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TO CORRESPONDENTS.

Tullus Hostimtjs asks for some authentic information respecting the Drcchster-Hamilton family.

Mr. A. Hamilton, the father, is a resident musician in Edinburgh of some standing. He had a complete education in Germany in his youth under the late Herr Schneider and other masters. He made the acquaintance of the Drcchsters, and married a sister of the late Louis Drechster, the violoncellist. Besides the father's instructions the children have had teaching in Germany, especially Bertha, who made quite a sensation at one of the courts there. This young lady, aged 12, plays the 1st violin ; Emmy, aged 10, 2nd violin; and Charles, aged 14, the violoncello. The father plays the viola in the quartets, and the pianoforte in the other pieces. The children, in addition, all play the pianoforte.

NOTICES.

To Advertisers.Advertisers are informed, that for the future the Advertising Agency of The Musical World is established at the Magazine of Messrs. Duncan Davison & Co., 244 Regent Street, corner of Little Argyll Street (First Floor). Advertisements can be received as late as Three o' Clock P.M., on Fridaysbut not later. Payment on delivery.

~ f Two lines and under 2s. 6d.

8 trms t Every additional 10 words dd.

To Publishers And Composers.All Music for Review in The Musical World must henceforth be forwarded to the Editor, care of Messrs. Duncan Davison & Co., 244 Regent Street. A List of every piece sent for Review will appear on the Saturday following in TnE Musical World.

To Concert Givers.No Benefit-Concert, or Musical Performance, except of general interest, unless previously Advertised, can be reported in The Musical World.

(the jgtorical Wioxh.

LONDON: SATURDAY, AUGUST 2 3, 18 62.

LET us TAKE A LESSON.
To the Editor of the Musical World.

SIR,—The accounts of the great Handel Festival in London, which have already been laid before the readers of the Boston Journal of Music, suggest some things which we might emulate over here to good advantage to the cause of music in the country, even should we have to begin on a comparatively small scale. Of the great moral public good of such Festivals there cannot be any doubt. If only by gathering together the musical faculty and feeling that lies scattered here and there in individuals and in separate small communities, and by concentrating it all for a time upon some high and glorious attempt at expression, like the worthy rendering of a Handel oratorio, it is clear that the love of music, the artistic aspiration and enthusiasm, must be largely quickened and developed; that it must become deeper, purer, stronger where it existed already, and must spread beyond the former narrow circles of its influence. After such hearty general cooperation, such concentrated effort and such triumph, a new artistic fervour must be generated, and the result will be truer inusic-lovers and more of them. Another good effort will be to dignify and consecrate such musical life ns may be in us, feebly and blindly struggling for existence, or indolently running towaste. A high and noble task is set to all the singers; immortal masterworks, full of sublimity, of beauty that can never grow insipid, of meaning ,which we enter into more and more as we enter more deeply into the mystery of our own life, are to be performed, brought

out, interpreted, made manifest to all ears and all souls; and it is only by forgetting himself in the whole, by partaking of a common enthusiasm to the last, as much as in an army fighting for his country, that the individual member fully and fairly does his part, and at once gives and gets the value of his labour and his time. All this combined labour is expended upon subjects which are high and worthy, upon works of Handel, Bach, Beethoven, Mendelssohn—worksof genius which has not trifled with itself, nor compromised the divine gift for mean considerations, works to which Music points as her title-deeds to equal dignity with other Art, with Science, Poetry, Philosophy, Theology itself. Engage all the singing choirs and circles of the towns in preparation for a joint production of the Messiah, or Israel in Egypt, or Elijah, and you divert so much of the so-called musical taste, that is scattered all about, from trivial indulgence, from wasting itself on sentimental, superficial, trashy music; you lift it above the humdrum of too temptingly easy, unedifying, unrewarding common-places, like so many thousands of the psalm-tunes made to sell, by ministering to the lazy and yet steady appetite which they perpetuate. (Those things beget a lazy habit in the musical propensity, which, lazy as it is, is still a great consumer, too lazy in fact to digest any other than the characterless food which the psalm-book makers keep supplying in quantity as inexhaustible as the quality is unexhausting, as for any strength there may be in it.) A Handel Festival, then—or if you please a Bach Festival, or a Mendelssohn Festival—is an admirable organisation to draw the musical passion and activity of a people into a worthy and a high direction, to enlist its sympathetic zeal, its esprit du corps, in an effort wherein they may begin to feel some realising sense of Art. For listeners, as well as singers, what an initiation those memorable three days at the Sydenham Crystal Palace must have been into the music of Handel; how much they must have done to make Handel's sublime conceptions known and appreciated!

And now we come to the feature in this Festival, which, if well considered, may be turned to good account among ourselves in America. We have seen that not less than one hundred and twenty English towns and cities were represented in the Handel choir. We have seen, too, that the Handel Festival takes from this time forth the character of a permanent institution, and will recur triennially. If one hundred and twenty towns have been busying themselves for a year past in preparing for it, how many more towns is it not certain will bestir themselves to have a part in the next one, and fill up the three years' interval with practice on the mighty choruses? We see at once that it ensures the practice of all the local choirs and singing bodies through all England, during the next three years, upon the music which is best worth their study, which is most stimulating to high artistic earnestness, most satisfying, most improving, and most wholesome to our social, moral, spiritual nature. These choirs studying their lesson in so many towns, these local "contingents" of the Grand Choir, the Festival chorus, are so many "camps of instruction," for ever organising, drilling, and keeping all ready against the actual campaign, which is the next Triennial Festival. Who does not see that it ensures an immense amount of wide-spread, welldirected, wholesome musical activity, and that such camps of instruction, with high active service, full in view, must develope musical resources as rapidly as they do military? One year of their influence must produce more improvement, than many years of all our present singing schools, church choir meetings, musical "conventions," and what not. And for this reason: that a unity of aim, of spirit and of method must prevail throughout; a common loyalty connects the remotest members to the head; and the head in such a case, the bringing out of such great works on so great a scale, must necessarily be the very highest musical authority and faculty in the community; his influence then, (or their influence, if we suppose a central controlling committee,) must extend down through all the ranks, even to the humblest, most remote "contingent." The lowest choir, away down in the most elementary stage of practice, has all the time an upward reference to the highest, to the head that directs all, to the high purpose for which all are labouring, and to which that head stands nearest. In the English town and choir practice for the Festival, Mr. Costa becomes virtually the teacher of them all, virtually, though it be vicariously, present in all their several localities. In fact this unitary drill for the Handel Festival, through all the camps, sets Handel himself, standing behind Costa, to teaching and educating the choral masses of all England. So here we have a bona-fide Academy, improvising itself for a special occasion, and teaching by authority of the very highest, on a uniform method, by one and the same inspiration, throughout the length and breadth of the whole land. We are no longer dependent on a hundred little rival teachers and "professors," a hundred separate crude notions and experiments; even the rivalries, and varieties, and the vanities of the several teachers are absorbed into one greater current, enriched by them all, correcting, reconciling all, and tending to a common purpose, over which presides a real head. Now all this, I say, which has been done in England, we in America, in Massachusetts certainly, may emulate, although at an humble distance and with far smaller means. We, too, may have Handel Festivals. Indeed we actually have had one, only a few years ago here, in our Music Hall, under the lead of our Handel and Haydn Society, in Boston. Musically, socially, it was a great success for a first experiment. It should have been followed up till it became an institution; but the pecuniary reward fell so far short of the moral that the managers have not thus far had the courage to try again. If the first trials of steamboats and cotton factories had been as readily abandoned, we should now know neither of those blessings. Certainly enough was done to show what could be done in Boston, with more time and preparation. Three days of Oratorio, with Symphony concerts interspersed, a glorious orchestra, and an effective chorus of 600 voices, left an impression on all hearers, which through all their lives will be inspiring.

We can and wc ought to do much better, and do it periodically, until it becomes a part of our national existence. Now is always the best time to begin it; and now none the less because we are engaged in war. "In time of peace prepare for war" is a good maxim ; but it is equally good the other way—in war prepare for peace. We war in defence of our civilisation, and it is well to keep civilising influences and agencies in as full and steady practice as the times still permit. It would be the worst possible economy to abandon them altogether, to let art and gentle culture "slide," because fighting has become imperative. It is not more recruits that music wants, so much as clearly understood high direction and proper organisation with those "already occupied with it, to make their studies and their efforts bear upon a high purpose in a more favourable future. The plan may b? arranged, and, however far off the execution, the nuclei may be established and set to practising, the "camps of instruction" may be opened here and there among the towns and choirs, and much of all that is done may tend to make the Festival, in God's good time, possible. Who will

set the ball in motion? who will undertake it? Here is an opportunity for our old Handel and Haydn Society;— or for a new society, if they lack the impulse;—or for one energetic, organising, and enthusiastic man, who may have it in him to lead, or find the leader. Better than either, perhaps, would be, that the Directors of the Boston Music Hall should take the initiative; this might obviate the difficulty of possible jealousies or questions of priority between societies, or professional leaders. They have the place, the temple for it; they will soon have in it the noblest organ on this continent, one of the noblest in the world; they represent the purely musical aspiration of the community, and could mediate between professional interests; they too might command the capital necessary to outlive the one or two first possible failures (pecuniarily) of the experiment and put it on a firm foundation, while they would represent that disinterested desire of Art for Art's sake, which would ensure the appropriation of the profits to the public ends of Art. J. S. Dwight.

Boston, Massachusetts: August 9, 1862.

ACORRESPONDENT who signs himself "A German in London," wishes to know why in England, where it is made a matter of boast that the "great masters" are held in such profound reverence, and good music is so dearly and universally prized, so little respect is paid to the most illustrious composers at the Italian Opera? He affirms that such performances as Guillaume Tell, the Huguenots, Masaniello, and other works of the French repertory at the Royal Italian Opera, would not be tolerated at the Grand Opera of Berlin, and on that ground insists that there is more "true regard " for music of the best kiud in Prussia than in England.

If there was no music but operatic music, we might perhaps feel inclined to take part with "A German in London," since, indeed, we have had, even at our "model" operatic establishment, but too frequent causes for complaint, apropos of the sad havoc made with the scores of operas. The changes and excisions which have been effected in such master-works as Guillaume Tell and Masaniello are nothing short of profanation, and cannot be defended on any ground of expediency. If abbreviations are rendered imperative by the extreme length of the operas, surely it would be better to leave out whole pieces — even entire acts — than destroy the compactness and completeness of one perfected number. Rossini and Auber are both consummate artists, and have written nothing in their graver works without a great artistic purpose. When, therefore, we find Guillaume Tell and the Muette so irreverently hacked and cut about as they are at Covent Garden, we are tempted to think that "A German in London" is not altogether in error, and that, as far as regards the music of the theatres, they manage these things better in Germany. As the press seldom or never complains, the general public are ignorant of their loss, and putting the most implicit faith in the musical director, are satisfied with the results, and accept all with gratitude. The director, with perhaps the loftiest notionswof Art, and a real worshipper of the composer, is allured to do evil that good may follow. He draws his pen across the score of Guillaume Tell here and there, and while ruthlessly mutilating one of the most consummate works of Art bequeathed by Slusic to the world, haply consoles himself with the reflection that the mutilation was necessitated, that it was impossible to give the work in its integrity and entirety, and that, to sow a love and admiration of it in the popular mind, it was requisite to present it even in a broken state, and call attention to its beauty and greatness by degrees. But this excuse cannot be pleaded. The grandeur and completeness of the productions is blazoned on walls and in journals, is proclaimed authoritatively by the management, and the world is called upon to pay homage to a stupendous work of art, brought out with every regard for its worth and magnitude.

The best defence the musical director can set up is the lateness of the hour at which the performances commence, altogether precluding the possibility of giving the whole of an opera belonging to the French grand school, and enforcing him to reduce the period of the representation within certain limits. He has a difficult task assuredly. Obliged to condense, the work is sure to suffer, and critical objurgation must inevitably follow. Judgement and discretion, however, are at his command, and with these, when it is imperatively called for, abridgement may be effected without injury, and change accomplished without radical subversion.

At Berlin the director is required to make the slightest alteration only. The audiences are educated to operas of excruciating length, and look for no less, and as the performances commence an hour and a half earlier than with us, the use of the pruning knife is not demanded. So far, certainly, "A German in London" is correct when he states—alluding to operatic performances — that even the French show more respect to the "great masters" than the English. But the Opera is the true field of the musical glory of the Gaul. It is there they collect their largest and most stately forces, display their proudest banners, and achieve their greatest victories. It is not to bo wondered at that a Frenchman's educated intelligence should acknowledge no other musical arena, and that a battle on such ground, however interminable and boisterous, should be received with gratitude and tenderness. That a Frenchman has greater patience or a more hungry desire for operatic music than an Englishman cannot be denied. P.

THE following sketch will give a fair idea of the fortunes of the Theater an der Wien from the earliest date. The materials for it are taken from the rich store of information which Dr. Leopold von Sonnleithnerr has collected towards a history of the theatres of Vienna.

As far back ns the year 1783, Herr Wilhelm, a theatrical manager, erected a theatre in the riding school of the edifice belonging to Count Losi, in the Wieden, but it was soon closed. In 1786, a certain Herr Franz Leimberger also erected a theatre in the Wieden, in the house known as the "Tin Tower." But this theatre, like the other, was speedily shut up. Subsequently Herr Rossbach built a theatre, opened October 7, 1787, in the large courtyard of Prince Starhemberg's mansion, on the spot where the steward's house afterwords stood.

On the retirement of Herr Rossbach, the management was undertaken, in the year 1788, by Herr Friedel and Emanuel Schikaneder,* who, in 1791, obtained a regular license. Instead of Herr Friedel, first Herr von Bauernfeld, and then Herr Bartholomew Zitterbarth (a merchant), entered into partnership with Schikaneder. The last two, encouraged by the continued good business, resolved to build a large new theatre on the Wien, and to transplant their company thither.

* Emanuel Schikaneder was born at Regensburg, in 1751, and died at Vienna, September 21,1812.

Zitterbarth advanced a considerable portion of the money, and the new house, built by Herr Jager, on the plans of Herr Rosenstengel, Imperial architect, was opened on June 13, 1801, with Alexander, an heroic opera in two acts, libretto by Schikaneder, music by Franz Teyber, and an introductory piece entitled Der Trautn des Thespis [The Dream of Thespis).

In 1802, Schikaneder gave up the license to Zitterbarth alone. The latter sold the theatre, in 1804, to Baron Peter von Braun, who had managed both the court theatres since' 1794, and who, from February 15, 1804, undertook to manage the Theater an der Wien as well. He sold it again, in the year 1807, for the sum of a million florins, in bank-notes, to A company of noblemen, among whom were Prince Nicholaus Esterhazy, Prince Schwartzenberg, Prince Lobkowit2, Count Lodron, Count Ferdinand Palffy, Count Zichy, and Count Ferdinand Esterhazy, to whom he made over, also, the remainder of his lease of the two court theatres. In a few years, however, the society was dissolved on account of disagreements among the members. Prince Esterhazy left it first, and then Prince Lobkowitz. At the fewest of Count Ferdinand Palffy, the Emperor, in January 813, put both the court theatres under the care of the state, and appointed the Baron Claudius von Flilzod manager. Count Palffy came to an agreement with his noble partners, and took the Theater an der Wien on his sole responsibility.

Oh January 20, 1817, Carl Friedricli Hensler entered on the artistic direction under Count Palffy, but gave it up in six months. As the receipts did not cover the expenses, Count Palffy obtained permission to have the theatre drawn for in & public lottery, and at the drawing held on August 31, 1820, a certain Herr Mayer, from Tirnau, was the winner. Count Palffy bought this person's rights, and retained the theatre, which, from December 1, 1821, he made over to the lessee of the Imperial Opera House, Sig. Domirtico Barbaja, from Naples, to be carried on for their mutual benefit.

On August2l, 1822, both operatic companies were united, and placed under the management of a music committee, the chairman of which was Count Robert W. von Gallenberg. This amalgamation lasted till the end of March 1825, when Barbaja's lease expired. The Theater an der Wien was still carried on, though with only indifferent success, for a few months, but, on June 1, 1825, it was closed indefinitely. On August 19, 1825, the theatre was reopened by Herr Carl Barnbrunn—then manager of the Isarthor Theatre, Munich, who had gone with his company to Vienna for the purpose of giving performances, which he continued up to April 30, 1826, after having, from November 1, previous, incor* porated in his own company the members of the Pension Fund of the Wiedner Theatre. From May 15 to July 15, 1826, the theatre was carried on by the united companies of the Josefstadt Theatre and the Tlieater an der Wien, under the direction of F. Hensler's heirs, and then, from October 3, to December 15, 1826, by Herr Carl (Bornbrunn) and Company. On December 15, 1826, in consequence of an execution having been issued, the theatre was put up to auction, and knocked down to the heirs of Baron Wimnier for the sum of 147,000 florins. It was then kept closed till June 27, 1827. On June 28, 1828, Carl and Co., having taken a leaso for six years, reopened the theatre. Meanwhile, the Baron von Hruschowa (as one of Baron Wimmer's heirs) obtained permission, in April 1828, to have the theatre again played for in a lottery. Notwithstanding this, the theatre remained in the possession of Baron von Hruschowa and his heirs, and the lease was extended to April 1845.

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At the auction of April 15, 1845, Herr Franz Pokorny (at that period proprietor and manager of the theatre in the Josephstadt) bought the Theater an der Wien for 199,000 florins, and managed it up to his death, on August 5, 1850, when it went to his heirs, and was carried on by his son, Herr Alois Pokorny.

National Choral Society. — The Messiah was performed at Exeter Hall on Wednesday evening, by the above Society, under the direction of Mr. G. W. Martin, the solo vocalists being Mad. Laura Baxter, Mr. Wilbye Cooper, and Mr. Weiss. The hall was so crowded that another performance is announced for Monday week.

Crystal Palace.(Communicated.)—The great excursion of the Foresters last Tuesday, when 83,721 persons were present, passed off without the least accident to the assembled thousands, or appreciable damage to the gardens and Palace. The large excess of visitors was doubtless owing to the unusual number of excursionists from the provinces and abroad visiting London for the International Exhibition. It is anticipated that as the harvest progresses excursion visitors will still increase in numbers. The liberal policy of the directors of the Crystal Palace, in providing some special daily attraction, is evidently appreciated by the tens of thousands visiting the Palace ; and as it is found to be the great convenience to the excursion public to know beforehand the speciality provided for each day, a weekly list is issued, in order that choice may be made by visitors of the day most interesting to them. On Monday, Tuesday, and Wednesday next the great Poultry, Pigeon, and Rabbit Show will be held, and as upwards of eight hundred pens are entered for exhibition, a very large show is anticipated. On Thursday, 28th, M. Blondin will exhibit on the high rope over the fountains. The extraordinary display Blondin made at the Foresters' fete has popularised his exhibitions, if possible, to a greater extent than heretofore. For those who prefer witnessing Blondin's feats without the fear excited by the great elevation of the high rope, he will give a low rope representation, in the centre transept, this day (Saturday), which is now a Shilling day. Yesterday the Great Fountains played their full height. Each of these displays requires upwards of one million nine hundred thousand gallons of water, the centre jets being higher from the basins than Bow church steeple from the lovel of Cheapsidc. Besides the above special attractions, a very interesting meeting will be held on Wednesday, of the Deutches Turnfest, or German Gymnastic Association. Great attention has of late been given throughout Germany to institutions connected with athletic sports and exercises; and one held last autumn created the greatest public interest, many thousand Germans taking part in the proceedings. This will be the first gathering of the sort in this country, and is likely to excite considerable attention.

M. Roger, tho tenor, offers for sale in lots, his estate of Villiers-surMarne. One clause in the contract binds purchasers to preserve for ever the names given to these lands, thereby perpetuating the glory of the principal lyrical works in which the singer has distinguished himself. So that the streets, avenues, alleys and roads will bear the following names:—"Grand avenue du Val-Rogerj" "Avenue Halevys" "Boulevard Meyerbeer;" "Boulevard Auber;" "Allee de la Favorites" "Alice de la Dame Blanche;" "Avenue dn Prophetej" "Avenue des Mousquetaires;'' "Avenue des Huguenots;" "Avenue de la Siring" "Avenue de la Reine-de-Chypre;" "Avenue Haydee;" "Avenue de l'EnfantProdigue;" "Avenue du Domino Noir;" "Avenue de Juif-Errant;" "Avenue de la Part-du-Diable;" "Chemin d'Herculanuin;" "Chemin de Lucie," "Allee de l'Eclair;" "Allee de la Figurante."

Carmarthen Mdsical Society.—The last concert but one of the season Waa entirely successful. The appointment of Mr. Whitaker (formerly of Halifax), as conductor, has proved a judicious step on the part of the committee, the concerts having progressed under his management, and their value been enhanced by the formation of an effective chorus out of (it must be owned) very rough materials. On the present occasion the band played the overture to Masaniello, the march from Le Prophite, and two dance pieces, while the chorus gave "See the chariot at hand," the part-song "Dawn of Day;" part-song, "Down in a flow'ry vale," and "Hail, smiling morn." The solo vocalist was Miss Burnett, who was encored in the Brindisi, from La Traviata, and an English ballad.

Health And Magic. —Why spend your money in paying for a Turkish bath, when you can go to Exeter Hall and get into a copious perspiration, and be squeezed to a degree equal to any shampooing, for the small sum of from half-a-guinea to thirty shillings, and hear an oratorio into the bargain tPunch.

Italy (Dnttns.

— ♦—

ROYAL ITALIAN OPERA.

The season terminated on Saturday with the fifth performance of Auber's Masaniello, on the whole one of the best since the "revival." The house was crowded in every part, and the opera was heard from end to end with unmistakeablu satisfaction. Sig. Mario on Saturday was in splendid voice; and his vocal declamation alone might have been a lesson to those who are capable of profiting by good examples. Thus the "musical" was not—as is Sometimes the Case—thrust into the shade by the "histrionic" part of his performance. Mad. Dottini, the successor of Mile. Battu, as Elvira, has a pleasing voice—what is wanting being that experience without which proficiency, in the absence of positive genius, is not to be expected. Sig. Graziani's Pietro exhibited a little more spirit than usual; but the genial barcarole in the last scene would be infinitely preferable if given from beginning to end in as nearly as possible the same time, instead of being so sentimentally " dragged" in the second part. Mile. Salvioni's Fenella improves on acquaintance; and though, strictly speaking, it is a choreographic rather than a dramatic representation of the character, it is the most graceful that has been witnessed at the Royal Italian Opera since Pauline Leroux, who—with the exception of Monti, tho " Rachel " of Pantomime—was, perhaps, the best ever seen in London. The band and chorus need no praise. The overture, as usual, was enthusiastically redemanded; and the prayer in the market-scene made its accustomed impression. As a lyric spectacle this revived Masaniello is one of the most remarkable in the annals of Covent Garden, and scene after scene, situation after situation, raised the sympathy and applause of the audience.

After the opera the National Anthem was given—much as usual at the Italian Opera—the audience, according to custom, rising to the familiar strains.

HER MAJESTY'S THEATRE. The performances at reduced prices, "without the restriction of evening costume," seem to answer the purpose of the management. The first eight were succeeded by four others, the last of which took place on Saturday, for the benefit of Sig. Giuglini; and these were so well attended that a third series is to follow. The most admired operas of the repertory have been alternately presented, Robert le Diable, the Huguenots, Norma, and the Trovatore—owing chiefly to the splendid voice and fine dramatic genius of Mile. Titiens, "the German Grisi" — attracting the most crowded houses, and meeting with the most unanimous approval. Now that Mile. Trobelli, the Sisters MarchisiO, and other artists have taken their departure, indeed, Mile. Titiens and Sig. Giuglini-—supported by M. Gasser and Sig. Vialetti, as barytone and bass, with the diligent Mad. Lcmaire as contralto, second soprano (" comprimaria ") or anything that circumstances may require, and Mile. Michal, the Swedish bravura singer, for such parts as Mar guerito and Isabella—must sustain the whole weight of responsibility in the operatic line, until Mr. Mapleson may think it expedient to close the doors of Her Majesty's Theatre, and allow us the opportunity of making a few general observations on-this his first and in many respects highly spirited and creditable campaign.

The opera on Saturday night was Flotow's Martha — about which little more need be said than that Mile. Titiens and Sig. Giuglini were received with the same favour as usual in the characters of Lady Henrietta and Lionel; that Mad. Lemaire played Nancy, Sig. Bossi Tristan, and Sig. Vialletti Plnmkett; and that the accustomed "sensation" was produced by Mile. Titiens in "The last Rose of Summer," by Sig. Giuglini in " M' appari tutt' amore," by Sig. Vialetti in the apostrophe to "Beer," and by the four principal singers in the quartet at the " Spinning Wheel."

After the opera "a descriptive lyric, in four parts, the music by Antonio Giuglini," was given for the first time, much in the same manner as regards stage effect, and with much the same enthusiastic, or seemingly enthusiastic, manifestations as Signor Verdi's memorable cantica, written for, but not accepted by, Her Majesty's Commissioners for the International Exhibition. The name of the descriptive lyric is L'Italia, and its purport very similar to that which lent to the composition of Sig. Verdi an interest far more than commensurate with its poetical, and a little more than commensurate, even with its musical merits. The " Antonio Giuglini," whose name figures as composer of the music, is no other than Sig. Giuglini, the esteemed and justly eminent tenor, who undertook a conspicuous share in the performance. Part I. is devoted to "a festival in celebration of the opening of the first Italian Parliament, contains an orchestral prelude, followed by a dance with chorus ("Viva L'ltalia"), in waltz measure. Part IL presents us with the touching spectacle of an Italian mother, who, at the siege of Gacta, had lost two of her sons, but — generosa donna, esempio di virtu e damor patrio — comforts herself on beholding "the breach in the battlements which leads to the final and triumphant assault, and with patriotic ardour joins in the victorious shouts of the besiegers. This is conveyed in a recitative, interspersed with " a march in tho distance " (suggestive of the glad event in question) ; a slow air : —

"Madrl, spose, non tremate

Sul destmo de vostri carl;

Donne ltaliche esultate, *

Son gli eroi di libertaV* &c— thoroughly in keeping ; and a martial allegro (" Quando la tromba "), in which the chorus takes part. In Part Ill., a ".mysterious voice from within" (voce mortale questa non e) bids the Italians rejoice; the "Genius " of the country exalts the patriotism of Victor Emmanuel; and, lastly, one—in the name of the people—declares that, next to God, the most holy love of Italy is due to Italy's king,—

"rendlce o messia

Astro a te di liberta."

This is conveyed in a recitative and terzetto, with chorus, including solos for tenors and baritone, or bass. In Part IV., the "Genius of Italy" exults over the new destinies of the country and the consummation of the "memorando cvento," concluding with an apostrophe to the king, to which the people respond with Salve Vittorio il grandel" —a resumption of the festival-song and dance, bringing the "Descriptive Lyric Ode" to an end. It is remarkable that in the whole course of the "Ode" not a single allusion is made to the hero of the "Two Sicilies." The English translation of the Italian text is nevertheless conveniently "free "—as though to make it serve a more comprehensive purpose than that for which it was originally and ostensibly written (some years since)—viz., "the celebration of the opening of the first Italian Parliament." Take an example :—

"Terra di Dante, compiasl
It memnrando pvento,
11 gndo tut, dell'anima,
Solenne grido, io scnto.
Dall'Alpc al mar ll spande,
• Salve d'ltalia il Re !.'"

Which is rendered as below by the translator :—
"Oh. land of Dante, may his wish,'
It is hope, be now accomplished.
One heartfelt cry one solemn sound,
Throughout the land is spreading,
From Alps unto the ocean—
'God save Italia I
One Italy, one King !'"

Tho literal prose rendering of the stanza, however, would be as follows:—" Land of Dante, the memorable event be accomplished I The cry of your soul — a solemn cry—I hear. From the Alps to the sea it spreads—' Save the King of Italy !'"

The " Ode " was performed with every conceivable accessory of stage effect. The celebration is supposed to take place outside one of the gates of the city (Turin ?), which is triumphantly decorated with flags, standards, streamers, and all the insignia of patriotic demonstration. The costumes of the singers and actors are appropriated to the circumstance, the Garibaldian paraphernalia being conspicuous. Mile. Titiens, who represented the " Madre Italians," was dressed in an imposing suit of black, with a tri-coloured scarf, and as, brandishing the Italian colours, she rushed forward to declaim the martial strain, "Quando la tromba" (like Rachel, with tho "Marsellaise," in 1848), she fairly electrified the audience. Her performance was, indeed, throughout magnificent, and would have impressed her hearers under less exceptional circumstances. Of course, Sig. Giuglini (the "Genius of Italy ") was all that could be wished in his own composition, and gave tho solo "In gemevi" admirably; nor could the apostrophe of the people's representative (" Dopo Dio, l'nmor piii santo") have been more effectively delivered than by M. Gassier, whom the Garibaldian dress became to the life. The recitative allotted to the "Voce miseriosa" was thoroughly well suited to Mad. Lemairc. The band and chorus, under Sig. Arditi, displayed extraordinary zeal in the performance of their somewhat obstreperous, if not very arduous duties. We have purposely left all consideration of the music to the last. The talent of Sig. Giuglini as a composer must be judged in an inverse ratio to his talent as a singer. Those who esteem him an indifferent singer (and we should think they are very few) may probably accept him as an excellent composer. Our own high estimate of Sig. Giuglini in the former capacity has been frequently and emphatically pronounced. We shall not attempt to describe the "enthusiasm" that followed the termination of the performance. It was big. Giuglini's benefit; and the bouquets, wreaths, and crowns that were showered upon the stage, and which—like the

» "The Union of Italy " (Translator's footnote).

"recalls "—he shared with his accomplished associate, Mile. Titiens, were no more than a well-earned tribute from the public to an industrious and<deserving favourite.

On Monday the 7Vot>afor«,"with Sig. Giuglini's new ode L'ltalia.

On Tuesday Lucia di Lammermoor, and L'ltalia.

On Thursday Norma and L'ltalia. On this occasion Mr. Swift was substituted for Sig. Armandi, in Pollio, and was B decided improvement. Our admirable English tenor showed his thorough familiarity with the Italian repertory, by undertaking the part at a short notice, and singing the music to the entire satisfaction of the immense audience, who applauded him in every scene, and recalled him after the trio with Mile. Titiens. Mile. Louise Michal sang the music of Adalgisa with great effect, and certainly, as far as regards the singing, sustained the character better than any artist we remember for years. The house was suffocatingly full.

Vienna. — From a private letter, addressed to Mr. A. W. Thayer, the "Diarist" of Dwight's Journal of Music, by Dr. Chysander — author of the new German biography of Handel, of which only the first two volumes have yet appeared—the following is a translated extract :— "The third volume of Handel will come out towards the end of 1862. ♦ #*»•*# Before this third volume of Handel, that is about Easter, I shall publish Jahrbncher musihalischer Wissenschaft, vol. i. Among the contents I shall have—1. Pinetor's Definitorium, (printed in 1840) in Latin with a German translation edited by Bellermann ; 2. Two short essays by Hauptmann; then an article by myself upon three German Folk's Songs of the fourteenth century; 4. History of the Musical Chapel and Opera at Brunswick from 1580 to 1760 (Pratorius, Schlitz, Grann). 5. Handel's Organ accompaniment to his Oratorio Saul, and a criticism of Rimbsult's edition of the same; 6. Origin of "God Save the King" (a long article); — and close with "criticism of the most important new works upon music." Then follows something in relation to another proposed article, in which, he adds, "I promise myself that these Jahrbiicher (year books) will have many a good influence upon art. For myself they offer no other advantage than this, for I receive not a penny of pay for my labor — all is gratis. However, what is necessary must be, and can by God's help be accomplished." "If we only had more Chysanders! — sighs the "Diarist."

Boulogne.—The Philharmonic Society of Boulogne have given two Concerts with M. Thalberg, at the Salle des Concerts, Rue Tibloquin, the second of which came off on Wednesday in presence of a brilliant and distinguished audience. M. Sighicclli, violinist, and Mad. Corinue dc Luigi, vocalist—said in the bills to be the pupil of Rossini—assisted as soloists. M. Thalberg played the fantasia on Lucrezia Borgia, the "Last rose of summer," '• Home, sweet home," and fantasia on La Muette di Pvrtici—all his own composition — and Chopin's Marche Funibre. The great pianist was vociferously applauded in every piece. Mad. de Luigi attempted an air from Semiramide, the rondo from Cenerentola, the brindisi from Lucrezia Borgia, and "La Separation," dramatic melody, said in the bills to be composed expressly for her by Rossini. M. Sighicelli, a really good player, pleased much in Artot's Souvenirs de Bellini and Ernst's Carnaval de Venise. The band played the overtures to the Philtre (Auber) and Diadeste (Godcfroia—not Balfc)—no very extraordinary display for a "Philharmonic Society."

Boston (Massachusetts).— Mr. John K. Paine had an audience of four or five hundred persons, at the Tremont Temple, to listen to his thoroughly competent interpretation of the great organ compositions of Sebastian Bach at his second performance in Tremont Temple. That even this number of people should manifest the desire to hear music for which the taste has been so little cultivated, and even the ear so little formed in our country, is a sign of progress in a high direction; still more, that they should sit deeply impressed and delighted, as nearly all appeared to, to the end of such a programme as the following :—

Prelude and Fugue in G

Trio Sonata in G, 1st movement . . . . ]
Choral Variation (by request) . . . . [ Tj-.l

Toccata in F (by request) t llac^

Choral Variation, " By the Waters of Babylon." j

Fantasia and Fugue in G minor ... .J

Concert Variations on 11 Old Hundred." . ,|. v

"Star Spangled Banner" p. m. r,lne- _

The Prelude and Fugue in G, with its long and curious theme, was received in wondering silence, as was the Fugue with which Mr. Paine opened his former concert. Naturally those, who could best appreciate its art and feel its beauty, were not of the class much disposed to clap their hands whenever they enjoy. The performance was admirably clear, connected, firm; the several voices taking up the subject, whether by manual or pedals, being kept distinctly individual, while crowding and swelling on like waves to a grand cumulative whole; for therein is the very charm and secret of the fugue, therein is it the type of all

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