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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 Semiramidemthe 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 | 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 now 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 (talian 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 useful, “spectaclc-operas” of the French stage and those examiples 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. sepertory, 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 invariably made with the since heard of, also appeared as Oscar, the page.

careful consideration due to so fine a masterpiece-and for the un. With regard to the promised operas, Oberon and Der Freischütz warranted substitution of a new finale in place of that which Rossini has turned out a 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 postponed until

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 stances 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

e and w

generation of opera-goers, have Bellini's Sonnambula, Rossini's Barbiere is not very likely to be unresponded to at the present time; and di Seviglia, and Mozart's Don Giovanni (thanks, in a great measure, to the crowded state of the pit and gallery on the opening night was an Mlle. Adelina Patti), been so frequently performed in the course of a auspicious "inauguration" of the early season. The opera — Mr. single season. Of the other operas, from time to time produced — the Benedict's Lily of Killarney - was played, two characters excepted, Trovatore, the Ballo in Maschera, Rigoletto, the Traviata -- there is with the original cast, and received with the unanimous favour it has nothing to remark, beyond the fact that Il Ballo in Maschera, certainly one never failed to command. The audience, indeed, was almost as of Sig. Verdi's most genial operas, is slowly and surely winning ground; enthusiastic as though the opera had been produced for the first and that, while Sig. Ronconi's Rigoletto was as greatly missed as his time. Miss Louisa Pyne, Mr. Harrison, and Mr. Santley were up. Figaro, no one has been able to supply the place of Mad. Bosio in Gilda roariously welcomed, as they successively came before the footlights ; -- nor Mad. Miolan Carvalho, nor the new lady, Mlle. Battu, another the overture was loudly applauded, and no less than six pieces - The French singer in all respects her inferior.

moon hath raised her lamp" (Messrs. Perren and Santley), “ It is a With reference to the “engagements” – the one exception (Sig. pretty girl I love" (Mr. Harrison), “ The Cruiskeen Lawn” (Miss Louisa Ronconi) allowed for — the pledges of the prospectus have been ful- Pyne, a trio), “I 'm alone" (Miss Louisa Pyne), the “Lullaby" (Mr. filled to the letter. We have had even more than was set down. Mad. Harrison), and “Eily Mavourneen" (Mr. Perren) - were encored and Csillag, the German, Mad. Penco, the Italian, and Mad. Rudersdorff, the repeated. On the whole, it must be admitted that this unmeasured Russian — " prima donnas” in the serious line — were further strength

approbation was not illegitimately earned, the execution of Mr. Benecned by the cooperation of Mlle. Antonietta Fricci, another Teutonic dict's picturesque work being for the most part highly effective. Of singer, who, at intervals--in Alice (Robert), Leonora (Il Trovatore), and Miss Louisa Pyne's Eily, Mr. Harrison's Miles-na-Coppaleen, and Donna Anna, replaced the two first-mentioned --- besides making her Mr. Santley's Danny Mann, it is superfluous to speak; nor need more debut as Valentine in the Huguenots, and who, being young and pro- be said of the comparatively subordinate parts of Mrs. Cregan, Father inising, will doubtless be heard of next season, and by a Mlle. Dottini, who Tom, and Mr. Corrigan, than that they were sustained by Miss Susan came chiefly into vogue as the occasional substitute for Mad. Carvalho Pyne, Messrs. Patey, and Eugene Dussek, with their accustomed and Mlle. Baitu. The list of tenors, at the head of which stood Sigs. efficiency. The part of Anne Chute was undertaken by Miss Thirlwall, Mario, Tamberlik, and Gardoni--the first two being repeatedly heard in who exhibited the cleverness and musical efficiency that invariably some of their most celebrated parts, the one by his Almaviva, the other distinguish her, and are all the more acceptable on account of the by his Arnold (Guillaume Tell), presenting examples of the two opposite | unobtrusive modesty with which they are put forward. Mr. George styles of Rossinian singing that defied competition – was thoroughly Perren, the new Hardress Cregan, met with a genuine ar cfficient. A more painstaking and conscientious second-tenor than success. This gentleman has been for some years favourably known Sig. Neri Beraldi, or one more capable of undertaking a first-tenor part in the concert-room as a singer both of sacred and secular music. at an emergency, could not casily be met with. The barytones and On the stage he at present is little better than a novice ; but he sings basses — including Sigs. Graziani, Polonini, and Ciampi, MM. Faure, with taste, expression, and finish, and his voice, though not over Tagliafico and Zelger, Herr Formes, &c.—not to forget Sig. Delle Sedic, powerful, is of extremely agreeable quality. Nothing could be more a thorough artist, whose Renato (Il Ballo in Maschera) is a first-class encouraging than his reception. There was an earnestness in his manner performance, and whose only misfortune it was to be obliged to officiate which at once made way with the audience, and obtained for him both for the absent favourite Sig. Ronconi in one or two highly important an attentive hearing and a flattering appreciation. We have already characters — were adequate to all the demands of the establishment; said that he was honoured with two eucores, and have only not to while the clever and intelligent Mad. Nantier-Didiée, as usual, did express a hope that last night's probation may merely be the preliminary excellent duty as “contralto." Of the three “new comers” — Mlle. to further successes, and that Mr. Perren may become what is convenGordosa (soprano), Sig. Nanni (bass), and Herr Wachtel (tenor)-- it is tionally styled "a valuable acquisition.” At the end of every act of enough to say that they appeared and disappeared; while, with regard the opera ihe singers were recalled ; and when the National Anthem had to Mr. Santley, the eminent English barytone—who met with so flatter been given by the whole company” (solos, Miss Parepa, Mr. Harrison, ing a reception as the Comte di Luna in Il Trovatore, and who shortly and Miss Louisa Pyne), Mr. Alfred Mellon, in obedience to a general after went over to the Opera House in the Haymarket — we can only summons, was led forward by the manager and manageress. It is idexpress our surprise and that of the musical public that, after so decided tended to present in succession all the original works by native coma success, he should either have been allowed to sccede, or have seceded posers that have been brought out since the Royal English Opera was of his own accord, from a theatre where so brilliant a career seemed to first established. Such a plan, at the present moment, is manifestly await him.

judicious. The ballet has remained in stalu quo. Mlie. Salvioni, the principal On Monday, Mr. Wallace's Maritana was given, with Mlle. Parepa dancer, has shown by her impersonation of Fenella (Masaniello) that, as the Gipsy girl, her first appearance in the character, Mr. Harrison while she could dance to perfection, she could do something else quite as playing his old part, Don Cæsar de Bazan; Mr. Weiss, Don José; Miss gracefully; while Mlle. Esper, the worthy head of a very efficient Terp. Susan Pyne, Lazarillo; and Mr. John Rouse, Mr. and Mrs. Ansley sichorean corps, and her associates, have sustained their reputation and Cook, the other characters. Mlle. Parepa sang with great brilliancy, that of the establishment in this agreeable department, more particu- | and was received with distinguished favour. Mr. Harrison's Don larly in the divertissements which confer so much animation upon the Cæsar is one of his very rarest and most genial impersonations. On long French spectacle-operas. To the band and chorus, to their inde- / Tuesday aud Thursday the Lily of Killarney was repeated ; on Wedfatigable chief, Mr.Costa, to M. Sainton, his occasional and thoroughly able nesday Dinorah ; and last night Muritana. On Monday Lurline will substitute, to Mr. Augustus Harris, stage-manager, and to Mr. W. Be- he produced, with Miss Sarah Dobson, & pupil of Mrs. Wood, in the verley and Messrs. Grieve and Telbin, heads of the “scenic" business,

character of the heroine, her first appearance on the London stage. 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

DRESDEN.-It was exactly a quarter of a century ago, on August secrets of its success.

11 last, 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 and ROYAL ENGLISH OPERA.

small parts at the Kärtnerthor Theatre, Vienna. Perhaps this comSCARCELY more than a weck had Covent Garden Theatre closed its paratively late commencement of his artistic career, properly so called, doors upon the foreign opcratic singers, when already they were opened at a period when his physical powers were completely developed, will again for the admission of a well-trained company of English lyric come- | partially account for

partially account for the durability of his voice, the beauty, vigour, and dians, whose annual appeal to the public does not ordinarily take place freshness of which enchanted everyone when he made his debut here. until about the middle of October. Miss Louisa Pyne and Mr. Harrison. The next parts he played, previously to his becoming a regular member however, are no doubt resolved to try their chances like the rest in this l of the company, were Tamino, George Brown, and Robert, in all of exceptional year; and it will be strange if none of the crumbs from the which he was so successful, that Herr Von Lüttichan, the Directoramply-spread table of the Great International Exhibition do not fall | General of the Theatre Royal, engaged him permanently from January 1, to their share. The completeness with which their operas are got up, 1838. According to report, several operas are again to be performed the variety of their repertory, and the excellence of their band and with the low pitch in the course of next month, when the directors and chorus, under the able guidance of Mr. Alfred Mellon, give them - conductors of the principal operatic theatres in Germany will be invited to say nothing of their chief performers -- a claim to support which to attend.

“ BEATRICE ET BENEDICT,” BY HECTOR BERLIOZ, the dance-air, eminently corybantic; the male trio, “Me marier, Dieu AT BADEN.

me pardonne!” Bénédict's rondo, " Ah! je vais l'aimer!” Béatrice's air,

and the “Nuptial March," supported by a good orchestral rhythm. (From the Baden Illustration.)

All this difficult music, requiring on the part of the executant coriThe piece is based upon the Latin proverb, so well-known, and so tinual vigilance, attention, and, I will even add, tension, was given debatablo (I beg your pardon, ladies!), “ Si vis amari, ama," “ If you most admirably by Mesdames Charton-Demeur, Monrose, Geoffroy, wish to be loved, begin by setting the example yourself.” The great MM. Montaubry, Balanqué, Prilleux, Geoffroy, and Lefort. king, Louis XIV., surrounded by the fascinations of the most beautiful and most noble women of his day, the Lavallières, the Montespans, and | As for the Baden orchestra, I can say no more than that it was equal the Fontanges, was not proof against the love displayed for him by a to that from Carlsruhe, which had been so justly applauded, two evenings mere gardener's daughter. Béatrice is, of course, a thousand times previously, for its performance of C. Kreutzer's opera. better than a gardener's daughter, but it is solely because Bénédict The second representation of Béatrice et Bénédict was preceded by La learns, beyond the possibility of doubt, that she loves him, that he sets Servante Maitresse, the music by Pergolese, and the French words a transabout loving her, and vice versa. Now this revelation takes place on | lation of La Serva Padrona. It is a remarkable fact that the same work the stage for Bénédict, but not for Béatrice. This is an omission which was revived on the very same day at the Opéra Comique, Paris. The not only flings a certain degree of obscurity on the design of the work, bones of the poor author of the Stabat and so many enchanting but which ought to have been filled up both dramatically and musically. “ Siciliennes" must have trembled with delight in their forgotten A female trio, corresponding to the trio of the men, would not have gravema grave which will, probably, never be discovered. Despite the been superfluous, perhaps, to explain the sudden passion of the beautiful weakness of the accompaniment, a quartet and two bassoons, the old and refractory Béatrice, which is the important part of the knot to be work pleased the audience, and most of the pieces appeared what they untied; for a woman, as far as appearances go at least, is slower to fall really are—fresh and charming. Mad. Geoffroy and M. Balanqué in lore than a man, and does not surrender without being duly called were very spirited in the various comic situations, which are sufficiently upon, as it is the right, if not the duty,'of a man to do. This ought to amusing. They were supported only by a non-speaking character have been sung, because song is the especial and peculiar action of a Scapin—played by M. Geoffroy. This is not because Pergoles ewished musical work; and, with all due deference to Beaumarchais and his to avoid any occasion for writing a trio, which he was very capable of witty remark at his own expense, it is precisely when things are worth doing, although his famous Stabat is composed for only two voices. being spoken that they ought, in opera, to be sung.

It is simply the result of a stupid restriction which oppressed the small M. Berlioz will, of necessity, repair the above omission, if, as appears theatres at Naples in the year (of little grace) 1781, and which prohibited most certain, his new opera is revived this winter and produced in the appearance of more than two singing characters in any work played Paris.

at the theatres frequented by the people. After the lapse of a century When we recollect that a mediocre libretto has often proved sufficient and a half, or thereabouts, it must be owned that, in this respect, we to mar irrevocably excellent music-such for instance, as that of the have not advanced much in France. At th3 above date, when there Partie de Chasse de Henri IV., of which the marvellous overture alone were no railways or clectric telegraphs, novelties travelled but slowly; managed to survive-we must admire and congratulate M. Berlioz all it was not until 1754 that Baurans translated, for the French stage, the more on having succeeded in rendering his music effective, con La Serva Padrona of the young, illustrious, and unfortunate composer nected, as it is, with a series of situations by no means definite or of Ancona. His version, written so long after the original, had an precise. Had he had a clear and amusing book like that of Le Domino immense success. It was the eminently charming Mad. Favart who Noir, it is impossible to say how successful his opera might have been; played the part represented at Baden by Mad. Geoffroy. When the even as it is, I believe it will run, and for a long time, too, despite the piece had been performed some hundreds of times, Baurans had it imperfection of the subject; for it contains a duet, which we must, with- | printed, and dedicated it with instice to the

printed, and dedicated it, with justice, to the young and seductive out being commonplace, designate a chef-d'auvre, and which will live |

actress, with the following quatrain :as long as French music lives. It is already imprinted on the memory

“ Nature un jour épousa l'art; of everyone at Baden, as it will speedily be on that of every lover of

De leur amour nequit Favart,

Qui sombie venir de sa mère musical art in Europe. I allude to the admirable inspiration which

Tout ce qu'elle doit à son père." terminates the first act, and which, having left Baden on August 11 last, will evidently, within the year, make the round of Europe

Félix MORNAND. 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 Guillaume Tell, that in Otello, or aught else known on the stage. It is

Advertisements. 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. Eugène Scribe would never have thought of such a hors-d'æuvre, any more than M. Berlioz, as a librettist will ever invent the complications of the Ambassadrice, the Fiancée or Lestocq; but, as a composer, he fully makes up for his defi

LIST OF NEW MUSIC. ciency in this respect, for the duo is as fine as what shall I say?-_the Lac, of Lamartine, its congener : here I stop, and, naturally, do not add one word more of praise,

Another charming duet, or, rather, duettino, which ends the piece, | M USIC.-Messrs. ROBERT COCKS and Co. respectwas more successful at the pianoforte rehearsal than in performance. /

fully beg to inform the profession generally and the country trade that they It is the duet sung by the principal personages (Héro aside) when they

are, as heretofore, prepared to open accounts and to send out parcels of music on are reconciled and married. Its comparative failure results, I think, approbation on receipt of references. Returns to be made at the expiration of every

half year. N.B. Gratis and postage free, a Catalogue of 8,000 Pianoforte Works; also from the excessive and too great petulance of the orchestral accompani..

a Catalogue of 2,000 songs, duets, and trios, with key, compass, &c., marked. ment, reproducing the principal motive of the overture, and depressing the exquisite strains of this final invocation to the god of our soul. M. ITO TEACHERS of MUSIC. - Just published, a Berlioz, when writing in future for the human voice — which he has 1 SELECT CATALOGUE (enlarged edition) of PIANOFOŘTE and VOCAL

MUSIC, expressly for the use of teachers. Supplied gratis and post free. Applicahitherto done too seldom, but will certainly now do more and more --

tion must be made for the “Green Catalogue," and must be accompanied by the will have, I think, to refrain - also more and more - from similar re

applicant's professional card. finements of science, from similar examples of chant contre chant, which may sometimes be allowed as curiosities and certificates of knowledge, DOBERT COCKS and Co.'s LIST of NEW MUSIC, but which frequently injure each other. He may, also, give himself up LV Visitors to London, requiring a selection of new music, should apply for

ROBERT COCKS and Co.'s QUARTERLY CIRCULAR, just issued, which with greater confidence to that melodic inspiration which, as we are at

contains the new works published up to this day, and is supplied gratis and post free. present aware, he possesses abundantly, and which (as we learned long ago) will always be, in his case, lofty, spiritual, original, and eminently MHE ECONOMICAL WONDER of the DAY. opposed to commonplace.

HAMILTON'S MODERN INSTRUCTIONS for the PIANOFORTE, 342d The other remarkable pieces in the score are, firstly, the overture, edition (70 folio pages), 43. ; ditto for Singing, 22d edition, 58. Hamilton's Dictionary

of 3,500 Musical Terms, 68th edition, Is. Clarke's Catechism of the Rudiments of reproduced in the form of a scherzo at the end of the work, beginning

Music, 73rd edition, Is. 225. à trois temps (three-eight), and finishing à deux temps, like Caspar's

ROBERT Cocks & Co.'s elegant Piccolo Pianos, in walaut or rosewood, 61 compass famous air in Der Freischütz; the duet between Béatrice and Bénédict; warranted.-6 New Burlington Street, Regent Street, w.

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COMPOSED BY HOWARD GLOVER.
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Performed with the greatest success at the Theatre Royal, Drury Lane.
The Music by ALEXANDER REICHARDT. 38.
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Emile Berger's Fantasia, on " Once too Often” ...

... 35. Od. ground-witness the reception of his fine operas, Les Quatre Fils Aymon and Le Puits

* Fontainbleau Quadrille," by Strauss. (Handsomely Illustrated in Colours) 45. Od. d'Amour, at the Opéra Comique; and in the little song before us he shows how entirely

"La Belle Blanche Waltz,” ditto i ... .. ... .. . .. 48. Od. he is at home in the French style. It is tender and passionate, with that infusion of " Mr. Glover's operetta is a decided and, what is better, a legitimate, ‘hit.' The graceful lightness and gaiety which gives the French poetry and music of this class songs before us have already attained a well-merited popularity. The monks were their peculiar charm. Signor Gardoni has sung it in public with delicious effect, but it jolly boys' is as racy as the best of the old English ditties, harmonised with equal by no means requires the aid of such a singer to make it charming.-Mr. Alfred quaintness and skill, and thoroughly well suited to the voice of Herr Formes. The Mell on's ballad is worthy of that able and eminent musician. The melody is simple love you've slighted still is true' (for Mlle. Jenny Baur) has a melody of charming and natural, without heing trite or commonplace; and the whole composition shows freshness. Not less a model ballad in its way is 'A young and artless maiden' (for that new and striking effects of modulation and harmony may be produced Herr Reichardt), which sets out with an elegantly melodious phrase. Perhaps more without setting at defiance (as is too often done) the established princi to our liking, however, than any of the foregoing, excellent and genuine as they are, is ples and rules of art. - Few vocal pieces of the present time have obtained Love is a gentle thing' (for Miss Emma Heywood), which enters the more refined greater popularity than Herr Reichardt's song." Thou art so near," not only in English, regions of the ballad-school, and attains an expression as true as it is graceful. The but (by means of its German and French versions) all over the Continent. His new opening holds out a promise which the sequel entirely fulfils."- Musical World. production, Memory," is of a similar character, and bids fair to have a similar

London : Duncan Davison & Co., 344 Regent Street, w. success. Mr. De mond 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. Tennant, for whom it was written, and by whom it has been sung at many of the best concerts of the season. Signor Pinsuti, an Italian, has produced an air of Italian grace and beauty, while he has entirely avoided the faulis into which foreign couposers so often fall in setting English words to music. The melody not only expresses the sentiment conveyed by the poetry, but does not present a single

THE FOLLOWING COMPOSITIONS, by this eminent misplaced emphasis or accent - a most important requisite in vocil inusie. Mr. Knight's canzonet is melodious, flowing, and extremely well fitted for a mezzo-soprano

Composer, are published by DUNCAN DAVISON & co.: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,

· VOCAL. 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 “God save the Queen,” for 4 Voices (2 Tenors and 2) Basses), with could have wished it had been a little less elaborate ; that the flow of the melody had

Piano ad lib. been less disturbed by extraneous modulation, and that the pianoforte accompaniment The Lord's Prayer for 4 Voices (Soprano, Alto, Tenor, and

gap ad lib. had been lighter and less loaded with notes. It is a fine song, nevertheless, and not

Separate Vocal Parts, each

06 unworthy of the author's well-merited reputation." -The Press.

** This house to love is holy." Serenade for 8 Voices
Separate Vocal parts, each

06
“ Aspiration," for Bass, Solo, and Chorus of 3 Sopranos, 2 Tenors, and I Bass
“ Here on the mountain," with Clarinet obbligato ...

4 0 Violin or Violoncello in lieu of Clarinet, each 0 6

" Near to thee," with Violoncello obbligato Price 128.

** The Fishermaiden"

MEYERBEER

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NEW AND REVISED EDITION.

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