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Music At The International Exhibition.—The following programme of miscellaneous pieces was " recited" on Wednesday, on Jones's great organ, by Mr. Albert Lowe, organist of Brunswick Chapel:—1. "Be not afraid," Mendelssohn; 2. Andante, do..; 3. "The Marvellous Work," Haydn; 4. "Gloria," Mozart; 5. Prelude and Fugue (G minor), Bach; 6; "War March," Mendelssohn; 7. "Let all the Angels," Handel; and 8. "Guillaume Tell " (selection), Rossini.
The Crystal Palace.—The directors of the Crystal Palace Company have addressed a circular to the proprietors in explanation of the statements in Mr. England's speech, assuming to himself the credit of all the economy which has been Introduced, and all the improvements which have been effected in the management of the company. They show that all the savings and improvements effected were made by the board in general, and not by Mr. England alone; and in conclusion, they say—"There is another subject of vital interest to the shareholders, but which for divers reasons was avoided by Mr. England—viz., the direction of the finance of the company, which is too important to be left unnoticed, and compared with which even the topics to which he did refer are of small importance. It is not too much to say that five years ago, and indeed, until it comparatively recent date, this was one of the most anxious and important subjects which could occupy the attention of tho directors. Under the advice of the finance committee (consisting of the chairman, Mr. Anderson, Mr. Ionidcs, and Mr. Ogilvy), the directors have been enabled, with the cooperation of many of the proprietors, to carry the company through its financial difficulties, and to place it on a sound and substantial basis. Mr. England will scarcely say that he inspired the deliberations of a committee of which he was not even a member."
ROYAL ITALIAN OPERA.
On Saturday Don Giovanni was repeated; on Monday, Roberto il Diavolo; on Tuesday, Lucia di Lammermoor, introducing in the part of Enrico Sig. Graziani, his first appearance this season; on Thursday, // Barbiere; and last night, Roberto il Diavolo.
Sig. Graziani's welcome on Tuesday was warm in the extreme. He is a great favourite of the public, to whom nothing is a stronger recommendation than a beautiful voice. The part of Enrico is not entirely suited to Sig. Graziani, as it requires a more stentorian voice and greater depth of lungs. Some of the music, however, is given with such infinite charm that it pays for all the rest. As for Mlle. Patti's Lucia, it becomes finer and more intense nightly. The singing is as brilliant and exquisite as ever.
The theatre has been crowded every night to suffocation. Never was season at the Royal Italian Opera so prosperous as the present.
HER MAJESTY'S THEATRE. The following were the performances of tho past week:—Robert le Diable, on Saturday; Don Giovanni, on Tuesday; Semiramide, on Wednesday, Don Giovanni, on Thursday; and to-night, Robert le Diable, with Mad. Gucrrabella as Isabella,^hcr first appearance in that character.
The performance of Don Pasquale, given on Wednesday week, commanded a longer and more detailed notice than we could afford room for in our last number. The revival of comic operas, especially capital works like that of Donizetti, is entitled to special approval at a time when the prodnctionsofthe French rcpertory.with their complications, their horrors, and their tragic consequences, are almost entirely the vogue. It is certain that artists are not always to be found gifted with comic powers, and desirous of showing them. Singers for the most part prefer matriculating in the grand tragic line, for which, indeed, now-a-days,they are particularly trained and prepared. An artist, therefore, who goes out of the usual way, and selects comedy instead of tragedy with which to create her earliest impressions on the public, manifests great self-depender.ee, and a desire not to follow in the common track. No doubt Mad. Gucrrabella, when she made her initiative essay as Norina in Don Pasquale
we must, to a great extent, ignore the lady's appearance in the Puritani, for reasons already explained — was willing to be judged solely on her own merits and without comparison. That the lady did not reason wrongly, was manifested by the undoubted success which attended her first performance of the sprightly widow, and the unsparing eulogies with which L was greeted by the London press. In short, Mad. Guerrabella made a decided hit in the part of Norina, and by her
singing and acting raised herself considerably in the estimation of the public. On Mad. Guerrabella's vocal powers we need not dwell in this place; how excellent her voice is, and how well she uses it, we have iterated over and over again. Enough here, that she sang her best on the evening of which we write, gratified every car, and was applauded to the echo. As an actress, she took the audience by surprise. Good comic acting is not now often seen on the Italian stage, and Mad. Guerrabella's acting is first-rate. It is full of point, vivacity, and esprit. The fair artist, in truth, possesses all the elements of a comedienne, and has, besides, that ease and grace without which comedy indeed would lose its special attraction. Nothing could well be more animated and natural than her portraiture of tho coquettish and arch widow, and some of her scenes with the old Don — especially that wherein, directly after the simulated marriage, she sets his authority at defiance, and claims the right of ruling her own establishment — has not been surpassed, even by the great original, for force and earnestness.
The cast, even in these dearth-of-comic-artists days, was unexceptionably good. Signor Zucchini was somewhat dry as Don Pasquale, but exceedingly humourous nevertheless, and always thoroughly alive to the character and the situation; moreover demonstrating clearly what great things may be effected by a genuine vocalist with small means. M. Gasser was admirable as the intriguing and good-humoured Dr. Malatesta, while Signor Giuglini, having little to do in the acting, sang the music of Ernesto with ineffable grace and sweetness. Of course the serenade with chorus "Com' e gcntil" — popularised and almost immortalised by Signor Mario—was one of the telling points of the performance, and elicited the never-failing encore. That Ernesto would be one of Signor Giuglini's most delightful performances every one expected, and no one was disappointed.
Since our last notice of tho doings at this establishment the new manager has not been idle. Even while the Handel Festival was drawing the attention of the musical world to the Crystal Palace at Sydenham, he revived Don Pasquale — by no means the least racy of the comic operas of Donizetti—with an excellent representative of the amorous old bachelor, in Sig. Zucchini (a recent acquisition from the Theatre Vcntadour), and one of the most graceful and spirited Norinas, in the person of Mad. Guerrabella, that ever gave life to the character of the piquant widow; this, too, with such an Ernesto as Sig. Ginglini, whose "Com' e gentil" created the accustomed sensation, and such a Dr. Malatesta as the intelligent and versatile M. Gasser.
On Tuesday night the revival of Don Giovanni made a still larger call upon the resources of Mr. Maplcson's troop of lyric comedians. On the whole, the *' opera of operas " was effectively performed. An unusual degree of interest was attached to the first appearance of Miss Louisa Pync at Her Majesty's Theatre. The delicious music of Zerlina, we need hardly say, was admirably suited to tho voice and style of our accomplished English "prima donna," who gave both "Batti batti" and "Vedrai carino" (the last of which was loudly encored) with no less beauty of voice than classical purity of expression. The foreign language was evidently no check upon the efforts of Miss Pyne, who sings in Italian with the same fluency as in English—a proof, if any were required, that her method of producing the voice and enunciating the vocal syllables is legitimate. In "La ci darem" (also given twice) Miss Pyne was ably supported by M. Gasser, whose Don Giovanni has been more than once described as a performance which—in an age when an ideal personification of the libertine is no longer extant—should not only be viewed with indulgence, but welcomed with gratitude, by all who are not willing to see Mozart's immortal masterpiece even temporarily removed from the stage. In the scenes with Lcporello, M Gassier exhibits the utmost spirit; and if in his love-passages a shade more of refinement might be acceptable, we must rest content with what is good, and encourage it until we can meet with the desired perfection. M. Gassier is thoroughly familiar with the music, and while correct to a nicety in the concerted pieces, imparts a vigour to the solos which gives to each of them a marked individuality. He was greatly applauded in the very difficult air, "Finch' han dal vino," and deserved a much warmer recognition than he obtained in the serenade addressed to Elvira's waiting maid, which he rendered with singular good taste. Signor Vialetti's Lcporello is careful, painstaking, and full of excellent intentions; Sig. Bossi's Masctto would admit of an occasional dash of humour; Sig. (or Herr) Herrman's Commandant has the genuine sepulchral tone about it; and the Don Ottavio of Sig. Giuglini (who sang the too frequently omitted "Dalla sua pace" to perfection, and was recalled after "II mio tesoro ") as highly finished in a vocal sense as it has ever been. The part of Donna Elvira fell to the Swedish singer, Mile. Louise Michal, whose execution of the recitatives and airs was correct, but extremely laboured. Best of all was the Do una Anna of Mile. Titiens, a performance, whether looked at from a dramatic or a musical point of view, that has not been equalled since the halcyon days of Mad. Grisi. From the splendid duet with Don Giovanni (" Fuggi, crudele, fuggi !") in her first scene, to "Non mi dir "—the air which Donna Anna ought to address to Don Ottavio, but never does, inasmuch as Don Ottavio invariably takes his departure after "II mio tesoro "—in her last, Mile. Titiens was all the most exacting worshipper of Mozart's genius could have wished. The grand recitative and air in which Donna Anna recounts to Ottavio the attempt of Don Giovanni and the murder of her father, was a truly superb display, and raised the enthusiasm of the house. The "trio of Masks," too (with Mile. Michal and Sig. Giuglini), was equally successful, and well deserved the unanimous "encore" it elicited. Mile. Titiens adopts the legitimate expedient of singing her part of this trio (the "raUentando" at the last passage excepted) in strict time—an expedient now unhappily so rare that it almost amounts to an innovation. The more of such innovations the better.
The band, under Sig. Arditi, performed the overture and accompaniments, with an exception here and there, in a manner deserving unqualified approval. The chorus looked numerous, but sounded rather weak, and about the "mite en seine" and general arrangements there is little to say, except to condemn unreservedly the interpolation in the ball scene of a "quick step" from another opera. The solo minuet (for the sake of exhibiting two ballet-dancers, in costumes utterly out of keeping) is already a sufficiently great liberty to take with such a composer as Mozart, and such a composition as the first finale of Don Giovanni; but precedent or ("tradition ") has helped to sanction this and other absurdities, whereas the interpolation in question is as inexcusable as it is unnecessary and obtrusive. The restoration of "Ho capito," " Dalla sua pace," &c, —about which there has been so much talk—coupled with such vandalisms, loses all its title to sincerity, and therefore to respect.—Times.
Herr^wilhelm Ganz gave his annual Concert on Thursday morning at the Hanover Square Rooms. The selection was, for a miscellaneous entertainment, good, and well varied, and was happily seasoned with Beethoven's Grand Sonata in A major (Op. 69), for pianoforte and violoncello, executed by the concert-giver and M. Paque most effectively. All else was of the popular kind. Herr Ganz, in addition to the Sonata, played, with his brother, Herr Eduard Ganz, Mwcheles and Mendelssohn's Grand Duo Concertante for two pianofortes, on the march from Preciosa — a highly fraternal and excellent performance — and sundry solos of his own composition. The other instrumental contribution was a Fantasia on the violoncello, by M. Paque, on airs from the Traviata, which was thoroughly well executed and liberally applauded. The vocal music prevailed largely; Herr Ganz supplying from his own works two songs — " The murmuring sea," sung by Hcrr|,Reichardt, and "Sing, birdie, sing," by Mile. Parepn, which was'encored. Both are pretty and tuneful, the Scotchworded song particularly. The most effective songs besides these two, judging from applause, we should say were the following:—the air from Auber's Serment, "Dn village voisin," by Mile. Parepa; Benedict's ballad "By the sad sea waves," by Mile. Georgi, encored; Herr Reichardt's "Cradle song," sung by himself, also redemanded, but not complied with, inasmuch as the popular "Thou art so near and yet so far " was given instead; and Herr Formes'song "In sheltered vale," which the great German basso himself sang, and to which he imparted an expression as deep as his own voice. Messrs. Benedict, George Lake, and liduard Ganz were conductors. The rooms were very full.
Pianoforte Quartet Association.—The third of the four Matinies organised by Messrs. Henry Baumcr, Carrodus, Baetens and Peltit, was given on Thursday, the 19th June, and attracted an elegant, if not a very crowded, audience to Collards' Concert Rooms. The quartets were Ferdinand Rits's in E flat, and Mozart's in G minor, No. 1. Both were finely executed, that of Mozart especially, in which the lively and charming rondo movement created it marked sensation. The quartet of Rics is ll work of unequal merit, but is nevertheless entirely worthy of the musician's earnest consideration. Dussck's splendid Sonata in B flat, for pianoforte and violin, was another striking piece, and a good performance to boot, by Messrs. Baumcr and Carrodus. The grand and solemn Adagio Cantabile was played with great expression and 'a thorough insight into the meaning of the old composer. In addition, a fantasia on airs from the Bohemian Girl was performed on the viola by - Mr.Baetcns, accompanied on the pianoforte by his daughter, a young
girl of very tender years. This piece, though well written and excel lently played, was hardly in its place at these concerts. The vocal music was intrusted to Miss Susanna Cole and Franlein Augusta Mehlhorn. The last named lady sang Schubert's "Erlking" and Gumbert's song, "Ye happy birds." Miss Cole gave the scena,~"Sad is my soul," from Lurline, and a new song called "The Vesper Bell." Her beautiful voice and great charm of style were conspicuous in both, but the "Vesper Bell" pleased superiorly, and was unanimously encored. The fourth and last Matinfe will be given on Thursday next.
Mrs. John Holman Andrews gave a Soiree at her residence, 5 0 Bedford Square, on Wednesday last, which attracted a brilliant and numerous attendance. The fair and talented hostess and concert-giver was assisted by Mile. Ida Gillies, Mad. Laura Baxter, Mr. Wilbye Cooper, Mr. Trelawney Cobham and Signor Bellctti as vocalists; and by Mr. Blumenthal (pianoforte), and Mr. Blagrove (violin), as Instrumentalists. The programme had the very rare merit of being sufficiently brief. Mrs. Holman modestly restricted her share of the performance to two trios and a quartet, relinquishing to the other artists the chances of obtaining undivided applause. The trios were Curschmann's "Ti prego," and Rossini's "L'Usato ardir" (Semiramide), and the quartet, "Mczza Notte," from Martha, the last achieving a decided encore. Mile. Ida Gillies gave a brilliant version of the aria "Tacea la notte," from the Trovaiore; Mad. Laura Baxter exhibited her fine quality of voice and good plain singing in Mr. Howard Glover's ballad, "Love is a gentle thing," and in Mr. Davison's song, " Swifter far than summer's flight;" Signor Belletti contributed the grand air of the Count from the Nozze di Figaro, "Hai gia vinta la causa," and Vianesi's aria, "U Maciaguolo," the first splendidly given, the last encored; and Mr. Wilbye Cooper gave the tenor song from the Colleen Baton, which he likewise was compelled to repeat. The instrumental performances comprised pianoforte playing by Mr. Blumenthal and a solo on the violin by Mr. Blagrove, both of which delighted manifestly. Mr. Aguilar presided at the pianoforte.
Mad. Celli's Matinee This estimable lady (the widow of the late
Baron Celli) gave her annual morning concert on Saturday last at the Beethoven Rooms, Harley Street, to a crowded and fashionable audience. Mad. Celli was assisted by Miles. Parepa, Helena Walker, Stabbach, Eleonora Wilkinson, Saunders and Rae ; Mr. George Perren, and Signor Belletti, with Messrs. Ganz and E. Berger as accompanyisu. The programme, though containing no important novelties, was judiciously selected so as to display the individual excellencies of the several executants. Mile. Parepa especially distinguished herself by her facile delivery of Auber's laughing song,—a sparkling morceau which she has evidently made her own. Signor Belletti was also warmly encored in one of his favourite airs. A noteworthy feature of the concert, however, was the appearance in London of Miss Helena Walker, who, we understand, is a pupil of Dr. Spark, organist of Leeds Town Hall, &c. Miss Walker has a soprano voice of considerable compass, sweetness, and flexibility, which she displayed with great effect in Mr. Henry Smart's charming song " Summer night." The audience evinced a due appreciation of this performance, and we heartily endorse their verdict, and trust we shall soon have another opportunity of hearing this young lady, who, if we mistake not, is destined to take a prominent and useful position among our English soprani.
Mr. Wilhelm Kuiie's Concert.—This took place on the 26th ult, and attracted a crowded audience to St. James's Hall. The beneficiaire fully sustained his well-earned reputation as a pianist, contributing two solos from his own pen,—the one a brilliant fantasia on " God save the Queen," the other, of similar character, entitled "Homage a Meyerbeer," a nocturne and valse of Chopin, besides joining M. Sainton in a sonata by Dussek, whose name (thanks to the Monday Popular Concerts) is now familiar as a household word. All the foregoing, we need hardly say, met with great and well deserved favour. Franlein Liebhart, from Vienna, and Mile, do Vestrali, of all the foreign operas, are both valuable acquisitions to the concert room, and subsequent experience will doubtless confii m the unanimously favourable verdict pronounced upon their merits. Mesdames Sainton-Dolby, Gnerrabella, LemmensSherrington, Miss Steele, Messrs. Tcnnant, Reichardt, and Formes were the other vocalists, M. Sainton and Mr. Aptommas the instrumentalists. The reputation of these artists absolves us from anything beyond the mention of their names—invariable guarantee of excellence.
M. Thalbero's Matinees.—The third matinee (and last but one) on Saturday brought a host of amateurs to the Hanover Square Rooms, and was, perhaps, more interesting than either of its precursors. Among the novelties was a brilliant fantasia (MS.) on two of the most ad. mired airs in the Traviata, a piece in which are displayed to singular advantage the mechanical ingenuity and knowledge of "effect * that place M. Thalberg, longo intervallo, in front of all aspirants to the crown of " virtuosity.'' His execution of this, as of his well-known fantasia on the duet and preyhiera from La Sonnambula — a splendid piece in its way — and, still better, of his spirited am! masterly Tarantella, was nothing short of incomparable. Besides the foregoing, we had two of the compositions by means of which M. Thalberg gained some of his earliest and brightest laurels — the Study in A minor (with the " repeated notes "), and the never-to-be-forgotten Andante in D flat, which for the first time exhibited the superb virtuoso in a sentimental mood. These were welcomed as old and much-esteemed friends, whose features, in spite of long-protracted absence, arc still vividly impressed upon the memory. Further extracts from that really valuable work, The Art of Singing, applied to the piano—viz., transcriptions of Beethoven's "Adelaide and a romance in Weber's Preciosa; the Marche Fmihre, belonging to one of Chopin's sole sonatas; another leaf from the portfolio of the self-styled "Pianist of the Fourth Class" (Prilude demon Temps'), who, instead of giving new "Barbieres" and "GuillaumeTells " to the world, is solacing his declining years with the production of feuillets a"Album for the piano d queue ; and last, not least, his own new and very original Ballade, were M. Thalberg's remaining contributions to the programme. Of all his recent works this Ballade is the most thoroughly genuine and beautiful ; and that it is destined to attain the same degree of popularity here which it already enjoys in Paris, whcre.it was first publicly performed, may be taken for granted. Rossini's Prilude de mon Temps, a sequel to the Prilude de FAncien JRigime, introduced at the second matinie, is in every respect as interesting as its companion. The applause that greeted M. Thalberg at the end of each of his performances was hearty, vehement, and unanimous. He was recalled repeatedly, but in every instance declined to' accept "encores "—most discreetly, we think, although it must doubtless'have cost him some effort not to accede to such unequivocal demonstrations as were elicited by the Tarantella, the Ballade, &c. Never in our remembrance was he in better play. The programme of the fourth matinie (on Monday), besides other attractions, includes the Prilude de VAvenir — completing the illustrations of "Past," "Present" and "Future," designed by Rossini in these peculiar rhapsodies; the universally renowned fantasia on the preghiera from Mosi; and a
frand sonata by Beethoven, for pianoforte and violin, in which M. 'halbcrg will be associated with Herr Joachim.
Tonic Sol-fa.—The choral competition between advanced "Tonic Sol-Fa" classes was held on Tuesday evening at Exeter Hall, the judges being Messrs. John Goss, organist of St. Paul's, James Tnrle, organist of Westminster Abbey, George Hogarth, secretary to the Philharmonic Society, and Thomas Oliphant, secretary to the Madrigal Society. The competing choirs were four, the West Hiding Union (trained by Mr. T. K. Longbottom), the City Choral Union (Mrs. Stappleton and Mr. Proudman), St. Thomas's (Mr. E. Thompson), and Staffordshire Potteries (Messrs. J. W. Powell and G. Howson), each numbering from forty to fifty voices. Two sight-singing tests were adopted: first, from the established, second, from the tonic sol-fa notation; the pieces (composed expressly for the occasion) being placed for the first time in the hands of the singers as they stood before tho audience, and thus affording a fair criterion of their respective abilities. Not being present at this stage of the proceedings, wo are unable to offer an opinion as to the comparative proficiency exhibited. After this test, each choir sang two pieces of their own selection, tho Staffordshire Potteries choosing "The Foresters," Stirling, and "The Birth-day Wish," Spefforth; St. Thomas's, "With joy we hail," Lowell Mason, and Auber's "Behold! how brightly breaks the morning;'' the City Choral Union "Softly fall the shades of evening," and "Benedict's "Hunting Song;" while the West Biding Choir's choice fell upon Bishop's " Hail to the Chief," and Webbc'a "When winds breathe soft." Of the four we should decidedly award the palm to the West Riding Choir, whose voices were the freshest and most vigorous, their singing being marked by a decision and correctness of timo quite refreshing to listen to. Next to these the Staffordshire, both the London choirs betraying a tendency to flatness, as well as lack of promptitude in taking up the points. The united choirs concluded by singing Mr. Henry Leslie's arrangement of ' God save the Queen," to the manifest relief of the audience, upon whom a considerable amount of "speechifying" (mostly inaudible), had been inflicted by a'tonic sol-fa orator.
Myddelton Hall.—A concert was given here by the Ladies' Vocal Trio Union on Wednesday evening, the 18th ult., Waterloo day. The programme with one exception was vocal, and the artists with one exception were of the fair sex. The ladies' names were Miss J. Stanton, Mad. Ellwood Andrea, Miss Ashton and Mile. Parepa. This brilliant host of female talent Herr Reichardt had to confront and alone; but the audience, taking compassion on his lorn state, and sustaining
him in his perilous position, applauded him manfully, and infused such courage into him, that he was enabled to hold his own throughout the tempestuous conflict of voices, and carry away his share of the laurels. He sang two songs of his own, the popular " Thou art so near and yet so far," and the equally popular "Cradle-song," and was rapturously encored in both. Miss Stanton deserves especial mention for the animated and musicianlikc manner in which she sang Schloesscr's song "Britannia the Queen of the Sea," and for her expression and pleasing manner in Weber's duet " Come, let us be gay," in which she had the valuable assistance of Mad. Ellwood Andrea, both being applauded to the ceiling—usque ad caelum. The last-named lady further sang Badia's " Viva della Patria," and was encored. Mile. Parepa, a great favourite in these North-Western parts, sang thrice and won two encores—in " Oh say not woman's heart is bonght "and Arditi's waltz "II bacio." The exception to the vocal rule was Miss Annette Rich, who proved herself wealthy in mechanical resources by her performances on the pianoforte of Mr. Salaman's charming piece " Rondo nel tempo della giga." This is the cream of the entertainment which we trust our readers will sip sweetly.
THE SACRED HARMONIC SOCIETY AND THE
Ik 1856, the Sacred Harmonic Society, having in view the desirability of a due celebration of the centenary of Handel's death in 1759, contemplated erecting, by means of a guarantee fund, some large building in the metropolis, either temporary or permanent, which should serve the purpose of a great Musical Festival in 1859. During the preliminary arrangements it was suggested that, as the Crystal Palace had been opened with great musical eclat, the Directors of that establishment might not be indisposed to enter upon such an undertaking, in which case the necessity for erecting .a special building would be obviated. Negotiations were accordingly opened, and the result was the Festival of 1857. The Commemoration of 1859 followed in due conrsc, and it was then determined to establish the " Handel Triennial Festival." The orchestra in the Crystal Palace, partially erected in 1857, was unenclosed and only accommodated 2,500 performers. In 1859 it was enlarged so as to contain nearly 4,000, and partly enclosed. It has now, in 1862, been entirely roofed over. It is calculated that the outlay on this structure, from first to last, has been upwards of 12,000/.
It may be somewhat premature to calculate the receipts of the Handel Festival of 1862; but it will not be far wrong to place them at about 25,000/. In 1857, the receipts were 23,372/.; in 1859,34,913/.; making a total for the three Festivals of nearly 74,000/. Of this sum, the Sacred Harmonic Society will have received as surplus beyond expenditure from 9,000/. to 10,000/., besides a considerable stock of music. The Crystal Palace Company carried into account, as profit, in 1857, 8,700/., and in 1859, 11,500/. The surplus from the present Festival will, it is anticipated, be between 7,000/. and 8,000/., subject to the cost of the roof to the orchestra, which, assumed to be 5,000/., will leave a surplus of from 2,000/. to 3,000/. Thus the Crystal Palace Company has netted about 23,000/., besides the acquisition of the now complete Great Orchestra, valued at 12,000.
Although the receipts of the Sacred Harmonic Society from the three Festivals amount to between 9,000/. and 10,000/., this must not be regarded as exclusively profit. The Great Choral Rehearsals, since 1857, have cost a very large sum. Apart from this, the promotion of the objects of the Handel Festivals having always been kept in view, the concerts have frequently occasioned charges upon tho funds to a more than ordinary extent.
The labour of those connected with the society is purely honorary, So arduous has this of late become, that it is not possible to anticipate its continuance. Not that the leading members of the Sacred Harmonic Society grudge the work of these Festivals; on the contrary, it has been undertaken cheerfully. The Committee feel, nevertheless, that the task they imposed upoti themselves has been fulfilled; and it depends upon many considerations whether at all, and if so, under what conditions it can ever again be submitted to.
Notice has been already taken of many who have been prominent in connexion with the Festival, but it would be unjust to conclude without special mention of others who have laboured hard to carry it through. Mr. J. F. Puttick was entrusted with the country musical correspondence the engagements and payment of provincial and professional performers which involved great labour and anxiety. Mr. D. Hill, Mr. Husk, Mr. Carmichael, Mr. Durlacher, and Mr. Sherrard, principal honorary superintendents of the orchestra, with their staff of assistants, brough their several departments into perfect working order. The superintend. ence of the issue of tickets at Exeter Hall was undertaken by Mr. Stewart, and that at the Crystal Palace by Mr. Wilkinson, while the convenience of the audience at the Crystal Palace was provided for by Mr. David Sims. Mr. Withal, and Mr. Mitchell, with an able regiment of stewards, two hundred strong. Mr. Waugh and his boys again undertook the issue of the books of words; while Mr. Peck and his assistant librarians supplied the immense orchestra with the requisite music-parts. In the general arrangements the Committee were assisted by the President of the Sacred Harmonic Society, Mr. Harrison, and the Honorary Secretary, Mr. Brewer, both of whom have been associated with the institution since its commencement, upwards of thirty years ago.
It was not without considerable hesitation that it was decided upon to hold a Festival during the present year. The period of an International Exhibition, when the public mind would be fully occupied, was not the most favourable for so vast a musical enterprise, of an opposite character. The death of the Prince Consort, and the economy which the commercial difficulties arising out of the American war forced upon the manufacturing districts—a class by whom the Festivals of 1857 and 1859 were extensively supported—were also events in the highest degree unpropitious. Fortunately, however, these and other depressing influences have been counteracted by the successful completion of the orchestra ; and the Festival of 1862 may be looked upon as no less triumphant, under the circumstances, than its predecessors of 1857 and 1859.
THE MENTAL HISTORY OF POETBY.
"To search through all I felt or saw.
Continued from page 295. These considerations throw some light on that apparent anomaly which is involved in the cases of those Art-exponents, who displaying true genius, and extraordinary skill and facility, in the improvising of beautiful and original creations, with,the pure material of their Art, yet never rise to the dignity of that exalted office of moral ministration, the function of which is to interpret through the medium of Art; the high emotions of the breast. The reason of this is, because, whilst possessing the necessary external demonstrative Art-faculties, they are endowed with no finer moral faculties than ordinary natures, and thus are charged with no remarkable pressure of emotion in the breast, with no particularly distinctive or profoundly elaborate texture of idea in the mind. Thus in animating their Art-creations, they deal only in the common and instinctive emotions of the breast — emotions accruing to the essential and general conditions of life, which spring out of the relationship of man to his kind, in distinction to those emotions of an abstract character, which rise only between man and his own soul, or surrounding nature — or relinquishing these from the desire of novelty, or from the want of a fresh and unworn sympathy, a warm and full flow of natural feeling unwarped and undiluted by artificial appeals, — they invest their Art-ideas with a false and spurious character of sentiment altogether.
In the same way these considerations also explain the converse of the above case. They explain the equally striking anomaly of nature's with all the strength of feeling, depth of thought, and the general internal conditions, for grand moral conception; yet only attaining demonstrative effects of the weakest character, though endowed with every advantage that artistic treatment can impart, and which after all, mostly prove but the echoed effects of previous minds. These are the minds whose early aspirations have had to reap that ashy fruit—bitter under any circumstances, but mostly so when garnered in by the sanguine and expectant hands of young and honourable ambition — disappointment. It is often remarked by moralists, with what an absence of the spirit of consistency and propriety Nature bestows the advantage o. personal beauty upon varied characters and dispositions in human life; with no apparent respect how the elect for this temporal blessing may be inwardly morally endowed as to render its bestowal otherwise than a mockery, and a snare—a palpable and sole appropriate external form, and emblem, of Virtue within. The same discrepancy and want of moral harmony prevails relative to the inward endowment of the faculties of Art-conception, in connection with the outward endowment of the faculties of Art-demonstration. Where one exists, there is not always the other. This is the story of those minds who, thwarted in the well-spring of their youth from cleaving the high mountain level of Fame with the silvery streams of Genius, find, and become content to flow in, other and lowlier channels in the common vale of life; who remaining throughout their days unswerving votaries of Art, continue to labour for that cause with ever steady faith and love,
but with constant and conscious humility; discharging diligently duties accruing to a subordinate capacity, and, deeming it still an honour if, by assiduity, perseverance, and sacrifice, they may be permitted to be but doorkeepers in those bright dominions.
This is the story of most of those minds whose energy finds vent in reforming, reconstructing and developing the fundamental principles of Art; or in commentating npon (and thus investing with an added soul) its grand illustrations. Sometimes a mind cast upon these circumstances partially rc-adjusts this grievous accident of Nature by adopting another channel of Art-demonstration, and adopting it successfully. This is exemplified in the instances of two celebrated literary exponents of the present day, — a great Critic and a great Novelist, both of whom in youth aspired to the goal of Painting. But this is also the story of many minds that have ultimately accomplished none of these courses—minds that have filled from the pure fount of Nature, respired the breath of Heaven, and drawn the empyreal air of Inspiration, yet bring forth nothing but the unconformed fire—the elemental chaos of the soul, and which have expired in earnest but imbecile rhapsody. Thus into the world of Art ns in social life, enter to a great extent the blind ordinances of circumstancel—
"That unspiritual God and mlscreator."
And hope is often turned to dust. Whether there has ever existed a "mute inglorious Milton," solely owing to the fickle dispensation of worldly advantages, may be matter for controversy. Yet the existence of "mute inglorious Miltons" is still an ever-repeated truth — mute not from penury in fortune but scantiness in demonstrative endowment.
Recurring to the main path of our enquiry, we shall now proceed to show that the reason why that general internal pressure of Admiration, Emotion and Idea, which precedes all Art-display, and from which all orders of Art-impulse arise, adopts Poetry as a medium of expression (in cases where it does so), and forsakes the intrinsically bright and glowing paths of "Colour" and "Sound,"—is not necessarily through the absence of either order of those externally demonstrative faculties which have particular reference to these Arts, and which are essential for the due developing of that pure material of their constitution, the influence of which enters so largely into their effect; but through the presence in the nature of another faculty altogether—a faculty which is not requisite for the conception or demonstration of either " Painting" or " Music," nor even for the ordinary and " middle flight " of Poetry; but which is the only specific attribute of this latter Art, and that quality alone in its constitution through which it becomes distinctive and unique, and attains its perihelion of elevation.
In the same way that the general Art-instinct is elicited through a particularly favourable endowment in the nature of " Imagination," or similar faculties, generally conducive in the breast wherein they exist, to a deep, sensitive and an enlarged moral appreciation; or, in the same way that it is elicited through particular perfections in certain demonstrative faculties (as those relating to colour or sound for example),rendering their possessor specially apt for the production of favourable Art-effects of the character to which such faculties have reference;—so when, in conjunction with those other internal requisites and conditions essential for the initiatory development of Poetry, such as vivid imagination and the primary and general incentives of Art, there is present also a particularly prominent endowment of "mental perception "—deep, clear and tense intellectual penetration;—then there exists in the nature thus invested the inmost requisite, the specific attribute and the most elevated condition of Poetry.
For it will be observed that Poetry as well as being the eloquent expression of infinite emotions of love and admiration in the breast of the Poet—as well as forming the tangible picture of the sublime scenery visible only through the vista of imagination — as well as being the spiritualised reproduction of all that is beautiful in external nature, and the corporealiscd embodiment of all that is admirable in the moral world (these capacities being equally fulfilled by all branches of Art)— as well as occupying these functions, it will be observed that "Poetry" occupies one more, namely, that of being, but only at times, and in the hands of its greatest conceivers, the majestic exponent of new and momentous philosophical truth. With reference to Poetry all other Artcircumstances and effects not immediately conducing to, or resulting in, this, are but the preparations and subordinate apparatus for the production of this grand result, as the tree's blossoms are but the preparations for the fruit. For in this effect, Poetry, whilst preserving that soft grace and tender charm of spirituality irradiating all Art-creation, at the same time assumes moral importance, and appears robed in that dignity which accrues to the fulfilling of a practical office. And thus in this achievement of Poetry, Art is simultaneously both utilicised and exalted.
Now, the manner in which this faculty of " mental perception " acts, when seated Godlike amidst the imaginative mountain heights of Poetry, is, in the discovering of a general and grand harmony being continually and ever variably defined betwixt moral and physical nature j even as from lofty mountain peaks the ocean may be seen to blend with the sky. The difference between the mental vision of Poetry and that of ordinary enquiry, is, that the former, partaking of the character of an abstract survey, and the latter being a solely objective glance, the one falls in rays, the other in a single line. And thus, truths apparently fragmentary and isolated to the comparatively low set eye of objective reason, in the Poetical gaze, become rounded into grace, beam into beauty, and prolong into harmony. The difference between Philosophical, or Pictorial, and Poetical description for instance is, that, whereas in the case of either of the former, the mind is confined to the main subject of contemplation; in that of Poetical description it is reflected to another subject, betwixt which and the original one, there exists some moral equilibrium.
It is this mental property of perceiving the hidden harmony of things whether in the moral or natural world which determines the Poetical mind; and it is the expressing of this harmony in those cases where, though signifying concord in the nature of the objects embraced, it involves contrast in their outward effect, as in cases of a relationship between truths in the natural and the moral world, or between human nature and unconscious nature, which for the most part constitutes Poetry. Thus the faculty of "similitude" is almost synonymous with that of Poetry. Poetic emotion after lapsing into meditation leads immediately to "simile"— the pondering over natural objects suggesting their correlative moral likeness, or the reflecting on moral truths or considerations, suggesting their appropriate natural images. In the case of " The melancholy Jacques," for instance, where he is made thus to moralise on the spectacle of the "stricken deer" weeping over the brook:
"Poor deer," quoth he, " thou makest a testament
Here the perception of the simile—the discovery of the peculiar relationship of the two truths, i* the poetical idea; and the effect of it is that each of the truths involved is shown in striking contrast, and comes out therefrom in deeper meaning. It is in this tendency to discover some broad harmony in Nature and to lapse into " simple " where Poetry differs from moral philosophy. For if the " melancholy Jacques " had only pointed out that peculiar and prevailing trait of human character which is displayed in the general practice of "adding unto," he would have been a moral philosopher; on the other hand, if he had but described in a graphic and picturesque manner the spectacle of the deer, he would have been virtually, but in a literary sense, a Painter: but his perceiving the relationship between the weeping deer in nature and the characteristics of " worldlings " in life, and expressing this similitude in poetical relief, made him a Poet, for in " Poetry" as in " Music" there must be harmony suggested.
It is this spirit of duality in the Poetic ray of contemplation, begetting " simile "—it is that scope in the nature of poetic vision, enabling it to
"Untwist the chains that tie
in the world, — to which the discovery of many a grand truth is mys-
tdinz ia tin debitor.
THE AWARD OF PRIZES. Sir, —The clumsy device for the publication of the prize awards which the Commissioners of the International Exhibition have announced in this morning's papers, namely, placing a part of the ceremonial in
the open air, and the rest in'the greenhouse of the Horticultural Society, shows what a difficulty they are in to find a proper place for what ought to be one of the greatest events of the season. Why should not the Crystal Palace directors offer them the use of the palace for that day? The great Handel orchestra and the clear area in front, and the spacious galleries all round would give ample accommodation for any number of people, and the rehearsal there on Saturday last showed that the smallest sound can be clearly heard even in the furthest gallery. If this is not managed a great opportunity will be lost.—I am, &c, June 24. A Jubob.
THE FOLLOWING COMPOSITIONS, by this eminent Composer, are published by DUNCAN DAVIDSON & Cos-.
Here on the mountain," with Clarionet obbligato •«. ... ... ... * 0
Violin or Violoncello in lieu of Clarionet,each 0 6
M Near to thee," with Violoncello obbligato ... ... ... ... ... 4 0
"The Fischermalden" ... ... ... ... ... ... ... 1 0
The Lord's Prayer far Four Voices, with Organ ad lib, ... ... ... 3 0
Separate Vocal parts, each ... ... ... ... 0 6
"This house to love is holy." Serenade for Eight Voices ... ... ... 4 0
Separate Vocal parts, each ... ... « 0 6
'Aspiration/' for Bass, Solo, and Chorus of 3 Sopranos, 2 Tenors, and 1 Bass 4 0
Royal Wedding March (Quatrieme Marche aux flambeaux). Composed for the marriage of the Princess Royal of England with Prince Frederick William
of Prussia ... ... ... ... ... ... ... ... 5 0
Ditto, as a duct ... ... ... ... ... ... ... 10 0
London: Duncan Davison & Co., 244 Regent Street, W.
CRADLE SONG, by Reichaudt.—«Good Night" (Cradle Song), sting by Herr Reichaudt, at Mail. Puzzi'a Concert, and rapturously encored, is published, price 3s., by Duncan Davison & Co., 244 Regent Street, W.
1VTEW SONG by Edward Land, "MINE, LOVE?
-L> YES OR NO,"
Sung by Mr. Walter Bolton with great success at Mr. ARTHUR NAPOLEON'S MATINEE, is published, price3s., by Duncan Davison & Co., 244 Regent Street, W.
MW. BALFE'S NEW CANTATA "MAZEPPA" . will be published the morning after its first performance, which will take place on the occasion of Mr. SIMS REEVES' BENEFIT, at Exeter Hall, on July 23. Cramer, Beale Sc Wood, 201 Regent Street, W.
SIGNOR SCHIRA'S NEW OPERA "NICOLO DE LAW," will be .published the day after its first performance at Her Majesty's Theatre.
Cramer, Beale & Wood, 201 Regent Street, W.