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hand, the following lines:—" Mon tres cher Piermarini! Je vous offre 1'iraage de Mozart. Tirez voire chupcau, ainsi que je le fais au maitre des maitrei."
MUSIC AT WIESBADEN. (Extract from a letter.) The well-known singers, Herr Beck and Sig. Carrion, had concluded, to my great regret, their engagement before I arrived, but the papers promised me, from the 17th to the 23rd July, three performances at the opera of Mad. Dustmann-Meyer, a virtuoso concert in the Cursaal, and two concerts of the Cologne Manner-Gesang-Verein! Was not this a week of music worth a long journey?
Mad. Dustmann appeared successively as Fidelio, Valentine, and Donna Anna. I will not say she sang these parts, she played these parts, or even she represented these parts. I can only say she was Fidelio, Valentine, and Donna Anna—yes, she was; for she imparted to these creations of poet and musician, life and being, truth and actuality; she distilled from them figures, whose plastic and mimetic expression was elevated by the breath of tune — that herald of the soul—to the Ideal. I say purposely to the "Ideal," although I am very well aware that the Ideal is placed under a ban by a certain class of art-critics, who seek in Realism the end of dramatic art, as well as of painting, and even of music, translating the poet word for word. To this they are led by mistaking natural truth for artistic truth, au error opposed to all healthy aesthetics. For such persons, Lessing and Winckelmann, Hegel and Goethe, have written in vain. Song is an art entirely excluding all realism, which it must thoroughly detest, as is amply proved by our experience of the simplo fact that it is impossible to represent by notes
the most beautiful natural strains—namely, the song of the nightingale
and that the faithful imitation of those strains by the mouth of a human being—for there are virtuosos who attempt it—is a caricature. Emotion, character, and soul, when expressed by sung, lie so wholly in the domain of the Ideal, that there does not exist in the Real, in Nature, aught that can, in the most remote degree, serve as a model for them. On this account, however, is the effect of song more powerful than that of declamatory speech, but, with our present natural resources, it is to be attained by art alone. Artistic treatment of the voice, and artistic measure of expression, are the conditions necessary for the idealistic truth of a musically dramatic impersonation. It is precisely in this respect that we assign Mad. Dustmann a very high position, and look upon her, since such great artists as Schrodcr-Devrient, Bosio, Kdster, Grisi, and Viardot have either disappeared, or are about to disappear, from the stage, as the best dramatic vocalist of the day in Germany, combining, as she does, with an artistically-formed manner of employing an extensive and highly sympathetic voice a mimetically plastic talent, which, even in those cases where the actress for a moment overtops the artistic limit which the vocalist never forgets, in no case tramples it under foot.
A great contrast to the representation of dramatic masterpieces, such as Fidelio and Don Juan, was afforded by the concert in the Curhaus, the fourth of the series of weekly concerts given by the managers of that establishment. At these concerts, the sole object in view is the performances of virtuosos. They possess a certain interest, since they afford amateurs a most convenient opportunity of making the acquaintance of a number of musical celebrities, who select, during the summer, the watering places of the Rhine as the goal of their cosmopolitan wanderings. Thus, at the first three concerts, there appeared Mads. Ubrich, from Hanover, Fabbrini (an Italianized German lady), from Paris, Herren Beck and Marchesi, from Koln, vocalists; the quartet of the Brothers Miiller, from Meiningen; the violinists, Leopold Auer, from Pesth, and Leonard, from Brussels ; Herr von Bulow, Pianist Royal, from Berlin, &c. Herr Pallat, also, a talented pianist settled here, gave a successful concert"
The programme of the fourth concert presented us, in large or middling-sized capitals, as the case might be, the names of the following artists, as soloists:—Dustmann-Meyer, Naudin, Alfred Jaell, Lotto, and Gnetano Braga. Mad. Dustmann sang the letter air from Don Juan, and three songs," Sonnenschein," by Schumann; "Haidenroslein," by Schubert; and "Friihlingslied," by Mendelssohn. On being enthusiastically recalled, she added another song by Schumann, Herr Alfred Jaell accompanying her. The singing of Signor Naudin must, despite the applause of the general public, have left every real musician dissatisfied. This gentleman, born in Italy of French parents, is the incarnation of the bad taste which distinguishes the present Italian school of vocalism. He knows no mode of expression except
* We are afraid the writer's "celebrities" are not very celebrated.— Ed. Musical Wokld,
the screaming forte preceding or immediately following the softest piano, giving one phrase forte and the next piano in almost uninterrupted succession, and, of course, not paying the slightest regard to the words. This habit is the more to be deplored, as Signor Naudin's voice is by no means a disagreeable one in the upper notes. According to report, he was paid 1,000 francs for singing one air and two romances 1 But what of that '< "He has been two years in Paris." Herr Jaell performed his " Home, sweet home ;" the chorus of Pilgrims from Tannhauser, and Chopin's "Berceuse." Herr Lotto had the courage to play the first movement of a concerto by Viotti in the Cursaal, but he introduced a bravura cadence. This concert took place on the Friday, the day before the first concert of the Cologne Manner-Gesang-Vereio; and as the members of the latter gave their receipts in aid of the erection of the towers of the new Roman Catholic church here, the managers of the Cursaal devoted the receipts of the Friday's concert to the same purpose.
Since their artistic trip to England, the members of the Cologne Manner-Gesang-Verein had not responded to the various requests addressed to them to sing beyond the limits of their own town. On being asked, however, to aid the building fund of the Roman Catholic church in this place, by giving two concerts, mindful of their guiding principle of advancing what is good by means of what is beautiful, they accepted the invitation, and their performances on the 19th and 20th July proved that they have still retained that artistic perfection for which they were previously celebrated. The members of theVerein, from seventy to eighty strong, were, after having been first greeted by the festive strains of one of the ducal military bands, welcomed at the railway terminus by the church committee, and conducted to the Victoria Hotel, where a grand banquet had been prepared for them. The concert took place in the evening, at the Cursaal, the enthusiastic applause reminding one of the concerts given by the Verein at the Hanover Square Rooms, London, and in the Salle Herz, Paris. The audience comprised representatives from every civilized nation on the face of the globe; and that such an audience, the greater portion full of national prejudices, and, by its partiality for virtuoso displays, spoilt, as far as taste is concerned, should listen with wrapt attention from beginning to end — that it should greet such compositions as Ferdinand Hiller's quintets for a soprano solo and a chorus of male voices, "Die Feuster auf, die Herzen auf!" "Die Lerchen," and "Wie ist doch die Erde so schon !"—Kreutzer's "Friihlingsnahen;" C. M. von Weber's "Schlummerlied" (encored) ; Rietz's "Morgenlied;" Franz Schubert's "Gondelfahrer ;" Silcher's national song "Jetzt gang i" (encored), and Mendelssohn's "Wem Gott will eine Guust erzeigen," — that it should greet such compositions, I repeat, with continuous applause, the result of the evidently exciting and inspiriting impression produced, was it triumph of which the Cologne MannerGesang-Verein may indeed be proud, even after all the laurels it has previously gained. It was the magic power of the German "Lied," executed to perfection, which worked this miracle with the audience, who, only a short time before, had allowed the theatre to remain empty during a performance of Beethoven's Fidelio. Mile. Julie Rothenberger, from Cologne, sang the soprano solos in Hiller's quartets with grace and certainty ; she has made great progress in the bravura style. Besides the above, she sang Beethoven's songs, "Trocknet nicht," and "Freudevoll und leidvoll," with deep feeling. As you perceive, not the slightest concession was made in the programme to a "watering place" audience.
After the morning concert in the church, Sunday, the 20th ult, there was only one opinion—namely, that it was impossible to hear anything more touching and more beautiful than the songs by Palestrina: "Ecce quomodo moritur justus" and "O bone Jesuj" Mozart's "Ave verumj" Schubert's "Salve, Regina;" and, of the German religious songs, "An die Hoffnung," by Schartlich, executed as they were on that occasion. This unanimous opinion proceeded, moreover, from musicians of all nations. I heard some Italians and French men more especially expressing themselves on the subject in terms of genuine enthusiasm. In the afternoon everyone was present at a rustic festival on the Neroberg. The intendant of the ducal theatre had, with great politeness, intended to give a representation, on Saturday evening, of Ferdinand Hiller's opera, Die Katakomben, but the indisposition of Mad. Dcetz proved an insuperable obstacle to the realisation of the project. The opera will be performed, however, in the course of August.
Another Bach.—Herr Otto Bach, no relation, however, to the celebrated Johann Sebastian, but a brother of the Austrian Ambassador at Rome, has composed an opera entitled Sardanapalus. He has himself written the book, which is founded on Lord Byron's poem of the same name.
(Continued from p. 500.)
In the autumn of 1784 ho went to London. He began there by writing vocal pieces for so called pasticcios, that is, operas the joint productions of several composers; a finale to one of them, entitled Dcmetrio, was more especially successful. He came forward, the following year, at the King's Theatre, with the comic opera, La finta Principessa, and achieved a decided triumph. He was not so lucky, in 1786, with his Giulio Sabino. This opera was a total failure, not even being represented a second time; but Burney says it was " murdered" by the singers. Annoyed at this untoward event, Ohernbini left London in July, 1786, and proceeded to Paris, little imagining that he would there take up his permanent residence, and find the most favourable field for his professional exertions.
At first, however, he was not particularly successful even in Paris. He wrote a grand cantata, entitled Amphion (153 pages of MS. score), for the " Logo Olympiquc," but it was not performed. He was summoned, for the Carnival of 1787, to Turin, where he produced his Ifigenia with brilliant success—a success repeated at the theatres of Milan, Parma, and Florence. This was the last opera he wrote for and in Italy. After the performances of Ifigenia in Turin, he returned to Paris to compose his first French opera.
The following are the facts connected with this work. The management of the Grand Opera had charged the composer Vogcl, whose music to the Golden Fleece had pleased the public, with the task of setting Marmontel's book of Demophon to music. Vogel, a jovial companion, who frequently preferred cheerful society to work, kept the management waiting nearly two yean for his opera, and died, on June 28, 1788, before it was finished. Even during Vogel's lifetime the libretto had been transferred to Cherubini, and the opera camo out on December 2, 1788. It was not particularly successful; on the contrary, the public received it rather coldly, and gave it the bad character of being, on the whole, wearisome. When comparing it with his last Italian opera. Ifigenia, connoisseurs were moro_ particularly struck with a want of melody. There was abundance of melody in Ifigenia, while Demophon could boast of only two or three melodies worth mentioning. When, therefore, tho French attempt to date from this opera a total change in Cherubini's style, it is merely an ebullition of national vanity, because tho book was tho first French one he had ever set to music. We should be more correct if we imitated Fetis (although even he repeats the above assertion a few sentences previous), and sought in the constraints imposed upon the m ister ,by the French libretto, and Marmontel's unrhythmical verses, an excuse for the weakness of the work.
The real change in Cherubini's style, or, to speak more correctly, the total break-up of his former notions of the character of dramatic music, and the manifestations of genius sufficiently powerful to endow those ideas with life, were fii>t manifested in the opera of Lodoisha. While he had the musical management ol an Italian company in tho Theatre de la Foire S^. Germain (1789), for which he wrote various admirable interpolations in operas by Paesicllo, Cimarosa, and others, besides composing music for another book, Margaret of Anjou, which he never finished (eight numbers of it were found amongst his papers), he was employed chiefly upon Lodoiska, which was produced in 1791, and had an immense success. After every separate number, the whole audience rose and applauded the composer.* The music of this production opened a new path for French opera. While Cherubini carried out in the melody the fundamental law of dramatic truth, the agreement of the music with the situations in the drama, and their poetic expression, as laid down by Gluck, he exhibited greater depth of intention, fuller and bolder harmony, and a style of instrumentation which, by its richness, and the characteristic employment of the wind instruments especially, in conformity with the peculiar quality of their sound, introduced the orchestra, in a brilliant manner, not only as the foundation for the vocal portion, but, also, as its necessary supplement, and its equal in bringing about the theatrical effect of the work as a whole. He was thus, as far as regards France, the real creator of modern dramatic music—we mean that kind of music which the French call, in a good sense, la musique d'effet. As certainly as this description of composition is that most appropriate to musical drama, as well as that most in accordance with modern, in opposition to ancient, sentiments and feelings, and high as Cherubini must, therefore, bo ranked, on this account, it is equally certain that we must not hold him responsible for the direction which effect-music afterwards pursued, especially in our own time, through the instrumentality of Meyerbeer.
* According to another tradition, this extraordinary mark of respect on the part of the enthusiastic audience took place, some years subsequently, at the first performance of lies Deux Journies.
How far Mozart influenced ?herubini and the change introduced by the latter in French music, is a question which is, as a rule, especially in German historical works on music, got rid of with the general apothegm, that " a more intimate acquaintance with the works of Haydn and Mozart" gave rise ;to the greater breadth and profundity in Cherubini's style. But tho proof of this assumption would, probably, be rather a difficult task, in an historical as well as in a musically critical light. The historical grounds are the more decisive. Mozart's Figaro was first produced on May 1, 1786, and his Don Juan on November 4, 1787, but were totally unknown in France. Mozart, however, as is well known, did not write Die Zauberflbte and the Requiem till the year 1791, so that, consequently, those masterpieces could not exert any influence upon Cherubini's Lodoiska, which he composed in 1790-91, and which was produced in the latter year. Le Nozze di Figaro was never once played, even in Vienna, in 1787 and 1788, and was not restored to the stage till August 1789: it was first performed in Berlin on September 14, 1790. In Paris, an unsuccessful attempt was made in 1793—two years after the production of Lodoiska—to combine on the stage Beaumarchais' comedy with Mozart's music.* It was not till 1793, also, that Mozart's Figaro found its way into Italy, to turn out unsuccessful in Milan, Florence, &c. And how, forsooth, about Don Juan? The first representation of this masterpiece of dramatic music, frightfully mutilated, did not take place in Paris until 1805. The Italian Opera performed it for the first time in its original shape in the year 1811.
According to this, therefore, since Cherubini never left Paris from the spring of 1787 till the production of Lodoiska, it is utterly impossible that the works of the divine creator of German dramatic music can have been known to tho Italian-French master, and have exerted any influence on his new style, especially when we remember that the germ, at least, of the latter was visible in his Demoplion (1788).
In the twelve or thirteen years during which Cherubini wrote in Paris for the theatres there, the following operas of his were produced:— Elisa, on le Mont St. Bernard, 1794, excellent music, but a wretched book; II Perrucchiero, 1796, probably an old intermezzo, rearranged for the Italian company in Paris; Medea, 1797, one of his most powerful works, recently revived in Germany; L'Hutellerie Porlugaise, 1798; the operettas La Punition and La Prisonniire (the latter with Boieldieu), 1790; Les Deux Journies, 1800, and, the fame year, with Mehul, Epicure; Anacrton, 1803, and the ballet, Achillea Scgros, 1804, which contained most admirable music, but, on account of its ridiculous subject (Achilles in woman's clothes, according to the well-known legend), soon disappeared from the repertory. Thcso works, especially Les Deux Journies, which ran above 200 nights in Paris itself, besides being performed innumerable times at all the theatres of Germany, spread Cherubini's fame throughout the entire civilised world.
Les Deux Journies was the favourite opera of C. M. Von Weber. "Fancy my delight," he writes from Munich, on June 30, 1812, to a friend, "when 1 beheld lying upon the table of the hotel the playbill with the magic word 'Armand.' I was the first person in the theatre, and planted myself in the middle of the pit, where I waited most anxiously for the tones, which, 1 knew beforehand, would again elevate and inspire me. I think I may boldly assert, that Les Deux Journies is a really dramatic and classical work. Everything is calculated so as to produce the greatest effect; all the various pieces are so much in their proper place, that you can neither omit one, or mitke any addition to them. The opera displays a pleasing richness of melody, vigorous declamation, and all-striking truth in the treatment of tho situations, ever now, ever seen and retained with pleasure. Trumpets have been introduced in the overture, and I think they might produce a good effect in the allegro; but, in the introductory adagio, the single blasts, ou the horn alone, arc indisputably better in the last all-powerful crescendo, more effective and more appropriate to lead up to the grand climax, especially if the trumpets do not conic in before the E major. A part of the duet between Armand and Constance was excellently given, but the commencement completely spoilt. I was most disagreeably surprised by an attempt to improve the composiiion in tho finale. One of the most heavenly passages was, for reasons which to me are perfectly incomprehensible, deprived of all its effect. After the quarrel of the water-carrier with Marcelline, whose opposition makes him angry, and when she bursts out crying, the fortissimo ought to be followed by a clarinet quite alone, which should play the melody, till first the bassoon and then the violoncello come in, while tho brother, consoling and supplicating his sister, begins to sing. This passage invariably produces the greatest effect. Here, not only did the oboe play it, but an accompaniment also had been added! The very difficult choruses in
* Compare Mozart, by Otto Jahn, vol. iv., p. 201.
the second act went admirably. They were sung and played with precision and fire. Indeed, the second act was altogether more rounded and spirited than the first. In the third act, I had again occasion to regret some beautiful passages which had been omitted, especially the two or three words pronounced by the farmer's daughter: 'Ah! Antonio does not return'—by the omission of which the musical passages clash with such a total absence of plan. If I have chattered away, my dear friend, so much about this opera, remember that we can never say enough of such masterpieces, and that so ardent a lover of art as myself may count upon your indulgence."
A RETROSPECTIVE PROSPECTUS.
[We have been requested to publish the following.—Ed.]
"royal Italian Opeka. — After a much longer delay than usual which, however, may readily be accounted for, the prospectus of the forthcoming season of the Royal Italian Opera * has been issued. Its contents, on the whole, are satisfactory. The promises of novelty are rare; but what is promised is of a nature to excite interest, while the catalogue of engagements embraces one or two fresh name*, together with most of those of the old favourites. Omitting the ancient stereotyped preliminary, the directors at once make public the fact of their having entered into arrangements with M. Meyerbeer for the production, on a scale of desirable efficiency, of his latest opera, L'Etoile du Nurd, which has had such unexampled success at the Opera Comique in Paris and other continental theatres of importance. That the necessary completeness and efficiency may be anticipated at the hands of the Covcnt Garden management there can be little doubt, the Huguenots, the Prophele, and other works having tested their capability to givo effect to tho masterpieces of the French school. Meanwhile it is announced that M. Meyerbeer has set the dialogue to recitative, which was indispensable for the Italian stage; that he has composed three new pieces (those we presume which have already been added at Dresden); and that 'the best founded hopes' exist of his arriving in London to superintend the production of his opera. If M. Ilcyi beer really comes, and if tho recitatives are composed as much as possible in the parlante rather than in the heavily accompanied stylo (the music as it stands, without recitative, being as elaborate as in any of the bona fide 'Grand' operas), the fate of LEtoile du Nord at tho Royal Italian Opera can scarcely be problematical. The other novelty to which the directors pledge themselves is Signor Verdi's Trovatore,—his last opera but one, and, if we may credit the opinion of his admirers, his best. That this opera has made the tour of Italy with equal rapidity and good fortune, besides being performed, within a short period, more than 25 times at the Italian Theatre in Paris, where even Rigoletto has not yet been heard, is certain. Moreover, the libretto has been pronounced dramatic and interesting,—and this, as M. Meyerbeer has placed beyond dispute, is a matter of no small consequence. A third novelty, 'selected from tho classical repertoire,' is merely hinted at. Whether it is to be Cherubim's Medea (in which, we understand, the new prima donna, Mad. Jenny Ney, is famous) or Mozart's CWi Fan Tutti, the music of which is thoroughly 'Orphean,' or his almost unknown Idomeneo, or another opera by Spohr, or Oberon, or one of the Iphigenias of the nine-times-threatened Gluek, is not specified.
"The engagements look well on paper, and with wise administration the company should be a most efficient one. True, there is no Grisi, Grisi having bid adieu to her enthusiastic patrons last summer; and this will be the first time for more than twenty years she has been missed from the London season. There is, moreover, no Cruvelli, her conge having been disposed of to tho French Opera for the poriod of the Exposition, which, it is hoped, will rival, if not surpass, our own of four years since. But, among the soprani, we find Mile. AngelinaBosio, whose reputation has grown with her remarkable improvement as a singer; Mad. Pauline Viardot Garcia,who can play anything, Bing anything, ami be as serviceable a contralto as soprano (her recent impersonation at Paris of the Gitano, in // Trovatore, for example); Mad. Jenny Ney, who at Vienna, Dresden, and other German cities, eminent for their musical standing, has obtained high distinction as the representative of the 'tragedy-queens' of opera; and Mile. Marai, who alone, since the secession of Mile. Corbari, has been able to satisfy subscribers as a comprimaria of tho first class. There arc also Mile. Albini, Mile. Nantier Didiee (contralto), and Mad. Bellini (seconda donna). At the head of the tenors st.inds Sig. Mario, who is engaged 'for a limited number of representations;' Sig. Tamberlik, who has been thrice able to brave with impunity the rigour of a winter season at St. Petersburg; Sig. Gardoni, ono of Mr. Lumley's 'Old Guard,' who has never before
appeared at the Royal Italian Opera; Sig. Luchesi, and Sig. Albicini, a new acquisition, of whose antecedents nothing is known here; besides Sig. Mei and the vigorous Sig. Soldi, whose voice no fortissimo of the orchestra can quell. For barytones, we havo the admirable Konconi and Sig. Graziani, from the Theatre Italien, of whom the Parisian critics speak in eulogistic terms. Tho great Lablache once more appears at the head of the bassi profondi; and all admirers of the operas of Meyerbeer, and of Mozart's inimitable Zauberfliite (which may now take its place again in the repertoire), will be gratified to hear that Hcrr Formes, after the interval of a season, has returned to his position. The other basses are Sigs. Polonini, Zelger, Gregorio, and the Protean Tagliafico. In addition, 'two other engagements' arc being arranged —with whom it is not stated. If one of these should be Mile. Joanna Wagner, it would be a coup de theatre worth the risk; and if the other were Giulia Grisi, to share in some of Mario's 'limited number of representations,' few, we imagine, would complain, more especially since it is rumoured that, after the present season, both these great dramatic singers intend retiring altogether into private life, to reside at their estate in the vicinity of Florence.
"The band and chorus will be the same as usual, and Mr. Costa remains at his post — an announcement which, as there existed some doubts of it, cannot fail to give unanimous satisfaction. The ballet is to be raised to importance this season, if we may judge from the engagement of Mile. Fanny Cerito, whoso achievements on the boards of her Majesty's Theatre will not have been forgotten. The other principal dancers and coryphees are chiefly from tho list of the foregoing year, with the addition of Mr. W. H. Payne, the excellent pantomimist. M. A. Harris continues stage-manager, the duties of which post he has always performed with zeal; and Mr. W. Beverley is again the 'scenic artist,' or scene' painter. There is no change in any of the subordinate officers. The theatre is advertised to open on Tuesday, the 10th inst.— with what opera remains to be seen.
PURITANS AND PLAYERS. (From the Quarterly Review, for August, 1885.) The Bicentenary Celebration of 1862 by which (as we showed at the time) the Dissenters of all classes, in imitation of the Pope of Rome, sought to consolidate their forces, was productive of the most brilliant results, and did great honour to the prescience of the far-sighted Mini!. Vaughan, and Bright. In a few years their triumph was complete, and the Church of England was reformed, church organs were destroyed, the beadle was dressed in decent black, and prayer-books ceased to be adorned with velvet and gold. Perhaps, had the new Puritan Fathers stopped here, there would not have been much to complain of, but the intolerant spirit broke out into violence, and, as in old days, ruthless war was waged against all who differed from the fierce bigots in power. As heretofore, the poor player was the victim of the persecuting Puritan. In spite of the intercession of the benevolent but feeble Lord Ebnry, his now tyrannical allies proclaimed war against the theatres. Shakespeare, Sheridan Knowles, and Talfourd wcro for a time allowed to be performed, but all lighter representations were suppressed. MialL. himself, hymn-book in hand, rushed upon the stage of the Lyceum at the thousand and second representation of Peep o' Day, and with a savage joke, made, as he said, "shipwreck of Falconer." Dr. Vanghan, attended by a violent mob of fanatical young students from Hoinerton, broke into the Princess's Theatre during a performance, and though for a moment delayed by tho belief that Mr. Kean was preaching, they no sooner discovered that the Corsican Brotliers was being played, than they rushed upon the stage, scattered the affrighted actresses, and even the tears of Carlotta Leclercq only so far softened the rugged schismatics as to permit her and her sister-performers to depart unharmed, on condition of their immediately joining the Abimelech Congregational Union. At the Haymarket, Bubbles of the Day was attempted, bnt Bright suddenly entered, and with the voice of Cromwell (as whom he now dressed) he cried, "Take away those Bubbles." The gallant Lord Dundreary, as became a Cavalier of long descent, drew a pistol, and but that his habitual unacquaintancc with technicalities made him fire it into the ceiliDg instead of at the tyrant, the triumph of the latter might have been brief, had not tho Earl also forgotten to put in any bullet. The hardships sustained by some of the actors were very sad. The Adelphi Theatre was seized by Spurgeon, who contumeliously offered Mr. Paul Bedford (with a flippant jest at his Christian name, after the manner of Elephant Chapel) the place of clerk, but the brave actor punched his head, likened him to Punshon, and escaped. Less fortunato was Mr. Toole, who was consigned to the Tabernacle Museum, and compelled to explain Otaheitan idols and other heathen omfosities, to the penny visitors, for nearly eight years, when he sprang out of window into a hay-cart, and was carried into South Wales. Mr. Robson was brought before the Court of Star Chamber (an odious memory revived in honour of Mr. Bright's paper), and commanded to assume a real Porter's Knot, and carry tracts from Clapham to Islington. The fine elocutionary powers of Mrs. Stirling were made a pretext for setting her to teach reading to a wretched school class, where Miss Louisa Fyne was also sent to instruct the jeering urchins in Dr. Watts's Songs. Mr. Buckstone vowed a revenge, and, affecting to be convinced of the error of his ways by the arguments of Dr. Vaughan, succeeded in so far blinding his persecutors, that they actually allowed him to address it crowded attendance of the Band of Hope and Juvenile Abstainers, when he suddenly sang the "Country Fair," threw his audience into convulsions, and sent home a thousand youthful missionaries to clamour in their households for reasonable recreation. For 'this offence Buckstone was set in the pillory, but the people pelted him with rose*, and cast bonbons into his mouth with affectionate precision of aim. Mr. Boncicanlt, having joined the Baptists, was permitted for sometime to give the "Water Cave Scene," under a pretext that he was teaching the doctrine of his new sect; but his underhand device did not prosper, and the theatre was taken by the Board as a place for practising the lungs and oratory of youthful preachers. The Dramatic Authors would no doubt have equally suffered, only there were none, it machine having been invented and exhibited at the International Show of 1872 for taking tho plot and dialogue out of a novel, without the aid of a pen, and the general diffusion of the French language, consequent upon the French Treaty, having enabled managers to adopt the plan of Mr. Vincent Crummies, and give out the originals of the English dramas to the performers. The hatred of the Dissenting Union to the drama was, however, manifested in every possible way, and woe to the unfortunate little child who, having heard from an elder companion of the glories of Fairy Spectacle or the fun of Christmas Pantomime, ventured to express in the presence of a Puritan an innocent wish to behold such things — assuredly the Solomonian counsel was not forgotten. Such were among the results of trusting to the moderation of Sectarianism.
letters irj i\t (gbiior.
STAGE-CHOBUS-SINGING. Sir,—Would you oblige me by informing me the means of applying for a chorus singer's place in the English Opera; what the requirements are; and what the salary is, and if much cuhivation of voice is required? I have a very high clear soprano voice, and very powerful, but not cultivated much at present. I can read difficult music at first sight. If you would answer these questions, you would confer a very great favour on yours respectfully, J. G.
(We may perhaps best serve J. G's ends by publishing her letter.—Ed.]
ORGAN AT THE CRYSTAL PALACE.
Sir,—Could you, through the medium of your columns, give me an account of the large organ in the Crystal Palace? I enclose my card, and am yours, &C.,
August 6, 1862. G. B.
(Will one of our organ contributors — say H. S.— take this matter in hand?—Ed.]
LUCY, AND NOT LUCINDA.
Sir,—Allow me. to protest against one-fourth of your intelligent r emarks on Macfarren's setting of Wordsworth's poem of "The Lost Love," which appeared in your recent notice of a "Monday Popular Concert" which took place ou Tuesday. You describe it as " a new and pretty ballad called 'Lucy.'" Now, I ask you, as a man of the " World," is it right to destroy classification in the social system, or is it any better to confound definitions in musical terminology? That the song in question is "called Lucy" I do not question; that it is "new" I freely admit; that it may be " pretty" I am willing to allow; but that it is a " ballad" I utterly deny. I have not Hamilton's Dictionary of twenty thousand musical terms, but without reference to this interminable authority, lam ready to aver that the present acceptation of the term "ballad" is, a simple melody which is repeated without alteration, to several verses of a poem. You agree with me in this, of course. Well then, "Lucy" is no more a " ballad" than Beethoven's Battle Symphony is a broomstick, insomuch as it is a continuous composition, and not a repeated melody. Possibly you may think this a too nice distinction; if so, let it be a distinction
without a difference, rather than admit any difference between you and me; but, as Mackay has taught us that a spade is a spade, I cannot see why you should promulgate that a cavatina is a ballad, any more than that an overture is a poker, an epic poem an epigram, or a prime minister a washerwoman. Having purchased my ticket for the concert; as well as my copy of the song, I may subscribe myself, dear editor, yours precisely,
A PAYER—THOUGH PERHAPS AN ODD ONE.
HAYDN'S QUARTETS AND SYMPHONIES. Sir,—Could you indicate any work that fixes the respective dates of Haydn's quartets and symphonies?
An Admirer Of Mozart.
[Consult Carpani's Memoirs, for which Haydn himself gave the materials, and which includes, we believe, a catalogue of about 800 compositions.—Ed.]
Death Of Isabella Hinklev Sfsini.—Our readers, says the Daily Advertiser (June 7), will be pained to hear of the death of the popular American prima donna, Isabella Hinkley, the wile of the basso Susini. She had lately given birth to an infant, and her confinement was followed by a fever, which, on Saturday morning at six o'clock, resulted fatally. Her remains were removed to Albany. Mad. Susini was born at Albany, and evincing an early talent for music, was, after some instruction at home, sent to Italy to study. She first sang at Florence in the Philharmonic Concerts, and subsequently in opera. After singing in several Italian cities, she filled a highly successful engagement at Amsterdam, where she was engaged by Mr. Ullman for the New York opera. She has played in several characters, the most successful being her arch personation of the Page in the Ballo in Maschera, and no other vocalist has yet attempted the rdle in this country. In the future representation of 11 Ballo, our opera-goers will recall with regret the charming vocalisation and animated action of Isal>clla Hinkley. A little over a year since Miss Hinkley was married to Susini, whose grief at his sad loss is intense.—Dwight's Journal.
Copknhagen.—A great sensation is being produced here by a singer of the name of Nyerup, formerly a fisherman himself, in the character of Masaniello. A musician, having accidentally discovered that the young man possessed a wonderful voice, prevailed on him to study singing. Nyerup studied for two years. He has now appeared, and is described as a perfect phenomenon. He has sung Masaniello in La Muette fifteen times successively. Perhaps he is another Wachtel— "Masaniello" vice "Postilion do Lonjumeau."
THE BROKEN HEART.
He never came, he never came,
Her life's dream was the love they parted;
Broken-hearted — broken-hearted!
Clematis and primroses gay
Were budding when he went away,
The cowslips smil'd the eve they parted;
The message came across the sea,
The ocean's depth two fond hearts parted;
Broken-hearted — broken-hearted 1
E. Willis Fletcher.
To Advertisers.—Advertisers are informed, that for the future the Advertising Agency of The Musical World is established at the Magazine of Messrs. Duncan Davison & Co., 244 Regent Street, corner of Little Argyll Street (First Floor). Advertisements can be received as late as Three o' Clock P.m., on Fridays—but not later. Payment on delivery.
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To Publishers And Composers.—All Music for Review in The Musical World must henceforth be forwarded to the Editor, care of Messrs. Duncan Davison & Co., 244 Regent Street. A List of every piece sent for Review will appear on the Saturday following-in The Musical World.
To Concert Givers.—No Benefit-Concert, or Musical Performance, except of general interest, unless previously Advertised, can be reported in The Musical World.
LONDON, SATURDAY, AUGUST 1 6, 18 62.
HARDLY will the doors have closed upon Mr. Gye's campaign, and the foreign contingent have taken its departure laden with English guineas, than the exclusive reign of native talent will begin, and country and continental visitors be afforded an opportunity of hearing the voice of Miss Louisa Pyne warbling to English verse (more or less poetical), and beholding the skill with which Mr. Alfred Mellon "wields the baton" at the head of his welltrained orchestra—the English Opera this season commencing some two months earlier than usual. While, however, the capital is thus well provided, let us see what is to be done in the provinces, this being about the time when the business of "music meetings" is finally and definitely arranged. Usually it falls to our lot to write the history of at least a couple of "Festivals," Worcester being followed by Norwich, Hereford by Birmingham (and^Leeds ?), and Gloucester by Bradford. This year should be the turn of Gloucester and Bradford, and the reporter's duty to compare the difference of musical effect in the nave of one of our finest cathedrals and the area of one of our handsomest modern "Town Halls." But unfortunately (or fortunately — les deux se disent), there will be but one triennial gathering, and that not in the seat of the great wool-ocracy, but in the grey old city which stands in the valley of the Severn, as redolent of peaceful beauty and fresh air as the northcountry town is teeming with life and shrewd activity, under a canopy of vapour to which the mist of London is but gossamer or spider's web.
The " fayre citye" will celebrate her hundred and thirtyninth festival in solitary pride. Notwithstanding the more or less heavy deficits, time after time, the meetings of the Choirs still hold their place, and, by the aid of contributions at the doors, hand over annually more or less handsome amounts to the charity which makes glad the hearts of clerical widows and orphans. Upwards of fifty rightminded gentlemen have proffered their names as stewards — or, in other words, guarantors, against any disparity that may result between expenses and receipts; and as the majority are possessed of local influence, there is good warrant for auguring a successful issue. The artistic side of the question looks equally promising, the engagements having been made in a liberal spirit, and the best available talent secured. As sopranos we find Mile. Tjtiens, Miss
Parepa, and Miss Eleonora Wilkinson; and as contraltos, Mad. Sainton-Dolby, supported by Mad. Laura Baxter, whose rich voice will, doubtless, make its due impression on the Gloucestrians. A Festival without Mr. Sims Reeves would be Hamlet without "Hamlet." It seems, therefore, almost superfluous to mention the name of our English tenor, to whose "first fiddle " the eager Mr. Montem Smith plays "second." Mr. Weiss once again takes his position at the head of the basses, as of yore, Messrs Winn (bass) and Sig. Bossi (voce di accommodamento) completing the list of "principals."
Of the programme we can give but a brief outline. A full cathedral service on Tuesday morning, with a sermon by the Lord Bishop, precedes the Creation; Wednesday, Elijah; Thursday, Mendelssohn's Hymn of Praise, and a selection from Judas Maccabeus ; and Friday (of course), the Messiah. As usual, there are to be three evening concerts at the Shire Hall. On Tuesday two novelties are announced—Meyerbeer's " Grand Exhibition Overture," and Verdi's "Grand Exhibition Cantata ;" on Wednesday, the post of honour is occupied by Dr. Sterndale Bennett's "Grand Exhibition Ode;" and, on Thursday, Mr. Benedict's Undine will engross nearly the whole of the first part. The overtures are Egmont, 11 Flauto Magico, Der Freischiitz, and Guillaume Tell. Selections from Handel (Acts and Galatea) and Mozart, together with the accustomed showpieces of the most favoured artists, make up the rest. We have only two objections to offer—first, the excessive length of the programmes; and, secondly, the absence of a symphony — the former, perhaps, being a valid excuse for the latter, although we could have dispensed with a heap of trivialities for the sake of hearing one great work performed by the band at Mr. Amott's disposal. Meanwhile it is satisfactory to know that, owing to the indefatigable exertions of Mr. H. Brown (hon. secretary), the prospects of the meeting are as flourishing as on any occasion that can be remembered.
THE Paris Cirque and the Paris Theatre Lyrique have come to life again. On the 29th of July, the two new theatres erected in the old Place des Chatelet were formally inaugurated, in the presence of Prince Napoleon, the Prefect of the Seine, and a host of invited guests. The doors of the Cirque Imperial were opened first, and the crowd flocked into the magnificent building, the brilliancy of which dazzled every eye. Any comparison of the new house with the old theatres on the Boulevard, would be like one between the venerable Rue St. Jacques and the present Rue de Rivoli. What surprised the public more than all was the mode of lighting, based upon an entirely new system. A largo cupola throws down a flood of light, nearly equal to that of day; neither chandeliers, candelabras, nor gicandoles are to be seen. At the first moment, it strikes the spectator that the effect is too dazzling, but that is because he has been accustomed to smoky lamps, that merely rendered "darkness visible." When the performances have commenced, an opinion on the modifications in this new system of illumination, and of its capability of being diminished or increased according to the requirements of the stage, will be more easily formed. From the Cirque the visitors proceeded to the new Theatre Lyrique, in the same Place. Here, too, there is no chandelier, the light, as in the former instance, falling from the ceiling, but not, it was remarked, with such glaring intensity. The audience part of the house is beautiful, and well fltted-up; the saloon is spacious; while the corridors