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MUSIC IN BERLIN.

(From our own Correspondent.')

Is the way of novelty I have nothing to record, except it be that, instead of a hot July sun, we are favoured with a combination of cold and wet, which would not be out of place in November. I am not aware, however, that theatrical managers here complain of this strange, anomalous, and disagreeable state of the weather, for it Gils their theatres to overflowing. The Theatres Royal are, of course, closed. It they had been open, I believe the heat would have been fearfully oppressive, just as firmly as I share the popular credence in England, that, whenever any grand review or sham fight of our gallant Volunteers is announced, every individual who goes out without an overcoat and an umbrella ought instantly to be regarded as a maniac, and his property, it' he possess any, immediately be managed by his next of kin. "Make hay while the sun shines" is a very good proverb for farmers and other persons engaged in pursuits agricultural, bucolic, and generally rustic. As these individuals desire as large a quantity of hay as possible, it is not extraordinary that they should take as much interest in Phoebus Apollo as the most fanatic Guebres who ever prostrated themselves before their god, as he rose upon the hills and plains of Persia But theatrical managers do not want to make hay. Their wish is to make money; and as they can effect this agreeable process much more successfully in a wet, drizzling summer than in a fine one, it is very natural that the soaking rain which fills the farmer's heart with dismay, sbould render their's undisguisedly hilarious. Nor are theatrical managers the only persons partial to wet weather. What would the crossing-sweeper do without a due supply of mud, and whence is he to obtain mud unless there be rain? Then, again, are not omnibus-proprietors, cab-owners, umbrella-makers, water-proofers, and a whole host of other persons too numerous to mention, almost as much indebted to Aquarius for a goodly portion of their incomes as the Pasha of Egypt is to the annual rise of the Nile for the replenishment of his exchequer? Truly has it been observed, that what is one man's meat is another man's poison, and with equal veracity may it be asserted that what is one man's poison is another man's meat. Yes; while the agricultural interest is dunner weltering at an awful rate, and proprietors of coffee houses, with gardens in the suburbs, tearing their hair from sheer desperation, the Berlin managers are in the seventh heaven of delight at the Friedrich-Wilhelmstadt Theatre. M. et Mad. penis have proved a great hit. At the Victoria Theatre, the attraction is Golinelli's Ballet Troupe, at the head of which is the elegant and accomplished Claudine Couqni, whose performances have already been honoured on several occasions by the presence of His Majesty the King, and various other members of the Koyal Family. At Wallner's Theatre, a piece called Der Goldonkel is enjoying a highly successful run, while the two smaller theatres, namely, Callenbach's and Meysel's, are doing good bus',— to adopt for once the argot employed any day in the week by close-shaven men, with very shiny, and, sometimes, very greasy hats, who seem to live on the pavement of Bow Street, Covent Garden — with short farces, considerably broader than they are long.

At Kroll's Theatre, the revival of Des Adlcr's Horst has proved a small mine of gold to the management. Des Adler's Horst is one of those works which seem to have become part and parcel of the German people. Some of its melodies are as firmly rooted in their hearts as " The British Grenadiers," or '-The Girl I left behind me," is in those of our own population. It was first produced, about thirty years ago, at the old Kbni;.'stadti>ches Theater, and ran for a great number of nights. By the way, as I have not much to tell you to day about the Present, I may as well have a chat about the Past, and give you a few more details about the above opera and the above theatre. The author of the libretto cf the Adler's Horst was Heir Carl von Hnltci, who enjoyed a fair literary reputation in his time. The composer of the music was Herr Franz Gliiser, conductor at the theatre in question. He was not only an accomplished musician, but a man of great practical experience in all that related to the stage. He was, moreover, animated by a rare feeling of devotion to the interests of the establishment of which he was a member. His duties were not restricted to those generally performed by a conductor, but he had, in addition, to arrange every work produced, so as to suit the powers of the various artists. The parts of the prima donna (always a high soprano) had to be transposed for Amalie Hahncl, whom, as a great public favourite, it was necessary to keep constantly employed. The same was true of many tenor parts as well, such, for instance, as that of Arturo in / Puritani, the fair artist looking very graceful, and acting with great propriety in male costume. But Gliiser soon managed to avoid the trouble of continual transposition, which latter, by the way, proved highly embarrassing to other artists, who naturally wished to sing the various parts in their respective original keys. He

collected an admirable band, which he brought to such a state of perfection, that it was, at last, able to transpose at sight into any key that might be desired. In this band were such artists as the late Saint Lubin, leader and first violin; Julius Bietz, violoncellist, now conductor at the Theatre Royal, Dresden ; and Urbaneck, first violin, now leader at the Victoria Theatre. A friend of mine informs me that he was once present at a representation of Donizetti's Belisario, when the barytone part of Belisario was supported by Herr von Kaler, a bass; the tenor part of Alamiro, by Herr Eicke, a high barytone; and the soprano part of Antonina, by Amalie Hahncl, a contralto, so that nearly the whole opera had been transposed a third lower than Donizetti composed it. As classical opera was not then allowed to be represented at tho old Kbnigstadtisches Theater, the energy of the management was devoted to the productions of France and Italy; and just as that management had been the first to introduce to public notice Rossini's operas, and tho earlier efforts of Auber, with Henriette Sontag, Jager, Wachier, and Spitzeder, it was subsequently the first to produce Bellini's Norma, I Montecchi, e Caputetti, II Pirata, Beatrice di Tenda, La Straniera, 1 Puritani, &c., as well as tho works of Donizetti, who was then beginning to achieve a reputation. Of the members of tbe company at this perioJ, one only is still on the stage; that one is Herr Fritz Beckmann, now at the Hofburgtheater, Vienna. He was the original Vater Renner, in Des Adler's Horst. Amalie Hahnel, the first representative of Rose, in the same opera, went, when the Kouigstadt company was broken up, to the Theatre Royal, but she did not find iho latter a fit scene for her peculiar talent, and died, several years ago, in Vienna. Mile. Livia Gerhardt, who was also a charming R >se, married Dr. Frege, of Leipsic. lierr Fischer—Richard—afterwards became, like Amalie Hahncl, a member of the Theatre Koyal and is at present, living, in the enjoyment of a pension, at Potsdam. Heir Ilolzmillcr, a fine man, with a magnificent tenor voice, who was n great favourite, weut to Hanover, where, I believe, he still resides, as a private gentleman. Mile. Beckiir,— Marie — who married him, died in the above capital. A previous representative of the same part, Mile. Dickmann, a native of Berlin, and pupil of the late celebrated Rellstab, is now the wile of Herr Seidelmann, conductor at the Breslau Theatre. Adelc Beckmann — Veronica — has also retired from the stage, and resides with her husband in Vienna. Herr Greiner — Cassian — died, last February, at Aix-la-Chapelle, where he was the manager of the theatre. A subsequent representative of the part, Hen Ferdinand Voss, a highly gifted singer and actor, from whom greut things were expected, enjoyed, I regret to say, but a short career on the stage. His powers declined in consequence of an irregular mode of life, and he now supports himself by singing in the tap-rooms of Berlin. Herr Clapins — Lazarus — is now a teacher of music. The company I have just enumerated was followed by one fur less satisfactory, which was the first to give C. Kreutzer's A'achtlager in Granada, and Donizetti's Lucia di Lammermoor, then new to the public. The only artist of repute in the entire troupe wus Herr Erl, who is still engaged as tenor at the Imperial Opera Houso, Vienna. Another and far superior company was, however, soon formed, thanks to Herr Gliiser. Herr Erl was retained as first tenor. Among the other members, I may mention Herr Schrader—the present proprietor of the Brandenburg Hotel — who was engaged as "lyric tenor ;" Herr Oberhotfer, barytone, now at the Curlsruhe Theatre; Herr von Kaler, bass, and Mile, lihnes, prima donna. This lady possessed a charming voice, admirably trained, and was equally good in German, Fre ch and Italian Opera. She married Captain Flies, and is the mother of the taleuted young artist, Mile. Bertha Flies, who made so successful a debut, some two years since, at the Royal Opera House here, and is now winning golden opinions from the public of Breslau, by her impersonation of Gretchen in M. G.iunod's Faust The company consisted, at firsi, by the way, of Austrian* exclusively, and I have been informed that, when the Prussian national song, composed by Franz Gliiser, was first executed on the birthday of the late Fricdrieh William III, the effect was most ludicrous. Fancy the members of the company all and each singing, first solo, and then in unison—

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with a Viennese accent so thick that it might, in popular parlance, have been cut with a knife. To the above names must be added that of Herr Eicke, afterwards engaged at the Royal Opera House, then manager of the Stadttheater, Mngdeburg, and now landlord of the Hotel de Bavierc, Leipsic. He was especially useful in French "acting " operas. It was then rather a dangerous game to compete with the Royal Opera in this peculiar kind of work, for Sophie Lowe and Herr Mantius, both in their prime, were excellent in Le Postilion de Lonjumeau, Les Diamante de la Couronne, L'Ambassadrice, etc. But, as is frequently the case, the government establishment, with its large subsidy, was frequently distanced in the race for novelty by the private theatre, thanks to the energy displayed by the management of the latter, and the zealous industry exhibited by the members of its company. Thus, after the great success achieved by Adolphe Adam's Au fidile Berger, they studied and produced his Brasseur de Preston in a week, 60 that they had been playing it for a fortnight before it was brought out at the Royal Opera House. It is almost superfluous to add that they succeeded in taking mcst of the gilt off the gingerbread before that dainty came into the hands of their privileged rival. Halcvy's grand works, also, such as La Juive and Guido et Ginevra, were first produced in Berlin at the KonigstSdtcr Theater. A short time subsequently, in consequence of the dearth of novelty, the operatic, speculation began to fail, and the late Herr Cerf, a sharp-sighted, practical man, who regarded art simply as a means for acquiring money, discharged the German Operatic Company. The various artists were dispersed in all directions, Franz GlUscr, who deserved a better fate, proceeding, as conductor, to the Theatre Royal, Copenhagen, where he died. In 1840, the first Italian Opera Company that ever gave performances in Berlin appeared at the Kbnigstadtcr Theater.

There have been grand doings at the Singacademie lately. His Majesty has presented that institution with a colossal marble bust of Louis Spohr, from the chisel of Herr Carl Bliiser, jun. In commemoration of this event, so creditable to all persons concerned, a sort of inauguration festival was held, in the large hall, under the direction of Professor Grell, the bust occupying the place of honour in front of the lingers. After a chorale by Zettcr, came pieces from the two oratorios, Die letzlen Dinge, and Des Heilands letzte Stunde, as well as Spohr's setting of the 8th Psalm. The last production was once executed by the Singacademie, in the presence of the composer. The simple but solemn musical ceremony was brought to a conclusion by Leonardo Leo's celebrated "Miserere." I may mention, with regard to the Singacademie, that, after the winter season, a number of the most sterling pieces have been selected for this year's practice, thus interesting both members and hearers. The following list of the works executed will prove this: 1. Ph. E. Bach: Die Israeliten in der Wiiste, This oratorio, which, as far as I know, had never previously been executed in Berlin, was given in full. 2. Seb. Bach: "Ich lasse dich nicht." S. Chcrubini: Requiem. 4. Cursehmann: "Barmhcrzig und gnSdig." 5. Jncobus Gallus (Hahn): "Ecce quo modo." 6. Grell: "Pfingstlicd." 7. Jos, Haydn: "Der Friihling" (Jahreszeiten). 8. Antonio Lotti: "Crucifixus," for eight voices. 9. Palestrana: a. "Tu ei Petrol;" b. "Ave, regina." 10. Perti: "Adoramus te." 11. Andreas Romberg: 12th Psalm. 12. Schicht: "Veni, sancte spiritus." 18. Stiirmer: 15ih Psalm. 14. Fasch: 16 part Mass. 15. Wilsing: "De profundis," for sixteen voices. 16. Wollank: Requiem. 17. Zclter: "Hymne an die Sonne," and "Preussische Festlieder," by Eccart and Stobbaus. The summer vacation commenced on the 9th inst.

I have nothing more to tell you concerning matters mnsical in Berlin this week, so I will, with your permission, give you an account of the Siingcrfest der norddeutschen Licdertafel (Vocal Festival of the "Liedertafcl" of North Germany) at Hanover, which took place from the 13th to the 15th last month, and which, profiting by the railway facilities at present existing between the two capitals, I attended, not in the capacity of a member of the "Liedertafcl," but, to quote Robson, simply " as a man ; as a man." The proceedings commenced by the members going in procession, at an early hour, to the royal palace of Hcrrcnhauscn. On their road they were almost overwhelmed with flowers flung to them by fair hands. To this compliment they responded, as in duty bound, with musical "Hochs" or cheers. On arriving at Herrenhausen, all the waterworks of which royal abode were spouting away briskly in their honour, the singers halted before the palace, and, forming themselves into a semicircle, serenaded the King, who appeared on the balcony by the side of the Crown Prince. At the conclusion of the serenade—if I may so designate a piece of music sung in the early morning—a substantial breakfast was provided in the palace for the visitors by his Majesty, who, together with the Crown Prince, was himself present. After a few more 6ongs had been sung, the signal for returning was given at twelve o'clock j not a moment too soon, for, thanks to regal hospitality, some of

the members would not, had they remained any longer, have been able, with that certainty which is so desirable in musical matters, to take part in the subsequent business of the day. However, they were all right by the time they reached the Theatre Royal, which was densely crowded by an appreciative audience, and which had been most kindly placed at the service of the "Liedertafel" by the King, who, as you are aware, is a great admirer of music The programme was as follows: 1. Overture to Hans Heiling, by Marschner; 2. " Vineta," by Franz Abdt; 3. "Roslcin ini Waldc," by C. L. Fischer; 4. "Griin," chorus, with horn accompaniment, by Storch; 5. "Stnrmcsmythe," chorus, with band, by Franz Lachncr; 6. Overture to Tannhiiuser, by R. Wagner; 7. "Heideriroslein," by Werner; 8. " StSndchen aus den Burschcnfahrten," by Otto j 9. "Zum Waldc," chorus, with horn accompaniment, by Herbeck; and, 10. "Friihlingsgntss an das Vaterland," by Vincent Luchncr. Immediately after the concert, the singers were arranged in due order, according to the alphabetical priority of the respective towns to which they belonged, with the flags and insignia so dear to German minds, and marched off to the Odeon, one band heading them, and a second being placed midway in their ranks. The festivities at the Odeon lasted to a late hour of the night, or rather an early hour of the morning. After a short period devoted to sleep, the singers wended their way to the railway station, where a gaily decorated steam-engine, with carriages equally gay, was waiting to convey them to a charming spot called Marienburg. At four o'clock a grand dinner was again prepared in the Odeon, and at ten o'clock there was a ball, which afforded unalloyed satisfaction to both ladies and gentlemen. Altogether, the festival was a great success, as, indeed, these things generally are in Germany, for the Germans arc a simple good-natured race, easily satisfied, and exemplifying in the highest degree the force of their own proverb: "Wcrgern tanzt, dem ist lcicht gepfiffen.* Poor Marschner was not forgotten, despite what the Spaniards are so fond of repeating, namely: "A muertos y a idos ya no hay amigos," or, as I might express it,were I not so fond of national proverbs: "We soon cease to recollect the dead." When the procession, on its return from Herrenhausen, arrived in front of the house formerly occupied by the deceased composer, three loud cheers were given, while very many of the singers, separating themselves from the main body, made their way to the churchyard. At the grave, marked by the bust sculptured by Hurtzig, and richly decorated with garlands and nosegays, they sang a chorale to Marschner's memory.

THE THIRTY-NINTH MUSICAL FESTIVAL OF THE LOWER RHINE. {Continued from page 436.) In preparing the organ-part, Mendel-sohn has confined himself within narrow limits, and we everywhere observe that delicate tact for which he was distinguished in all works of this kind. Not only in the solo songs, but even in the choruses as well, he makes only a moderate use of the organ; so that, by its being gradually worked up, and by its full powers being reserved for the last, it is more admirably blended with the whole composition. It is greatly to be desired that the Leipsic Trade Union would avail themselves of the score, now in the possession of Herr Ignatz Scydlitz, for an edition of Solomon Herr Seydlitz is well known for his love of art, and would, without doubt, accede to any expressed wish of this description, with as much alacrity as he display! in allowing access to the treasures of his musical library, the greater portion of which he inherited from his father-in-law, HerrVarkcnius, who tendered such service to music in Cologne.

At the very commencement of the oratorio, in the overture written for only two violins (with which the two oboes go), two tenors and basses, the organ produces a fine effect, not alone in the largo, with the chords of the full instrument,' but also in the allegro, with the basses strengthened by means of the pedal, and the harmonic filling-up in the manual by means of the labial stops or tongue-works.

In the first chorus vNo. 2.), the B major chord of the organ, preceding the introduction of the choral basses without accompaniment at the fourth crotchet, prepares us, in quite a different way to the simple B of the double basses, for the festive song, "Mit Half und Cymbal-klang crhebt Jehovah's Macht." The organ accompanies the full chorus in tatto solo; when the sopranos, contraltos, and tenors begin (without any bass), it strengthens the vocal parts without mixture, and sixteen.feet register, while the whole instrument is not employed till the conclusion, where the choral basses and tenors intone for the last time, in 13 major, the principal motive, ' Ihm, nllcr Ilerren Herr."

The following bass air in E flat major (No. 3, 3/4), the only air for bass-solo in the entire oratorio (perhaps an after-interpolation?), accompanied in the original merely by two violins ar.d the figured bass, has

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The conclusions of the melodic periods, accompanied in tho score only by the bass, Mendelssohn fills up harmonically with the organ. Wc have gone somewhat into detail with this number, in order to give our readers a slight notion of the way in which Mendelssohn has supplied the organ part.

The air was sung with expression and dignity by Hcrr Carl Hill, of Frankfort-on-the-Mainc, whose full soft voice is admirably adapted to oratorio-singing.

In the grave of tho introduction to the magnificent double chorus, No. 4, in B major, " Mit frommcm Sinn und hcil'gcm Mund," wc first experienced the peculiarly wonderful effect produced by the sustained chords of the full organ, while the 6tringcd instruments are proceeding exclusively in heavy quavers. This combination is, indeed, indescribable; the waves of sound flow in upon us in such a way, that we are no longer capable of distinguishing which ones are pressing forward the others, so wonderfully and solemnly do the columns of air from the quivering organ-pipes sough forth and combine with the vibrations produced by the strings of 107 fiddles of all sizes and forms. Then came, too, in the principal movement, the two particularly sonorous choruses, kept distinct by their respective positions—for the breadth of the hall allowed the orchestra, especially the violins, to be placed between them — and rivalling each other in the precision of their attack, in their accentuation, and in the freshness of the voices of the singers, taking up the melody from all sides of the hall, like so many multitudes of the people streaming to the Temple, at the powerful leading motive:

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a figure expanded in the middle, and again at the conclusion, into a longish suite, and, by means of the united choruses — the basses being tripled in the chorus, the orchestra and the pedal of the organ — rising to a climax, the various tone-steps towards which tower gigantically one above the other: all this combined, elicited, with irresistible power, a storm of applause, such as is seldom heard. The musician, astonished, and even carried away like anyone else, asked himself, "By what means has the composer produced such an immense effect?'' Wc have given above the thrco or four notes of the four bars on which the entire chorus of ninety basses is built.

STATISTICAL RETURN OF THE PERFORMANCES AT
THE IMPERIAL OPERA HOUSE, VIENNA.*
(From our own Correspondent.)

There were 210 operatic performances, 90 ballet performances, and 16 mixed performances, on the 316 evenings the theatre was open, from July 1, 1861, to May 31, 1862. The following was the operatic repertory : —

Auber, Die Ballnacht, 3 times; La Part da Diablc, twice ; Balfr, The Bohemian Girl, once; Beethoven, Fidelio, 4 times j Bellini, Norma, revived, 7 times; Boieldieu, La Dame Blanche, 3 times; Cherubim, Les Deux Journles, 3 times; Donizetti, Marcia di Bohan, revived, 6 times; Le Philtre, 4 times; Belisario, 4 times; Lucrezia llorgia, 3 times ; Lucia di Lammermoor, 3 times; Linda di Chamounix, once; Dom Sebastian, 4 times; La Fille du Bigiment, revived, twice; Flotone, Stradella, 3 times; Martha, 6 times; Glucfc, Jphigenia auf Tauris, twice; Gounod, Margarethe, new, 17 times; Halcvy, La Juive, 8 times ; Kreutzer, Das Nachtlager in Granada, twice; Lorzing, Czaar und Zimmermann, twice j Maillard, Das GlSckchen, new, 8 times; Marschncr, Hans Heiling, revived, 8 times; Mendelssohn, Die Heimkehr aus der Fremde, new, 4 times j Meyerbeer, Robert le Diable, 13 times; Les Huguenots, 8 times; Le Prophite, twice; L'Etoile du Nord, 6 times; Mozart, Don Juan, 6 times; Die Zauberjliite, 5 times; Le Nozze di Figaro, 5 times; Der Schauspielairector, 5 times ; Nicolai, DieLustigen Weiber, twice ; Rossini, Guillaume Tell, 7 times; Schubert, Die Vtrschujorenen, new, 12 times; Spoilr, Jessonda, once; Verdi, Hernani, 7 times ; 11 Trovatore, 10 times; Bigoletto, 6 times; Wagner, Der fliegende Hollander, 10 limes; Lohengi in, 3 times ; Weber, Oberon, twice; Der Freischiitz, 8 times.

You are now posted up pretty well in what has been done here in the way of operas during the past year. The Recensionen publishes also a list of the ballets performed, as well as of the members of the company, and the number of times each individual member sang or danced. But as the list would not, I should opine, prove particularly interesting, I forbear forwarding it. It is reported, as a settled matter, by several papers, that we are to have an Italian Opera this year. Those persons who pretend to know all about the matter say that the speculation is a private one, started bjr a number of wealthy musical amateurs, who have expressed their willingness to advance 100,000 florins, which are ready at any moment. The company is to perform for four months, commencing on the 1st October, but it is, apparently, not yet decided at what theatre. Herr Wolf, formerly stagemanager at the Royul Opera House, Berlin, has already, it it asserted, been secured to direct the artistic branch of the enterprise, and is busily occupied in making the requisite engagements. He has entered into negotiations — so, at least, I am informed — with various celebrities, among whom are Mile. Artot, Mile. Trebelli, the Sisters Marchisio, Tamberlik, and Angelini. Mind; I do not vouch for the truth of the above statement. I give it as I heard it.

* In tho previous season, when the theatre was open only 301 nights, 42 operas, 3 being new ones, were produced. Of these 42 operas, 35 still remain in tho repertory. The 7 operas which have been withdrawn are: Le Postilion de Longjumeau, by Adam; Fra Diavola, by Auber; Dominga, by Dessaucr; Leonora, by Donizetti; Die Kinder der Haide, by Rubinstein; Tannhauser, by Wagner ; and Euryanthe, by Weber.

PHILHARMONIC CONCERTS.

Thb Jubilee Concert was worthy to commemorate the event in honour of which it was projected — viz. the successful completion of the 50th year of the Philharmonic Society — its golden wedding with the sympathies of our musical public. The fact of its taking place has already been recorded in a few lines; but the occasion is too interesting to be dismissed with a brief historical paragraph. Since its institution in 1813 the Philharmonic Society has — to use a homely phrase — seen various ups and downs. Nevertheless, even in its darkest and most threatening periods, it has never once departed from the high standard which it set itself from the beginning, never once by lowering that standard endeavoured pusillanimously to minister to a taste less scrupulous and refined than that to which it made its first appeal, and to which it is indebted for a world-wide celebrity. Thus it has never forfeited the good opinion of those who actually constitute the tribunal adjudging in this country the real position of the musical art, and who have invariably rallied round the Philharmonic, in its moments of temporary trial Amid all kinds of well-intended, however bigoted opposition, the society has submitted to reform after reform, and preserved its moral equilibrium — a sign that its constitution is of the strongest and the healthiest. The office of leader was done away with, and the undivided control of the conductor's stick established; but the concerts, in the face of endless hostile presentiments, went on as usual. No one, in the end, regretted the fiddle and piano, which rather fought against each other than helped each other out. A plurality of conductors was next gradually abolished — for the wholesome despotism o*1 one, engaged from year to year to direct the whole of the eight performances; and yet, loud as was the outcry from many quarters, the Philharmonic firmly and consistently held its course, until opposition died away, and the perpetuation of the new system was sanctioned by unanimous approval. The late Sir Henry Rowley Bishop, our national English composer, the illustrious Prussian Mendelssohn, and Herr Ignace Moscheles, the renowned pianist, were alternately appointed conductors; and atone time the idea was entertained that Mendelssohn himself would consent to undertake, season after season, the sole direction. Mendelssohn, however, was too deeply absorbed in other pursuits, and the hope of his becoming perpetual conductor was speedily and inevitably abandoned.

Many and serious discussions now ensued upon the claims of this and that professor to undertake the responsibilities of the post, which ultimately—in 1846—was offered to and accepted by Mr. Costa. That gp" deman continued in office, with manifest advantage to the perfor•/atires, until 1854, when, after a brilliant reign of nine years, he abdicated. With a single exception this was the severest blow ever dealt to the Society. But, nothing daunted, the Directors for the following year—with the indefatigable Mr. Anderson (who has been one of the seven annually elected for nearly a quarter of a century) at their head— obtained the services of ft new conductor, i'S notorious as Mr. Costa, though from another point of view. The year 1855, during which Herr Richard Wagner wielded the baton, was one of the most disastrous on record. Happily his engagement terminated with the series of concerts, r.id, as the Music of the Future did not seem to sort with the complexion of our one great conservative institution, its renewal was never contemplated. At this juncture it was generally rumoured that the Philharmonic was on its last legs. "What a pity," said one, "to stop seven years short of its Jubilee!" "Half a century," observed another, "would be such a respectable term of existence! It might then decently give up the ghost, having performed its mission." "And," interrupted a third, "leave the rest to be worked out by younger and more energetic hands." On all sides the opinion prevailed, that if Mr. Costa could not be prevailed upon to accept office again, there was an end of the Philharmonic. But how was that to be brought about? Mr. Costa had not been dismissed from his post (the idea of dismissing Mr. Costa); he had resigned it of his own accord; and unless the seven directors — on behalf of the forty members and sixty associates—were to approach the great Neapolitan with words of contrite repentance, and crying "Pcceavimus!" beg him on their knees to save them, he would be likely to turn a deaf ear to their petition. This course, however, did not suggest itself; or, at any rate, if suggested, was not carried out. On the other hand, the vigorous constitution of the Society once more stood it in good stead. Even this last blow failed to prove mortal, At the eleventh hour it was remembered there was such an English musician as Mr Stcrndolc Bennett—an old member of the Philharmonic, who had frequently served as director, and in bygone years as often conducted the performances. To Mr. Bennett was tendered the conductor's baton, which he courageously grasped, and has wielded ever since, with honour to himself and profit to his employers. From the first season during which this eminent musician officiated as conductor, the star of the Philharmonic has shone with undiminished lustre, and

its (ortunes have steadily risen; this, too, in spite of a still more deadly blow than the voluntary secession of his celebrated predecessor, viz. the involuntary secession of no fewer than forty-seven of the most distinguished members of his orchestra. In 1861 the duties of these excellent professors, at the Italian Opera, were found incompatible with those which called them, about once a fortnight in the spring and summer months, to the Hanover Square Rooms. The extra nights at Covent Garden being now extended to Mondays, and the Philharmonic concerts also taking place on Mondays, the one or the other must be abandoned. Mr. Gye (who can blame him ?) would not dispense at these extra performances with the services of more than half his band; and so there was no alternative for the Philharmonic but to change its nights or give up its concerts. To give up the concerts was out of the question. To change the nights of performance was difficult for more reasons than one; in addition to which there was a sort of superstitious dislike to any such innovation on the custom of nearly half a century. Here was the worst dilemma of all. Never before had the society found itself in such a strait; for until now it had been a sort of traditional etiquette to consider the Philharmonic concerts, like those of the Sacred Harmonic, privileged. Times had changed, however, and the tradition was ignored. The tough constitution of the society, nevertheless, even in this grave emergency, helped to save it. It was too hale and hearty, and its ways of life too honest and simple, to be doomed to die just yet. The spirits of Haydn, Mozart and Beethoven, Weber, Spohr and Mendelssohn, would have risen to forbid it. The forty-seven involuntary eeceders were promptly replaced by forty-seven new comers; some from Her Majesty's Theatre (also, by the way, rather tenacious of life), some from the Crystal Palace, and some from Professor Bennett only knows where. At any rate, in 1661, the 49th series of Philharmonic concerts — which many of the society's most constant patrons never expected to see — commenced as usual, with a grand orchestra, of nearly eighty performers; and, as if to throw down the gauntlet to destiny, the directors, who modestly and timorously had reduced the number of concerts to six, resolved in the interim, wisely and boldly, to revive the old system (dating from 1813), nnd return to the time honoured "eight." The incidents of the seasons 1861 and 1862 are tolerably familiar to our readers. The new (or almost new) band has been brought more and more under the control of the conductor; and the first eight symphonies of Beethoven (to speak of nothing else) have been twice performed in such a manner as to sustain the well-earned reputation of the Philharmonic. In short, the society was never in a more flourishing condition ; and, instead of dissolving at the end of the fiftieth season, as was anticipated, it was celebrated the other night—in St. James's Hall (the Hanover Square Rooms not being big enough for the occasion)— with a " Jubilee " concert of varied and splendid attraction, attended by one of the largest and most brilliant audiences ever assembled at a musical entertainment. Thus, in the year of expected dissolution, the patrons of the Philharmonic have had nine performances instead of eight, the profits of the extra concert amounting to little short of 500i As this was it really memorable event in the annals of a society the earliest to call attention to genuine music in this country—a society to which we owe the knowledge, now so general, of the greatest orchestral works of the greatest orchestral composers, which revived Haydn and Mozart, introduced us successively to Beethoven, Spohr and Mendelssohn, and at the concerts of which nearly all the most admirable performers on various instruments of the last half century have from time to time appeared—we append the programme of its " Jubilee Concert"— a document to be read with interest by all who wish well to nrt:—

PART I.

Overture, " Leonora" Beethoven

Recitative unci Aria. "Mntildavon Guise" Hiunmcl

Concerto in D minor, violin Spohr

Hi mn, soprano solo, chorus, and organ, "Hear my

prayer" Mendelssohn

Fantasia, Pianoforte, orchestra and chorus Be, then

Finale. *'Lorelei," soprano solo, with chorus MtmdeUs <bn

Overture, composed expressly for this occasion Stcrmiale Bennett

PART II.

Sinfonia in O (Jupiter) Mozart

Scena, " Ma la Sola"' .., Bellini

Theme Variee. violoncello ... Piatti

Arietta, con Coro (Armida) Gliklt

Aria, " With joy the impatient husbandman" Haydn

Overture (Kuryanthe) Weber

Conductor: Professor Siehnuale Bennett, Mus. D.

As we believe the principal artists, vocal and instrumental, gave their services gratuitously, wo shall not criticize this concert. And, indeed, were we to undertake the task we should have little but praise to award, inasmuch as the singing and playing was of the highest order, every one without exception evincing an amount of zeal in proportion to the importance of the occasion. The sensation created by He It Joachim, in Suohr's fine concerto; by Mad. Lind Goldscbmidt, in Mendelssohn's Hymn (organ, Mr. E. J Hopkins), and the bravura from Beatrice di Tenda; rod by Mile, Titicns, in the magnificent finale from Lorelei, is indescribable. As a matter of course, they were in each instance unanimously recalled. Mr. Santley, too, in the arts from Hummel's Matilde and Haydn's Seasons, and Sig. Piatti in his brilliant and well-written variations, received the most flattering applause; while last, not least, Mrs. Anderson, whose final appearance in public it was, and who thus worthily terminated a long and honourable career in a composition by the great Beethoven which she had been theflrst to introduce to the English public — how many years since it is needless to enquire —was greeted, both on entering the orchestra and at the conclusion of her performance, with hearty and general cheers, that did not subside until she once more appeared to bid farewell to her admirers. Professor SterndaJc Bennett was, nevertheless, amid all the talent that surrounded him, the legitimate hero of the evening. When he stepped on the platform he was hailed with enthusiasm ; and after the overture of Beethoven and the symphony of Mozart—by which masterpieces the efficiency of the orchestra he may be said to have improvised as well as trained was most favourably tested — the demonstrations were renewed. But it was the new and beautiful overture, suggested by Moore's Paradise and the Peri, which he had composed for the occasion—decidedly one of the most finished, as it is one of the most original and imaginative works from his pen — that afforded the audience the fittest opportunity of expressing their high estimation of Professor Bennett's services. Notwithstanding its many difficulties, the execution of this new work was one of the most absolutely perfect we remember j and thus the members of the band were able to show in the most graceful manner the respect they entertained for their conductor. The overture was listened to from first to last with an extraordinary amount of interest, and the composer recalled to the orchestra at the conclusion, amid a storm of applause. As, no doubt, Paradise and the Peri will be one of the chief features at the next series of concerts, we may for the present defer speaking of it at such length and in such detail as its merits demand. The romantic and chivalrous prelude of Weber, always one of the capital displays of the Philharmonic orchestra, brought the Jubilee Concert—-a "Jubilee "in the fullest sense — to an end with becoming pomp. There was then another cheer for Professor Bennett, and the brilliant company dispersed.

A VISION AT COVENT GARDEN.
(From "Punch.")

Has Mr. Gye been placing Robert the Devil upon the Covent Garden stage with a view to the settling the Italian question? We do not mean the question whether Italian operas and operas in Italian can or cannot be better given at Covent Garden than anywhere else in Europe, because that question has been settled in the affirmative a long time ago, aud even the Parisian critics are compelled to yield reluctant assent to the decision. But we mean the question of the resuscitation of the Pope's supremacy. The thought certainly occurred to us the other night as we gracefully lounged in our stall, and if the " waits'' between the acts were not so short at this house, we might have thought the matter out on the spot. Let us do so here, where you looking glass being turned up) Mr. Punch has no vision of loveliness to distract his eye, and where, Mrs. Punch having gone to the International to annoy others with her crinoline, he has not to take thought for his immortal ancles.

The situation of the respected Pope Pius the Ninth is most unquestionably and unmistnkcubly act forth in that third act, and marvellous triumph as it is of scenic effect, its esoteric merit is even a higher virtue in the estimation of Mr. Punch. Sir Bulwer saith, "From vulgar eyes a veil the screens. And fools on fools Kill ask what Hamlet meant."

No such veil interposes between Mr. Punch and the subtle mystery of the scene, and he beholds that terrible vision of the Nuns and the Branch with one eye on Salviani and the other on the Vatican. The process makes him squint horribly, but a true statesman is always ready to squint in the interests of humanity. Palmerston squinted a little in the direction of Nice, and may be even now thought to have a slight Mexican cast in his eye. Why, any stupid clown can look straightforward—it requires genius to see both sides of a picture at once.

Yes, Mr. Gye, grateful to Italy for the demigods and double-goddesses of song whom she hath sent him, resolves to repay her by lending his aid to a settlement of her chief trouble; and he has placed, in such gorgeous guise as never was seen before, the story of the Pope's sin and trouble before the eyes of our International audiences. Let the foreigners, when they go back, say that a Miracle play has been got up

for them, a Mystery, like that which Victor Hugo describes as having been seen on the broad stone at Notre Dame.

Behold those massive ecclesiastical ruins (Beverley, our son, your right hand, and may it never forget its cunning), stretching far back, the arcades, the huge windows, the still lofty tower. There is Rome. It is moonlight, dim moonlight, for has not her sun set? There are scattered the tombs, in the desecrated grave-yard. You shall see their contents anon. Enters the Tempter. He is master of the situation, and of all the jugglery thereof. You may think it is Formes, and truly that genial owner of the portentous voice was with us just now, but surely this evil presence hath more of the priestly air. That sensuous, keen, crafty face is discharged of the tenderness that redeems Bertram from our entire hate—Bertram was a father—this is only a Monk. J)o you not recognise Antonelli? But who next? Look, this is not Robert the Devil, but Pius the Dupe. He is bewildered, and he does not like the work that is set him. He has some recollections of a Will (sea Dean Swift and Brother Peter hereon) which bids him abstain from unhallowed pursuits. The tempter ridicules his fears, and points to the Golden Branch. There it lies in the hand of the dead. "Take it," says the evil one, "and it will give you new power and authority, council-doors will fly open before it, and the bravest shall be struck down into stupor at its brandishing. Go, and take it." The tempted trembles. "The Will forbids me. The Golden Branch — it is not a Golden Rose — it is a Curse." *' Take it, and use it, fool." But he will not. With a bitter sneer Bcrtrantonelli steps back, waves his hand, and summons his allies. The tombs yawn, the arcades whiten with spectral forms, and a crowd, gliding in procession, and performing all manner of imposing antics, suddenly surrounds Roberto Nono. What does it all mean? Dead superstitions, galvanised traditions, obsolete vows, lifeless observances, mocking homage, are resuscitated to intoxicate the unfortunate dupe—and, look again—those are not ruins; you behold the interior of St. Peter's, swaddled in grave clothes, and lit with smouldering candles, and all the Shams are dancing and careering around Pio il Diavolo. The fumes of the incense go up, and the enchantment seizes him, and he believes that he is to go forth conquering and to conquer. He snatches the Branch, and it is, as he truly said, a Curse. Brandishing it, and with his face glowing with the madness of his false exaltation, he waves his Branch—Pius the Dupe stands on high, and curses the nations of the earth who do not bow down to him and worship him. But what is the terrible red light that is lurking in those cloisters? What are the hideous Things that as yet are creeping, catlike to arch and pinnacle — drop the curtain, quick. The end is not yet.

Take the story back to Italy with you, ladies and gentlemen who have come over to our Show. And when you have preached the sermon, do justice to the text. Say that Meyerbeer's noble opera, which has been in abeyance for sundry reasons for many a year (is one of them a recognition of the fact that the grand scene may be something too appalling for Anglican tastes?), has been brought out by Mr. Gye with a splendour of illustration worthy the stage that has given us the Prophite and the Huguenots. Say that the magnificent and highly coloured music is played and sung (you may say rendered and interpreted if you like slang) to perfection, and that Tamberlik's Robert and Formes's Bertram are each admirable — one for its chivalry, the other for its vigorous passion — and you may speak well, also, of ladies who put out their whole powers with a loyalty more effective and more welcome than much frigid perfection that hath been seen. Tell everybody that everybody who is anybody sees the Covent Garden Roberto.

Then add (it is due to the great composer, and to the greatest singer among us) that a second homage is done to Meyerbeer by the production of the same opera at Her Majesty's Theatre. That here, there is much to praise, and that here there is one feature on which praise is thrown away, seeing that all hath been said thereof which cunningly devised paragraphs can set out. Say that at Her Majesty's Theatre Titicns holds the part of Alice. You will scarcely find an auditor to whom it is needful to say more. But should you meet such an one, add that those who desire to see and hear an Alice, should go to the Haymarket Opera House, while those who wish to witness and appreciate the opera of Robert the Devil must go to Covent Garden. It might not be unwise to imitate the first bishop of Bath and Wells, a Scot, whose traditional answer to the King's inquiry which of those cities ho would have for a sec was so broad a reading of the first name that the King thought he wanted—and gave him—bauth.

Mr. Punch is instigated to add, that should the Pope's perusal of these remarks (Punch is always translated to him by his Cross-bearer) induce him to wish to go to Covent Garden, he must telegraph to the box office under the portico in Bow Street—'the management cannot be answerable for any mistake that may arise by people's being misled into | the traps of touts. Infallibility will please to copy the address.

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