, we shal didates for vocal honours to keep within the vision of their find that the bass, which is here confided partly to the second hopes the prospect of so bright a goal, and in stimulating violin, and partly to the tenor, violoncello, and double-bass, them to labour for its attainment. The young ladies and contains the retrogression as early as from the third to the gentlemen of the Royal Academy of Music, who devote their minds and energies to vocal accomplishment, have now a new spur to urge them onwards in the race for high honours. Let us trust the facts will not be lost upon them, but may be hoarded up for useful meditation in moments of fear or despondency. What has once happened may happen again. If there is but one English Opera, and that rendered exclusive by force of circumstances, let them not forget that there are two Italian Operas, whose doors are not closed against English singers. Thus they have two futures to look forward to, which should act as a double spell on their , and as no one can here fancy the composer had any such artistic efforts.
| intention in view, it being much more certainly the harmonic
requirements of the passage which produce this accidental
and subordinate figure—that the supposed retrogression, at ONE of our ablest and most learned Teutonic contempo- the beginning of the so-called reprise, is nothing more than raries* has lately been discussing the subject of retro.
the harmony adopted all along, but scored in another way, so grade motion in fugue,---what we in England call giving the as to take us by surprise. Such a treatment was, however, theme “by reversion," and the Germans “ Krebsgang," or
required by the impossibility of again allowing the theme, crab's walk; and which, as crabs walk not backwards, is after it had been handled, in the first and second parts, with bardly so good as ours. Retrogression is better than either,
| a profusion of musical beauties, to reappear in its primary because more directly suggestive. A so-called (or as wel bareness. shall call it) retrogressive imitation by one of the greatest In the third place : The accidental nature of this retromasters of modern times has been discovered and frequentlygression is evidenced by the incidental and unobtrusive quoted. After the so-called developing-movement, with the introduction of a far stricter one in the tenor part, from the repetition of the theme on the first fiddle, accompanied by ninth to the twelfth bar of the second part (developthe mysterious “piano” of the trumpets and kettle-drums, 1 ment):simultaneously with the introduction of all the wind instru. ments, the last movement of Mozart's great symphony in C major (Jupiter) offers an example of a retrogressive imitation in the basses :
as well as by the fact that this stricter imitation is contained also in the passage under consideration, but entrusted to the single first bassoon, while the whole orchestra is busy,the less strict imitation being executed by the bass, violoncello, tenor, and second bassoon. We here see displayed Mozart's well-known partiality for a powerful bass -- a partiality which he would probably, for the sake of greater precision, have sacrificed to an intentional retrogression.
In the fourth place: Opposed to any intention on the part
of the composer is the small value of the theme for retroDehn, in his Theory of Counterpoint, sees in this passage
gressive imitation, as proved by the fault already mentioned “a very beautiful and ingenious" application of this kind of
and remarked by Lobe. This is increased by the fact that imitation; while Lobe, on the other hand, declares, not alto
both halves of the retrogression are perfectly similar to both gether wrongly, that it is useless, because unappreciated,
halves of the theme, and that only the intervening step founding his opinion especially on the fact that the first two
between both, ascending in the theme, is fashioned as a notes of the retrogression appear to be an imitation of the
retrogression on descending. The retrogression might, in first two notes of the theme. Both these celebrated pro
consequence, easily seem only a simple free imitation. fessors and theoreticians seem to think that there can be no
If anyone should urge, in objection to these views, the doubt of Mozart's intention to produce a retrogression. But
indisputable existence of a retrogression, and the tie added against this conclusion there are well-founded objections.
by the master, or, perhaps, be inclined to cite the mysterious · In the first place : Had Mozart really wished to produce
and solemn sound of the passage as indicative of some hidden his effect by “retrogression," or to introduce the latter, he
wonder, there is still an explanation left. “Perhaps," sugwould, for the sake of attaining the greatest amount of clear.
gests “ L. B.” of the Niederrheinische Musikzeitung — after ness, have isolated as much as possible the parts in which
coming to a particular passage, in the manner above deit is written, and not, by covering them with ingenious
scribed — Mozart, like ourselves, discovered the accidental instrumentation which absorbs so much of the attention, have
retrogression, and was not sorry, although with no great helped to conceal the art he was employing; nay, he would,
cause for exultation at finding the contrapuntal monster most probably, have introduced the imitation again, and that,
chained to his triumphal “ car.": too, immediately, as he has done, shortly afterwards, with the close treatment of the theme, and in the course of the work with several other artistic figures.
MERCADANTE.-From the Continental papers we learn that this In the second place : If we examine the first introduction eminent composer, now greatly advanced in years, has suffered
total loss of sight from an operation performed on him recently * The Niederrheinische Musikzeitung.
for disease of the eyes.