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THE WORTH OF ART APPEARS MOST EMINENT IN Music, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT
SUBSCRIPTION_Stamped for Postage-20s. PER ANNUM
VOL. 40—No. 36
SATURDAY, SEPTEMBER 6, 1862
PRICE ( 4d. Unstamped
PRICE (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, 1882.
President His GRACE the DUKE of BEAUFORT. | Vice-Presidents—The LORDS-LIEUTENANT of the Counties, and the Right Revds.
'the BISHOPS of the Dioceses.
AMP. PRICE, PURNELL, E:9: Grange, Winc
Sir GEORGE SAMUEL JENKINSON, Bart., High Sheriff, Eastwood. The Right Hon, the EARL of COVENTRY. Croome Court.
J. H. Elwes, Esq., Colesborne, Cheltenham. The Right Hon. the EARL of ELLENBOROUGH, Southam.
W. H. H. HARTLEY, Esq., Lye Grove House, Chippenham. The Right Hon. and Rev. the LORD DE SAUMAREZ, Cheltenham,
C. BROOKE UUNT, Esq., Bowden Hall, near Gloucester. The Right Hon. the LORD FITZHARDINGE, Berkeley Castle.
SAMUEL S. MARLING, Esq., Stanley Park, Stroud. The Hon. COLONEL BERKELEY, M.P., Wickselm Berkeley.
THOMAS MARLING, Esq., Pittville, Cheltenham. The Hon. C. P. F. BerKELEY, M.P., Fishbourne, Chichester.
CAARLES J. MONK, Esq., Chancellor of the Diocese. Sir Michael E. HICKS-BEACH, Bart., Williamstrip Park.
NICHARD FOLEY ONSLOW, Esq., Furnace House, Newent. Rev. Sir EDWARD H. V. COLT, Bart., Hill, Berkeley.
T. GAMBIER PARRY, Esq., Highnam Court, near Gloucester. Sir C. WM. CODRINGTON, Bart., M.P., Dodington.
RICHARD POTTER, Esq., Standish House, Stonehouse. Sir MARTIN H. CRAWLEY BOEVRY, Bart., Flaxley Abbey.
WILLIAM P. PRICE, Esq., Tibberton Court, Gloucester. Rev. Sir LIONEL DARELL, Bart., Fretherne Court.
PORNELL BRANSBY PURNELL, Esq., Stancombe Park, Dursley. Rey, Sir GEORGE Prevost, Bart. Stinchcombe, Dursley.
OAN WADDINGHAM, Esq., Guiting Grange, Winchcomb. Rev. Sir J. H. C. SEYMOUR, Bart., Canon of Gloucester.
T. W. WYNNIATT, Esq., Stanton, Winchcomb. R. S. HOLFORD, Esq., M.P., Weston Birt., Tetbury.
The Venerable ARCHDEACON THORP, Kemerton Rectory. JOHN ROLT, Esq., M.P., Ozleworth Park, Wotton-under-Edge.
Rev. Canon MURRAY BROWNE, Standish Vicarage. EDWARD HOLLAND, Esq., M.P., Dumbleton, Evesham.
Rev. Canon C. E. KENNAWAY, Chipping Campden. JOHN J. Powell, Esq., M.P., Temple, London.
Rev. ROBERT BAMFORV, Mickleton Vicarage, Broadway. 'The Right Worshipful the Mayor of Gloucester, E. BoC GATON, Esq.
Rev. F. T. J. BAYLY, Brookthorpe Vicarage, near Gloucester. The Sheriff for the City, W.C. TUNSTALL, Esq.
Rev. W. H. BLOxome, Jun., Stanton Rectory, Winchcomb. JAMES ACKERS, Esq., Pripknash Park, Gloucester.
Rev. CHARLES E. Dighton, Micheldean Rectory. GRANVILLE E. L. BAKER, Esq., Hardwicke Court.
Rev. Hugu FOWLER, College Gardens, Gloucester. JOHN F. FORTESCUE BRICKDALE, Esq., Newland, Colerord.
Rev. C. MUSGRAVE HARVEY, College Green, Gloucester. JOHN A. GRAHAM CLARKE, Esq., Frocester, near Stonehouse.
Rev. EDWARD HASLUCK, Little Sodbury, Chippenham. C. F. CREGOE COLMORE, Esq., Moor End, Cheltenham.
Rev. A. KENT, Coln St. Aldwyn Vicarage, Fairford. G. C. COLQUITT CRAVEN, Esq., Brockhampton Park,
Rev. THOMAS PORNELL, Staverton, Cheltenham. R. PAVIN DAVIES, Esq., Ridgeway, Narberth.
Rev. HENRY Rice, Great Rissington, Burford. JOHN C. DeNT, Esq., Sudeley Castle, Winchcomb.
Rev. Canoner BAMFOR: okthorpe Vicectory, Winc
Rev. ROBERT BAYLY. Jun., Stacheldean Houcester
MORNING PERFORMANCES IN THE CATHEDRAL.
GLOUCESTER AND BRISTOL
FRIDAY SEPTEMBER 12, at 11.30.-THE SACRED ORATORIO, “MESSIAH."
EVENING PERFORMANCES IN THE SHIRE HALL.
PRINCIPAL VOCAL PERFORMERS:
MR. MONTEM SMITH, MR, WINN, MR. WEISS, AND SIGNOR BOSSI.
. MR. AMOTT.
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,
TICKETS Sold by Mr. EDMUND NEST, Bookseller, 155 Wstgate Street, where Plans of the Seats may be seeu from Ten till six o'clock.
Nave, 10s. 60.; Aisles, 3s. 6d.
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)
, J. H. BROWN, Secretary to the Stowards learned
PROVINCIAL TOUR, OCTOBER, NOVEMBER, THE LONDON ACADEMY OF MUSIC,
ST. JAMES'S HALL. L and DECEMBER, 1862.
Principal ... ... ... ... ... ... HENRY WYLDE, Mus. Doc.
Harp, Herr OBERTHUR.
Violoncello, M. PAque. three years),
Singing, Signor GARCIA and Signor | Italian, Signor MAGGIONI,
| Elocution, Mr. RYDER. MLLE. MARIE CRUVELLI (Of the Grand Imperial Opera,
Lady Superintendent, Mrs. Day.
This Academy is designed for Vocal and Instrumental Students, Ladies and Gentle. Berlin),
men (Professional and Amateur), desirous of receiving a coinplete Musical Education
from the best London Professors on the terms of the Continental Institutions. MR. SWIFT (The popular English Tenor),
THE Fee is Five GUINEAS PER TERM.
The year is divided into Three Terms. The next term commences Thursday HERR JOSEPH HERMANNS (Primo Basso of Her | September 11.
Candidates desirous of entering as Students are required to attend at the Hall on Majesty's Theatre).
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. INSTRUMENTALISTS. MAD. ARABELLA GODDARD (Solo Pianist),
DURHAM CATHEDRAL. MON. SAINTON (Solo Violinist),
THE APPOINTMENT of a TENOR SINGER to the
vacant place in Durham Cathedral will be made on Monday the 29th day of
September next. SIGNOR BOTTESINI (Contra Basso, his first appearance
The Trial will take place on the Thursday and Friday of the preceding week, in the Provinces these two years).
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, Director
. . MR. LAND, 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 . To whom communications should be addressed, 4 Cambridge Place, Regent's
be paid by the Dean and Chapter. Park, N.W., or to Mr. SHEPPARD, 28 Grosvenor Street, w.
College, Durham : July 23, 1862.
GENTLEMAN, aged 28, a Writer upon Art, is O 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. 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.
EW SONGS BY W. VINCENT WALLACE.
London: DUNCAN DAVISON & Co., 244 Regent Street, w. ***
"Good Night” (Cradle Song)... .
. .. 25. 6d. " Thou art so near and yet so far," as a VOCAL DUET ...
London: DUNCAN DAVISON & Co., 244 Regent Street, W.
Huguenots was the 368th since its first production. The (From our own Correspondent.)
rehearsals of La Muette de Portici (Masaniello), which is to
Paris, Sept. 4. be revived with great splendour, are actively proceeding, as MUSICAL Paris has for the moment emigrated to Baden- also of the new two-act opera (“lever de rideau”)of M. Massé, Baden, where the Béatrice et Bénédict of M. Berlioz has and the new ballet which Taglioni (the “ 'Taglioni”) is just been followed up by another opera - this time a grand preparing for her favourite and favoured protegée, Nille. opera - from the pen of M. Ernest Reyer, composer of La | Emma Livry. Dalayrac's Deux Mots has been revived at Siatue. Of this new work, which rejoices in the classic | the Opéra Comique with but indifferent success; and on title of Erostrate, and the book of which is the joint labour the same evening Mlle. Chollet-Byard_"premier-prix” of of MM, Méry and Pacini, I hope to send you an authentic the Conservatoire, débuted with success in Adam's Taureareport next week. Meanwhile, my private correspondence dør. More of these “events” in my next. The Italian assures me that it has met with a highly flattering reception. Opera opens on October 1, with Flotow's feeble — very
Sig. Salvi, manager of the Opera at Vienna, who declined feeble - Stradella. The Salle Ventadour is re-leased to the new opera of M. Anton Rubenstein on the pretext that Sig. Calzado for a term of from two to five years, should it bore the same name as a recent successful work of M. the privilege be renewed at the end of two years, the actual Felicien David - viz., Lalla Rookh (or “Roukh ” as they proprietor having the right to compel him to retain the write it here), is coming to Paris to judge for himself what Theatre for the whole term of five. I will' endeavour to further resemblance there may be between the two works. unravel this mystery for you in a future letter. In all probability, then, M. Rubenstein may be the involuntary means of helping M. David's Rookh to a hearing in the
MUSIC IN BERLIN. Austrian capital, an advantage that but for him it might not have enjoyed at least for some time to come—had M.
(From our own Correspondent.) Rubenstein's Rookh been produced. At all events, Rookh
We have had a début at the Royal Opera House, the débutante being
Mad. Richter, from the theatre at Basle. The opera selected by the for Roukh seems in the cards. By the way, the scenic
fair aspirant for public favour was Beethoven's Fidelio, in which she, machinery of the new opera now erecting at Vienna, to as a matter of course, assumed the principal part. One of the greatest replace the tumbling-down old “Karntnerthor," is to be difficulties with which the management has to contend must, unexclusively put in motion by the unprecedented expedient doubtedly, be to find a lady to replace a celebrity like Mad. Köster, for of a steam-engine of eight-horse power. What next?
such she must, in every respect, be denominated. In the present Letters just received from Spain contain a paragraph or
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 two of “news” which may interest your readers. “M.
the paucity of genuine and properly trained vocalists is increasing Sarolta-Bagier (or Bagier-Sarolta) has already completed his | with terrible rapidity, this difficulty must be a most serious one-all the 'troop' for the autumn and winter season of the Royal | more serious because, in the classic school of music, there is nothing Opera at Madrid. His first ladies are Anna La Grange (Mr.
to be effected by mere cross naturalism, unaided by a thorough course
of conscientious and well-directed study. The higher the position Lumley's mazurka-singer in 1851), Carrozzi Zucchi (whoever
occupied by Mad. Köster, one of the few duly accredited highshe may be), and Sidonia Vander-Beck (whoever she may priestesses of dramatic singing, who belonged to a better time, the be); his contralto, Meric-Lablache (the Mlle. de Meric of more allowance ought we to make — bearing in mind the present the earlier days of the Royal Italian Opera, London, who state of things — for such fair artists as would follow in her married one of the sons of Papa Lablache' ' notre père à
line of business, to adopt a professional expression. It is true
that this allowance should be made rather in the case of tous,' as Salvi used to call him); his tenors, Geremia-Bettini
young beginners, endowed with natural talent, and giving pro(whoever that 'Jeremiah' may be), Gaetano-Fraschini (Mr.
mise of future excellence, than in that of persons who appear, in all Lumley's 'tenor of the curse'), and Ranieri-Baragli (qu'est they do, to have attained their artistic apogée. To these last belongs ce?: his barytones. Giraldoni (ask Mr. Mapleson about | Mad. Richter. Her voice, a mezzo-soprano, has long passed its prime ; him, or Sig. Verdi, who recommended him to M. Bagier),
a certain vocal routine does not supply the place of correct pbrasing
and impressive warmth of feeling; while, in difficult passages, the way and Cotogni (qu'est ce?); his basses, Bouché (of the Lumley
| in which the lady undisguisedly counts the tempo proves that she * 1847'), and Rodal (qu'est ce ?)." The catalogue is not very has not sufficiently mastered the purely musical part of her task to promising-ne sourit pas, as we say in France. Spain, by the display the requisite freedom in the histrionic portion. Added to this, way, has never yet heard the Prophète! Benighted Spain ! her manners are those which characterise the member of a provincial Barcelona at last, however, is going to set Madrid a good
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 example, and bring it out forthwith. M. Verger, director of the
the whole, despite many pleasing qualities, a far from satisfactory one. Lyceum (Liceo), has not only determined to give his sub The management cannot be blamed for giving every person a trial. I scribers Meyerbeer's chef d'œuvre, but to present them with | only hope, for its own sake, as well as for that of the public, that it may no less than three Fides-es (pass the word) in succession,
at last succeed in discovering and retaining the best available talent, viz. a Teuton (Rosa Csillag), a creole (Tedesco), and a
For theatres of middling rank Mad. Richter would, decidedly, be a
valuable acquisition, but, most assuredly, she is not competent to fill Bolognese, or Parmesan, I forget which (Borghi.mamo).
the position of a prima donna at the Royal Opera House, Berlin. Herr Bravissimo, M. Verger! Barcelona persistently takes the Krause was excellent in the part of Rocco, a part peculiarly suited to lead as an operatic city in the Peninsula ; and this new his power3. Mlle. Zochiesche's singing, as Marzelline, was correct and mark of spirit on the part of M. Verger is another coup.de. sure, but it would add much to the effect of her performance if she could main at the expense of dreary, dusty, swaggering, and pocket
moderate the somewhat shrill sound of her voice, and get rid of a certain
tameness which attends all she docs. Herren Betz (Pizarro), Krüger proud Madrid.
(Florestan), and Koser (Jacquino), acquitted themselves of their often But to recross the Pyrenees. The Prophète, the Hugue difficult tasks with commendable zeal. The second appearance of Mlle. nots, and the ballet of L'Etoile de Messine, preceded by | Antonini, as Elvira, in Auber's Muette de Portici, confirmed me in the
Xacarilla, have been the entertainments at the Opera, where opinion I formed of her at her first performance of the part. Mad. Mad. Vandenheuvel-Duprez (“ Caroline Duprez” that used
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 to be-“ Lumley” 1851) is the Bertha and Margaret to the
for pantomimic impersonation. Her movements and gestures are as Fides and Valentine of Mad. Tedesco and the Jean and
attractive as they are natural, while her appearance is exceedingly Raoul of M. Gueymard. The last representation of the graceful and pleasing. The remaining principal characters-namely, Masaniello, Pietro, and Alfonso, were intrusted to Herren Woworsky,
CHERUBINI. Fricke, and Krüger, respectively.
(Continued from p. 532.) The manager of the Friedrich-Wilhelmstädtisches Theater, whose
[A gap occurs between this and the last published chapter, activity in producing new and old operas, or operas rarely performed here, cannot be sufficiently praised, has just brought out a youthful work
which will be supplied at a future period.--En. M. W.] by Rossini. It is a two-act operetta, entitled Bruschino, composed, The Germans have frequently been reproached with allowing their probably, for the carnival season in Italy. This is tolerably evident great musicians to starve during their lifetime. There is some truth from the burlesque and scant libretto, but the music throughout bears in the accusation, though the evil is not so great as it is asserted to the stamp of the composer of Il Barbiere. The cantitenas interwoven be by popular report, which generally singles out a few individual with solfeggios, and the invariably flowing and well-conceived concerted cases, and ignores hundreds of a contrary description. But that other music, are so many testimonies of the great talent which once captivated countries, also, and among them France, which is always so highly everyone with its tones, and the works of which, such as Guillaume extolled, affords instances of great artists being neglected, is proved Tell, N Barbiere, Mose, &c., still constitute the gems of every re- by the case of Cherubini, who, till he was nearly sixty-that is to say, pertory. A critical analysis of the eight numbers which form the during the far greater portion of his life—had to struggle with pecuoperetta is the more unnecessary as Rossini's peculiar style, in all niary difficulties. its pleasing light charm, has been so frequently, and at such Cherubini received nothing from his parents. He was the tenth length, described and discussed. The execution presents no dif- child of a family of twelve, all of whom he survived. * His father ficulties, and all the parts are of easy compass. The overture died in 1792. At this period, Cherubini resided in the Carthusian in which (another cvidence, by the way, of the work having been | monastery at Gaillon, which the architect Louis, one of his most intiwritten for a carnival audience) the violinists are directed to tap, mate friends, bad turned into a country house for himself. It was here at times, with the back of their bows on the brass, was very judiciously the maestro passed the years 1792 and 1793, as, on principle, he omitted, in order not to begin by leading the audience astray. The avoided Paris and its revolutionary tempests. Although we asserted concerted music is highly effective, especially the charming quartet of (in section No. II. of this sketch) that the change produced in men's the second act, in which the parodistical element is displayed with ideas by the revolution exerted a deep influence on his musical great talent, and the finale with the repetition of the melodious polacca. style, it is a characteristic fact that the patriotic enthusiasm which, The performance, thanks to the way the operetta had been rehearsed at that period, seized even upon musicians, and impelled them to under the direction of the conductor, Herr Lang, afforded unmistakeable compose revolutionary songs, &c., did not affect Cherubini. He wrote proof of the great pains taken by all concerned. Mlle. Härting over. nothing of this kind; while, after Ronget de l'Isle's “Chant de came, with much skill, the many bravura difficulties of a Rossinian l'Armée du Rhin ” (“ La Marseillaise”), Méhul composed “Le Chant soubrette part, and played, moreover, with great humour and effect; in du Départ,” “Le Chant de Victoire," and "Le Chant de Retour;" the quartet just mentioned, especially, she was most warmly applauded. Gossec, "La Ronde du Camp," the “Hymn to Reason," the “ Hymn The bass voice of Herr Leinauer was heard to advantage in his first for the Festival of the Supreme Being;” Gaveaux, “ Lc Réveil du buffo air, and in the pleasing cantitena which commences the final | Peuple,” &c. trio of the first act; while Herr Leszinsky was equally good, both In the opera of Eliza, ou le Mont St. Bernard, moreover, we cannot vocally and dramatically. Herr Schindler might exaggerate a trifle attribute any patriotic or political motive to the composer, although less. His face and gestures are too frequently most unlike those of the passage of the French over Mount St. Bernard forms a part of any human being I ever beheld. The fact of there being no chorus in the story. The beautiful music, too, especially the music of the first the operetta, renders the latter all the more practicable for small act, pourtrays a feeling very different from that of war and freedom, theatres. From the interest evinced, and the applause bestowed by namely, the feeling of love, which had obtained possession of the the audience it is certain that no manager would have cause to regret composer's heart. In the year 1794, Cherubini married Cecilia adding to his repertory this operetta, which is for most people, remem- | Tourette, the daughter of a musician of the Royal Band. Her ber, a novelty by Rossini, and, as a matter of course, interesting to admirable heart and mind, her musical education, and her faithful every lover of music.
attachment to him through life, proved a support and a solace under VALE.
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 SIGNOR GIUGLINI.
Conservatory was founded that Cherubini received a public appointSir, -The unvarying kindness and good-will which I have experienced ment. Sarrette, the real founder of an institution since so famous, at the hands of the English press and public render it imperative on me had, in the spirit of the age, managed to secure the interest of the to remove, at once, the slightest suspicion that I am capable of repaying influential party for the bands of the National Guard, on the staff of that kindness and goodwill with negligence or discourtesy in the fulfil- which he was captain. In the first place, he formed a musical body of ment of my professional engagements. I trust, therefore, that I shall 45 members, and then an Ecole gratuite de Musique de la Garde Nationale not be deemed to trespass overmuch on the patience of your readers by 19th June. 1790), consisting of 70 musicians. From this, thanks to soliciting your permission to insert the following rectification of a state his exertions, there sprang an Institut National de Musique (decree of the ment which appears in the Observer of Sunday, August 24:
Convention, November 8, 1793), comprising, under his direction, 115 It is there implied that by my not singing, on Saturday night, at Her | artists and 600 pupils, for the purpose “of celebrating musically the Majesty's Theatre, in the opera of Martha, and in the cantata Italia, I national festivals ! ”- At length, out of this was organised the Conservahave overstepped "the limits to the treatment which an operatic toire de Musique, by a decree of the 25th October, 1795. The classes manager may receive,” If the writer of that censure had taken the were open on the 30th October, 1796. The direction was confided to trouble to make himself more exactly acquainted with the real facts of Sarrette, in addition to whom five inspectors were appointed-namely, the case, he would never, I feel convinced, have penned remarks as Gossec, Grétry, Méhul, Lesueur and Cherubini. little founded in justice as they are imbued with critical courtesy. Cherubini had now an appointment, but the salary attached to it was My non-performance on Saturday evening was occasioned by the | very small, and not sufficient to defray his most necessary expenses. express injunction of my medical adviser, Dr. Babington, George Napoleon did nothing, as has already been stated more at length, to Street, Hanover Square, who strictly prohibited me from sing improve the position of the celebrated composer; it was not until the ing at all for ten days—considering that the temporary weakness of my Hundred Days that he even named him a member of the Legion of voice proceeded from my having overstrained it by continuing to sing | Honour. The Restoration neglected the Conservatory as being a creation during the previous week, when I ought to have taken rest. Early on of the Republic.t Yet Cherubini had to thank it for an amelioration in Saturday morning Mr. Mapleson was made acquainted with these facts, and in the afternoon, for his complete satisfaction, I myself brought and * The difference existing in the supposed dates of his birth has been placed in his own hands Dr. Babington's certificate.
now explained by his having been born on the 8th September, 1760, With a firm reliance on the justice and discernment of the public, in | but not baptised till the 14th. the estimate which they may form of the abore facts, I have the honour † Sarrette was dismissed, without a word, on the 28th December, to be, sir, with every sentiment of respect, your most obedient servant, 1814. It is true he recovered his place during the Hundred Days,
ANTONIO GIUOLINI. but he lost it again in 1815. Louis XVIII., indeed, perceived what a
Letters to the Editor.
his condition, being appointed professor of composition, and receiving
“PAGININI'S GHOST.” (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
It happened a few years ago that I was sent to Brussels to follow the number of musical academicians from three to six, made a member of
classes of the Consei vatoire de Musique—that academy where M. Fétis the Acadamy.
presides as Maestro Assoluto, teaching fugue and counterpoint as a duty, Now, at length, the shortcomings of the Conservatory became too
and writing musical biographies and criticisms in his leisure momentsoutrageous. The Marquis de Lauriston, Minister of the Royal House,
where De Beriot endeavoured to impart to aspirants the art of singing took the matter seriously in hand. He perceived that a considerable
on the violin, and the tour de force called “Il tremolo”—where Servais improvement of the funds of the institution, and energy in the manage
| taught violoncello logarithms, rattling them off himself to his astonished ment of its internal affairs, could alone raise it once again. He thought
listeners with a savageness which often made them fancy he owed a that Cherubini was the right man for this object, and he was not wrong.
grudge to the poor instrument in his grasp—and where Mad. Pleyel preHe named Cherubini, on April ), 1822, not Inspector-General, but
sided at the piano, ennuyée at teaching only the young feminine idea "how actual Director of the Institution.
to shoot.” A salary of 8,000 francs, with 1,500 francs, instead of a residence,
I was neither under De Beriot nor Servais. I was a beginner, and now first enabled Cherubini to lead a life free from anxiety. But
being put through my gamuts by a M. Cornillon, honorary professor to it was full time, for he was already in the middle of his sixty-second
the junior violin class. It would be useless for me to attempt describing year! His salary was subsequently raised to 10,000 francs altogether.
how badly, or how much out of tune, I played : I could'nt do it. SufUntil now, a composer who was celebrated throughout Europe had
fice to say, I was thoroughly hated in my quartier, and got turned out inhabited a modest set of rooms, on the third floor of the house, No. 19
of several lodgings whose proprietors had too much of an ear for Faubourg Poissonnière. In his bedroom stood, opposite the fireplace,
music. a small piano of five and a half octaves, which had served him for years,
I was known in the whole street as crins crins, and scouted by the when he was composing. At one end of it, before a window, was his nei
neighbours with the nickname of “ Racleur de boyaux," terms equivalent writing-table. The instrument came from the workshop of old Sebas
in English to “Scrapegut.” Now I come to think of it, I must have tian Erard, and Cherubini set very great store on it. In fact, whenever
exercised great influence over the sanitary precautions taken by my he went to visit any of his friends, out of Paris, as, for instance, at
neighbours, for, during the most oppressive dog-days even, I had only Chimay, Chartres, Caillon, &c., he always took it with him. After his
to open my window and execute any melody (however charming) to dearb, his widow gave it to Pierre Erard, for the latter's collection of
cause immediately every window in the street to close with a bang. historically reinarkable instruments, and in this collection it now is, by
Nevertheless, I had one friend in my last street; she would sit for hours the side of the pianos of Gluck and Picini.
on the balcony opposite, her beautiful hazel eyes intently fixed on me, Immediately Cherubini had assumed the reins of government, he
her sweet voice accompanying my morning performances, entering into began his work, and soon set everything upon a much firmer footing.
the spirit of minor scales with enthusiasm, rejoicing and going into Directly he was the master, he showed that he possessed great talent for ecstacies whenever a new E string caused a gamut to modulate, without arrangement and administration, while his long practical experience any preparation whatsoever, with a key half a tone lower. She was & proved most valuable to him in settling what should be the course of
beautiful “ poodle” by the name of Fanny (pronounced Fannee), posinstruction in each class, and in perfecting the method to be pursued.
scssing a rich mezzo soprano voice and a beautiful curly coat. We two He was, it is true, seconded in his efforts by an admirable professional
used to have glorious concerts ! Alas! our rapturous harmonies excited staff, which comprised such men as Lesueur, Berton, Boželdieu, Reicha,
the envy and misrepresentations of a few dyspeptic neighbours, who, Fétis and Daussoigne, for the theory of composition ; Lays, Garat, i
finding out that the owners of the poodle paid no taxes for her, disPlantade, Pouchard, Blangini, Bordogni and Garaudé, for singing; and
covered the whole affair to the police, and Fanny, like “poor dog Tray," Benoist, Pradher, Zimmermann, L. Adam, Rudolph Kreutzer, Baillot,
was about to be dispatched to the Elysian Fields, when I interceded for Habeneck, Baudiot, Levasseur, Lefebvre, Delcambre, Vogt, &c., for
her, paid the fine and the tax, and the poor owners, out of gratitude, instrumental music. The management of the library, on which great
gave me Fanny, providing I would be good to her. care had been bestowed since the very foundation of the Institution,
And so I made friends with the people opposite. They were the first was retained by Perne a year under Cherubini's direction. He then
to encourage my infantile, tottering steps, leaving their windows now retired to a little estate he possessed near Laon, where he died in 1832,
and then open of an evening (when I practised recreative pieces only); aged sixty. His writings on the system of notation of the Grecks, and
and occasionally they would approve of my versions of “Rendez-moi on the music of the Middle Ages, had rendered his name generally
ma patric" and " Ah vous dirai-je maman?" I lived in an oddly-built known.
house in the Béguinage; it was erected in 1400 and something; was As early as August, 1822, on Cherubini's request, the Pensionat,
loop-holed, grated and rickety. The doors inside and outside were which had been abolished, was restored at the Conservatory, as were,
immense, as if they had been made to facilitate the ingress and egress of soon afterwards, the public essays of the pupils in orchestral and vocal
Howell and his double bass. The inside had been decorated at a time performances, to which all those persons were invited who had gained
when oak and other woods must have been very cheap. Everything was the first prize since 1816. These performances were the prelude to the
made of wood -oaken staircase, with a hideous leopard standing on his Société des Concerts du Conservatoire, afterwards founded by Habeneck
hind legs, supporting a shield which formed the knob of the banister. (1828).
No paper on the walls-all wood wainscotting; and I often reflected (To be continued.)
that some of the pine wood panellings would have been excellent
seasoned stuff for sounding boards. I even thought of advising Broad. wrong had been done to one who had exerted himself so much for | wood, who no doubt would have purchased the whole lot immediately. the advantage of the institution, and, in 1817, made him a member With the changes of the weather, or during high winds, this wooden of the Legion of Honour, his patent dating Dec. 7, 1814; but Sarretto furnishment would crack horribly! and the iron gratings outside the never obtained another place. It was not until very recently, a few windows would rattle in their stone sockets, making a noise like demons weeks before his death (April 11, 1859), that his honour received rattling their fetters. The windows were like those you see in churches, full satisfaction, when it was resolved that a marble bust of him should all little diamond-shaped lozenges, fastened in leaden framework. be erected in the principal room of the Conservatory, where it now Everything was old in that house : the proprietor was old, his wife was stands, sculptured by Poitevin. The resolution in question cheered up old, the servant was old, and the bread was always old. In fact, it was for a moment the last days of the old man, then ninety-three years of just the sort of place a ghost would select as a favourite lounge. I forage. The management of the Conservatory was intrusted to Perne, with got to say that of course my fiddle was old—at least so Vuillaume the title of Inspector-General. The Government did nothing, however, said ! for the institution, which it literally allowed to perish. The Histoire du In my room, I had over the old mantelpiece an old print of Paginini, Conservatoire de Musique, by Lassabathic, published at Paris, in 1860, which I had pasted up alongside of an old picture of the Madonna; and contains remarkable and almost incredible proofs of this. There were I often surprised myself, whilst paying my devotions to the latter, several teachers, who did not receive more than 500 francs' salary. The clasping my hands imploringly to the former. One cold night in January whole establishment was in a wretched condition. Many of the classes (it was the 13th : I shall never forget it) I sat down before my musichad no instruments; nay, in the first year, there was a deficiency of desk, tired of standing. The page before me was virgin to me: it was firewood, old furniture, and old pianos being burnt up instead. Perne the first of Kreutzer's exercises, beginning c, e, g, f, e, f, d, e. I had was a thorough musician, as well as a scholar and author. He did his been hours trying to violate it, but to no purpose. Fanny was as quiet best to obtain better salaries for the masters, and to introduce order into as a mouse, for I had clearly intimated to her, by sundry kicks, that she the establishment; but all in vain. In 1821, or at the commencement could not join in until I could play the intricacies before me sciolto. of 1822, he resigned his post. :
Slowly, gingerly, out of tune, I tried every note-note by note, bar by