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CHERUBINI.

The music, too, of the ballet Achilles at Scyros, already mentioned (Continued from p. 518.)

(Chap. I.), and produced in 1804, was also sacrificed to its insipid subThough Cherubini had already achieved a wide-spread reputation

ject. But a Bacchanalian piece in it, and several highly expressive at the close of the last century, the French nation was ungrateful to

numbers of the pantomime music in it, were greatly admired. him, inasmuch as the Government of the Republic conferred on him

In the year 1805, Cherubini received an invitation from the manageonly the unimportant post of an Inspector at the Conservatory, the

| ment of the Imperial Opera House at Vienna to go to that capital and salary he received scarcely enabling him to support his numerous

write an opera for the above establishment. As the terms offered were family. Yet it was doubly the duty of the Republic to give him a

exceedingly liberal, he did not hesitate accepting them, and set out high appointment, since it was evident that the Revolution had

with his wife for Vienna, while his Emperor, Napoleon, was already greatly influenced his new style, and that, in a certain sense, he had

preparing to invade Austria. Cherubini reached Vienna in July. His become the apostle of the new period by works in which he rejected

first efforts were devoted to the production of his opera, Lodoiska, for the Traditional, pursued a freer track, and, thanks to the force of a

which he composed a new air, for Mad. Campi, and two interludes. genial imagination and a power of characterising truly human feel

Such is the statement of M. Fétis. According to a notice in the Allgeings and passions, embodied the new ideas in tone. But the Direc

meine Musik-Zeitung, of the 5th August, 1805, the first work Cherubini tory, as well as, subsequently, the head of the State, the First Consul,

conducted in Vienna was his Deux Journées, when he was enthusineglected and forgot the great composer, whom Italy, France, and

astically received by the public, and made several alterations in the Germany recognised and honoured,

tempi ; for instance, he took the allegro of the overture more slowly We are pretty well justified in asserting, however, that Bonaparte than it had been previously taken, " by which this difficult piece of did not forget him after all, but purposely refrained from advancing

music gained in clearness." He now proceeded to compose the opera him, because he could not endure him or his music. Even as

of Faniska, Emperor, Bonaparte was unable to suppress this prejudice, while

| Meanwhile, the victory at Elchingen, and the capitulation at Ulm Cherubini, in accordance with his natural disposition, did nothing to

1 (October 7th), with its results, had brought the French to Vienna ; remove it. It seemed as though the mighty ruler, warlike hero, and

Murat entered the capital on November 13, while Napoleon took up man of iron will sometimes experienced an inward necessity of

his head-quarters in the summer palace of Schönbrunn. divesting himself, for a period, of everything great, and, consequently,

Hearing that Cherubini was in Vienna, Napoleon sent for him to of the impression produced by art of a grand style, for which reason

Schönbrunn, The ungracious Consul became a gracious Emperorhe preferred lighter and more catching music, perhaps considering

at least, for the time being — and spake to him in a very friendly all excitement of the mind by means of art as unworthy & states

manner. “Ah, M. Cherubini," he said, “I am glad you are here. We man and a general.

will have a little music together. You shall direct my concerts." That Napoleon resented for a long period unguarded expressions

Several musical soirées, which Cherubini got up and conducted, really and any freedom of behaviour, which he considered as evidences of

did take place, some at Schönbrunn and some in Vienna. Cherubini want of tact, or even as something worse, and which were highly

received a large sum for his services, but this was all. There was no displeasing to him, is a well-known fact; and thus it may, probably,

talk of his obtaining an Imperial appointment in Paris. be true that his dislike of Cherubini is to be attributed to the follow

The battle of Austerlitz and the peace of Pressburg (December 26th) ing occurrence:

brought the war to a close; and no later than eight weeks afterwards On his return from one of his victorious campaigns in Italy, Bonaparte

the opera of Faniska was performed for the first time, on February desired to hear at the Conservatory a march which Païsiello had com.

25, 1806. The magnificent music excited the admiration of all composed in his honour. The work, according to report, was very mediocre.

petent judges, Beethoven and, as it is asserted, Haydn perfectly The Committee thought themselves bound to seize on this opportunity

agreeing with the opinion of the public. It appears, however, scarcely for performing a composition by Cherubini also ; and, under the impres.

probable that Haydn, at his then advanced age, should still have atsion that something warlike would best please the great general, selected

tended the theatre ; but he may have seen the score. Cherubini a Cantata and Funeral March, which Cherubini had written on the death

was pronounced, by the unanimous decision of all connoisseurs, the of General Hoche. This, it must be confessed, was a mistake. The greatest dramatie composer of his day. The opera was not, however, glorification of another military celebrity as well as of himself could not & great success with the masses. It experienced the same fate as be agreeable to Bonaparte, and the displeasure of the even then all

Beethoven's Fidelio, which had been produced for the first time, not powerful ruler was very evident. After the concert he went up to

long previously, a week after the entrance of the French into Vienna Cherubini, but did not say a word about the Cantata and the Funeral

(on December 20, 1805.) March; while, on the other hand, he lauded Païsiello and Zingarelli to

It was then truly no time in Vienna for the triumphs of art and artists, the skies, calling them the two greatest composers of the age. This was while very different triumphs were being celebrated by the enemies of too much for Cherubini, who replied, “ Paisiello, certainly! But Zin.

the Fatherland, and that, too, with a degree of arrogance which partly garelli !” accompanying the words with appropriate action. This brought

drove the inhabitants from the city, and partly terrified them so much the conversation to a close.

that they never by any chance thought of frequenting the theatres. After the attempt to assassinate him with. the infernal machine, on Most of the higher nobility had, at the very approach of the French, the 3rd of Nivose, the First Consul received deputations from all the already deserted the place, and those who remained did not feel dispublic bodies, &c. Among the delegates from the Conservatory was posed to visit the opera in the company of the conquerors. Thus the Cherubini : but he remained in the background. All at once Napoleon audience at the representations of Fidelio consisted chiefly of the said, “I do not see M, Cherubini,” Cherubini stepped forward and

French military. bowed, but without uttering a word.

It is a very remarkable fact that two such important dramatic A few days subsequently he received an invitation to dinner at the compositions as Beethoven's Fidelio and Cherubini's Faniska should Palace. After dinner, Napoleon strode up and down the apartment,

| bave been written at the same time independently of one another ; and began talking, sometimes in French and sometimes in Italian, about

that both works should have been in advance of their age ; that both music to Cherubini, who could scarcely follow him. He returned to

should display a striking similarity of style, especially in the treatment Pajsiello and Zangarelli. Cherubini differed with him, and stated his

1 of the orchestra ; and that both should have suffered from the reproach

of the orchestra ; and reasons for so doing. Thereupon Napoleon suddenly exclaimed, « 1 of the music being too learned for the public of the period. With tell you I like Paisiello's music. It is gentle and quiet. You possess regard to Fidelio, we know that even the subsequent representations talent, but your orchestra is too loud.”—“ Citizen Consul,” replied in Vienna did not take with the public, and that it was reserved for Cherubini, “I have written in obedience to French taste." “ Your our own time to cause this magnificent work to be appreciated in all music is far too noisy and uproarious. Give me Païsiello's! It lulls countries. Faniska enjoyed at first a better fate. It is true that in one in so soft and pleasing a manner."-"I see how it is,” said Cherubini; | Vienna it was not often repeated, but it was performed at other “ you like music which does not disturb you when thinking of affairs of German theatres. 1

German theatres. The writer of the present article recollects its being state,” This answer, too, Napoleon never forgot.

performed, when he was a youth, at the theatres of Dresden and In the year 1803, a new opera, Anucréon, ou l'Amour fugitif, was

Dessau.
Dessau; , It prodi

It produced a deep impression, and its merits were readily produced by Cherubini. In contained several excellent pieces, and the

allowed by the critics, although, owing to the unsatisfactory libretto, it well-known overture, which met with universal approbation. Besides

did not become firmly established in public favour. Yet the music is the overture, a very beautiful quartet (arranged also for male voices)

some of the best and most dramatic of which this style of composition and the charming finale are performed at concerts in Germany. The

can boast; and it might be well worth while -- after modifying the badness of the libretto prevented the opera from being successful. It

book -- to reproduce the opera on the stage, just as the same composer's was performed, it is true, several times, but did not take with the public.

Medea has been successfully revived at Frankfort-on-the-Maine and The score was, however, engraved.

Munich (?).

Cherubini remained nine months in Vienna. With regard to his Her inanner of expressing her sentiments seems to spring spontaneously relations with Beethoven, A. Schindler asserts (“* Beethoven's Biography," from the situation. She identifies herself completely with the personage vol. i. p. 114, et seq.) that Cherubini was always very severe in his she represents : Mlle. Patti exists no longer ; we have only Lucia criticisms on him; that Beethoven's behaviour under these criticisms before us. In the mad scene, the audience, profoundly moved, was not invariably deserving of commendation-though Beethoven, applauded her enthusiastically. Absorbed in her part, however, she even in the years 1841 and 1842, found a warm champion in Cheru appeared not to be aware of the fact-a lesson for singers, who, bini's wife-but that Cherubini, after having spoken of Beethoven, acknowledging the applause in such cases, completely dispel the illualways concluded with the words, “ Mais il était toujours brusque.” In sion. With the exception of two or three of those traits which we this, perhaps, he may not have been altogether wrong. When Schindler recently advised her to correct, and to which a talent like hers has no adds: “ What Cherubini thinks of his contemporary's muse might be necessity to have recoursc, Mlle. Patti deserved no less praise for the gathered even from his communications concerning Fidelio, on his return, manner in which she sang the music of Lucia than for the intelligence had he not unreservedly manifested, on every occasion, the slight opinion with which she represented it psychologically. She made no parade of he had of it"- he is able, doubtless, to support the last assertion by his virtuosity ; it was by the accent of her voice, by her expression and by own actual experience gained in his conversations with Cherubini; but the vigour and truth of her dramatic colouring, that she succeeded. with regard to Cherubini's “communications concerning Fidelio," we Most admirably did she deliver the andante of her duet with the baryhave been unable to find anything in the Paris papers of the day, tone, as likewise the pathetic phrases of the finale to the second act. in which papers a friend of musical history searched for us. It appears, the mad scene, she succeeded in expressing, with unusual felicity, the therefore, that this assertion reposes upon verbal tradition, as the remark gradations of light and shade by which the composer has sought to at p. 128 shows : “ Cherubini, who was present at the earliest representa- 1 express the mobility of the character. Who would have recognised in tions of Fidelio in 1804, and also in 1805 (it should be 1805, and also so dramatic a Lucia the sly and headstrong Rosina ? We are more 1806), told the musicians of Paris, when speaking to them about the than ever convinced, as we said the other day, that Mlle. Patti is most overture (Leonore, No. 3), that, on account of the medley of modulations | richly endowed by nature, and that there is a splendid future in store in it, he was unable to recognise the original key." For this decidedly for her.-Indépendance Belge. remarkable assertion, Schindler gives no authority. What reliance ought to be placed on anecdotes and statements of this kind, related of eminent composers, and propagated by mere report, Schindler himself

Mr. A. SKETCHLEY'S ENTERTAINMENT. — Under the title of “A has found out, often enough, in the case of Beethoven. Furthermore, Schindler says, p. 135 - "that, after having heard

Quiet Family,” Mr. A. Sketchley has been giving an entertainment during Fidelio, Cherubini arrived at the conclusion that Beethoven had not

the past week at the Hanover Square Rooms. Without any of the ordidevoted sufficient study to the art of singing, and, therefore, “took the

nary change of costume, or any auxiliary aid of scenery, he attempts to liberty' of recommending it strongly to his attention, for which purpose

amuse an audience for nearly two hours, and, candour must confess, most he sent for the Method of the Paris Conservatory, in order to make him

| thoroughly succeeds. The usual and all but stereotyped form of entera present of it.” This is, however, an evident proof that Cherubini,

tainment, which renders attendance at one a foretaste of every other joy

to come, has been, either from choice or from Mr. Sketchley's native who was already famous, on meeting, for the first time, a colleague in

confidence in his own powers, departed from ; and he attempts to amuse art ten years his junior, in a sphere where he himself had long been at home, treated that junior with sympathy and kindness. And it is thus

his audience with the same freedom and ease, and with such an entire that Beethoven himself must have viewed the matter, otherwise “he

absence of stage aid, as would a good story teller in the social circle. would not have preserved in his little library, to the last days of his

Mr. Sketchley was intended by nature to amuse mankind. Just as at existence, the book he received from Cherubini."-("Schindler," vol. i.

every wedding party there is a lugubrious personage, who takes a gloomy p. 135, note.)

view of things, and who speaks of the willows orer his tomb, there is an

inevitable funny man, sometimes a humourist, at others a rare teller of Lastly, Cherubini has also been reproached with not answering the

other men's stories, a compound of both, or it may be an independent well-known letter in which Beethoven recommended his Missa solemnis to him (“Schindler,” vol. ii. p. 352, Niederrheinische Musik-Zeitung,

wit. Something of all these three is Mr. Sketchley. His imitation of No. 49). But Cherubini explained to Schindler, in 1841, that he never

the dialect, accent, gesticulation, and manner of a French gentleman in received this letter ; and, as even Schindler does not assert that it was

the person of M. Leblond, was at once marked by the highest discrimiever actually sent, while Beethoven's rough draft is still in existence,

nation and the most refined mimetic powers. Mrs. Brown's narrative of

her visit to the play was original, marked by considerable insight into it is highly probable that Beethoven never despatched the letter. If we calmly consider what has now been stated, and then recollect

character, and one of the most humorous and suggestive pieces of inthat, subsequently, when Director of the Conservatory, Cherubini

genious story-telling that could well be conceived. Of all the nameless

and unnumbered graces that adorn social life, the art of story-telling is assented to and favoured the performance of Beethoven's Symphonies

at once the most difficult and the least considered. From the clumsy at the Conservatory concerts, we shall find it a difficult task to suppose he despised Beethoven's music, as, unfortunately, we must admit C. M.

narrator, with his " says he ” and “says I,” to the bland and gentlemanly von Weber did.

man, who seasons your wine by the salt of his wit, and who sets the About twenty years after its first appearance, Cherubini again took in

table in a roar by some sally of his imagination, or by his humour and hand the opera of Faniska. The dramatic poet, Guilbert de Pixéré- |

fancy conjoined, there are many degrees of intellectual progression; but court, began a translation and adaptation of the libretto for the Opéra

the qualities required to tell a story to perfection are many and various. Comique in Paris. But while Pixérécourt was engaged on the work

As it takes much complicated machinery to make a pin, 80 tact, good the composer changed his mind, refused to allow him to proceed with

breeding, discrimination, humour, taste, fancy, a sense of the grotesque, his task, and abandoned the whole plan.

and of the sublime, are often all wanted to realise this small end, and

complete a small story. It was on this account from Mr. Albert Smith's (To be continued.)

really diverse qualifications, sympathies, and tastes, and because he pos

sessed the attributes and dispositions of many men -- that he was so ADELINA PATTI's “ LUCIA DI LAMMERMOOR." - The effect of this

successful, and one of the most amusing entertainers we ever had. When

he died, he left á blank, and it is really no prophecy to assume that Mr. performance was even greater than that produced by La Sonnambula and Il Barbiere. In the character of Lucia the young artist surpassed

Sketchley may fill it up. He has the same natural flow of humour the expectations of those who had formed the most favourable opinion of

the same animal spirits, and altogether very similar endowments of taste,

temper and manner, with some decided advantages in this last respect, her talent, after having heard her in the parts she had already sustained with such brilliant success. Qualities totally unsuspected were revealed

to assist him. Mrs. Jones is to the full as happily presented as for the first time, while those which had been applauded before came out

Edwards, the engineer, and even more thoroughly brought out in characwith still greater splendour. When writing of the Sonnambula, we said

ter. Her narrative is vividly dramatic and real, and, although the that Mlle. Patti gave evidence of genuine dramatic talent; but it was by

present entertainment may be too slight in its incidents to run a season, a far more striking developement of this natural gift that she distin

we do not doubt that at no distant time Mr. Sketchley will be recognised guished herself in Lucia. She entirely riveted the sympathies of the

as one of the settled caterers of public amusement of the metropolis. public, throughout the second act, and in the mad scene, by her plaintive

Signor FIORENTINO (late critic of the Constitutionnel, and the “ De penetrating accents, her touching bye-play, the truthfulness of her Rouzay” of the Moniteur) has accepted the editorship of the feuilleton facial expression, and the admirable mode in which her gestures were of theatres and music in the new journal, La France, founded by M. de suited to the words. Her bursts of dramatic feeling are warm, but la Guéronnière. The celebrated critic made it a condition that this without exaggeration. Hers is not that mimetic talent which interprets occupation should be guaranteed to him for ten years. such and such a sentiment by such and such a conventional movement.

Letters to the Editor.

the way of the employment of the church's instrument on any other than the church's music, even at periods not in divine service. Hence

the public — yes, even the musical public - know little of the varied MOZART'S CLARINET QUINTET.

resources of a grand organ, or its power for giving expression, not Sir,- One of your “ Leaders ” some time since is devoted to a alone to original organ music, but to the more elaborate inspirations dissertation on the merits of the Quintet of Mozart for Stringed Instru of the great composers, which engage for their interpretation the ments and Clarinet, Op. 108, which, exhumed from the tomb of oblivion

united efforts of many performers. The occasional recurrence of by the directors of the Monday Popular Concerts, and its beauties

such exhibitions as above adverted to, wherever there are organs revealed by a high artistic rendering at one of these entertainments at / adapted to the purpose, would, - whilst they gave to the parishioners the commencement of the year, has, as you lead us to infer, become re a costless entertainment, rational, decorous, and elevating,-- do much instated as a stock instrumental piece, to be in future constantly called to popularise the music of this the grandest of all musical instruments ; into use for high class musical entertainments of this kind : Mr. and be the means of inducing, among the parishioners, an interest in Lazarus, probably, by his exquisite playing of its clarinet part, becoming the quality and preservation of their church's organ, now much wanting. specially identified therewith. The perusal of your article having re

I am, Sir, &c. &c. called to my mind one or two little circumstances with which this

F. C. composition is connected, has induced the present communication. Although the existence of this Quintet was, as you say, almost unknown of by the general musical public of the present day, yet to the flautist

SINGING FOR SOLDIERS. amateur I think I may say the piece is tolerably familiar, as the work

(From Punch.) was separately published some fifty years ago, uniform with Haydn's | A good deal has been said about the evil state of Aldershott, and the Symphonies, then reduced to Quintets, with a flute part for chamber ill condition of all our carrison towns. The vices rampant there are use: i. e. soon after the improvement in the structure of the flute by the in chief degree assigned to the want of fit amusement to fill up leisure addition of keys made that instrument capable of diatonic articulation, time, of which our soldiers, when in garrison, have much more than the clarinet part being transposed into the common key, the notation

| enough. We know who it is finds mischief still for idle hands to do; of the string quartet, probably, remaining unaltered, and with the and doubtless soldiers are, when idle, not more proof against temptation skilled flautist the pice has always been a favourite one in chamber

than are other mortal men. What then is the remedy? What wholepractice of this kind.

some recreation can be devised for the amusement of our soldiers' The Larchetto of this superb composition, too, has recently been

leisure time ? Reading rooms, says one ; athletic games, another ; whipped into the form of an organ piece, at the hands of Mr. Higgs,

music and part-singing is the answer of a third. Well, all these hints organist of Kennington, and which, with the melody in chief rendered

are good, and the two first have been acted on in so many cases and by a clean and tasteful finger on the Cremona stop of a well-voiced with such success, that Punch may well be spared more writing in their organ (our best organ builders now aim to voice this stop imitative favour. But in teaching soldiers music no great deal has yet been of the tone of the clarinet), the stringed parts being represented by a

done, and as the practice of part-singing is a wholesome, healthy exervaried selection of the soft stops of the “Great ” and “Swell,” forms cise, Punch most willingly will give it what encouragement he can. a delicious morceau. As being à propos to the foregoing, it may be Used to obey orders, and accustomed to be led, soldiers, properly mentioned that, in a recent public performance upon the organ of the instructed, would soon learn to sing together, and Punch feels sure parish church of St. James's, Piccadilly, this Larghetto was selected as that their so doing would soon become a pleasure to them. Learning one of the picces of the little “ Bill of Fare," and was most manifestly

to keep time is a pleasant way of spending it; and when men have received as the gem of the evening. Of this performance I herewith studied harmony, there is surely the less chance of their giving vent to furnish you with a few particulars, and possibly you may think the discord. Nothing lightens labour so well as a good song. It makes a event worth recording in the MusicaL WORLD, as an example for long way short, and would therefore be invaluable to troops when on a imitation, to the creation of a more general taste for classical march. Singing Mendelssohn's part-songs and similar good vocal music.

music would be a better pastime for our soldiers when at leisure, than Annually, ever since the organ of this church (St. James's, West

sitting in a pot-house bidding Sally to come up, or squalling other minster) assumed its present formation, a select few of the parishioners

specimens of stupid nigger nonsense. Men whose business is to kill and their friends have been in the habit of assembling to hear an are often troubled to kill time; and in this respect the practice of partevening's performance upon it by Mr. Burrowes, the organist of the

singing at least would be a help to them. church. This gratifying entertainment -- the decorous nature of its

With this faith in his mind, Punch would fain direct the notice of his conduct fully justifying the expression, notwithstanding that by some,

fifty million readers to the fact that now among the thousand and one on account of the sanctity of the place, its applicability might be de concerts which are almost daily advertised, Soldiers' Concerts are at no murred to—has just come off, when the following little programme was far distant intervals announced. In his programme the Conductor of rendered, viz. :

these Concerts “begs to state," and Punch hereby accords him full perIntroduction (extempore); Larghetto, from instrumental quintet,

mission so to do, that they are given “ with a view to create a taste for clarinet principal (Mozart); “The horse and his rider" (Handel)

good choral music in the Army, and to encourage the practice of singing Instrumental Symphony, from Creation (Haydn); Pastorale (Dr. Chipp);

on the march, and the formation of choral classes in garrisons, whereby Organ Sonata, in three movements, I. Allegro, moderato, e serioso, 2. much of the soldiers' leisure time might be usefully occupied. Held in Adagio, 3. Andante recitativo - Allegro assai vivace (Mendelssohn); | Exeter Hall these Concerts w

Exeter Hall, these Concerts were by no means the least nice of the May Andante, from the Jupiter Symphony (Mozart) ; Fugue (J. S. Bach); /

Meetings which have this year been assembled. At the last which Organ Study, Clarinet and Bassoon stops (Dr. Chipp); Cum Sancto Punch received an invitation to attend, free admission was accorded to Spiritu, from 12th Mass (Mozart).

a couple of thousand soldiers now garrisoned in London; and this gift, A most chaste and finished performance, which was listened to with

to Punch's thinking, was by no means the least pleasant of the charitable the utmost apparent delight by all present. In respect of this programme,

donations which have this May been announced. Without disparagein its relation to a classical exposition, the organ connoisseur would

ment of orators who plead for funds to furnish tracts to niggers who probably say, “ more of original organ music and less of adaptations

can't read, Punch must own a sneaking preference to listen to the would have been in better taste.” But the unmistakeable effect of the voices that “ discourse eloquent music" to the soldiers at these Concerts; different spices of music on this particular auditory on previous and at the risk of the displeasure of all Truly Pious people, Punch will occasions, influenced in some measure the choice on this. However, own he thinks encouragement of Music in the Army quite as laudable the selection was such as afforded the opportunity of displaying some an object for the bumps of the benevolent as the suonivi

an object for the bumps of the benevolent as the supplying straps and recherché playing, as well as of exhibiting all the more striking beauties braces to nude natives of Natal kory

braces to nude natives of Natal, or providing moral polish for the black and effects that characterise this particular instrument as a work of king of Japan. constructive art.

Too few are the opportunities the public have of hearing this kind of music. It is true, nevertheless, that many of our London churches SACRED HARMONIC SOCIETY,- An extra performance of the Messiah are furnished with organs capable of such exhibitions. The nature of was given last night at Exeter Hall, for the ostensible purpose of the parochial Church Service proper presents no opportunity of dis affording an opportunity to those visiting London during the Internaplaying recherché organ playing, except that permitted in a Jast tional Exhibition of hearing Handel's sublime work executed in a voluntary, when, however, the confusion of the congregation simulta- thoroughly efficient manner - a rare thing in the provinces, except at neously departing, precludes the thing being regarded as anything but | Festival times. The principal singers were Mlle. Parepa, Mad. Laura a mere playing out." And clerical scepticism too often stands in Baxter, Mr. Wilbye Cooper, and Mr. Weiss.

THE VOCAL ASSOCIATION.

extended and improved, and individually we shall be elevated in mind,

and gladdened in heart. So that as the seasons pass by, every member TESTIMONIAL TO JULES BENEDICT, ESQ.

of this Association will have abundant cause to be proud of having been At the Society's Rooms, No. 14 Newman Street, W., on Friday associated with its patient, generous, and earnest conductor. evening, August 8, the Ladies of the Vocal Association presented “With great respect, we subscribe ourselves your most cordial ada testimonial to Mr. Benedict, “as a mark of their appreciation of

mirers, his valuable services in conducting the rehearsals and perform

« MRS. R. F. ABBOT, Secretary ances of the Society."

(On behalf of the Ladies). The ceremonial was extremely interesting, and will, no doubt,

"MR. SAMUEL MULLENE, Treasurer be long remembered by all the members and friends who were

(On behalf of the Gentlemen).” present. Although the question of the testimonial was not con The chairman, in an appropriate speech, presented to Mr. sidered until after the rehearsal of the Society on Tuesday night, Benedict the testimonial which bad been procured for the occasion. August 5, the whole affair was so perfectly managed by the ia lies, Mr. Benedict, on rising to return thanks, was greeted with a that it had the appearance of several weeks' organisation There perfect ovation -- the ladies waving their handkerchiefs and the were about 1,000 persons present. The Committee of Ladies gentlemen cheering vociferously, this continuing for some minutes. occupied the platform, which was tastefully decorated with flowers, Mr. Benedict said, that of all the experience in his lifetime, he and further ornamented by the testimonial about to be presented had never felt such an overflow of pleasure as at the circumstance to Mr. Benedict, wbich consisted of a large walnut-wood Stationary which called them together on that evening. Anything that he Case, a walnut-wood Ink-stand, and walnut-wood self-closing could say would fall infinitely short of a true expression of his Book-slide, each very handsomely fitted, and elaborately laid with feelings; but if a promise of fidelity and attachment to the Vocal gilt mountings; supplied from the excellent firm of Parkins and Association were what the members required of hiin, he would Gotto, 24 and 25 Oxford Street, W.

now, in the presence of all assembled, wish them to know, and feel, The chair was occupied by John Bishop, Esq., a distinguished that his time, talent, and services should be entirely devoted to the amateur and supporter of several of the old established glee and | interest and well-being of the society. He accepted the very madrigal societies.

handsome testimonial as a pledge of his services being accepted Mrs. R. F. Abbot, the Secretary to the Ladies' Committee, was and appreciated by the members; and consequently, while such a then called on to read the address of the ladies to Mr. Benedict, feeling of mutual regard and esteem existed between himself and which duty was performed by Mr. William Lockyer, the secretary them, there could be no apprehension or doubt about the success to the society. The following is a correct copy

of their united labours. In hours of repose, as well of excitement, “RESPECTED SIR, – We, the members of the Vocal Association,

he should ever bear in mind the token of regard and esteem gladly seize the present opportunity, when, for a short period, you are

presented to him through the instrumentality of the ladies of the about bidding us farewell, to present you with a Memorial of our

| Vocal Association. grateful esteem and hearty thanks for the unswerving kindness and

| Sig. Giuglini (the eminent Italian tenor singer) was present attention which you have exhibited towards us throughout the seasons on the platform, and kindly consented to sing " M'appari" from in which we have been privileged to enjoy the benefit of your valuable the opera of Martha, which he did in the most exquisite and instructions as our conductor. It is with great pleasure we contemplate perfect style imaginable. the fact that, through the merits of your numerous works and the dis || Votes of thanks were then “put" and "carried" unanimously, tinguished part you have taken in arranging and conducting concerts and after a full inspection of the testimonial, the meeting broke up intended to develope and refine the musical tastes of the British public, with cheers for the ladies and Mr. Benedict." The subscripyour name has been identified with all that is highest and purest in

tions are still being received by Mrs. R. F. Abbot, as it is the inmusical expression. The press only clothed in fitting language the

tention to present every subscriber with a “carte de visite" general feeling of our best judges when it greeted you as one of the few

portrait of Mr. Benedict, should the funds permit. men of genius who are bold enough to deal with society as it is, in order to succeed in giving it fresh impulses towards the good and beautiful, and to make its appreciation of the musical art what it should BELFAST.-(From our own Correspondent.)-At Mrs. Robinson and be. This sentiment we heartily endorse, being satisfied that time and Mr. Loveday's third and last concert of this season their room was trial will cooperate to establish its truth.

filled to overflowing, a goodly portion of the audience being on the “But they who are held in honour by the world at large cannot stairs outside. The programme contained three quartets, by Mozart, countenance, and are altogether above listening to, expressions which Beethoven (No. 7, dedicated to Prince Rasumousky), and Haydn, will even admit of being understood as idle compliments, or as formal which were executed in fine style by Messrs. Loveday, Levey, Wilkinapplause, so that it would be difficult for us to utter our thoughts upon son, and Elsner ; a trio, by Mayseder, for piano, violin, and violoncello, your merits, as a whole, without seeming to tread upon forbidden ground.

whole without seeming to tread upon forbidden ground. | by Mrs. Robinson and Messrs. Loveday and Elsner ; a sonata, by To us you are more than you can be to the outside world, the members Dussek, for piano and violin ; and a sonata, by Beethoven, for piano of which would misunderstand us were we to speak our true feelings and violoncello ; in addition to which there were two vocal duets, sung upon the general question. Therefore it is that we do not now address | by Mrs. Robinson and a young lady, which gave a pleasing variety you as the author of The Brides of Venice, The Crusaders, Undine, to the entertainment. When we say that the audience listened or The Lily of Killarney, but as that Jules Benedict whom we honour throughout with attention to this long programme (too long by one as the founder and conductor of this Association, who has laboured third), we think no further proof is necessary to convince that there so earnestly to teach us how best to express the thoughts of the world's is a real taste for good music springing up amongst us, and we hope greatest composers, and who, amid difficulties and discouragements, which to see this fostered and encouraged by more frequent opportunities of would have daunted and deterred other men, has never failed to meet us hearing such performed in the same admirable style as by Mrs. with the same patience, good humour, and gentleness of manner, which, Robinson, whose playing is forcible, brilliant, and intelligent, and Mr. but too commonly are only exhibited in the hours of great success. Loveday, who, as a violinist, has scarcely his equal out of London. We heartily rejoice over the fact that your absence from us will be but The great success that has attended these concerts will of course brief ; and it is our earnest hope that, amid the scenes, and influenced as | induce the givers to let us have another series shortly ; at least we you must be by the musical associations of Germany, you will recruit hope so, and we are quite sure they would be equally or more sucyour physical constitution, so that when once more among us you will

cessful. be in the enjoyment of that health and strength, which is necessary for BEETHOVEN'S FAVOURITE PIANO.-On Dec. 27,1817, the grand pianoenabling you to bring to a successful issue your various plans and works. forte, No. 7362 in the manufactory of John Broadwood and Sons, was We hope, too, that in the future our increased attention to the parts sent to Beethoven at Vienna. The names of some of the most eminent assigned to us will prove more earnestly than words can do how highly resident musicians in England were inscribed on it, and, among others, we appeciate and value your instructions.

those of Clementi, J. B. Cramer, F. Ries, C. Neate, and Mr. Ayrton “In conclusion, we ask you to accept the accompanying Writing (editor of the late “ Harmonicon "). Streicher unpacked it at Vienna, case,' Ink-stand,' and · Book-easel,' as a simple but appropriate mark of and Mr. Cipriani Potter, residing in the Austrian capital, was the first to our profound respect. That you may long be spared to use them is our try it. Beethoven became so much attached to this instrument, that he earnest but most unselfish prayer; for, in that case, the musical treasures would allow no one to play upon it, and permitted Stumpff, only as of England will be largely increased, the language of harmony will be a favour, to tune it.

MORALS AND MUSIC HALLS.

description of them, which was prominently printed, not long since, in (From Punch.)

the Observer : – (A Confidential Letter to Tom Turniptoppe, Esquire, late of Greenley

It is, however, in the disgraceful scenes enacted in the drinking 'bars and saloons

wey | attached to these halls' that the greatest evils exist - eils which cannot fail of Bottom, Blankshire, and now of Blackstone Buildings, Temple.) exercising a fatal influence upon the frequenters of these places, of both sexes, who, My Dear Tom - You are a young man from the country, and have

in the tirst instance, go to hear a song, but become initiat din vice and immorality,

rendered more easy and dangerous by the seductive infuences with which they are seen little of town: I am - well, say thirty, and have seen a good deal

surrounded. The more respectable' the hall the more prominent is this feature. of it. You have come up, as you say, to “rcad" at Mr. Bluebagge's | These saloons are filled by men about town' of all ages and conditions, with and Chambers, and among the various papers which you will there peruse,

without characters; there may be seen the young and inexperienced clerk and the

heartless skittle sharp and blackleg, the patrician roué and the plebeian' fancy man ;' you will of course take care to read your weekly Punch. So what I .... This mixed crowd of folly and vice keep up a continuei chattering composed of have to say now is as sure to meet your eye as would be Mr. Sayers' obscene jests and vulgar repartees, to the great annoyance of the decent tradesman or

working man, who, accompanied by his wife or sweetbeart, may have visited the mauley, if you put on the gloves with him.

Hall' in the delusive hope of hearing some good staging, but whose ears are thus As your memory is young, you may not have forgotten that the other polluted with vulgarity and slang. It is this sort of thing that has driven, and is still night I talked to you upon the subject which the heading of this letter

driving, the respectable portion of society from these Halls,' and it is to provide

attraction for the more spicy' patrons that 'comic ladies' and other sensation perserves to indicate ; still I think it is as well to put in writing scmewhat formances' have been introduced. In these saloons the scenes that used to be enacted of the sound sense I imparted to you, for "segniùs irritant-" (you in the lobbies and saloons of the theatres are reproduced even in a worse and more

offensive form." know what our friend Flaccus says), and after a good dinner and a glass or two of claret, the voice of wisdom sometimes fails to reach the

Now, if a tithe of this be true (and, so far as I have seen, there has ears of youth.

been no denial of it), I think the less you go to Music Halls the better it You were telling me that evening in sentimental confidence that you

will be for you, and the better will it be, too, for your wife --when you really “rather liked” your pretty cousin Jessie, and that, now she is

are blest with one. Mind, I don't say stick at home too much in away from town enjoying the sea air, you found your evenings at your

solitude and smoke, and mope yourself to death while Jessie is away uncle's, where you are living, " awful slow.” Were it not that the Old from you. But I do say, when you take your pleasure out, go, take it Buffer (I think that was how you christened him) allowed you to go out

as an honest gentleman, and never enter places where you would (at directly after dinner, and let you have a larch-key, and come in when

least I hope so) blush to have her see you. At your age men can blush, you liked, you said you feared you might be tempted to cut your throat and the power is so enviable that you should take care of it. Music or swallow half a pound of prussic acid, just to pass away the time.

| Hall society is fatally destructive to it, for there are few worse snares to On this hint i spake. and asked you where you mostly went to youth than the vice that tempts a man by aped and acted modesty. spend the evening," as you young men call the hours between nine p.m.

So when you want to hear a song, or have a social smoke (both good and three. Well, I was not sorry to learn that, as you are not a

things in their way, if that be not a bad one), I say go to Covent dancing-man, you do not much incline to visit the Casinos. But I was

Garden and inquire your way to Evans's if you are still so verdant as not so pleased to find that, forasmuch as you like singing, you now and

never to have heard the name of Paddy Green. There is entertainthen drop in at what are called the "Music" Halls. My dear boy, ment fit for men, not beasts; there is music in the singing; there is malt surely you can't fancy you hear music at these places. Stupid, sense

in the beer; there is an ever courteous welcome by the cheeriest of less, silly, coarse and vulgar comic songs are surely not entitled to the hosts, and no crinoline or coarseness is permitted to intrude. name of Music; any more than clap-trap choruses, with every singer Trusting that my words may, when you seck amusement, tend to squalling out of time and tune, or noisy nigger melodies with bones and guide your steps aright, and wishing Jessie well and you the luck to tambourine kick-stamp-and-jump accompaniments. And pray, what | win her, music is there in the feats of Bounding Brothers, and gymnasts who ape

I remain, my dear boy, yours, believe me, most sincerely, gorillas, and contortionists in crinoline, and clowns who dance in clogs?

Punch. These are the chief attractions at the Music Halls just now, and what music is attempted is performed in such a din of talking tongues, and

MOZART IN 1786.—The year 1786 is one of remarkable richness bustling boots, and jingling glasses, that scarce two notes together can

in the annals of Mozart's wonderfully prolific career. The great ever reach the ear.

event of the composition of Le Nozze di Figaro began and ended in No, no, my dear boy, don't try to deceive yourself, or think to the month of April, followed by its production at the Imperial Opera gammon me. It is not the "music," as you call it, that you go for.

in the course of May, was one of such excitement as would have Nor do you attend there as a votary of Bacchus or of baccy, for the

caused any other composer to scek refreshment of his faculties in a drinks are simply beastly, and you get your smoke at home. What you

long period of repose. Not so with this greatest of all musicians, go for is society, and to speak out, more particularly feminine society.

who seems to have found refreshment in the very act of labour, and You are young ; you can talk; and (if the lips be pretty) you are fond

to have felt cnergy for a new task greater in proportion to the of being talked to. While Jessie was in town you were content with

importance of the work from which he had just risen. Handel's her society: nay, I will so far give you credit as really to believe you | rapidity appears nothing short of miraculous ; but we have, at least, preferred her conversation, simple prattle as it is, to the fast jokes and

time to wonder at the lightning speed of his thoughts, while investicoarse slang which with Music Hall frequenters pass for epigrams and

gating long periods that elapsed between the accomplishment of one wit. But now Jessie is away, you look elsewhere for consolation.

of his mighty mental efforts, and the entering upon the next Well, well. Such is life, and such is human nature. Boys will be

investigating without being able to discover one trace of the exercise boys, and youth will have its fling. There were no Music Halls to go

of his creative power ; thus we see he would write, perhaps, two to in the days when I was young: but there were dirty dens of vice / oratorios in as many months of a summer or autumn, and never called “ Theatre Saloons," and I fancy that in some respects Saloons | compose again until the same season of a following year. Mozart. and Music Halls were about much of a muchness. So I've no mind

on the contrary,-scarcely rested from the fatigue of the rehearsals to throw stones, or to preach a flinty sermon to you. But will you at of his opera, and still antioyed by the vexation of its original indifferent your leisure just ask yourself the question, will your Music Hall society | success in Vienna, -began, already in June, to renew the indefado you good or harm, and is not your indulgence in it just a little tigable exercise of his genius, and proved his powers to be ripe for selfish? Is it fair to Jessie, who you think does “care a little" for you. the ceaseless fresh demands he made upon them. He produced, in to seek in questionable company a solace for her absence? Will this and the following month, many works of great esteem ; and in you thereby make yourself more fit for her society, and at all enhance

August, besides the inestimable Sonata in F for pianoforte duet, he your relish for her pure companionship? After the fast company the gave the present Trio and the violin Quartet in D to the world. Music Halls afford you, may not Jessie's artless prattle appear a trifle

To the same ycar belongs the composition of the Symphony in D slow, and will her ears be charmed or shocked by the slang your tongue

1 (commencing with a slow introduction), the pianoforte concerto in is used to ?

C minor, and the one in C major, two Trios for pianoforte and string Oh there really is no harm in a Music Hall! you say. It's not like instruments, the musical comedy of Der Schauspiel Director, and a a Casino or a Bal, immoral. Well, peradventure it is not; although in

vast amount of other pieces, several of which can scarcely be deemed one, and that the worst, respect I own I have my doubts about it. But of minor importance, though they are less generally known. This is it quite the place for a gentleman to go to, or even for a greengrocer,

| everlasting readiness and untiring activity prove, more than volumes a chimneysweep, or costermonger, or “ any other man" (as your non- of anecdotes could do, our composer's natural spontaneity, and his sensical slang goes), who entertains a liking to be thought respectable ? genuine delight in the practice of his art ; and the proof is corro. A husband has, of course, no secrets from his wife ; but when by any

1 borated by the easy fluency of his music, for no pressure of necessity accident he drops in at a Music Hall, do you think she always may can ever force drops from a sterile imagination, and the severest depend upon his mentioning it? Would you like Jessie to know that power of circumstance cannot compel the brain to drudge upon a you frequent such places ? - especially if she have seen the following treadmill.-G. A. Maefarren.

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