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other house-was, in the preliminary advertisements of Her Majesty's important instance, have been carried out. Don Sebastien, the one Theatre, alluded to in terms which, however vague, probably led many adyertised novelty, it is true, was not forthcoming; but the reasons for to believe that his services had been secured, or at least that he was in its ultimate postponement, there is good cause to believe,were so generally some way compromised. With a troupe so really attractive, and in understood and accepted that further allusion to them would be superevery department efficient, there was no necessity for prevarication or fluous. Moreover, the subscribers may comfort themselves with the mystery of any kind. Mlle. Titiens appeared at various intervals as assurance that the work in question is by no means one of the happiest Amelia (Il Ballo in Maschera), Lucrezia Borgia, Norma, Alice (Robert efforts of its prolific composer, and that whoever has heard La Favorita le Diable), Donna Anna, Leonora (Il Trovatore), Valentine, Lucia, and may claim acquaintance with the most brilliant of Donizetti's contributhe Countess Almaviva - besides taking the principal part in Signor tions to the French lyric stage. In addition to this, it is but fair to Verdi's Exhibition cantata, and in the ode called L'Italia, to which the remind those who are inclined to be dissatisfied, that Mr. Gye more than name of Signor Ginglini was attached. The sisters Marchisio were atoned for the temporary loss of Don Sebastien by his magnificent heard frequently in Semiramide the opera to which they owe the revival of a far more admirable production--viz., the Masaniello of Auber, greater portion of their celebrity abroad , Mlle. Guerrabella sang in the which was not announced in the prospectus. La Figlia del Reggimento Puritani and Don Pasquale ; and Mlle. Michal, the Swedish singer, did should have been given for Mlle. Adelina Patti ; but, in place of this, excellent service both in Meyerbeer's operas and as Elvira in Don that gisted young lady's Dinorah was unexpectedly introduced to the Giovanni. So much for the chief “ sopranos.” At the head of the subscribers, the expiration of Mad. Miolan Carvalho's engagement “ contralto” department figured Mlle. Trebelli, whose sterling talent having left the part open to her more popular successor; and as the new and rich natural endowments at once won the favour of the public. In
con the fayour of the public. In Dinorah achieved a signal success, it was no great punishment to wait her particular line no such aspirant has been introduced to this country another year for the new Maria, who will thus have more leisure to since Alboni, with whom, although she is not just how to be compared, practise her “drum,” and otherwise perfect her assumption of the lively she has very much in common. Mlle. Trebelli, being a new comer, vivandière. That Fra Diavolo and L'Elisir d'Amore (both promised) was in some respects the “star" of the season, and in all the parts she were not produced can hardly be laid to the charge of the management. essayed-including, among others, Maffeo Orsini, Rosina, Azucena, the No Lord Allcash, no Dulcamara, until Sig. Ronconi is forgotten, would Page in the Huguenots, the Gipsy in La Zingara (the Italian version of be tolerated by the patrons of the Royal Italian Opera, whose patient Mr. Balfe's Bohemian Girl), and Cherubino (Le Nozze di Figaro)-pro forbearance under the infliction of that inimitable comedian's inadequate claimed herself a genuine artist. As second “contralto" (and occa substitute as Figaro was a sufficient tax for one season, even with Sig. sionally as second "soprano"), Mad. Lemaire was diligent, correct, Mario's inimitable Almaviva and Mlle. Patti's no less inimitable Rosina and serviceable as ever. At the head of the tenors, Signor Giuglini - to console them. Why Sig. Ronconi did not -- could not — fulfill his though occasionally absent from his post through indisposition — main engagement with Mr. Gye has already been explained. His absence tained his reputation in the majority of those operas which have made was severely felt, not only in the loss of Fra Diavolo and L'Elisir, but his name in England ; Signor Armandi laboured earnestly, if not with in the comparative weakening of the cast of Don Giovanni, Don Pasquale, invariable felicity, in parts not belonging to Signor Giuglini's repertory;
and one or two other operas. What Sig. Ronconi's Masetto was few Signor Naudin made a favourable impression as Manrico in the can have forgotten; what his Don Pasquale might have been can readily Trovatore, and Signor Bettini was a thoroughly competent representa be imagined. Sig. Ciampi, in spite of his youth, his unperturbed tive of subordinate tenor-characters, besides attempting Almaviva (Il equanimity, and his stentorian voice, was but a sorry substitute in either Barbiere), to which his powers were altogether inadequate. The bary- part-elaborate dryness, indeed, doing duty for unctuous humour. Later tone upon whom the largest amount of work devolved was M. Gassier, | accounts afford hopes of Sig. Ronconi's recovery; and that in 1863 he whose talent is only surpassed by his versatility, and whose Duke may resume his position at Covent-garden must be the wish of every Alphonso and St. Bris are as dramatically impressive as his Figaro is lover of Italian opera. lively and spirited. To Mr. Santley allusion has already been made. The triumphs of the season were virtually shared between the grand The principal basses- Signors Vialetti and Zucchini-were both 11seful, “spectaclc-operas” of the French stage and those examples of the the former ready at a moment's notice with almost any part in the purely Italian school in which that extraordinary popular favourite, Mlle. repertory, the latter possessing a certain dry humour which enabled him
| Patti, appeared. Guillaume Tell, La Favorita, the Huguenots, the to offer a more than respectable impersonation of such characters as | Prophète, Robert Le Diable, and Masaniello were repeatedly presented. Don Pasquale and Dr. Bartolo. A Signor Laterza, too, was heard with the splendour of mise en scène and general musical effectiveness for three or four times, but the impression he produced has not stamped | which the Royal Italian Opera has been always celebrated. Guillaume itself indelibly on the memory; while Signor Giraldoni may be remem
Tell (which opened the season on Tuesday, April 8) was given more bered as having been the early representative of Signor Verdi's frequently than any of its companions. Allowing for the curtailmentsAnkastrom (Il Ballo in Maschera), in which opera a Mlle. Dario, not
however necessary, in some particulars, not inrariably made with the since heard of, also appeared as Oscar, the page.
careful consideration due to so fine a masterpiece--and for the unWith regard to the promised operas, Oberon and Der Freischütz warranted substitution of a new finale in place of that which Rossini has turned out " moonshine ;" but most of the others named in the pro
written to the fourth act, this revival is certainly one of the most spectus were duly forthcoming. We have alluded to several of them, remarkable in the Covent Garden annals, and its atiraction has evidently and need not go through the entire catalogue. The novelty " was to lost nothing through the repeated performances of 1861. Of the Prophète have been Signor Schira's Nicolo de' Lappi, from which great things
and the Huguenots little need be said. What they were before the old were expected ; but the production of this work has been posiponed umil
thcatre was burnt down they have been since the new theatre was next season — all things considered, in spite of its frequent announce. erected, and are likely to be for very many years while competent ment in the bills, not, we think, unwisely. Little need be said of the representatives of Fides and Jean of Leyden in one case, and of ballet, which, though well supported by Mlles. Morlacchi, Lamouroux,
Valentine and Raoul in the other, are at hand. Masaniello, brought and (for a short period) Katinka Friedbourg, with an efficient "corps," out at the end of the season, and played five times in alınost immediate under the skilful and experienced direction of M. Petit, has presented
succession, may also be dismissed in a word. But for the absurd no new feature of importance. In conclusion, we repeat that the first
curtailments in the duet between the hero and his treacherous confidant, season of Mr. Mapleson's management has been more than crcditable, Pietro (Act 11.), and in the “Market-chorus” (Act 111.), there would be and there is every reason to believe that it has been successful in
not one word to say against the efficiency of this gorgeous revival; but proportion.
these are marks of such ruthless Vandalism that they must not pass without a protest-more especially as no advantage whatever is gained
by a process which, in spoiling two nobly characteristic pieces, makes ROYAL ITALIAN OPERA.
their author, an accomplished master of form, appear as if he was
ignorant of that indispensable element of musical composition. The MR. Gre, in accordance with traditional policy, has abstained from revival of Robert le Diable restored the one great work of M. Meyerbeer following up the regular scason by extra performances of any kind, hitherto wanting to the repertory of the new theatre, and -- though in whether at cheap prices or with the established tariff. In this, it must more than one respect the performance left much to desire--it provided be admitted, he upholds the dignity of his theatre, although, under the one of those superb scenic frameworks which may at any time, circumexceptional circumstances of the present year, he no doubt sacrifices a starices favouring, be filled up in a satisfactory manner. "Gluck's Orfeo legitimate prospect of emolument.
and Beethoven's Fidelio, though promised this year, must be waited for The incidents of the past (the 16th) season, owing to the frequent | till next. representations of certain operas, which for manifest reasons have Even more uniformly attractive than the great works of the French exercised a more than ordinary attraction, were fewer than usual. The school were three of a wholly different stamp, each the chef d'æuvre of pledges set forth in the prospectus, nevertheless, in almost every its composer. Never, at any period within the memory of the present
generation of opera-goers, have Bellini's Sonnambula, Rossini's Barbiire di Seviglia, and Mozart's Don Giovanni (thanks, in a great measure, to Mile. Adelina Patti), been so frequently performed in the course of a single season. Of the other operas, from time to time produced — the Trovatore, the Ballo in Maschera, Rigoletto, the Traviata — there is nothing to remark, beyond the fact that//Ba//oi'nA/ascAcro,certainlyone of Sip. Verdi's most genial operas, is slowly and surely winning ground; and that, while Sig. Konconi's Rigoletto was us greatly missed as his Figaro, no one has been able to supply the place of Mad. Bosio in Gilda — nor Mad. Miolan Carralho, nor the new lady, Mile. Battu, another French singer in all respects her inferior.
With reference to the "engagements" —the one exception (Sig. Bonconi) allowed for — the pledges of the prospectus have been fulfilled to the letter. We have had even more than was set down. Mad. Csillag, the German, Mad. Fenco, the Italian, and Mad. Rudersdorff, the Kusmuu — " prima donnas" in the serious line—were further strengthened by the cooperation of Mile. Antonietta Fricci, another Teutonic singer, who, at intervals—in Alice (Robert), Leonora (// Trovatore), and Donna Anna, replaced the two first-mentioned—besides making her dibut as Valentine in the Huguenots, and who, being young and promising, will doubtless be heard of next season, and by a Mile. Dottini, who cinie chiefly into vogue as the occasional substitute for Mad. Carvnlho :md Mile. Battu. The list of tenors, at the head of which stood Sigs. Mario, Tumbcrlik, and Gardoni—the first two being repeatedly heard in some of their most celebrated parts, the one by his Almaviva, the other by his Arnold (Guillaume Tell), presenting examples of the two opposite ttyles of Rossininn singing that defied competition — was thoroughly efficient. A more painstaking and conscientious second-tenor than Sig. Neri Bcraldi, or one more capable of undertaking a first-tenor part nt an emergency, could not easily be met witb. The barytones and busses — including Sigs. Graziani, Polonini, and Ciarr.pi, MM. Faure, Tagliafico and Zelger, Herr Formes, &c.—not to forget Sig. Delle Sedic, a thorough artist, whose Rcnato (IIBallo in Maschera) is a first-class performance, and whose only misfortune it was to be obliged to officiate fur the absent favourite Sig. Ronconi in one or two highly important characters — were adequate to all the demands of the establishment; while the clever and intelligent Mad. Nantier-Didicc, as usual, did excellent duty as "contralto." Of the three "newcomers" — Mile. Gordosa (.soprano), Sig. Nanni (bass), and Ilcrr Wachtel (tenor)—it is euongh to say that they appeared and disappeared; while,with regard to Mr. Santley, the eminent English barytone—-who met with so flattering a reception as the Comte di Luna in // Trovatore, and who shortly after went over to the Opera House in the Haymarkct — we can only express our surprise and that of the musical public that, after so decided u success, he should either have been allowed to secede, or have seceded uf bis own accord, from a theatre where so brilliant a career seemed to await him.
The ballet has remained in statu quo. Mile. Salvioui, the principal dancer, has shown by her impersonation of Fcuclla (Mataniello) that, while she could dance to perfection, she could do something else quite as • gracefully; while Mile. Espcr, the worthy head of a very efficient Tcrpsichorean corps, and her associates, have sustained their reputation and that of the establishment in this agreeable department, more particularly in the dioertistements which confer so much animation upon the long French spectacle-operas. To the band and chorus, to their indefatigable chief, Mr.Costa, to M.Sainton, his occasional and thoroughly able substitute, to Mr. Augustus Harris, stage-manager, and to Mr. W. Beverley and Messrs. Grieve and Telbin, heads of the "scenic" business, we have repeatedly in the course of the season paid the compliments due to their zealous and praiseworthy exertions. Such officers do credit to an establishment like the Royal Italian Opera, and bear testimony to that state of discipline in every department which is one of the principal secrets of its success.
ROYAL ENGLISH OPERA.
Scarcely more than a week had Covcnt Garden Theatre closed its doors upon the foreign operatic singers, when already they were opened again for the admission of a well-trained company of English lyric comedians, whose annual appeul to the public docs not ordinarily take place until about the middle of October. Miss Louisa Pyuc and Air. Harrison, however, are no doubt resolved to try their chances like the u-t in this exceptional year; and it will be strange if none of the crumbs from the amply-spread table of the Great International Exhibition do not fall to their share. The completeness with which their operas are got up, the variety of their repertory, and the excellence of their band oud chorus, under the able guidance of Mr. Alfred Mellon, give them — to say nothing of their chief performers — a claim to support which
is not very likely to be unresponded to at the present time; and the crowded state of the pit and gallery on the opening night was an auspicious "inauguration" of the early season. The opera — Mr. Benedict's Lily of Kdlarney—was played, two characters excepted, with the original cast, and received with the unanimous favour it ha* never failed to command. The audience, indeed, was almost as enthusiastic as though the opera had been produced for the first time. Miss Louisa Pyne, Mr. Harrison,, and Mr. Santley were uproariously welcomed, as they successively enme before the footlights; the overture was loudly applauded, and no less than six pieces—" The moon bath raised her lamp" (Messrs. Perren and Santley), "It is a pretty girl I love" (Mr. Harrison), " The Cruiskeen Lawn"(Miss Louisa Pyne.Ja trio), "I'm alone" (Miss Louisa Pyne), the "Lullaby" (Mr. Harrison \ and "Eily Mavournecn" (Mr. Perren) — were encored and repeated. On the whole, it must be admitted that this unmeasured approbation was not illegitimately earned, the execution of Mr. Benedict's picturesque work being for the most part highly effective. Of Miss Louisa Pyne's Eily, Mr. Harrison's Miles-na-Coppaleen, and Mr. Santley's Danny Mann, it is superfluous to speak; nor need more be said of the comparatively subordinate parts of Mrs. Cregan, Father Tom, and Mr. Corrigan, than that they were sustained by Miss Susan Pyne, Messrs. Patey, and Eugene Dussek, with their accustomed efficiency. The part of Anne Chute was undertaken by'Miss ThirlwalL who exhibited the cleverness and musical efficiency that invariably distinguish her, and are all the more acceptable on account of the unobtrusive modesty with which they are put forward. Mr. George Perren, the new Hardress Cregan, met with u genuine and well-merited success. This gentleman has been for some years favourably known in the concert-room as a singer both of sacred and secular music On the stage he at present is little better than a novice ; but he sings with taste, expression, and finish, and his voice, though not over powerful, is of extremely agreeable quality. Nothing could be more encouraging than his reception. There was an earnestness in his manner which at once made way with the audience, and obtained for him both an attentive hearing and a flattering appreciation. We have already said that he was honoured with two encores, and have only now to express a hope that last night's probation may merely be the preliminary to further successes, and that Mr. Perren may become what is conventionally styled " a valuable acquisition." At the end of every act of the opera the singers were recalled ; and when the National Anthem had been given by •' the whole company" (solos, Miss Parepa,Mr. Harrison, and Miss Louisa Pyne), Mr. Alfred Mellon, in obedience to a general summons, was led forward by the manager and manageress. It is intended to present in succession all the original works by native composers that have been brought out since the Royal English Opera was first established. Such a plan, at the present moment, is manifestly judicious.
On Monday, Mr. Wallace's Maritana was given, with Mile. Parepa as the Gipsy girl, her first appearance in the character, Mr. Harrison playing his old part, Don Caesar de Bazan; Mr. Weiss, Don Jose; Miss Susan Pyne, Lazarillo; and Mr. Johu Rouse, Mr. and Mrs. Ansley Cook, the other characters. Mile. Parepa sang with great brilliancy, and was received with distinguished favour. Mr. Harrison's Don Cicsar is one of his very rarest and most genial impersonations. On Tuesday aud Thursday the Lily of KUlarney was repeated ; on Wednesday Dinorah ; and last night Maritana. On Monday Lurlixe wiU be produced, with Miss Sarah Dobson, a pupil of Mrs. Wood, in toe character of the heroine, her first appearance on the London stage.
Dresden.—It was exactly a quarter of a century ago, on August 11 lust, that Herr Joseph Tichatscheck first appeared here on the stage. He sang the part of Duke Olaf in Auber's Gustavus. He was then in his thirtieth year, having been engaged two years previously as first tenor in Gratz, before which time he sang in the chorus aud small parts at the Kartnerthor Theatre, Vienna. Perhaps this comparatively late commencement of his artistic career, properly so called, at a period when his physical powers were completely developed, will partially account for the durability of his voice, the beauty, vigour, and freshness of which enchanted everyone when he made his dibut here. The next parts he played, previously to his becoming a regular member of the company, were Tamino, George Brown, and Robert, in all of w hich he was so successful, that Herr Von Liittichau, the DirectorGeneral of the Theatre Royal,engaged him permanently from January 1, 1S38. According to lepott, several operas are again to be performed with the low pitch in the course of next month, when the directors and conductors of the principal operatic theatres in Germany will be invited to attend, t
"BEATRICE ET BENEDICT," BY HECTOR BERLIOZ,
The piece is based upon the Latin proverb, so well-known, and so debatable (I beg yoar pardon, ladies!), "Si vis aroari, ama," "If you wish to be loved, begin by setting the example yourself." The great king, Louis XIV., surrounded by the fascinations of the most beautiful and most noble women of his day, the Lavallieres, the Montespans, and the Fontanges, was not proof against the love displayed for him by a mere gardener's daughter. Beatrice is, of course, a thousand times better than a gardener's daughter, but it is solely because Benedict learns, beyond the possibility of doubt, that she loves him, that he sets about loving her, and vice versa. Now this revelation takes place on the stage for Benedict, but not for Beatrice. This is an omission which not only flings a certain degree of obscurity on the design of the work, but which ought to have been filled up both dramatically and musically. A female trio, corresponding to the trio of the men, would not have been superfluous, perhaps, to explain the sudden passion of the beautiful and refractory Beatrice, which is the important part of the knot to be untied; for a woman, as far as appearances go at least, is slower to fall in love than a man, and does not surrender without being duly called upon, as it is the right, if not the duty.'of a man to do. This ought to have been sung, because song is the especial and peculiar action of a musical work; and, with all dne deference to Beaumarchais and his witty remark at his own expense, it is precisely when things are worth being spoken that they ought, in opera, to be sung.
51. Berlioz will, of necessity, repair the above omission, if, as appears most certain, his new opera is revived this winter and produced in Paris.
When we recollect that a mediocre libretto has often proved sufficient to mar irrevocably excellent music—such for instance, as that of the Partie de Chasse de Henri IV., of which the marvellous overture alone managed to survive—we must admire and congratulate M. Berlioz all the more on having succeeded in rendering his music effective, connected, as it is, with a series of situations by no means definite or precise. Had he had a clear and amusing book like that of Le Domino Noir, it is impossible to say how successful his opera might have been; even as it is, I believe it will run, and for a long time, too, despite the imperfection of the subject: for it contains a duet, which we must, without being commonplace, designate a chef-d'oeuvre, and which will live as long as French music lives. It is already imprinted on the memory of everyone at Baden, as it will speedily be on that of every lover of musical art in Europe. I allude to the admirable inspiration which terminates the first act, and which, having left Baden on August 11 last, will evidently, within the year, make the round of Europe — in the concert-rooms most assuredly, and on the stage likewise, I believe. It cannot be compared to "La ci darem la mano," the duet in GuiBaume Tell, that in Otello, or aught else known on the stage. It is something standing quite apart. Two charming girls, in a garden at night, sing the beauties of nature, viewed, or rather felt, in the mysterious light: this all, neither more nor less. Eugene Scribe would never have thought of such a hors-demvre, any more than M. Berlioz, as a librettist will ever invent the complications of the Ambassadrice, the Fiancee or Lestocq; but, as a composer, he fully makes up for his deficiency in this respect, for the duo is as fine as—what shall I say?—the Lac, of Lamartine, its congener: here I stop, nnd, naturally, do not add one word more of praise.
Another charming duct, or, rather, duettino, which ends the piece, was more successful at the pianoforte rehearsal than in performance. It is the duet sung by the principal personages (Hero aside) when they are reconciled and married. Its comparative failure results, I think, from the excessive and too great petulance of the orchestral accompaniment, reproducing the principal motive of the overture, and depressing the exquisite strains of this final invocation to the god of our soul. M. Berlioz, when writing in future for the human voice — which ho has hitherto done too seldom, but will certainly now do more and more — will have, I think, to refrain — also more and more — from similar refinements of science, from similar examples of chant contre chant, which may sometimes be allowed as curiosities and certificates of knowledge, but which frequently injure each other. He may, also, give himself np with greater confidence to that melodic inspiration which, as we are at present aware, he possesses abundantly, and which (as we learned long ago) will always be, in his case, lofty, spiritual, original, and eminently opposed to commonplace.
The other remarkable pieces in the score are, firstly, the overture, reproduced in the form of a scherzo at the end of the work, beginning a trois temps (three-eight), and finishing a deux temps, like Caspar's famous air in Der Freischutz; the duet between Beatrice and Benedict;
the dance-air, eminently corybantic; the male trio, "Me maricr, Dieu mepardonne!" Benedict's rondo, "Ah! je vais l'aimer!" Beatrice's air, and the "Nuptial March," supported by a good orchestral rhythm. All this difficult music, requiring on the part of the executant continual vigilance, attention, and, I will even add, tension, was given most admirably by Mesdames Charton-Demeur, Monrose, Geoffroy, MM. Montaubry, Balanque, Prilleux, Geoffroy, and Lefort.
As for the Baden orchestra, I can say no more than that it was equal to that from Carlsruhe, which had been so justly applauded, two evenings previously, for its performance of C. Kreutzer's opera.
The second representation of Beatrice et Binidict was preceded by La Servante Maitresse, the music by Pergolese, and the French words a translation of La Serva Padrona. It is a remarkable fact that the same work was revived on the very same day at the Opera Comique, Paris. The bones of the poor author of the Stabat and so many enchanting "Siciliennes" must have trembled with delight in their forgotten grave—a grave which will, probably, never be discovered. Despite the weakness of the accompaniment, a quartet and two bassoons, the old work pleased the audience, and most of the pieces appeared what they really arc—fresh and charming. Mad. Geoffroy and M. Balanque were very spirited in the various comic situations, which are sufficiently amusing. They were supported only by a non-speaking character— Scapin—played by M. Geoffroy. This is not because Pergoles ewished to avoid any occasion for writing a trio, which he was very capable of doing, although his famous Stabat is composed for only two voices. It is simply the result of a stupid restriction which oppressed the small theatres at Naples in the year (of little grace) 1781, and which prohibited the appearance of more than two singing characters in any work played at the theatres frequented by the people. After the lapse of a century and a half, or thereabouts, it must be owned that, in this respect, we have not advanced much in France. At the above date, when there were no railways or electric telegraphs, novelties travelled but slowly; it was not until 1754 that Baurans translated, for the French stage, La Serva Padrona of the young, illustrious, and unfortunate composer of Ancona. His version, written so long after the original, had an immense success. It was the eminently charming Mad. Favart who played the part represented at Baden by Mad. Geoffroy. When the piece had been performed some hundreds of times, Baurans had it printed, and dedicated it, with justice, to the young and seductive actress, with the following quatrain :—
"Nature un jour epousa Part;
MUSIC—Messrs. ROBERT COCKS and Co. respectfully beg to inform the profession generally and the country trade that they are, as heretofore, prepared to open account! and to send out parcels of music on approbation on receipt of references. Returns to he made at the expiration of erery hair year. N".H. Gratis and postage free, a Catalogue of 8,000 Pianoforte Works; alto a Catalogue of 2,000 songs, duets, and trios, with key, compass, &c, marked.
TO TEACHERS of MUSIC. — Just published, a SELECT CATALOGUE (enlarged edition) of PIANOFORTE and VOCAL MUSIC, expressly for the use of teachers. Supplied gratis and post free. Application must be made for the 11 Green Catalogue," and must be accompanied by the applicant's professional card.
T30BERT COCKS and Co.'s LIST of NEW MUSIC—
1_ V Visitors to London, requiring a selection of new music, should apply for ROBERT COCKS and Co.'s QUARTERLY CIRCULAR, just issued, which contains the new works published up to this day, and is supplied gratis and post free.
THE ECONOMICAL "WONDER of the DAY. — HAMILTON'S MODERN INSTRUCTIONS for the PIANOFORTE. 34M edition (70 folio pages), 4s. ; ditto for Singing, 2?d edition,5s. Hamilton's Dictionary of 3,500 Musical Terms, 68th edition, 11. Clarke's Catechism of the Rudiments of Music, 73rd edition, Is. £25.
Robert Cocks & Co.'s elegant Piccolo Pianos, in walnut or rosewood, 6] compass warranted.—6 New Burlington Street, Regent Street, W.
EMORY. Song. The Poetry by Desmond Ryan.
The Music by Alexander Rbiciiardt. 3s.
AST THOU NO TEAR FOR ME? Ballad. The
Words by M. Duol. The Music by Ciao PuuCTL 3s.
LEEP AND THE PAST. Canzonet. The Poetry by
Harriet Power. The Music by J. P. Knioht. 3s.
N GENTLE ELODIE. Romanza. The Poetry by Mrs. Crawford. The Music by Edward Land. 3s.
London: Duncan Davison & Co.
"The above are a few of the prettiest vocal pieces that have appeared during the past publishing season. They are all by well-known and popular composers, of whose talents they are agreeable specimens, Balfe's French romance is in his happiest rein. Our countryman has successfully contended with the Parisian composers on their own ground—witness the reception of his fine operas. Les Quatre Fits Aymon and Le Puitt &'Amour, at the Opera Comlque ; and in the little song before us he shows how entirely he is at home in the French style. It is tender and passionate, with that infusion of graceful lightness and gaiety which gives the French poetry and music of this class their peculiar charm. Slgnor Gardoni has sung it in public with delicious t \ but It by no means requires the aid of such a singer to make It charming.—Mr. Alfred Mell >n's ballad is worthy of that able and eminent musician. The melody is simple and natural, without being trite or commonplace; and the whole composition shows that new mid striking effects of modulation and harmony may be produced without setting e defiance (as is too often done) the established principles and rules of art. — Few vocal pieces of the present time have obtained greater popularity than Hpit Reichardt's song." Thou art so near," not only In English, but (by means of its German and French versions) all over the Continent His new production. ' Memory," is of a similar character, and bids fair to have a similar success. Mr. Desmond Ryan's verses are elegant, and Reichardt has united them to a melody at once pure, simple, and expressive. Signor Pinsuti's ballad, " Hast thou no tear for me?" has been recommended to the attention of the public by the pleasing performance of Mr. 'Pennant, for whom it was written, and by whom it has hc.cn sung at many of the best concerts of the season. Signor Pinsutl, an Italian, has produced an air of Italia*, grace and beauty, while he has entirely avoided the faults into which foreign composers so often fall in setting English words to niUsic. The melody not only L'xpressi'S the sentiment conveyed by the poetry, but does not present a single misplaced emphasis or accent —l most Important requisite in vocal music. Mr. Knight's canzonet is melodious, flowing, and extremely well fitted for a mezxo-soprano or contralto voice. There is a flaw in one place which dims the clearness of the harmony. In Bar 8, page 2, G flat in the melody Is accompanied by E natural in the bass, creating a diminished third (or tenth)—an interval very rarely allowed, and not, we think, in the present case. There is much that is masterly in Mr. Land's romanza, and Mr. Santley, for whom it was composed, has sung it with deserved success. We could have wished it had been a little less elaborate ; that the flow of the melody had been less disturbed by extraneous modulation; and that the pianoforte accompaniment had been lighter and less loaded with notes. It is a fine song, nevertheless, and not unworthy of the author's well-merited reputation."—The Press.
NEW" AND REVISED EDITION.
THE VOICE AND SINGING
(The Formation and Cultivation of the Voice for Singing),
A D 0 L F 0 FERRARI.
THE AIRS, BALLADS, FANTASIAS, QUADRILLES, WALTZES, &C. IN THE OPERETTA OF
"ONCE TOO OFTEN N."
COMPOSED BY HOWARD GLOVER.
"Oh 1 Glorious Age of Chivalry." Duet For Soprano and Contralto ... 4i. Od.
"The Solemn Words his Lips have spoken." Grand Air. For Soprano... 4s. Gd.
"The Love you've slighted still is true.1' Ballad. Sung by Mile. Jenny Batjr 3s. 6J.
"Stratagem is Woman's Power." Ballad. Sung by Miss Emma Hetwood Ss. 6d.
"Love i> a gentle Thing." Ballad. Sung by Miss Emus. Hbvwooo ... 8s. Gd.
"A young and artless Maiden." Romance. Sung by Ilerr Rsicuardt ... 2s. fid.
"There's Truth in Woman rs Romance. Sung by Herr Keicbardt ... its. t
"The Monks were jolty Boys." Ballad. Sung by Herr Formes ... ... 2s. Od.
"In my Chateau of Pomperuik." Aria Bulla. Suog by Herr Formes ... 3s. Od.
FANTASIAS, UUADRILLES AND WALTZES.
Brinley Richards's Fantasia, on " Once too Often"
Eraile Berber's Fantasia, on '* Once too Often"
"Kontainbleau Quadrille," by Strauss. (Handsomely Illustrated in Colours) 4s. Od, "La Belle Blanche Walts," ditto u M. t. 4s. Od.
"Mr. Glover's operetta la a decided and, what' s better, a legitimate,' hit.' The songs before us have already attained a limited popularity. 'The monks were jolly boys' is as racy as the best of the old English ditties, harmonised with equal quaintness and skill, and thoroughly well suited to the voice of Herr Formes. 1 The love you've slighted still is true (for Mile. 'a Baur) lias a melody of charming freshness. Not less a model ballad in its way is 'A young and artless maiden ' (for Herr Heichardt), which sets out with an elegantly melodious phrase. Perhaps more to our liking, however, than any of the foregoing, excellent and genuine as they are, is 'Love is a gentle thing' (for Miss Emma Heywood), which enters the more refined regions orthc ballad-school, and attains an expression as true as It Is graceful. The opening holds out a promise which the sequel entirety fulfils."—Musical World.
London: Duncan Davhon ft Co., 344 Regent Street, W.
"God save the Queen," for 4 Voices (2 Tenors and Buses), with
Piano ad lib. »
The Lord's Prayer for 4 Voices (Soprano, Alto, Tenor, and BassJ.wlth Organ ad ft*. 3
Separate Vocal Parts, each ... .„ ... ... 0
"This house to love is holy." Serenade for 8 Voices ... ... ... 4
Separate Vocal parts, each ... ... «. 0
"Aspiration," for Bass, Solo, and Chorus of 3 Sopranos, 3 Tenor s 1 Bass 4
"Here ou the mountain," with Clarinet obblieato ... ... ... «. 4
Violin or Violoncello In lieu of Clarinet, each 0
41 Near to thee," with Violoncello obbtigato ... ... ... «. 4
** The Fithermatdeu" ... ... ... ... ... ... .••'
Royal Wedding March (Quatrlfcme Marche aux flambeaux). Composed for the marriage of the Prlne.it Uonl of England Willi Prince Frederick William
ofPru«sia 5 ■
Ditto, as a duet 10 «
Published by Duncan Davison & Co., 244 Regent Street, W.
Just published, price 3s.
MLLE. ADELINA PATTI'S NEW WALTZ, "1)1 GIOJA INSOL1TA." Sung with distinguished success by Mile. Adelina Patti, In the operas of '• II Barblere op ts, "Don Pasquale," Sc. *c. The Word) by Lorenzo Monterasi, the Music by Maurice Stkakoscu.
London: Duncan Davison 4 Co., 241 Regent Street.
Just published, price 3s.
MLLE. ADELINA PATHS NEW BALLAD, "THE OLD HOUSE BY THE LINDENS." The Poetry by Longfellow. Sung with the greatest success by Mile. Adelina Patti, for whom it was exprettly computed by Howard Glover.
London: Duncan Davison & Co., 244 Regent Street, W.
T"~HE~HARP OF WALES," Ballad, Composed by BRINLEY KICHAUDS, sung with such distinguished success at the CARNARVON FESTIVAL, by Mr. LEWIS THOMAS, is published, price Vt by Dcncan Davhon & Co., 244 Regent Street, W.
TARANTELLA, by Walter Macfarren, played by the
_L Composer with distinguished success, is published, price 4»., by Duncan Davi.
Son & Co., 244 Regent Street, W.;