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Reviews.

Grand Volunteer March— for the pianoforte alone;

Do. do., for two performers -- R. SIDNEY PRATTEN (R. " Deuxième Canzonette" pour le piano par STEPHEN

Sidney Pratten).
HELLER, op. 100 (Cramer, Beale and Wood).

Effective pianoforte arrangements of the foregoing. As the last composition of M. Stephen Heller, this canzon- “ Gems from · Ruy Blas'” – RUDOLF NORDMANN; Galop ette will find universal welcome among pianists. This is his di Bravura — from Ruy Blas - W. KUAE (Boosey and “op. 100” — and it is pleasant to find him still so full of Sons). vigor, fancy and characteristic expression at this stage of That Mr. Howard Glover's Ruy Blas continues in vogue, his productive career. Amateurs of the piano should drink is proved by the new shapes in which the most striking to his health and “op. 100.” In the piece before us we find melodies are incessantly appearing. M. Kuhe has made a (or perhaps imagine) a stronger leaning to Mendelssohn brilliant galop of the lively rondo of the Queen (act ii.) :than is customary with M. Heller, whose manner is eminently individual. The opera, in G minor, is new and charmingfull at the same time of quaint and piquant “ Hellerisms.” The second subject (in B flat), constructed upon a brief series of notes, which bear a tacit resemblance to our national Mr. Nordmann has compiled an attractive pot pourri out of antbem :

“ Beauteous Lady” (romance of the page), “Madam, if I have striven well” (duet), “ His tones fall sweetly on mine ear,” which we are never tired of quoting :

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is effectively contrasted with what precedes it, and, like its companion, developed with great taste and ingenuity. We have this very shortly again, in G major further developed, and followed up by a graceful passage in triplets, as ritornelle, to which succeeds a very interesting episode, in E minor. This brings us once more back to G major, with the second subject, and a repetition of nearly all that has gone before in that key. All this is to be played in somewhat quicker

“Could Life's dark scene ” (ballad of the Queen, act iii.), time than the opening (crotchet - 160, against crotchet

“ Gaily pass the jocund hours” (opening chorus, act i.), 144, by Maelzel), which ultimately returns, and is repeated

“ Home of my youth" (ballad of the Queen, act ii.), and (tempo primo) with certain not unimportant modifications,

lastly, “Why then for such loving care” (rondo of the including a more lengthened treatment of the episode (now

Queen), which forms a dashing climax. We can recommend in G minor, instead of E minor), - and once more giving

both pieces as excellent in their way. place to the second subject, in the major -- with a portion of The New Year's Galop"_by MELVILLE TOD (Hopwood which, judiciously condensed, and a very short tail-piece of

and Crew). common chords, the canzonette is brought to an end. “A galop" for the new year. Catharina" - Ballad, introduced in Auber's opera of The

Crown Diamonds --- words by W. REYNOLDS TOPHAM; LEIPSIC. Jan. 3, 1862.-(From a Correspondent.)—Singers are called music by ALBERTO RANDEGGER (Addison, Hollier and for everywhere, but in Germany it seems there are none to be had. Lucas).

Nothing can well be worse than the Operatic performances in such

places as Hamburg, Hanover, Brunswick, &c., and perhaps worse than Graceful, melodious, vocal, and wholly unpretending. A

all, here in Leipsic: not a singer who would even pass muster at well-written obbligato accompaniment for violoncello en “Weston's” or the “Oxford!” Here is the celebrated Conservatorium, hances the effect of the voice part. The original key of with two hundred and thirty-six pupils, and not one singer amongst this ballad is D flat; but it is here transposed to C.

them! Mad. Artôt was here singing at the Gewandhaus last week, and

created an immense sensation-so much so, that the Directors have “ Mountain Echoes " - characteristic piece for the piano

decided on having no solo singer for the next concert ! ! Dr. Bennett forte – JOHN FRANCIS BARNETT (Lamborn Cock, Gilbert (from London) presented himself at the Conservatorium last Hutchings and Co.).

night, and brings with him his pupil, Miss Caroline Parry, a charming If not strikingly original, this piece may be unreservedly

young soprano of seventeen or eighteen summers. We had the satis

faction of hearing her in the Grand Aria from Frieschutz, “Wie nachte," recommended for neatness of construction, thoroughly | and also Donizetti's “L'amor suo." This young lady is to sing finished workmanship, and a considerable amount of charac at the grand levees about the twelfth of this month, and there is little ter. It is also brilliant without presenting any difficulties doubt about her success. We recognise Dr. Bennett as an old friend, to a player of average acquirement. Mendelssohn and and his reception at the Conservatorium must have been highly gratifySterndale Bennett are evidently among Mr. J. F. Barnett's

ing to him. He leaves us on the 14th for Dresden. No doubt you

have heard much of Miss Parry; she brings here the best recommendamusical household gods. He exhibits, nevertheless, remark

tions from such men as 'Kappelmeister Dessoff (of Vienna), Julius able promise ; and the more he gives us of such really Rietz, &c., &c.; enough to secure her the first position on the consensible, honestly-made music, the better we shall be tinent. The “Fair" is supposed to be at its height, but the principal pleased.

business is carried on by a few of those wretched Brass Bands we hear

so much of in London. All other business is worse than dull. HowA sound was heard on England's shores" - words by

- words by ever, that is all not musical business, therefore none of yours or mine. Mrs. LEES; music by R. SIDNEY PRATTEN (R. Sidney Send singers to Germany, that's what we want-make haste! Have Pratten).

pity on us, and recommend a few from London (where they can well A “Volunteer Song,"

They are sure of a success, and there is no competition.

be spared). as may be guessed from the title,

Where is Mad. Sherrington or Parepa? we shall be in want of some one - and as dashing and full of vigour as befits the subject. when the misfortune happens that Miss C. Parry is called to Dresden We have seen few more healthy things of the kind.

again.

: MILAN.

Csillag was the most fortunate of all the débutantes. She was, in the

first instance, more coldly received than any of the other artists. (From an occasional Correspondent.)

The favourable impression she made was not evident until the Music is at a low ebb in Italy. There is, in fact, none to be heard, duet after the aria « d'intrata." The greatest enthusiasm then preexcept at the theatres, where Verdi and his imitators reign vailed in favour of the new soprano, and every phrase she aftersupreme. Here, in Milan, the only performances of any importance wards sang was followed by “Brava la Csillag," from all parts of are those given at the Scala and the Carcano. It is the same in the densely crowded house. Her success was the great feature of every town throughout "the land of song” at the present day; the evening in question, and has since increased to a furore at the the theatres seem to enjoy an almost exclusive musical monopoly. subsequent representations of the opera. The ensemble of band There are no oratorios, no concerts, except those of a few wander- and chorus, and the mise-en-scène at the Scala, are necessarily upon a ing instrumentalists— no amateur societies indicating the cultiva- | large scale, the stage being perhaps the most spacious in Europe. tion of the art among the community. Classical music is ignored, The band numbers eighty-four, and the chorus upwards of one

– nothing being relished by the public but operas, and those hundred members. A numerous corps de ballet, with the graceful of the most ephemeral description. The arrangements for the Boschetti as prima ballerina, complete the company. An opera by present season at the Scala, one of the largest theatres in Europe, Braga, formerly well known in London as an accomplished violongo a long way to prove the actual condition of music in the country cellist, is in rehearsal, as also one by Petrocini. Both are to be once so celebrated for the culture and encouragement of the art. produced during the Carnival. A second by Petrella, the comThe company brought together, consisting almost entirely of foreign poser of Ione, is also spoken of. That which is discreditable to artists, implies a remarkable scarcity of available native talent. It ihe taste and good sense of the public frequenting the Scala, and includes the names of Mad. Csillag (Hungarian), Mad. Colson for which the manager is not responsible, is a barbarous custom, (French), Mlle. Talvo (French), Signora Guarini (Italian), Mlle. strictly enforced, of introducing a ballet, sometimes two hours Acs (Hungarian), Signor Graziani (brother of the well-known long, between the acts of the opera. Several attempts have been baritone), Signor Negrini, M. Morelli Ponti, M. Atry, M. Chapuis, made to discontinue such an unreasonable order of performance; and Signor Beneventano. Art and artists are universal, it is true; but the public are inexorable, and unless the ballet be given during but surely, it might be reasonably expected, at the first Opera House | the opera, take revenge by forsaking the theatre altogeth in Italy, to find a greater number of Italian singers engaged. The vandalism would not be tolerated elsewhere; it is but a criterion carnival season commenced on December 26th. Hitherto the of the present musical taste of the Italians. operas given have been one by Petrella called Ione, and Verdi's The other house at which operas are given -- the Carcano — has Ballo in Maschera. The first mentioned is a work of pretension, a strong family likeness to the Victoria Theatre, of Waterloo Road but of very ordinary merit, and not likely to extend the com- | | celebrity. The public supporting both places of amusement are poser's reputation beyond the limited sphere in which he is known. | very similar in conduct, odour, and appearance. They devour It has been performed frequently in Italy. In the present instance oranges and beer with the same avidity; they converse as loudly the cast included almost all the French members of the company, and in the same complimentary strain with one another, and as a fact which caused no little displeasure to many of the patriotic equally familiarly with the performers on the stage; they indulge habitués of the theatre. Negrini and Beneventano were the only 1 in shirt sleeves, and perspire to the same disagreeable extent. It Italians concerned,--the latter, for obvious reasons, having resigned is not only to the company before the curtain that the resemblance his engagement, after the first night, and being replaced by a between the two theatres is apparent ;

between the two theatres is apparent; the likeness is as strong French baritone. Negrini was left alone to share his laurels with on the other side of the foot-lights. There, the performers are the foreigners. Ione and a ballet entitled Vedi Napoli e poi Mori | very much of the same class, the only difference being that while by Paul Taglioni were played a fortnight; and the Ballo in Mas- the entertainments at the Victoria are melodramatic and cf striking chera produced on January 8th, for the first time in Milan. The effect, those at the Carcano are musical and only very rarely of any performance of the opera was looked forward to by the Milanese effect at all. as an event of public interest. Every seat in the vast theatre was Verdi's Aroldo has been given during the past week for the secured, long before the date of representation was definitively first time in Milan - a feeble attempt on the part of the Carcano fixed.

manager to imitate the doings of his rival at the Scala. Aroldo A first night at the Scala is the most severe ordeal either singer is an emasculated version of the Trovatore, with much noisy music or composer can undergo. The audience assembled on such an in place of the most pleasing melodies of the latter opera. occasion have no consideration for nervousness, or any circum. ' The prima donna is not remarkable except it be for a shrill stances which may interfere with the performance they come to voice, and very long arms, of waich she avails herself most freely. criticise. They pride themselves upon judging all they see and The tenor, a tenore robusto at the beginning of the opera, becomes hear strictly according to its true merit. Their applause is tumul so weak and exhausted by shouting and exertion as to be anything tuous, and their different modes of expressing discontent the most | but robusto during the last acts. A heavy basso, who apparently discordant it is possible to imagine. They disregard all the rules has seen better days, and has come to the Carcano as a last resource, and regulations which are posted at the doors of the theatre affords evidence of artistic skill and sentiment - an agreeable conforbidding any interruption of the performance —if an unfortunate trast to the rest of the company. His singing, however, is not singer happen to displease them, they completely drown his voice appreciated by the refined auditory, who prefer quantity to quality, in a storm of hisses, or uproarious laughter.

in music as well as every other commodity for which they have to The cast of the Ballo in Maschera was as follows:- Riccardo, pay. The band and chorus are respectable, and certainly in one Sig. Graziani; Renato, M. Morelli; Amelia, Mad. Csillag : Ulrica. I respect the arrangements at the Carcano are superior to those at the Mlle. Acs ; Paggio, Signora Guarini. The artists, as well as the music, Scala, -- there is no ballet to interrupt the opera. . were alike new to Milan, the excitement inseparable from a first ! Perhaps the most interesting collection of modern musical S. representation being thereby considerably increased. The cold recep. is that in the possession of Ricordi, the well-known music pubtion which the audience gave the débutantes was remarkable. There / lisher. The original scores of the most popular works of Rossini, was no applause to inspire them with courage and confidence at the Bellini, Paganini, Donizetti, Verdi, and other celebrities, handsomely outset of their arduous task; the public had come to judge and bound, form the library which decorates his bureau. Ricordi rules not to flatter. To the majority the result was not satisfactory. with despotic sway in mu

with despotic sway in musical matters throughout Italy, from the The opera, notwithstanding the great popularity of its composer, fact of the operas of Verdi being his sole property. The managers was not admired, and had it not been for the great success of the of the different theatres have to acquire from him the right of reprima donna, would probably bave come to an untimely end. I presenting any one of them. He has amassed a large fortune from Sig. Graziani, whether from habit or timidity, sang out of 'tune : 1 his prosperous monopoly, and welcomes with princely hospitality M. Morelli, a very conscientious artist of the French school, was | all those connected with the art who visit Milan. more than once in danger of being harshly treated for his extra- ! The last opera of Verdi, La Forza del Destino, about to be vagant gestures ; he, however, entirely won the approbation of the | produced at St. Petersburg, has become the joint property of

produced at St. Petersburg, nas, beço audience by singing the aria “Cri tu" to perfection. Mad. | Ricordi and Cramer, Beale and Wood.

THE FIFTIETH ANNIVERSARY OF THE ELBER portant results for the whole Rhine-Province. Schornstein had long FELD GESANG-VEREIN.*

yearned to treat the public to a performance of some grand classical At the period of Germany's deepest humiliation, namely in the winter

work, as he had formerly endeavoured to do with the Singing-School, of 1811, a number of gentlemen of musical taste in Elberfeld made an

Knowing how hazardous such an attempt was, he adopted every preappeal to the public, calling upon the latter to establish a society for

caution, by the selection of as popular a work as possible, and by the the cultivation of chorus singing, because — to quote the circular of the

most brilliant execution, to render success in every way certain. His 1st December, word for word — “it is an indisputable fact that gran

choice fell upon Haydn's Creation, which was, in the first place, studied deur and elevation, that those qualities which touch, move, and agitate

with all imaginable care. The next step taken was to look about in all the heart, exist to a greater extent in choruses than in the most bril

directions for musical amateurs, and prevail on them to lend their liant brarura airs." When the circular had obtained twenty assenting

assistance. In consequence of Burgmüller's active exertions, Düsselsignatures, Herren Bredt, Berges, Nielo, Reusch, Sasse, Schornstein,

dorf sent an especially strong contingent, as, also, did Crefeld, with the Wollf, and Williamson, met to draw up the rules, in conformity with

| Wolff family at its head. Schornstein, who had never before put his which it was resolved that the twenty individuals who had signed the

leg over a horse in his life, rode himself to Dortmund, to secure Mlle. circular should combine to found a School of Singing, and meet, every

Eilking, afterwards Mad. Pottgiesser, for the soprano solos. Herr

Scheibler, from Crefeld, had undertaken the tenor solos. Wednesday, under the direction of Herren Sasse and Schornstein, for

In this way, the purpose of practising part singing.

one hundred and ten executants were collected, and the performance The Elberfeld Singing School consisted of ten ladies and eleven

took place, on the 1st November, in the large room of the so-called gentlemen, with two professional directors, Herr P. M. Bredt and Herr

First Society (the present Gymnasium). The attendance of the public Reusch. The latter, with the duties of secretary, were appointed to be the

was extraordinarily great. The performance itself exceeded all excommittee. As all the members were already well-trained singers, the

pectation ; no one had any notion of so grand an effect, and everybody

firmly resolved to secure, at any price, the repetition of so high a source task of studying the choruses proved so easy that in only four months

of enjoyment, by similar performances in future. they were enabled to give a performance, in the room where they met to

The very next day, practice, of Haydn's Seasons, with orchestral accompaniment. None

the most influential admirers of music from the various towns assembled bat members, however, and a few other persons especially fond of

to discuss the matter, and the result of their deliberations was the music, were invited on the occasion. On the 15th August, 1812, the

establishment of the Musical Festivals of the Lower Rhine (NiederSociety sang for the first time in public, executing, at the Napoleon

rheinische Musikfeste). It was determined that there should be a two

days' performance, to take place, alternately in Elberfeld and DüsselFestival, decreed by the government, Haydn's Mass in C major, in the

dorf, at Whitsuntide, the object of such performance being the satisCatholic church. The following winter, they selected Haydn's Creation, also with orchestral accompaniment; but only a select number of per

factory execution of grand musical compositions, by the united re

sources of the various towns and villages. It was thus that, no later than sons were invited to attend. In obedience to a requisition, still existing, from the mairie, the Society celebrated the Napoleon-Festival of 1813,

six months subsequently, the first Musical Festival of the Lower Rhino

took place, under Burgmüller's direction, in Düsseldorf. Ever since the in the same manner as they had celebrated that of the previous year,

excitement produced by the Elberfeld performance, people had been so namely by a musical entertainment in the Catholic church. This was,

struck by the lofty character of oratorio music, that they could not have thank heaven, the last festival of the kind on German soil.

enough of a good thing, and, consequently, on this occasion, two In the autumn of 1813, the thunder of cannon was heard at the battle

oratorios were performed one after the other, namely, Haydn's Seasons, of Leipsic. Among our hills, also, the foreign yoke was brokerı ;

on the first day, and his Creation, on the second. The speedy repetition erery one arose to take part in the triumphal march to France. It was

of the latter work may be accepted as a proof how powerful the impresno time for the cultivation of song. After the Society had sung at one

sion produced at its first performance must have been. more festival, got up by the town, in 1814, to do honour to the entry of Justas Gruner, Governor-General of the department of the Rhine, in

At Whitsuntide, 1819, the performance was to be held at Elberfeld. the winter of 1813, the Singing-School was dissolved. In the winter of

After ten years of unceasing exertion, Schornstein's dearest wish was 1814, however, the Society was re-established, and the number of mem

destined to be realised, by the production of a complete oratorio of

Handel's. The choice fell upon the gem of that master's works, the bers immediately doubled. Their object was now no longer merely the study of important vocal works, but the public performance of them as

oratorio of oratorios, the immortal Messiah ; and thus it is to Elberwell. The Singing-School had disappeared, and, in its place, a Gesang

feld that the honour, also, is due, of having been the first of all the cities

in the Rhenish provinces to give a performance of an entire work by verein had started into existence, Johannes Schornstein being appointed sole director.

Handel. From the programme of the second day we are greeted by

Beethoven's D major symphony and the grand Leonore overture. We This zealous artist had been summoned to fulfil the duties of organist at the Reformed Church as far back as 1808. Educated in the Teachers'

see by this, that, even with regard to the programme, Elberfeld has

given the law for the Niederrheinische Musik feste down to the present Seminary at Cassel, and, thanks to his intercourse with Grossheim,

| day; for, during all the forty-two years, Handel has remained the great initiated in the immortal works of Bach and Handel, he made it his

attraction on the first day, and Beethoven on the second. incessant and especial aim to favour, in his newly found home, a circle

The third festival, like the first, was held at Düsseldorf, under Burgof musical amateurs, all actuated by the same feeling, who might resuscitate the works of those great masters. It was with this object

müller's direction, when Handel's Samson was performed on the first

| day, and Beethoven's Eroica on the second. With this third performthat, threc years previously, he had been chiefly instrumental in found

ance, the festivals, in consequence of their having sprung entirely from ing the Singing-School. When, however, in consequence of the im

the great mass of the people, without the slightest external patronage or proved state of popular feeling, the original circle was enlarged, and the public performance of the works studied became the avowed end of the

influence, had become so much matters of national interest that Cologne

could hold back no longer. In the same year it joined the league, in Society, he felt that the hour had at last arrived for the realisation of

order to enjoy the honour of holding the fourth Festival within its walls. his long-cherished wish. There was in Elberfeld a party who were

The Festival in question took place in 1821, when Friedrich Schneider's attached to Italian singing, and ridiculed the more severe German school. With wise foresight, Schornstein understood how to make

Weltgericht (already given a year previously at a concert in Elberfeld)

and Beethoven's Symphony in C minor were performed, under Burgsmall concessions, without sacrificing his own better intentions. The

müller's direction. The fifth Festival was celebrated in Düsseldorf, when earlier concert programmes contain numerous operatic pieces by Paer, Righini, Mair, &c., in which Schornstein himself was distinguished by

Burgmüller included in the programme Stadler's Befreites Jerusalem, his magnificent efforts as a bassist, while from Handel's works there are

and, once again, Beethoven's D major Symphony. - The sixth Festival

was held in Elberfeld, under Schornstein's direction, and, with Handel's only a few pieces, the success of which, however, could not be a matter of doubt, such, for instance, as the reception of the victors in Joshua,

Jephtha and Beethoven's Ninth Symphony, far outshone the Festival of

the year preceding.–The seventh Festival was celebrated in Cologne the "Hallelujah,” in the Messiah, and others of a similar description.

by Schneider's Sündfluth, the F major Symphony by Ries, anà BeethoIn proportion as such selections from older works became more frequent,

ven's overture to Coriolanus. The town of Aix-la-Chapelle joined the the number of operatic picces diminished.

Association in the year 1824, and the next year, under the direction of • The annual subscription-concerts had hitherto taken place in the

Herr Ries, celebrated the eighth Festival by Handel's Alerander's Feast, room, still unchanged, of the Hotel Herminghausen, until, in the year

with Beethoven's Ninth Symphony, and Christ on the Mount of Olives. 1819, they were removed to the Casino. In the ycar 1817, there

- The ninth Festival was held in Düsseldorf, under the direction of occurred a musical cvent, destined to be attended with the most im

Ries and Spohr, when the works selected were Die letzten Dinge, by

Spohr, a vocal Mass by Schneider, sixteen pieces from the Messiah, and • From the Niederrheinische Musik-Zeitung. (Translated for the the D major Syınphony, by Ries. - In the year 1827, the turn of ElberMUSICAL WORLD.)

feld again came round, and the tenth Festival, under Schornstein's direction, was distinguished by the performance of Schneider's Velorenes was Mendelssohn's Serenade and Rondo Giojoso (first time), for Paradies, the “Kyrie" and "Gloria” from Beethoven's Grand Mass in pianoforte and orchestra, Mozart's ottet for wind instruments in D major, and the same composer's Symphony in C minor. * This was, | C minor (first time), which is also known as a quintet, and for however, the last Festival held at Elberfeld. While, on previous years, | piano solos some short pieces by J. S. Bach and Scarlatti. Mr. the Casino had been found large enough, on this occasion it was neces

Sims Reeves was the singer, and to him was allotted the tenor sary to hold the Festival in the more spacious Riding-School. But even

scena from Der Freischütz, a song by Kücken, and Molique's serethis would not have been sufficiently capacious in following years, not

nade. Such a concert was well worth a journey to Manchester, to speak of the fact that the town did not possess hotels enough to accommodate the masses of visitors who flocked in from all parts.

The Guardian writes of it (we unavoidably abridge) :Consequently, when, three years later, the turn again came round | “Mendelssohn's symphony was, of course, the principal orchestral to Elberfeld, the town, to the great regret of its inhabitants, was composition, though the scherzo of Beethoven was scarcely of less inunder the necessity of seceding from the Association. But the terest. Both were rendered by the band with the skill and intelligence elevation of our Gesang-verein was already completely accomplished. that have characterised their performances throughout the season. The All that was now needed was to pursue undeviatingly the path ballet music and the overtures were comparatively slight work. Mozart's struck out, and follow, as guiding stars for the local concerts, the ottet was another genuine treat, played as it was irreproachably by the programmes of the later Festivals. Such a course was entirely con. eight accomplished performers to whom its execution was entrustedsonant with the views entertained by Schornstein, and was put into viz. Messrs. Lavigne and Jennings (oboes), Pollard and Gladney (cla. practice by him with faithful perseverance. Besides, the number of rinets), Grieben and Greuner (horns), and Raspi and Walters (basmembers in the Gesang-verein had increased from year to year, so that soons). The Serenade and Rondo of Mendelssohn, for piano and orthey were well able to execute, without extraneous assistance, the grand chestra, introduced by Mr. Hallé for the first time, but not, we hope, est works, in a manner worthy of those works themselves. Thus the for the last, is a most charming thing, fanciful and brilliant for the concert-programmes for the ensuing years prove that the classical ten piano, full of thought, and finely-coloured for the band. Very interestdency was truly followed up. We find in them almost exclusively | ing, too, were the old compositions of S. Bach and Scarlatti. Mr. Sims nothing but compositions by Handel, Haydn, Mozart, Beethoven, Spohr, Reeves was in capital voice, and sang with great care and effect. No Weber, Klein, Schneider, and Fesca. Among other works, David, by tenor of the present day can give the grand scena from Der Freischütz Klein, was performed in 1834, and Alexander's Feast, by Handel, in as he does. . He was equally successful with Kücken's song, and Mo1835. The festival held at Düsseldorf, in 1836, exercised a great in- / lique's serenade, the latter exciting such an amount of enthusiasm as fluence on subsequent programmes. Mendelssohn's St. Paul was per- made its repetition a matter of necessity. Mr. Reeves promptly and formed there for the first time, and excited a degree of enthusiasm gracefully complied with the call, and sang it again entire." altogether indescribable. A young and previously unknown artist hal A correspondent from Birmingham writes as follows: succeeded in doing what so many celebrated masters had for thirty years

"At Birmingham the musical public have had a busy time of it this in vain attempted, namely, in composing an oratorio worthy of being

week. On Wednesday evening a grand concert was given in the Townranked with the grand creations of the last century - an oratorio in

Hall, at which Mad. Lind Goldschmidt made her first appearance since which he had understood how to combine, in the most happy manner, the brilliant advantages gained by modern times with the dignity and

her return to artistic life, and, although there were not the same crush strictness of the old school. From that moment was Mendelssohn the

and the same excitement as in the days of the Jenny Lind furor, some especial favourite of the Rhenish provinces, and he has remained so up

ten years ago, the great songstress was received with distinguished marks to the present day. As early as the year 1837, our Elberfeld Gesang

of favour by a brilliant and fashionable audience. Mad. Goldschmidt's verein performed St. Paul, and thenceforth Mendelssohn's vocal works

share of the programme comprised the Cavatina Tho'clouds by constituted the principal portion of our programmes. They have all,

tempests' from Der Freischütz; Scena and aria from Sonnambula, without exception, been executed — some, indeed, several times - and

Care compagne ;' Mozart's rondo for voice and violin obbligato, Il re that, too, as a rule, directly they appeared ; thus, for instance, the com

pastore ;' Taubert's Bird-Song ; Norwegian Echo Song ;' and with

Mr. Sims Reeves the duet from Lucia, 'Sulla tomba.' poser's dying strain, Elijah, was performed three weeks after its public

If the reception cation. One peculiarly excellent quality distinguishing Schornstein, a

awarded to the artist did not recall the boisterous demonstrations of quality which cannot be too highly prized, was that, despite the strictest

bye-gone times, critics, at all events, saw very little difference between and most unmistakeable adherence to what was old and tried, he pre

the Nightingale' of 1852 and the Nightingale' of 1862. Mozart's served to the end of his existence the facile susceptibility of youth, in

song was her crowning effort, and indeed this was a supreme vocal all its freshness, for new impressions. Nay, more ; his susceptibility

achievement. Mr. Sims Reeves shared liberally in the honour bestowed appeared to increase with age. A brilliant proof of this is the loving |

on the performance. He was tumultuously applauded in the grand devotion with which, when sixty years old, he gave himself up to Schu.

scene, Oh! I can bear my fate no longer' from Der Freischütz, and mann, immediately after the latter became known. The unfathomable compelled (absolutely compelled to repeat Molique's beautiful serenade. depth of feeling possessed by this wonderful composer is, unfortunately,

When the moon is brightly shining. Signor Belletti gave Rossini's so difficult of access from without, that, even up to the present day, there

Tarantella' with such effect as to command an encore, and added the are only a few places where he has been fully appreciated, while there

grand florid airSorgete,' from L'Assedio di Corinto, in which, since are many where he is as yet not understood at all. Here, in Elberfeld,

Tamburini, no other barrytone has been able to succeed. Mr. Henry his Paradies und Peri was performed as far back as 1845, and even re

Blagrove played Ernst's fantasia on Otello, Sig. Piatti his own Barcarole, peated shortly afterwards. This year was, indeed, very rich in musical

and the Festival Choir, under the direction of Mr. Stockley, sang several events; besides the Paradies und Peri, it brought us the Walpurgisnacht

part-songs. Herr Otto Goldschmidt conducted. Among the most and the music to A Midsummer Night's Dream, by Mendelssohn, as well

interesting things of the evening, by the way, was a selection from Humas the oratorio of Moses, by Marx. All these works were speedily pro

mel's Septet, in which, besides HerrGoldschmidt (piano),and Mr.Blagrove duced here, and most of them have been frequently repeated.

(violin), M. Barret (oboe), C. Harper (horn), Mr. Pratten (flute), Sig.

Piatti (violoncello), and Mr. Howell (double bass) took part. .(To be continued.)

The first movement opened the first part, the scherzo and andante (with variations) the second. What became of the finale ?"

A correspondent from Winchester informs us that,--
“ The Brousil family gave two concerts (morning and evening), at St.

John's Rooms, on the 20th inst. They were accompanied by Mrs. MR. HALLÉ's grand concerts in Free Trade Hall, Manchester,

Helen Percy as vocalist. The morning performance was but thinly proceed as brilliantly as ever. At the last there was the symphony

attended ; but the evening one went off with much spirit. The family in A major (“ Italian ”) by Mendelssohn, the Scherzo from Beeth

were much applauded in all their pieces, particularly in "The Bird on the oven's Ninth Symphony (first time), the overtures to Anacreon | Henry Smart's charming ballad, “The Lady of the Sea,' and a song by

Tree.' Mrs. Percy was very successful in her songs, especially in Mr. (Cherubini), Siège de Corinthe (Rossini), and Bayadere (Auber), ) P. Van Noorden, called On the Hills.'” and the ballet-pieces from Meyerbeer's Prophète-an unusually rich and varied orchestral selection. In addition to all this, there

From another correspondent at Basingstoke, we learn further

| particulars of the family. We are told,— * This corrects the erroneous tradition that Schornstein gave, on this « The Brousil family, accompanied by Mrs. Helen Percy, gave a conoccasion, the whole of Beethoven's Mass in D major. -ED, of the cert at the Town Hall on the 21st. The evening was very unfavourable, Niederrheinische Musik-Zeitung.

the ground being covered with snow; there was, in consequence not a

Provincial.

large attendance, but the performance was highly appreciated. The own fantasia on subjects from Flotow's Martha. Miss Archer pleased Broasil family were encored in The Bird on the Tree.' Mrs. Percy equally as a singer, the audience being delighted with her “ Batti, was loudly applauded in . Kathleen Mavourneen,' and in Mr. Henry Batti," and the archness (it could scarcely have been “ Archer") cho Smart's • Lady of the Sea,'”

threw into “Katey's Letter,” and which she was compelled to repcat. The Liverpool Post supplies a detailed and highly laudatory ac

Miss Susannah Cole displayed her fresh and beautiful voice to eminent count of the first concert of a new Society called the “ Wirral

advantage in Balfe's “Pretty, lowly, modest flower" (Puritan's DaughPhilharmonic," which was given recently at Birkenhead, in the

ter), and in “Softly sighs.” Solos on the violin (by Herr Manns) and

on the trombone (Mr. Nabich) were both admired, and indeed the new Music Hall, with complete success. The new hall is much

whole entertainment was warmly appreciated by the audience. commended, and the decorations named as handsome and befitting.

SOCIETY FOR ENCOURAGEMENT OF THE FINE ARTS. — Mr. Alfred The general arrangements, too, we are informed, reflect the utmost

Gilbert delivered his second lecture on the “Life and Works of credit on Mr. Beausire, the secretary. The only fault found is the

Beethoven," at the Society's Rooms, 9 Conduit Street, on Thursday want of sufficient accommodation for the orchestra, which, however, evening last, to a crowded audience. The lecturer, who took the is intended to be remedied by the extension of the building length second and part of the third period of Beethoven's career, was assisted wise. The programme was excellent on the whole, and had some in the musical illustrations by Mad. Gilbert, Mad. Andrea, Mr. Edward points worthy of special comment. Beethoven's Symphony in C Southwell, Mr. Reilly and some members of the Arion choir; with major, No. 1, was performed under the direction of Mr. Perceval, | Herren Polletzer and Daubert (violin and violoncello). The points in and also the overtures to Oberon and Zampa. Mr. Charles Hallé the programme worthy of particular notice were the scena and aria, played Mendelssohn's Concerto in G minor, and joined MM. Vieux

“Ah perfido,” Mad. Gilbert; a charming little song, “ Molly's temps and Baetens in Beethoven's trio in C minor. Mr. Hallé also

Abschied," Op. 52, by Mad. Andrea; the grand trio, “ Tremati empi played a Nocturne Valse by Chopin. Of the performances of the

Tremati," Mad. Gilbert, Mr. Southwell and Mr. Reilly; the air and

variations from the sonata dedicated to Kreutzer, and the Scherzo from great pianist the Post thus speaks :

the grand trio in B flat, Op. 97, in which Mr. Gilbert was ably assisted "The great instrumental attraction was Mr. Charles Hallé, whose per-| by Herren Polletzer and Daubert: and lastly. Mr. Gilbert's unaided formances were of the highest order. The Mendelssohn Concerto was

reading of the andante and last movement of the Sonata appassionata a fine example of manipulation and of unity. In the trio he produced

(in F minor), Op. 57, which were all exceedingly well played. even greater effect in conjunction with Mr. Bactens and M. Vieuxtemps, | BEAUMONT INSTITUTION.-.The second concert of the season, under while in Chopin's Nocturne Valse he would have delighted the master

the direction of Mr. D. Francis, was given on Monday week, with Mlle. whose genius has in Mr. Hallé so great an admirer.”

Florence Lancia, Miss Poole, Miss Palmer, Messrs. Sims Reeves, Lewis Mlle. (“perchè non” Miss ?) Anna Whitty, the solo vocalist, Thomas and Winn as vocalists; and Miss Eleanor Ward, pianist, as solo appears to have touched the most sensitive chord of the writer's

instrumental performer. There was a large attendance. Mr. Sims admiration, if we may judge from the following:

Reeves, who seems in such especial favour with the Mile End audiences, "Mlle. Anna Whitty was rewarded by hearty applause. Her first

sang the grand scena from Oberon, “ Kathleen Mavourneen,” and “ My piece was from Rossini's Bianca e Faliero, Bella rosa il vel vermiglio,'

guiding star," from Robin Hood. The two English songs were enthusiwhich was thoroughly appreciated, but the • Batti, batti,' was still

astically applauded, and the last repeated. Mlle. Florence Lancia gave more telling. In Non piu mesta,' Mlle. Whitty was overwhelmed

the “ Shadow Song" from Dinorah most brilliantly, and the air from with plaudits, in which it was impossible for the audience to be un

the Amber Witch, “ My long hair is braided,” besides taking part in

duos, trios, &c. Miss Poole was encored in “ Juanita,” and Mr. Weiss in moved."

“My own sweet child,” from The Puritan's Daughter. Miss Eleanor The conductor, too, appears to have merited unqualified com- | Ward played Mr. Benedict's fantasia “ Albion," and M. E. Berger's mendation :

“ Echos de Londres," the latter being given with so much spirit and M. Percival deserves the utmost praise, not only for the excellence brilliancy as to command a distinct and unanimous encore. Mr. Frank of his arrangements, in which there was no single hitch, but also for Mori was the conductor. On Wednesday last another concert was the precision and thoroughly musician-like readiness of his conducting given at the Institution, at which, among others, Miss Parepa and Miss throughout the evening.”

Člari Fraser sang. Finally, the writer prays that the concert may be the precursor of many such, in which case the Wirral Philharmonic Society will

Letter to the Editor. prove an invaluable acquisition to the district.

A Liverpool correspondent informs us that the “Sisters Marchisio " sang at two concerts, one at the Philharmonic Society,

MISS CHARLOTTE GROSVENOR. the other at St. George's Hall, in both of which they were tri SIR.— My attention has just been called to an editorial notice in the umphantly successful.

MUSICAL WORLD of the 11th inst., in which the amusements produced Another correspondent writes that:

at the Islington Music Hall are severely criticised, and the presentation The Clayton Hall has been turned into a very handsome theatre,

of a testimonial to the proprietors rather extensively ridiculed. There styled the Prince of Wales, the manager being a Mr. Henderson, well

will of course be a difference of opinion as to the taste exhibited in that known in Australia. Up to the present time, the new establishment,

presentation ; but there can be no doubt that the least intellectual part which will be valuable as a foil to the monopoly of the manager of

of the programme at the Islington, in common with all Music Halls, the two other theatres, has been most successful. At the opening, the

commands the greatest share of applause. I do not intend to allude burlesque of the Colleen Bawn (now running on its third week) was

further to these matters, for with them I have no immediate concern ; produced; and during the past week, Mr. J. L. Toole, of the London

but I wish respectfully to protest against the designation of “ Signora Adelphi, has made a most successful débût.

Squallini" as applied to Miss Charlotte Grosvenor, a lady, according to

very generally expressed opinion, but little inferior, in point of sweetThe Preston Chronicle records the Messrs. Richardsons' concert,

ness and volume of voice and facility of execution, to Miss Pyne herself. in which the “Sisters Marchisio" were the principal attraction. I am ready to believe that you cannot have heard Miss Grosvenor in Our contemporary is most enthusiastic in his praises of the ac- the great scena from the Rose of Castille, Rode's Air, the finale to Soncomplished artists.

nambula, and similar performances, or you would not have applied such a derogatory expression to her as the one you have introduced into your

article. She is an excellent musician, bas nearly three octaves in her FOREST HILL.-A concert was given on Friday evening last, for the voice, and has been pronounced by one of the greatest singers of the day benefit of the Christchurch Schools, when the following artists assisted : 1 to be fitted to appear before any audience in England, in fact, she has Vocalists — Miss Susannah Cole, Miss Guselda Archer; Messrs. Coel, sung at some of the best provincial concerts in Great Britain. As to Hunt, Owen, Sims, and Herring. Instrumentalists — Miss Guselda her private character, that point is not raised or even hinted at in the Archer (Pianoforte), Herr A. Manns (Violin), Herr Nabich (Trombone).

A. Manns (Violin), Herr Nabich (Trombone). | notice ; but as it is the fashion to indiscriminately condemn all females Herr Formes was announced, but he was suffering from indisposition, who sing at Music Halls, I may mention that her name is unblemished, and a medical certificate was read, to the evident disappointment of the that she is a married woman, and the mother of a family. audience. The room was fully attended, and the applause frequent and

I am, sir, your obedient servant, liberal, especially to Miss Guselda Archer, in Prudent's Chasse, and her

J. C. R.

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