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MENDELSSOHN'S PRELUDE AND FUGUE ÎN F MINOR (Op. 35). every fresh entry of the subject, and at each reappearance of the several Mendelssohn was singularly felicitous among the composers of his own fractions of this, until the original expression obtains such an accumulatime in his application of the several devices of counterpoint. His tion of power as it could derive from no other process of developement assiduous and carefully directed early study gave him a pre-eminent G. A. MACFARREN. command of these inestimable resources for a musician, and the admir MAD. LA GRANGE, since the death of her husband, has been living able freedom that always distinguishes his part writing is to be traced in retirement near Paris. On the occasion of her last benefit at Madrid, to the fluency he thus acquired. The art of counterpoint that is, of she took both the parts of Alice and Isabella, in Robert le Diable. combining two or more independent melodies, while maintaining an HANS SELING, & pianist and composer, who performed during the past individual interest in each-is especially exemplified in the composition year in Paris, and was said to have remarkable talent, died recently in of the fugue, throughout which, one subject is always paramount, its Prague, his native city, at the age of thirty-three. variety of effect being entirely dependent on the diversity of the several PRAGUE.-Alexander Dreyschock has returned from a protracted counter melodies that, at different periods, accompany this one principal professional tour, but will leave again in a few weeks for St. Peterstheme. No one, since Mozart, has been so completely successful burg, where he intends taking up his permanent abode, in order to as Mendelssohn in fugal composition; and the work, from which enter upon his duties as professor of the piano at the Conservatory of the present specimen is selected, contains ample justification of | Music there. this well-considered remark. This series is notable for the happy THE OPERA AT NEW YORK.-Notwithstanding the war times, our manner in which the peculiarities of the pianoforte are so advan. opera managers are very busily at work, Ullman will present in the tageously displayed throughout, while the contrapuntal characteristics fall to the New York public the great actress Ristori, and the great essential to a fugue are never disregarded ; and thus the several singer Titiens. In London it is rumoured that Grau is negotiating with pieces are, each in a different style, as admirable for the exhibition Grisi and Mario, while Maretzek already has his hands full.-New York of the technical powers of the instrument, as they are interesting in Evening Post. their abstract quality as musical compositions. Following the prece MUSICAL INSTRUMENTS IN THE INTERNATIONAL EXHIBITION - We dent of the great Bach, the composer prefaces each fugue by an have looked so far in vain for a full list of the awards for the best pianoindependent movement, which he calls its prelude, that has no affinity fortes, by which one might judge how the American instruments have with what it introduces, save in its sometimes analogous expression and stood comparison with those of other countries. The London Times, its always identical key. Such prelude is free in its construction, and we are told, declined to publish the awards in all departments, seeing while this is often capricious, it more frequently bears the form of a that the list would occupy some forty columns of that paper, leaving it regularly developed movement. As belonging to the latter class, wc no room, for at least one day, to revile the defenders of civilisation in are to regard the many preludes of Bach, in which he anticijnied a America. But it is very doubtful whether such a list, even if we had it, grand design of the chief division of the modern symphony or sonata ; / would furnish the comparison desired, because, as M. Fétis has informed and Mendelssohn has modelled the present prelude upon the same plan. us, there was only one kind of medal awarded in all cases, and that on Deeply pathetic is the expression of the chief theme of the prelude of | the ground of positive and not of comparative merit. It would seem which this is the initial phrase ;
as if the judges preferred to evade the question of individual precedence between several whom they place in the first rank. From M. Fétis wo gleen:-- 1. that “the kings in this category” (pianos) were, by general consent, the instruments of Broadwood (London), Herz (Paris), and Pleyel, Wolff & Co. (Paris), and that these instruments showed excellence
in all respects, in all kinds of pianos (although it appears that Broadwood and the second subject is even more plaintiff, while it is equally im exhibited only one kind, namely, “ Grands"); and 2. that the pianos passioned :
of Steinway & Sons (New York) were also found worthy of the medal for excellence in certain specified respects, which are of prime importance. A list of the awards to American exhibitors only has found its way into our newspapers, and from this we learn that medals were awarded to Steinway & Sons, for the “ powerful, clear and brilliant tone of piano,
with excellent workmanship shown in a grand, piano, and square piano This latter reappears after the recurrence of the first theme. Remotely of very large dimensions ; " and to G. H. Hultkamp, for " novelty of indifferent in character is the impetuous energy with which the fugue at vention in sound-board of piano, and for an important invention in once bursts upon us, and which it never loses through all the complica violins." The house of Chickering did not compete, nor did that of tions of its elaborate workings. The long-extended subject
Erard, and surely neither of them stood in need of prizes. The Steinway pianos seem to have had no American competitors ; but this need not detract at all from the prestige they certainly acquired there, among so many of the most famous instruments of Europe. - Dwight's Journal of Music (Boston).
An Idiot OR Á Pianist. - Do the ladies, whom he has so often astonished, wish to know M. Prudent's secret, and learn to advance as far as he in the art of making the fingers fly over the key-board, and execute, evenly, á very rapid cadenza, four or five minutes long There is nothing simpler. It consists in practising ten hours a day for fifteen years. You become thereby either a great pianist or an idiot of the tirst water, according to the amount of intellectual power you possess. If you succeed in this trial - so much the better for you ; if not, you are lost. — Lyons Paper.
An OBSTINATE ORGAN. — In a small church at a little village near Brighton, where the congregation could not afford to pay an organist,
they recently bought a self-acting organ, a compact instrument, well comprises its own principal counterpoint; that is to say, the answer suited to the purpose, and constructed to play forty different tunes. To enters at the sign* in the fourth bar of the above quotation ; and the sexton had instructions how to set it going and how to stop it ; but unensuing four bars constitute the accompaniment to this. The latter fortunately he forgot the latter part of his business, and after singing the four bars are here included in what is cited as the subject, because the | first four verses of a hymn before the sermon, the organ could not be two melodic figures presented in them have interesting importance in stopped, and it continued playing two verses more. Then, just as the the subsequent developement of the composition. A fugue is wont to clergyman completed the words, “Let us pray,” the organ clicked, and be considered as a certainly dull, perhaps ingenious, exercise of started a fresh tune. The minister sat it out patiently, and then renewed scholastic pedantry; and such, truly enough, it is often its ill fortune his introductory words, “Let us pray," when click went the organ again, to be ; but a fugue is also, though it may be less frequently, a medium and started off on another tune. The sexton and others continued their of the manifestation of one of the greatest qualities of genius — the exertions to find out the spring, but no man could put a stop to it ; so power, namely, of making restrictions conducive to the best effects; they got four of the stoutest men in the church to shoulder the perverse and such it has eminently proved to be in the instance before us, where instrument, and they carried it out down the centre aisle of the church, the wildly passionate outbreak from the pathetic despondency of the playing away into the churchyard, where it continued clicking and playprelude which it embodies, acquires an always increased intensity at ing away until the whole forty tunes were finished.
... 28. 6d.
The Musical World.
would have presented himself to our consideration before PACININI'A GH087.-- Next week.
Mr. Perren, not because we underrate the talents of the
latter gentleman, but simply because the former - a great NOTICES.
matter in a dramatic singer, it must be owned — was familiar To ADVERTISERS.- Advertisers are informed, that for the future to the stage. That the directors are indeed partial to be
the Advertising Agency of THE MUSICAL WORLD is established ginners in the histrionic profession is proved, not merely by at the Magazine of MESSRS. DUNCAN DAVISON & Co., 244 |
the engagement of Mr. George Perren, but by that of Mad. Regent Street, corner of Little Argyll Street (First Floor).
Laura Baxter, who, we believe, except in one character, and Advertisements can be received as late as Three oClock P.m., on Fridays—but not later. Payment on delivery.
under particular circumstances, never played in public. To
| be sure, Mad. Laura Baxter has a voice of the very finest . ( 1 wo lines and under Terms | Every additional 10 words
quality, and she is a great public favourite; but we fancy ... ... 6d.
these recommendations will not altogether smooth over the TO PUBLISHERS AND COMPOSERS.-All Music for Review in THE ' incompleteness of a tyro, and induce people to make allow. MUSICAL WORLD must henceforth be forwarded to the Editor, care of MESSRS. Duncan DAVISON & Co., 244 Regent Street.
| ances for shortcomings and inexperience. So talented a lady A List of every Piece sent for Review will appear on the Saturday
and so zealous an artist, nevertheless, we may feel certain, following in The Musical WORLD.
only requires time to instruct her, and point out the road to To Concert GIVERS.—No Benefit- Concert, or Musical Perform
accomplishment. ance, except of general interest, unless previously Advertised, can
In other respects the company is stronger than ever. be reported in THE MUSICAL WORLD.
With Miss Louisa Pyne and Mlle. Parepa heading the sopranos, there is no fear but that department will be efficiently represented; while the names of Mr. Santley and Mr. Weiss are guarantees for the excellence of the basses. Every one interested in the welfare of the Royal English
Opera will be delighted to learn that Mr. Weiss has rejoined LONDON: SATURDAY, AUGUST 30, 1862.
the company, which it is surprising he should have ever
quitted. VIE inauguration of the seventh season of the Royal | With Mr. Alfred Mellon as Director, we may conclude 1 English Opera demonstrates the unaltered energy and that the band is as admirable as in any former year, and determination of the directors. The difficulties to be over- | that the chorus are complete and effective. come this year were sufficient to constitute manifold stum A new policy as regards the performances is being pursued bling-blocks in the path of any enterprise. Miss Louisa by the managers, which, we are of opinion, will turn out Pyne and Mr. W. Harrison, however, were not to be daunted highly advantageous. It is varying the representations by apparently insurmountable obstacles, and went to work nightly, and ignoring that most intolerable of modern systems, with a will. A good tenor is an absolute necessity for an running a piece until it is literally run off its legs. operatic company. Mr. Harrison, whose dramatic power is | Moreover, by this means the same artists are not compelled unquestionable, except in his old original parts — in which to perform every night-- a custom than which nothing can it would be difficult, if not impossible, to find a successor - be more dangerous to the singer. appears to have resigned the sentimental lover, and to have On the whole, the Royal English Opera has commenced taken to personifying eccentric characters, finding, doubt- | the present season most auspiciously, and with every prospect less, no other singer who could give them the same force of a flourishing campaign; although there are some who seem and point. Thus in Mr. Balfe's last opera, The Puritan's inclined to think that operations have been begun too early, Daughter, he plays Charles the Second, and in Mr. Benedict's and that when the Exhibition closes, audiences will be Lily of Killarney he sustains the character of Myles-na- scarce. For that very reason, say we, the directors are justified Coppaleen, in neither instance undertaking the lover's part, in opening their doors some six weeks or two months sooner which ordinarily belongs to the first tenor. Last season Mr. than usual. Henry Haigh appeared as Hardress Cregan in Mr. Benedict's opera, and was very favourably received — at least by the general public. Mr. Haigh, although an indifferent NEXT to the famous Scena Cantante-known in England as artist, possesses a most agreeable voice — a quality which, N the “Dramatic Concerto "-Spohr's concerto in D minor we need hardly say, covers a multitude of sins in a singer — (performed by Herr Joachim at the Philharmonic Jubilee and, if not a Mario in acting, is at all events easy and Concert) is, with the majority of professors and advanced natural in his bearing and deportment. Why Mr. Haigh amateurs, the most admired of all the compositions, in an lias not been re-engaged we cannot surmise. Mr. George extended form, which its celebrated author has bequeathed Perren, who has replaced him, is a far better vocalist, but is to the instrument on which he so greatly excelled. Judged so entirely novel to the boards as to leave a sensible balance | simply as an effort of the imagination, the Scena Cantante i. Mr. Haigh's favour. Mr. Perren, it may be urged, will is entitled to the palm ; it is in a less essential degree improve, and therein lies the best hope of the directors. In abstract music, and reaches a higher sphere of beauty. the meanwhile both they and the public will have to wait. Moreover, it is dramatic, both in sentiment and form; and Mr. Perren, we understand, was never intended for the stage, the reader need scarcely be reminded that in all the maniin which case it might, perhaps, have been more prudent festations of art — be that art what it may — the dramatic had Miss Pyne and Mr. Harrison first considered whether - element carries with it a special attraction. In short, supMr. Sims Reeves, of course, for nine hundred and ninety-posing the principal instrument to represent the singer, the nino reasons, being out of the question — there was no dramatic concerto — but that no piece of such length would English tenor to whom the stage was no stranger. It is not be tolerated in any theatrical representation - might stand for us to dictate to managers, but assuredly, had we been very well for a grand operatic scena, in which the hero, or in the position of Miss Pyne and Mr. Harrison, Mr. Swift | heroine, under the pressure of agitating incidents, gives
utterance to an extraordinary variety of passionate feeling "Ist. The purpose of the Mozart-Institution is to assist persons posnow expressing his emotion in the contabile, now in the sessing musical talent in the study of the theory of composition. bravura style the sense of unity always preserved ; so that
“2. Young men of all countries where the German language is the
language of the people, may compete for this exhibition, provided they the illusion of one and the same individual being concerned
are of good reputation, and possess especial musical capabilities. throughout may never be lost sight of. Hence the popu “ 25. Applications to be allowed to compete for the stipend must be larity of the Scena Cantante (the most widely known of addressed, post-paid, to the Committee; they must contain a statement of Spohr's violin concertos) with the laity -- or, as Professor | the applicant's age, as well as certificates of his musical capabilities and Marx would say, “the outer world.” Musicians, however,
26. Should the certificates and references prove satisfactory, the while admiring all this, can also sympathise with something
| applicant will be required by the Committee to furnish them with of another kind which more immediately concerns their art. material proof of his musical capabilities. In the D minor Concerto though again, in the first move. “27. The applicant will be called upon by the Committec to set a ment especially, the character is passionate, and here and certain song, and compose an instrumental quartet. there, in a strict sense, dramatic — the music speaks an
“28. Three musicians of acknowledged authority will act as umpires."
33. The successful competitor will be placed under a professor of the independent language, and directly illustrates the famous theory of composition, to be chosen by the Committee, although the definition of Goethe: “The worth of Art appears most | student's own wishes will be consulted as far as possible. eminent in music, since Music requires no material, no subject
| All who are desirous to compete for the stipend, and are matter whose effect must be deduced. It is wholly form and
properly qualified, according to the above conditions, are · power.” This peculiarity in music, of being able to impress invited to forward their applications within two months. At without expressing any definite feeling, or describing any the same time, the editors of German papers are requested definite object, separates it from the other arts, and, in a to give as much publicity as possible to this announcement, large measure, accounts for the predilection of the greatest and are thanked in advance for their kindness. masters — even those who, like Mozart and Beethoven, have
The announcement is dated “Frankfort-on-the-Maine, excelled in opera, or Mendelssohn in oratorio, for purely
August 5, 1862," and signed, “ The Managing Committee of instrumental compositions, whether in the mould of sym
tions, whether in the mould of sym. the Mozart Institution." phony, concerto, quartet, or sonata. As an example of music exerting an influence entirely on account of the outward technical form and inward ideal beauty, which endow
To the Editor of the MUSICAL WORLD. it with life and the power to charm, the violin Concerto in
SIR,— As a contrast to Mr. John K. Paine's organ proD minor may be triumphantly cited. It is a master-work, D gramme given in your last, allow me to inform those of in which the polyphony of the earlier schools (when musi
your readers who take an interest in organic matters, that I cians loved to exercise their genius in fetters) is taken just
heard, two months ago, four performances at the International so much advantage of as to give freedom, solidity, and
Exhibition by London organists, and although their proindependence of parts to the composition, while the rich
grammes amounted in the whole to some thirty pieces, there glow of modern harmony, and the depth and variety of
was not a single organ composition in this large number.. modern instrumental colouring, proclaim it an offshoot of The music, in my opinion, was quite unsuited to the art in its full maturity. The violin is rendered, to all intents character of the instrument, and included such overtures as and purposes, the commanding instrument, never for an Zampa, Der Freischütz, Don Giovanni, William Tell. instant being allotted a subordinate part; but, on the other
Semiramide, L’Italiana, Fra Diavolo, the Bohemian Girl, hand, the under current of orchestral treatment is ceaselessly
&c., together with operatic scenas, Scotch airs, and pieces of interesting, and never allows the attention of the hearers to
a similar character, which no lover of organ music could for slumber. At times the violin may be likened to a fair and a moment defend. To me, the playing sounded more like stately ship sailing proudly on the bosom of a tranquil sea ; | large barrel organs at work, than anything else I can comat times, to a frailer bark tost by the wind-vexed billows; pare it to. It was not at all like an orchestra. If we are the master applying his orchestral resources with such feli
to have organ performances and adaptations, let us have city, that though to carry out the metaphor) the vessel is
something compatible, and let us also have at least one-half exposed to every change of weather—from calm to tempest,
organ music in each programme, say I. If all the organists and from tempest to calm it bravely faces every incident,
who give performances cannot play Sebastian Bach or Menand safely reaches the harbour of its destination. Perhaps delssohn, they perhaps could give us some of the simpler no composer in a more remarkable degree than Spohr has works of Rink or Adolphe Hesse. possessed the art of conferring variety and interest on his
AN ORGANIST IN THE NORTH. orchestral accompaniments, without ever interfering with the indispensable prominence of his solo instruments; and this because he knows how to display his materials with a clearness and to use a pertinent French idiom) sagesse
CORRESPONDENT writes to us about Handel's that enable him to join richness of details with symmetry
A Deborah:-“The occasional revival of the oratorio or of plan, while at the same time avoiding superfluous and
'sacred drama' of Deborah is not only advisable but inperplexing elaborations.
teresting. The first work of the kind on a grand scale which Handel wrote - for Esther was but a faint prophecy
of the great things to be afterwards accomplished - Deborah "THE Mozart Institution,” at Frankfort-on-the-Maine, has a twofold claim to consideration. The chief strength
T founded at the Vocal Festival held in that city in the lies in the choruses, in the art of constructing which Handel year 1838, intends to grant an exhibition or stipend to the had already at this period established a wonderful proficiency most deserving candidate, at the five-and-twentieth anniver- -the Coronation Anthem for George II. to wit. Of these, sary of its existence, in June, 1863. The award will be indeed, be availed himself liberally in Deborah, as well as of made in conformity with the following conditions contained an ode for Queen Anne's birthday, a much earlier producin the body of the statutes :
tion. Nevertheless, as the admirers of Handel are well
aware, there is quite enough of new matter in Deborah to ex- as careful exhibitors. Their instruments are judiciously and cuse these appropriations, even though among them are to be agreeably arranged, and throughout in good tune. All the enumerated the stately chorus, 'Let thy deeds be glorious,' French makers have taken care to provide virtuosos of the ‘Hallelujahs' at the end of the first and third parts, and every kind, to play their instruments in the Exhibition. other notable passages. Of the remarkable progress in | We found too in the quality of their productions a certain choral singing made by the members of the Sacred Harmonic standard of respectability, below which even the most Society no stronger proof could have been given than their insignificant did not sink. ... Among the English, the first performance of Deborah this season.”
firm of Broadwood stands first; next, but at some remove, come Hopkinson and Collard. A strange gentleman
obligingly opens for us the Broadwood “Grands," with PIANOFORTES AT THE INTERNATIONAL strong hand draws out the mechanism, and gives us an EXHIBITION.
explanation of every detail of the construction. His person
ality has something fascinating by its peculiar blending of (From the “ Presse" of Vienna.)
intelligence and kindliness. The bright brown eye, the The jury began their examinations with the Pianos - the youthful and elastic bearing, contrast finely with the grey “ distingué” and “refined" class of the sounding society. / hair and earnest furrowed brow. So, thought my neighbour, A delicate task! To be sure — thanks to the multitude of might å prime minister look. In fact it is the piano manumedals — there was scarcely room to fear that any good piano | facturer, Henry Broadwood. Who does not at once couple would go unhonoured. But if the prize distribution was with this name the representative of an imposing manufaceasy, the making up of an opinion was not. As for any turing and business industry? The nation is proud of the thorough musical trial, the Piano is no proper object for an achievements of this firm; it may well be proud of men like exhibition, at least not in a gigantic palace like the one at Henry Broadwood. The man, whose property, as long ago London. What piano player and that is almost as much as the first London exhibition, amounted to over two million as to ask what European - does not know the immense in- pounds, sits at six o'clock in the morning at work on his fluence of the locale on a piano? The same instrument, placed pianos. As great a gentleman as any other, he is yet proud here or there, can appear good or bad, can approach the tone to be a working man. In his factory-it is like a little of the organ or of the guitar.
town-lie knows every journeyman, every corner, every The Exhibition building is unfavourable for all pianos; arrangement. With a liberality without example, Broadwood but it is not equally bad for all. The French knew best | becomes the guide and explainer to foreign manufacturers in how to locate their pianos—namely, in the gallery ; also the his gigantic institution, so far is he from all littleness of even Englishmen and the Americans have found out more enclosed the smallest mystery or boast. And, zealous as we found and covered places in the hall. Thereby they stood at great him to instruct others, he was quite as much so to observe advantage, especially compared with the Austrian instru- and learn himself..... .. . ....... ments. It was with difficulty that we recognised pianos here, ... Such great English enterprises, by the gigantic dimenwhich had sounded very finely to us in the ateliers of their sions of their capital, their connections, their industrial makers in Vienna. The jury tried all the instruments just force and speculation, are more favoured than similar mabu• where they found them. The Paris jury (in 1855) had every factories on the continent. Broadwood's factory consists of instrument carried from the Exhibition to the same hall in two great establishments, one in Great Pulteney Street, the the Conservatoire, and there tried them. They carried im- | other, which is larger, at Westminster. The latter covers partiality so far as to have the names of the makers covered an area of more than half a mile in circumference, and up beforehand ; and then they had the different pianos played consists of four parallel rows of buildings, forming three by the same virtuosos, who played the same piece on them great courts. The buildings are 300 feet long, and contain, all. Then it was that the fearful event occurred which through three stories, a double row of workshops, in which Berlioz has described so humorously. Chopin's Etude in some 400 persons are employed on every stage of the process, F minor was tried on 299 pianos one after another. In the from the first sawing out of the wood to the finest mechanical course of this proceeding several jurors fainted, and some detail of producing a complete piano. At the ends of the virtuosos were carried off for dead. When the small surviving courts are four or five dwelling houses for the overseers and remnant approached the three hundredth piano, the instru- agents. In great sheds, partly open, partly covered, are ment, to the general dismay, began to play the piece of its huge masses of wood piled up for drying. To the Pulteney own accord, Nothing could be found to silence it. Finally, Street establishment the finished pianos are sent from the they called in the priesthood, who operated upon the clair- larger one, to receive the last touches. The number of voyant piano with incense and holy water, until the F minor workmen in the two factories amounts to 500 persons, fiend was happily exorcised. “On that day we played no including about forty tuners. The yearly outlay of the more."
Broadwood establishment may be reckoned in round numbers The reader need not fear lest we should reproduce him at 100,0001. They produce annually about 2,300 instrusimilar horrors black on white. We can only mention the ments—not less than all the Vienna makers put together. most prominent and most talked of. In the Austrian With such dimensions, certainly, the most ingenious division the two Grand Pianos of Streicher and Ehrbahr piano maker of Germany cannot compete. Next to England, take by far the first rank. Ehrbahr's Pianino was unani- North America is the land where such colossal manufactories mously recognised as the finest in the whole exhibition. ... can be developed, where talent and labour find the most In the French division the pianos of Herz and Pleyel stand | luxuriant soil, and, even in the want of capital, command at the head by their peculiar brilliancy and power of tone. I the help of credit. The Steinway family, from Brunswick, Erard is the only renowned master who has not exhibited ;) seem to wish to become for America what Broadwood is for a visit to his factory here has convinced us of the dazzling England, and Erard for France. excellences of his concert instruments.
Of the pianos of other countries there is little of importThe French deserve here, as everywhere, to be emulated ance to be said. Germany has sent a great deal that is
mediocre. By far the best hails from Bechstein of Berlin. He is the Broadwood of the Zollverein. The pianos of Breitkopf and Härtel (Leipzig) show that one may be the first notability in music-publishing, and at the same time a
HER MAJESTY'S THEATRE. rather insignificant pianoforte maker. André, in Offenbach, On Saturday Martha was repeated, and Signor Giuglini being indis. has exhibited one of his “Mozart pianos," i. e. a piano whose / posed, Mr. Walter Bolton undertook the part of Lionel at a short pitiful make is supposed to be redeemed, or even glorified,
ben clarified notice. It was followed by the mad scene from Lucia di Lammermoor,
for Mlle. Titiens. by the portrait of Mozart.
On Tuesday, Norma, with the divertissement.
To-night, Norma, given for the benefit of Mlle. Titiens, with other
performances, will bring the season to a close.
ROYAL ENGLISH OPERA.
The seventh season was inaugurated on Monday with the Lily of KilTue Mozart Relics. A catalogue of all the autographic
| larney, the triumphant success of which last year rendered its early promanuscripts, and other relics of Mozart, contained in the Mozarteum
duction this year a matter of necessity. The cast differed in two par
ticulars from that of last season, Mr. George Perren being substituted for at Salzburg, has been drawn up by Herr Carl Moyses, and published by Herr Duyle, of the above town.
Mr. Henry Haigh in Hardress Cregan, and Miss Thirlwall for Miss
Jessie McLean in Ann Chute. Mr. Perren has long held a distinguished MLLE. Parti has been giving, during the week, a series of place in the concert-room, and is an excellent artist. His voice is more operatic performances at the Theatre Royal, Manchester, with
sweet than powerful, and in ballad singing is particularly effective. Hence Signors Gardoni, Delle-Sedie and Ciampi.
his best efforts on Monday night were in the single songs, more especially Sig. Schira has left London on a visit to his family at Milan. in “ Eily Mavourneen,” which was unanimously encored: whilo in the
MLLE. TREBELLI, who recently arrived in Paris, has been sing concerted music he was not so successful. As an artist Mr. Perren has ing in a Concert at Colombes for the benefit of the Association of almost all to learn. Miss Thirlwall gives evidence of talent in every. Dramatic Artists.
thing she undertakes, and if, in her new character, she did not exhibit HERR SIGISMOND LEYMEYER has left London for Germany and the fine voice and dashing manner of Miss M'Lean, she at all events Switzerland.
showed a thorough familiarity with the music, and displayed abundance SACRED HARMONIC SOCIETY,- A second extra performance of the of earnestness in her acting. Of Miss Louisa Pyne's singing of the Messiah was given last night at Exeter Hall; the principal vocalists | music of the Colleen Bawn it is only necessary to state that it was as being, as before, Mlle. Parepa, Mad. Laura Baxter, Mr. Wilbye Cooper, enchanting and finished as ever, and that in the two songs, the vocal and Mr. Weiss.
gems of the opera, “In my wild mountain valley," and " I'm alone," she THEATRES IN Passion WEEK (Retrospect). -- The experiment of threw the audience into ecstasies. Mr. Santley, too, made a powerful keeping the theatres open during Passion Week is said not to have impression in the music of Danny Mann, which, we do not think, he been generally successful, at least not at the Opera. It would be ever sang with finer effect. Last, not least, Mr. Harrison's adınirably rather curious, if after all the fuss that has been made about the hard characteristic delineation of Myles-na-Coppaleen threw a bright gleam ship of managers not being allowed to give performances during the over the darker features of the piece, which made the people merry, and four days preceding Good Friday, the managers themselves should find sent them away happy at the end. Miss Susan Pyne sustained, as beit to their advantage not to do so. The great argument that used to fore, the character of Mrs. Cregan, and, as before, with great ability. be brought forward was, that, by the theatres being closed during The band and chorus showed no falling off from their former excelPassion Week, the singers, actors, musicians, sceneshifters — altogether lence, and Mr. Alfred Mellon at his old place in the orchestra was an army of employés --- were for the time thrown out of work and left proof that the directors were determined to carry things with a high without salaries. If the Lord Chamberlain allows the theatres to be kept open, and the public does not attend them, will the singers, actors,
There was an immenso attendance, and nearly every piece was called &c., get their salaries all the same?
for a second time - a proof of the extreme popularity of the music. LONDON REHEARSALS, OR No REHEARSALS (Retrospect).-We hear On Tuesday the Rose of Castille was given, and on Wednesday, that Meverbeer's vocal and instruinental work was received in London Dinorah. Mr. Balfe's opera was the means of introducing a new about five months ago ; indeed, that at least five months ago M. member to the company in the person of Mr. John Roase, who susMeyerbeer was inquiring if the rehearsals of his composition were soon tained thc character of the silly courtier, Don Florio. Mr. Rouse may to begin. They have not begun even now; and it is said that two
be complimented for his adherence to the author's intentions ; since to rehearsals is as much as any of the new music will obtain. This looks the character which Mr. George Honey's grotesque humour made very clever when it is brought forward in the newspapers as a proof of endurable Mr. Rouse restores much of its coarseness. Mr. Rouse's the rapidity with which things can be managed in this wonderful vocal ability seems to be of the most limited order. The Rose of country of ours, but it is not just to the composers, or to the singers, or
Castille also brought back Mr. Weiss to the English stage, his first to the public, or to the country. Our best orchestras and choruses can appearance for four years. Don Pedro is almost as thankless a part do what the best orchestras and choruses can do in other countries; but as the farcical Don Florio, and not even Mr. Weiss, its original it is never a matter of absolute certainty that they will execute a representative, can do more than sustain it with equable dignity and difficult, elaborate work the first or even the second or third time that weight. All the important music allotted to the character was, howthey experimentalise upon it in such a manner as to satisfy the com ever, sung by him with remarkable energy and effect. The ballad, poser. Whether or not they will be able to satisfy the Exhibition “ Though fortune darkly o'er me frown," was given with so much feeling Commissioners or Committee is a very different matter.-Ilustrated and power, that the audience insisted on its repetition. Times.
Mr. and Mrs. Aynsley Cook made their first appearance, the one as JOACHIM, not HERR.—The stringed quartets were, of course, led by the Innkeeper, the other as the Duchess. Mr. Harrison's spirited “ Mr.” Joachim, or whatever this admirable violinist ought to be styled. impersonation of the Muleteer is too well known to require a word of What the Hungarian for “ Mr.” may be we cannot tell, nor apparently comment; nor does Miss Susan Pyne need added praise for her old can any of our contemporaries. But to put “ Herr" before the name character of Carmen. Least of all should we omit to notice Miss Louisa of Joachim, the musician, who by simply playing the Rakoezy March | Pyne's irrcproacliable singing, equally conspicuous in the bravura airs on his violin, raises the patriotic enthusiasın of his compatriots to the that are poured in abundance from the lips of the Rose of Castille and highest pitch, and thus produces as great an effect as the most suc- / in the dreamy “ Convent cell," her exquisite singing of which never cessful orator could obtain, is not only a mistake, but almost an insult. fails to command an encore, werc it not for the unusual spirit with A Hungarian is no more a German than an Italian of Venetia is a which she gave the scena, “ I'm but a simple peasant maid,” in which German.-Illustrated Times.
Elvira mystifies the conspirators by her assumption of regal and rustic THE GRAND DUKE OF WEIMAR has accepted the Protectorate of demeanour. the “ German Musical Association," a league in the interests of " Music Dinorah also brought back a former member of the company in of the Future.”
Mlle. Parepa, who sustained the character of the poor love-crazed