Oldalképek
PDF
ePub

"THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT MUST BE DEDUCTED: IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES"— Göthe.

SUBSCRIPTION-Stamped for Postage-20s. PER ANNUM

Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28 Holles Street, Cavendish Square, London, W.

VOL. 40-No. 36

SATURDAY, SEPTEMBER 6, 1862

PRICE {

4d. Unstamped
5d. Stamped

GLOUCESTER MUSICAL FESTIVAL.

THE 139th MEETING of the THREE CHOIRS (Gloucester, Worcester, and Hereford), for the Benefit of the
Widows and Orphans of the Clergy in the Three Dioceses,

SEPTEMBER 9, 10, 11, 12, 1862.

President His GRACE the DUKE of BEAUFORT. | Vice-Presidents-The LORDS-LIEUTENANT of the Counties, and the Right Revds. the BISHOPS of the Dioceses.

Patrons The Nobility and Gentry of the County.

STEWARDS.

Sir GEORGE SAMUEL JENKINSON, Bart., High Sheriff, Eastwood.

The Right Hon, the EARL of COVENTRY, Croome Court.
The Right Hon. the EARL of ELLENBOROUGH, Southam.
The Right Hon. and Rev. the LORD DE SAUMAREZ, Cheltenham.
The Right Hon. the LORD FITZHARDINGE, Berkeley Castle.
The Hon. COLONEL BERKELEY, M.P., Wickselm Berkeley.
The Hon. C. P. F. BERKELEY, M.P., Fishbourne, Chichester.
Sir MICHAEL E. HICKS-BEACH, Bart., Williamstrip Park.
Rev. Sir EDWARD H. V. COLT, Bart., Hill, Berkeley.
Sir C. WM. CODRINGTON, Bart., M.P., Dodington.
Sir MARTIN H. CRAWLEY BOEVEY, Bart., Flaxley Abbey.
Rev. Sir LIONEL DARELL, Bart., Fretherne Court.
Rev. Sir GEORGE PREVOST, Bart. Stinchcombe, Dursley.
Rev. Sir J. H. C. SEYMOUR, Bart., Canon of Gloucester.

R. S. HOLFORD, Esq., M.P., Weston Birt., Tetbury.

JOHN ROLT, Esq., M.P., Ozleworth Park, Wotton-under-Edge.
EDWARD HOLLAND. Esq., M.P., Dumbleton, Evesham,

JOHN J. POWELL, Esq., M.P., Temple, London.

The Right Worshipful the Mayor of Gloucester, E. BOUGHTON, Esq.

The Sheriff for the City, W. C. TUNSTALL, Esq.

JAMES ACKERS, Esq., Prinknash Park, Gloucester.

GRANVILLE E. L. BAKER, Esq., Hardwicke Court.

JOHN F. FORTESCUE BRICKDALE, Esq., Newland, Coleford.

JOHN A. GRAHAM CLARKE, Esq., Frocester, near Stonehouse.

C. F. CREGOE COLMORE, Esq., Moor End, Cheltenham.

G. C. COLQUITT CRAVEN, Esq, Brockhampton Park.

R. PAVIN DAVIES, Esq., Ridgeway, Narberth.

JOHN C. DENT, Esq., Sudeley Castle, Winchcomb.

J. H. ELWES, Esq., Colesborne, Cheltenham.

W. H. H. HARTLEY, Esq., Lye Grove House, Chippenham.

C. BROOKE HUNT, Esq., Bowden Hall, near Gloucester.
SAMUEL S. MARLING, Esq., Stanley Park, Stroud.
THOMAS MARLING, Esq., Pittville, Cheltenham.
CHARLES J. MONK, Esq., Chancellor of the Diocese.
RICHARD FOLEY ONSLOW, Esq., Furnace House, Newent.
T. GAMBIER PARRY, Esq., Highnam Court, near Gloucester.
RICHARD POTTER, Esq., Standish House, Stonehouse.
WILLIAM P. PRICE, Esq., Tibberton Court, Gloucester.
PURNELL BRANSBY PURNELL, Esq., Stancombe Park, Dursley.
JOHN WADDINGHAM, Esq., Guiting Grange, Winchcomb.
T. W. WYNNIATT, Esq., Stanton, Winchcomb.

The Venerable ARCHDEACON THORP, Kemerton Rectory.
Rev. Canon MURRAY BROWNE, Standish Vicarage.
Rev. Canon C. E. KENNAWAY, Chipping Campden.
Rev. ROBERT BAMFORD, Mickleton Vicarage, Broadway.
Rev. F. T. J. BAYLY, Brookthorpe Vicarage, near Gloucester.
Rev. W. H. BLOXOME, Jun., Stanton Rectory, Winchcomb.
Rev. CHARLES E. DIGHTON, Micheldean Rectory.
Rev. HUGH FOWLER, College Gardens, Gloucester.
Rev. C. MUSGRAVE HARVEY, College Green, Gloucester.
Rev. EDWARD HASLUCK, Little Sodbury, Chippenham.
Rev. A. KENT, Coln St. Aldwyn Vicarage, Fairford.
Rev. THOMAS PURNELL, Staverton, Cheltenham.
Rev. HENRY RICE, Great Rissington, Burford.

MORNING PERFORMANCES IN THE CATHEDRAL.

TUESDAY, SEPTEMBER 9, at 10.30.-A FULL CATHEDRAL SERVICE. The SERMON will be preached by the Right Rev. the LORD BISHOP OF
GLOUCESTER AND BRISTOL.
TUESDAY, at 1.30, THE SACRED ORATORIO, "CREATION." WEDNESDAY, SEPTEMBER 10, at 11.30, The SACRED ORATORIO, “ ELIJAH.”
THURSDAY, SEPTEMBER 11, at 11.30.-"HYMN OF PRAISE" (Mendelssohn), and a Selection from "JUDAS MACCABÆUS."
FRIDAY SEPTEMBER 12, at 11.30.-THE SACRED ORATORIO, “MESSIAH."

EVENING PERFORMANCES IN THE SHIRE HALL.

ON TUESDAY, WEDNESDAY, AND THURSDAY, AT EIGHT O'CLOCK. A GRAND MISCELLANEOUS CONCERT.
PRINCIPAL VOCAL PERFORMERS:
MLLE. TITIENS, MISS ELEONORA WILKINSON, MLLE. PAREPA, MAD. SAINTON-DOLBY, MAD. LAURA BAXTER, MR. SIMS REEVES,
MR. MONTEM SMITH, MR. WINN, MR. WEISS, AND SIGNOR BOSSI.
CONDUCTOR
MR. AMOTT.

[ocr errors]
[ocr errors]
[ocr errors]
[ocr errors]

The BAND and CHORUS, including the first talent in the kingdom, will const of upwards of THREE HUNDRED PERFORMERS.

Note. PERSONS RESIDING AT A DISTANCE can be supplied with Tickets, and have places selected and secured, by enclosing the amount of Tickets and Postage,
by Post-Office Order or otherwise, to Mr. JAMES HENRY BROWN, College Gen, Gloucester.

TICKETS Sold by Mr. EDMUND NEST, Bookseller, 155 Westgate Street, where Plans of the Seats may be seen from Ten till Six o'clock.
To the ORATORIO, each Morning, Numbered and Reserved Seats in the Nave, with a Book of the Words, 15s.; Raised Seats, Numbered and Reserved, West End of the
Nave. 10s. 6d. ; Aisles, 3s. 6d.
To the CONCERT, each Evening, First Division, Secured Seats, 10s. 6d. ; Second Division, Secured Seats, 7s. 6d.; Back Seats, 3s. 6d. There will be a BALL after the
Concert on Tuesday evening, to which the Concert Ticket admits.

On FRIDAY EVENING, A FULL DRESS BALL. Tickets, Ladies, 10s. 6d.; Gentlemen, 15s. (Supper included).
The Doors of the Cathedral and Shire Hall will be opened one hour before the Service and the Porformances. Programmes in detail, and any information may be obtained
No. 36

J. H. BROWN, Secretary to the Stewards.

MUSI

WOR

NEWSPAPER

PROVINCIAL TOUR, OCTOBER, NOVEMBER, THE LONDON ACADEMY OF MUSIC,

and DECEMBER, 1862.

[blocks in formation]

MR.

R. C. J. HARGITT begs to announce his Arrival in town. Communications regarding terms for Pianoforte Instruction, &c., may he addressed to the care of Messrs. CRAMER, BEALE & WOOD, 201 Regent Street, or to Mr. Hargitt's residence, Thurloe Cottage, Thurloe Square, Brompton, S.W.

A GENTLEMAN, aged 28, a Writer upon Art, is

desirous of obtaining a post as Secretary or Clerk, or in any capacity where business habits, literary ability, good address, and a disposition to make these generally useful, might be required. Good references. Salary moderate. 67A St. Paul's Road, Camden Town.

FIRST CLASS MUSICAL BUSINESS FOR SALE.

A GENTLEMAN, who is about removing to London,

wishes to dispose of his Practice, which is the best in one of the most important towns in the kingdom. Any one competent to take an Organist's place in a Church, and a Conductor's in a large Choral Society, will likely obtain both these appointments. All communications to be addressed to X. Y. Z., care of Mr. Metzler, 37 Great Marlborough Street, W., without delay, as haste is necessary to prepare for the winter campaign.

To save trouble, none need apply without having the command of £300.

[blocks in formation]

ST. JAMES'S HALL.

[ocr errors][merged small]
[blocks in formation]

HENRY WYLDE, Mus. Doc. 4

Harp, Herr Oberthur.
Violin, Herr JANZA.
Violoncello, M. PAQUE.
Italian, Signor MAGGIONI.
Elocution, Mr. RYDER.

Lady Superintendent, Mrs. DAY.

This Academy is designed for Vocal and Instrumental Students, Ladies and Gentlemen (Professional and Amateur), desirous of receiving a complete Musical Education from the best London Professors on the terms of the Continental Institutions.

THE FEE IS FIVE GUINEAS PER TERM.

The year is divided into Three Terms. The next term commences Thursday September 11. Candidates desirous of entering as Students are required to attend at the Hall on either Tuesday, September 2, or September 9, between 10 and 2 o'clock. Prospectuses of Mr. Austin, at the office, St. James's Hall, Piccadilly.

DURHAM CATHEDRAL.

THE APPOINTMENT of a TENOR SINGER to the September next.

The Trial will take place on the Thursday and Friday of the preceding week, immediately after Morning Service.

All Applications and Testimonials must be sent in, addressed to Mr. EDWARD PEELE, Registrar to the Dean and Chapter of Durham, at his office, in the College, Durham, on or before Wednesday, the Tenth day of September next.

The travelling expenses of the Candidates who shall be summoned to the trial will be paid by the Dean and Chapter. College, Durham: July 23, 1862.

ASHDOWN & PARRY (successors to Wessel & Co.)

beg to inform the Profession that they forward Parcels on Sale upon receipt of references in town. Returns to be made at Midsummer and Christmas. Their Catalogues, which contain a great variety of Music calculated for teaching purposes, may be had, post-free, on application. London 18 Hanover Square.

J. FINCHAM, ORGAN-PIPE MAKER, VOICER, and TUNER,

110 EUSTON ROAD, LONDON.

Amateurs and the Trade Supplied at the Lowest Terms.

[merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][ocr errors][merged small][ocr errors]

ARIE D'ANNETTA'S NEW (Characteristically Illustrated). "What Next Quadrilles" (Robin's Last), with cornet accompaniment "The Spirit Rapping Polka," dedicated to all spirit-rappers' mediums "The Llewellyn Waltz," dedicated to Mr. Backwell, B.M. 3rd R.W.M. London: DUNCAN DAVISON & Co., 244 Regent Street, W.

[merged small][merged small][merged small][ocr errors][ocr errors][ocr errors][ocr errors][merged small][merged small][ocr errors][merged small][ocr errors][ocr errors][merged small][merged small][merged small][merged small][merged small][ocr errors][ocr errors][ocr errors][ocr errors][merged small][ocr errors][ocr errors][ocr errors][merged small][merged small][merged small][merged small][merged small][ocr errors]

PARIS.

(From our own Correspondent.)

"M.

Paris, Sept. 4. MUSICAL Paris has for the moment emigrated to BadenBaden, where the Béatrice et Bénédict of M. Berlioz has just been followed up by another opera this time a grand opera-from the pen of M. Ernest Reyer, composer of La Statue. Of this new work, which rejoices in the classic title of Erostrate, and the book of which is the joint labour of MM. Méry and Pacini, I hope to send you an authentic report next week. Meanwhile, my private correspondence assures me that it has met with a highly flattering reception. Sig. Salvi, manager of the Opera at Vienna, who declined the new opera of M. Anton Rubenstein on the pretext that it bore the same name as a recent successful work of M. Felicien David-viz., Lalla Rookh (or "Roukh" as they write it here), is coming to Paris to judge for himself what further resemblance there may be between the two works. In all probability, then, M. Rubenstein may be the involuntary means of helping M. David's Rookh to a hearing in the Austrian capital, an advantage that but for him it might not have enjoyed at least for some time to come-had M. Rubenstein's Rookh been produced. At all events, Rookh for Roukh seems in the cards. By the way, the scenic machinery of the new opera now erecting at Vienna, to replace the tumbling-down old "Karntnerthor," is to be exclusively put in motion by the unprecedented expedient of a steam-engine of eight-horse power. What next? Letters just received from Spain contain a paragraph or two of "news " which may interest your readers. Sarolta-Bagier (or Bagier-Sarolta) has already completed his 'troop' for the autumn and winter season of the Royal Opera at Madrid. His first ladies are Anna La Grange (Mr. Lumley's mazurka-singer in 1851), Carrozzi Zucchi (whoever she may be), and Sidonia Vander-Beck (whoever she may be); his contralto, Meric-Lablache (the Mlle. de Meric of the earlier days of the Royal Italian Opera, London, who married one of the sons of " Papa Lablache' -' notre père à tous,' as Salvi used to call him); his tenors, Geremia-Bettini (whoever that 'Jeremiah' may be), Gaetano-Fraschini (Mr. Lumley's 'tenor of the curse'), and Ranieri-Baragli (qu' est ce?); his barytones, Giraldoni (ask Mr. Mapleson about him, or Sig. Verdi, who recommended him to M. Bagier), and Cotogni (qu'est ce?); his basses, Bouché (of the Lumley 1847'), and Rodal (qu'est ce ?)." The catalogue is not very promising-ne sourit pas, as we say in France. Spain, by the way, has never yet heard the Prophète! Benighted Spain! Barcelona at last, however, is going to set Madrid a good example, and bring it out forthwith. M. Verger, director of the Lyceum (Liceo), has not only determined to give his subscribers Meyerbeer's chef d'œuvre, but to present them with no less than three Fides-es (pass the word) in succession, viz. a Teuton (Rosa Csillag), a creole (Tedesco), and a Bolognese, or Parmesan, I forget which (Borghi-mamo). Bravissimo, M. Verger! Barcelona persistently takes the lead as an operatic city in the Peninsula; and this new mark of spirit on the part of M. Verger is another coup-demain at the expense of dreary, dusty, swaggering, and pocketproud Madrid.

But to recross the Pyrenees. The Prophète, the Hugue nots, and the ballet of L'Etoile de Messine, preceded by Xacarilla, have been the entertainments at the Opera, where Mad. Vandenheuvel-Duprez ("Caroline Duprez" that used to be "Lumley " 1851) is the Bertha and Margaret to the Fides and Valentine of Mad. Tedesco and the Jean and Raoul of M. Gueymard. The last representation of the

Huguenots was the 368th since its first production. The rehearsals of La Muette de Portici (Masaniello), which is to be revived with great splendour, are actively proceeding, as also of the new two-act opera ("lever de rideau") of M. Massé, and the new ballet which Taglioni (the "Taglioni") is preparing for her favourite and favoured protegée, Mlle. Emma Livry. Dalayrac's Deux Mots has been revived at the Opéra Comique with but indifferent success; and on the same evening Mlle. Chollet-Byard-" premier-prix" of the Conservatoire, débuted with success in Adam's Taureador. More of these "events" in my next. The Italian Opera opens on October 1, with Flotow's feeble- - very feeble. Stradella. The Salle Ventadour is re-leased to Sig. Calzado for a term of from two to five years, should the privilege be renewed at the end of two years, the actual proprietor having the right to compel him to retain the Theatre for the whole term of five. I will endeavour to unravel this mystery for you in a future letter.

MUSIC IN BERLIN. (From our own Correspondent.)

We have had a debut at the Royal Opera House, the débutante being Mad. Richter, from the theatre at Basle. The opera selected by the fair aspirant for public favour was Beethoven's Fidelio, in which she, as a matter of course, assumed the principal part. One of the greatest difficulties with which the management has to contend must, undoubtedly, be to find a lady to replace a celebrity like Mad. Köster, for such she must, in every respect, be denominated. In the present mournful state of the opera in Germany, where the art of singing-if art it can be called-is running more and more riot every day, and where the paucity of genuine and properly trained vocalists is increasing with terrible rapidity, this difficulty must be a most serious one-all the more serious because, in the classic school of music, there is nothing to be effected by mere cross naturalism, unaided by a thorough course of conscientious and well-directed study. The higher the position occupied by Mad. Köster, one of the few duly accredited highpriestesses of dramatic singing, who belonged to a better time, the more allowance ought we to make-bearing in mind the present state of things for such fair artists as would follow in her It is true line of business, to adopt a professional expression. that this allowance should be made rather in the case of young beginners, endowed with natural talent, and giving promise of future excellence, than in that of persons who appear, in all they do, to have attained their artistic apogée. To these last belongs Mad. Richter. Her voice, a mezzo-soprano, has long passed its prime ; a certain vocal routine does not supply the place of correct phrasing

and impressive warmth of feeling; while, in difficult passages, the way in which the lady undisguisedly counts the tempo proves that she has not sufficiently mastered the purely musical part of her task to display the requisite freedom in the histrionic portion. Added to this, her manners are those which characterise the member of a provincial theatre: she frequently takes breath in the middle of a word, and she is altogether deficient in good taste; so that the effect she produces is, on the whole, despite many pleasing qualities, a far from satisfactory one. The management cannot be blamed for giving every person a trial. I only hope, for its own sake, as well as for that of the public, that it may at last succeed in discovering and retaining the best available talent. For theatres of middling rank Mad. Richter would, decidedly, be a valuable acquisition, but, most assuredly, she is not competent to fill the position of a prima donna at the Royal Opera House, Berlin. Herr Krause was excellent in the part of Rocco, a part peculiarly suited to his powers. Mile. Zochiesche's singing, as Marzelline, was correct and sure, but it would add much to the effect of her performance if she could moderate the somewhat shrill sound of her voice, and get rid of a certain tameness which attends all she does. Herren Betz (Pizarro), Krüger (Florestan), and Koser (Jacquino), acquitted themselves of their often difficult tasks with commendable zeal. The second appearance of Mile. Antonini, as Elvira, in Auber's Muette de Portici, confirmed me in the opinion I formed of her at her first performance of the part. Selling played Fenella for the first time, and took the audience quite by surprise. She is a pupil of Paul Taglioni, and displays great aptitude for pantomimic impersonation. Her movements and gestures are as attractive as they are natural, while her appearance is exceedingly graceful and pleasing. The remaining principal characters-namely,

Mad.

Masaniello, Pietro, and Alfonso, were intrusted to Herren Woworsky, Fricke, and Krüger, respectively.

The manager of the Friedrich-Wilhelmstädtisches Theater, whose activity in producing new and old operas, or operas rarely performed here, cannot be sufficiently praised, has just brought out a youthful work by Rossini. It is a two-act operetta, entitled Bruschino, composed, probably, for the carnival season in Italy. This is tolerably evident from the burlesque and scant libretto, but the music throughout bears the stamp of the composer of Il Barbiere. The cantitenas interwoven with solfeggios, and the invariably flowing and well-conceived concerted music, are so many testimonies of the great talent which once captivated everyone with its tones, and the works of which, such as Guillaume Tell, Il Barbiere, Mose, &c., still constitute the gems of every repertory. A critical analysis of the eight numbers which form the operetta is the more unnecessary as Rossini's peculiar style, in all its pleasing light charm, has been so frequently, and at such length, described and discussed. The execution presents no difficulties, and all the parts are of easy compass. The overture in which (another evidence, by the way, of the work having been written for a carnival audience) the violinists are directed to tap, at times, with the back of their bows on the brass, was very judiciously omitted, in order not to begin by leading the audience astray. The concerted music is highly effective, especially the charming quartet of the second act, in which the parodistical element is displayed with great talent, and the finale with the repetition of the melodious polacca. The performance, thanks to the way the operetta had been rehearsed under the direction of the conductor, Herr Lang, afforded unmistakeable proof of the great pains taken by all concerned. Mlle. Härting overcame, with much skill, the many bravura difficulties of a Rossinian soubrette part, and played, moreover, with great humour and effect; in the quartet just mentioned, especially, she was most warmly applauded. The bass voice of Herr Leinauer was heard to advantage in his first buffo air, and in the pleasing cantitena which commences the final trio of the first act; while Herr Leszinsky was equally good, both vocally and dramatically. Herr Schindler might exaggerate a trifle less. His face and gestures are too frequently most unlike those of any human being I ever beheld. The fact of there being no chorus in the operetta, renders the latter all the more practicable for small theatres. From the interest evinced, and the applause bestowed by the audience it is certain that no manager would have cause to regret adding to his repertory this operetta, which is for most people, remember, a novelty by Rossini, and, as a matter of course, interesting to every lover of music.

Letters to the Editor.

-

SIG NOR GIUGLINI.

-

VALE.

Sir, The unvarying kindness and good-will which I have experienced at the hands of the English press and public render it imperative on me to remove, at once, the slightest suspicion that I am capable of repaying that kindness and goodwill with negligence or discourtesy in the fulfilment of my professional engagements. I trust, therefore, that I shall not be deemed to trespass overmuch on the patience of your readers by soliciting your permission to insert the following rectification of a statement which appears in the Observer of Sunday, August 24:It is there implied that by my not singing, on Saturday night, at Her Majesty's Theatre, in the opera of Martha, and in the cantata Italia, I have overstepped "the limits to the treatment which an operatic manager may receive," If the writer of that censure had taken the trouble to make himself more exactly acquainted with the real facts of the case, he would never, I feel convinced, have penned remarks as little founded in justice as they are imbued with critical courtesy. My non-performance on Saturday evening was occasioned by the express injunction of my medical adviser, Dr. Babington, George Street, Hanover Square, who strictly prohibited me from singing at all for ten days-considering that the temporary weakness of my voice proceeded from my having overstrained it by continuing to sing during the previous week, when I ought to have taken rest. Early on Saturday morning Mr. Mapleson was made acquainted with these facts, and in the afternoon, for his complete satisfaction, I myself brought and placed in his own hands Dr. Babington's certificate.

With a firm reliance on the justice and discernment of the public, in the estimate which they may form of the above facts, I have the honour to be, sir, with every sentiment of respect, your most obedient servant, ANTONIO GIUGLINI,

CHERUBINI.

(Continued from p. 532.)

[A gap occurs between this and the last published chapter, which will be supplied at a future period.-Ed. M. W.] THE Germans have frequently been reproached with allowing their great musicians to starve during their lifetime. There is some truth in the accusation, though the evil is not so great as it is asserted to be by popular report, which generally singles out a few individual cases, and ignores hundreds of a contrary description. But that other countries, also, and among them France, which is always so highly extolled, affords instances of great artists being neglected, is proved by the case of Cherubini, who, till he was nearly sixty-that is to say, during the far greater portion of his life—had to struggle with pecuniary difficulties.

Cherubini received nothing from his parents. He was the tenth child of a family of twelve, all of whom he survived.* His father died in 1792. At this period, Cherubini resided in the Carthusian monastery at Gaillon, which the architect Louis, one of his most intimate friends, had turned into a country house for himself. It was here the maestro passed the years 1792 and 1793, as, on principle, he avoided Paris and its revolutionary tempests. Although we asserted (in section No. II. of this sketch) that the change produced in men's ideas by the revolution exerted a deep influence on his musical style, it is a characteristic fact that the patriotic enthusiasm which, at that period, seized even upon musicians, and impelled them to compose revolutionary songs, &c., did not affect Cherubini. He wrote nothing of this kind; while, after Ronget de l'Isle's "Chant de l'Armée du Rhin" ("La Marseillaise "), Méhul composed "Le Chant du Départ," "Le Chant de Victoire," and "Le Chant de Retour;" Gossec, "La Ronde du Camp," the "Hymn to Reason," the “Hymn for the Festival of the Supreme Being;" Gaveaux, "Le Réveil du Peuple," &c.

In the opera of Eliza, ou le Mont St. Bernard, moreover, we cannot attribute any patriotic or political motive to the composer, although the passage of the French over Mount St. Bernard forms a part of the story. The beautiful music, too, especially the music of the first act, pourtrays a feeling very different from that of war and freedom, namely, the feeling of love, which had obtained possession of the composer's heart. In the year 1794, Cherubini married Cecilia Tourette, the daughter of a musician of the Royal Band. Her admirable heart and mind, her musical education, and her faithful attachment to him through life, proved a support and a solace under all circumstances. As a monument of his love, there is a song by him, entitled " L'Amitié," dating from the year 1792.

It is true that his marriage increased his anxieties in a pecuniary sense. Operatic compositions for the stage yielded, at that time, little, even in Paris. Musicians were then far from receiving the large sums, paid down, and their subsequent share in the receipts, which now make compositeurs de succès rich people. It was not until the Conservatory was founded that Cherubini received a public appointment. Sarrette, the real founder of an institution since so famous, had, in the spirit of the age, managed to secure the interest of the influential party for the bands of the National Guard, on the staff of which he was captain. In the first place, he formed a musical body of 45 members, and then an Ecole gratuite de Musique de la Garde Nationale (9th June, 1790), consisting of 70 musicians. From this, thanks to his exertions, there sprang an Institut National de Musique (decree of the Convention, November 8, 1793), comprising, under his direction, 115 artists and 600 pupils, for the purpose "of celebrating musically the national festivals!"—At length, out of this was organised the Conservatoire de Musique, by a decree of the 25th October, 1795. The classes were open on the 30th October, 1796. The direction was confided to Sarrette, in addition to whom five inspectors were appointed—namely, Gossec, Grétry, Méhul, Lesueur and Cherubini.

Cherubini had now an appointment, but the salary attached to it was very small, and not sufficient to defray his most necessary expenses. Napoleon did nothing, as has already been stated more at length, to improve the position of the celebrated composer; it was not until the Hundred Days that he even named him a member of the Legion of Honour. The Restoration neglected the Conservatory as being a creation of the Republic.† Yet Cherubini had to thank it for an amelioration in

*The difference existing in the supposed dates of his birth has been now explained by his having been born on the 8th September, 1760, but not baptised till the 14th.

† Sarrette was dismissed, without a word, on the 28th December, 1814. It is true he recovered his place during the Hundred Days, but he lost it again in 1815. Louis XVIII., indeed, perceived what a

SEPTEMBER 6, 1862]

his condition, being appointed professor of composition, and receiving (from 1816-that is to say, not till he was in his fifty-sixth year) a salary of 3000 francs. He was, moreover, as Louis XVIII. raised the number of musical academicians from three to six, made a member of the Acadamy.

Now, at length, the shortcomings of the Conservatory became too outrageous. The Marquis de Lauriston, Minister of the Royal House, took the matter seriously in hand. He perceived that a considerable improvement of the funds of the institution, and energy in the management of its internal affairs, could alone raise it once again. He thought that Cherubini was the right man for this object, and he was not wrong. He named Cherubini, on April 1, 1822, not Inspector-General, but actual Director of the Institution.

A salary of 8,000 francs, with 1,500 francs, instead of a residence, now first enabled Cherubini to lead a life free from anxiety. But it was full time, for he was already in the middle of his sixty-second year! His salary was subsequently raised to 10,000 francs altogether. Until now, a composer who was celebrated throughout Europe had inhabited a modest set of rooms, on the third floor of the house, No. 19 Faubourg Poissonnière. In his bedroom stood, opposite the fireplace, a small piano of five and a half octaves, which had served him for years, when he was composing. At one end of it, before a window, was his writing-table. The instrument came from the workshop of old Sebastian Erard, and Cherubini set very great store on it. In fact, whenever he went to visit any of his friends, out of Paris, as, for instance, at Chimay, Chartres, Gaillon, &c., he always took it with him. After his death, his widow gave it to l'ierre Erard, for the latter's collection of historically remarkable instruments, and in this collection it now is, by the side of the pianos of Gluck and Picini.

Immediately Cherubini had assumed the reins of government, he began his work, and soon set everything upon a much firmer footing. Directly he was the master, he showed that he possessed great talent for arrangement and administration, while his long practical experience proved most valuable to him in settling what should be the course of instruction in each class, and in perfecting the method to be pursued. He was, it is true, seconded in his efforts by an admirable professional staff, which comprised such men as Lesueur, Berton, Boieldieu, Reicha, Fétis and Daussoigne, for the theory of composition; Lays, Garat, Plantade, Pouchard, Blangini, Bordogni and Garaudé, for singing; and Benoist, Pradher, Zimmermann, L. Adam, Rudolph Kreutzer, Baillot, Habeneck, Baudiot, Levasseur, Lefebvre, Delcambre, Vogt, &c., for instrumental music. The management of the library, on which great care had been bestowed since the very foundation of the Institution, was retained by Perne a year under Cherubini's direction. He then retired to a little estate he possessed near Laon, where he died in 1832, aged sixty. His writings on the system of notation of the Greeks, and on the music of the Middle Ages, had rendered his name generally

known.

As early as August, 1822, on Cherubini's request, the Pensionat, which had been abolished, was restored at the Conservatory, as were, soon afterwards, the public essays of the pupils in orchestral and vocal performances, to which all those persons were invited who had gained the first prize since 1816. These performances were the prelude to the Société des Concerts du Conservatoire, afterwards founded by Habeneck (1828).

(To be continued.)

wrong had been done to one who had exerted himself so much for
the advantage of the institution, and, in 1817, made him a member
of the Legion of Honour, his patent dating Dec. 7, 1814; but Sarrette
never obtained another place. It was not until very recently, a few
weeks before his death (April 11, 1858), that his honour received
full satisfaction, when it was resolved that a marble bust of him should
be erected in the principal room of the Conservatory, where it now
stands, sculptured by Poitevin. The resolution in question cheered up
for a moment the last days of the old man, then ninety-three years of
age. The management of the Conservatory was intrusted to Perne, with
the title of Inspector-General. The Government did nothing, however,
for the institution, which it literally allowed to perish. The Histoire du
Conservatoire de Musique, by Lassabathie, published at Paris, in 1860,
contains remarkable and almost incredible proofs of this. There were
several teachers, who did not receive more than 500 francs' salary. The
whole establishment was in a wretched condition. Many of the classes
had no instruments; nay, in the first year, there was a deficiency of
firewood, old furniture, and old pianos being burnt up instead. Perne
was a thorough musician, as well as a scholar and author. He did his
best to obtain better salaries for the masters, and to introduce order into
the establishment; but all in vain. In 1821, or at the commencement
of 1822, he resigned his post.

“PAGININI'S GHOST."

565

Ir happened a few years ago that I was sent to Brussels to follow the
classes of the Conservatoire de Musique-that academy where M. Fétis
presides as Maestro Assoluto, teaching fugue and counterpoint as a duty,
and writing musical biographies and criticisms in his leisure moments-
where De Beriot endeavoured to impart to aspirants the art of singing
on the violin, and the tour de force called "Il tremolo"-where Servais
taught violoncello logarithms, rattling them off himself to his astonished
listeners with a savageness which often made them fancy he owed a

grudge to the poor instrument in his grasp and where Mad. Pleyel pre-
sided at the piano, ennuyée at teaching only the young feminine idea "how
to shoot."

I was neither under De Beriot nor Servais. I was a beginner, and

being put through my gamuts by a M. Cornillon, honorary professor to
the junior violin class. It would be useless for me to attempt describing
how badly, or how much out of tune, I played: I could'nt do it. Suf-
fice to say, I was thoroughly hated in my quartier, and got turned out
of several lodgings whose proprietors had too much of an ear for
music.

I was known in the whole street as crins crins, and scouted by the
neighbours with the nickname of "Racleur de boyaux," terms equivalent
in English to "Scrapegut." Now I come to think of it, I must have
exercised great influence over the sanitary precautions taken by my
neighbours, for, during the most oppressive dog-days even, I had only
to open my window and execute any melody (however charming) to
cause immediately every window in the street to close with a bang.
Nevertheless, I had one friend in my last street; she would sit for hours
on the balcony opposite, her beautiful hazel eyes intently fixed on me,
her sweet voice accompanying my morning performances, entering into
the spirit of minor scales with enthusiasm, rejoicing and going into
ecstacies whenever a new E string caused a gamut to modulate, without
any preparation whatsoever, with a key half a tone lower. She was a
beautiful "poodle" by the name of Fanny (pronounced Fannee), pos-
sessing a rich mezzo soprano voice and a beautiful curly coat.
the envy and misrepresentations of a few dyspeptic neighbours, who,
used to have glorious concerts! Alas! our rapturous harmonies excited
covered the whole affair to the police, and Fanny, like "poor dog Tray,"
finding out that the owners of the poodle paid no taxes for her, dis-
was about to be dispatched to the Elysian Fields, when I interceded for
gave me Fanny, providing I would be good to her.
her, paid the fine and the tax, and the poor owners, out of gratitude,

We two

And so I made friends with the people opposite. They were the first to encourage my infantile, tottering steps, leaving their windows now and then open of an evening (when I practised recreative pieces only); and occasionally they would approve of my versions of "Rendez-moi ma patrie" and "Ah vous dirai-je maman?" I lived in an oddly-built house in the Béguinage; it was erected in 1400 and something; was immense, as if they had been made to facilitate the ingress and egress of loop-holed, grated and rickety. The doors inside and outside were Howell and his double bass. The inside had been decorated at a time when oak and other woods must have been very cheap. Everything was made of wood-oaken staircase, with a hideous leopard standing on his hind legs, supporting a shield which formed the knob of the banister. No paper on the walls-all wood wainscotting; and I often reflected that some of the pine wood panellings would have been excellent seasoned stuff for sounding boards. I even thought of advising Broadwood, who no doubt would have purchased the whole lot immediately. With the changes of the weather, or during high winds, this wooden windows would rattle in their stone sockets, making a noise like demons furnishment would crack horribly! and the iron gratings outside the all little diamond-shaped lozenges, fastened in leaden framework. rattling their fetters. The windows were like those you see in churches, In fact, it was Everything was old in that house: the proprietor was old, his wife was old, the servant was old, and the bread was always old. got to say that of course my fiddle was old-at least so Vuillaume just the sort of place a ghost would select as a favourite lounge. I forsaid!

In my room, I had over the old mantelpiece an old print of Paginini, which I had pasted up alongside of an old picture of the Madonna; and I often surprised myself, whilst paying my devotions to the latter, (it was the 13th: I shall never forget it) I sat down before my musicclasping my hands imploringly to the former. One cold night in January the first of Kreutzer's exercises, beginning c, e, g, f, e, f, d, e. desk, tired of standing. The page before me was virgin to me: it was as a mouse, for I had clearly intimated to her, by sundry kicks, that she been hours trying to violate it, but to no purpose. Fanny was as quiet could not join in until I could play the intricacies before me sciolto. Slowly, gingerly, out of tune, I tried every note-note by note, bar by

I had

[ocr errors][ocr errors]
« ElőzőTovább »