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ad Astyagen. Hic vidit per somnum vilem enatam e:c naturalibus, quam
intelligible enough, though less obscurc. THERESE.- Enquire at Chappell's, 50 New Bond Street. A TOURBRIDGE SUBSCRIBER.-First-in about a fortnight. Second
TRIUMPHANT SUCCESS OF THE PANTOMIME.
THIS EVENING, Her Majesty's Servants will perform the Operetta, in one act, entitled
ONCE TOO OFTEN.
Harlequin and the House that Jack Built;
the Advertising Agency of THE MUSICAL WORLD is established
... ... 28. 6d.
ance, except of general interest, unless previously Advertised, can be reported in THE MUSICAL WORLD.
The Musical World.
THEATRE ROYAL, DRURY LANE. - Lessee Mr.
1 E. T. SMITH.-Continued triumph and unparalleled success of the Grand Christmas Pantomime.-In consequence of the continual overflows to all parts of this national theatre, the following arrangements will be carried out :- In addition to the nightly representations of the Pantomime, there will be an EXTRA GRAND MORN. ING PERFORMANCE To-day (Saturday), Jan. 25, for the accommodation of fa. milies residing at a distance, the several Řife Corps, and those whose only holiday LONDON: SATURDAY, JANUARY 25, 186 2. occurs on Saturday. On this occasion the boys of the Duke of York's School will at. tend. There will also be a Morning Performance on Wednesday next, the 29th inst.; and in consequence of nearly the whole number of principal seats, stalls, and buxes being already secured for those days, a grand extra and final Morning Performance will THE Volunteers have lately figured somewhat conspicutake place on Saturday, February 1, which will positively be the last opportunity of witnessing the Pantomime in the morning. For these occasions early application for
1 ously in the Concert Room, not through theinselves, but places is absolutely necessary. Parties at a distance may secure seats, &c., by letters addressed to Mr. NUGENT, box-office, Theatre Royal, Drury Lane, and containing
by aid of singers and instrumental performers. Each post-office orders. Children admitted at hall-price at the opening of the doors. Secured | separate corps has a band ; this band is in a great measure seats full price.
composed of mechanics ; mechanics are poor ; poverty canMR. and MRS. CHARLES KEAN are engaged at
not afford to procure such expensive musical accoutrements 1 the THEATRE ROYAL, DRURY LANE on Monday, Feb. 3, for a limited
as clarionets, horns, trombones and drums; and so an appeal number of nights, and will inake their first appearance this season. Monday, February 3. Wednesday, 5th, and Friday, 7th, LOUIS XI.; Tuesday, 4th, Thursday, 6th, and
is made to the public through a concert, supported by artists Saturday, sth; THE WIFE'S SECRET. With the grand Pantomime.
who either tender their services gratis or lower their charges.
If the entertainment be a good one, it pays, and the band are ST. JAMES'S HALL,
benefited; if it be indifferent, there is no gain, and the Regent Street and Piccadilly.
musicians will have to put up for a while with their cracked
instruments, and be satisfied, for the nonce, with the music in MONDAY POPULAR CONCERTS,
their possession. Concerts by various Rifle Corps have been given in different parts of the metropolis, and all have been
hugely patronised. We have attended most of these enterSEVENTY - SECOND CONCERT, on MONDAY
tainments, and have been struck with the little interest they Evening, Jauuary 27, 1862, the Programine selected from the works of
excited. Even when some of the most eminent vocalists and various Composers.
instrumentalists of the day officiated, there was invariably Planist-MR. CHARLES HALLÉ. First Time of KUMMEL's Celebrated SEPTET.
the absence of that explosive enthusiasm one might naturally
expect from an audience to a great extent composed of par. PROGRAMME. Part 1.- Quartet, in E flat, (p. 12, for two Violins, Viola and Violoncello (Men.
tisans, and those partisans mostly ardent warriors, or “milidelssohn), MM. L. Ries, WATSON, H. WEBB and PAQUE, Song, " The Quail” (Bee:hoven), Mr. TENNANT.
tarians," if you would like the term better. To account for Sonata, in C sharp major, Op. 27, No. 1, " The Moonlight" (Beethoven), Mr. Charles WALLÉ.
this lack of fervidness and exciteability is not very difficult. PART 11. - Grand Septet, in D minor, for Pianoforte, Flute, Oboe, French Horn. Viola. Violoncello and Contrabasso (Hummel). (firs: time at the Monday Popular Cou
The programme in no one instance we allude to had been made certs). MM. CHARLES HABÉ, PHATTEN, BARRBTT, C. HARPER, H. WEBB, PAQUE and C. SEVERN. Song, " The Evening Song" (Blumenthal), Mr. TENNANT, Quartet, in B
to conciliate the really warlike, or simulated warlike, feelings flat, No. 67, for two Violins, Viola, and Violoncello (Haydn), MM. L. Ries, WATSON, of the Volunteers. Each singer, or player, was allowed, reH. WEBB and PAQUE (first time at the Monday Popular Concerts). Conductor, Mr. Benedict. To commence at eight o'clock precisely.
quested rather, to select his own piece; and as he chose NOTICE.It is respectfully suggested that such persons as are not desirous of remain what he thought he could accomplish best, it was the ing till the end of the performance can leave either before the commencement of the last instrumental piece, or betwcen any two of the movements, so that those who wish
merest chance if any one item in the selection was approto hear the whole may do so without interruption.
priate to the occasion. The Volunteers, burning with .. Between the last yocal piece and the Quartet, an interval of Five Minutes will be allowed. The Concert will tinish not later than half past ten o'clock.
glory, impatient for the field, and by no means overflowStalls, 58.; Balcony, 3s.; Admission, Is. Tickets to be had of MR. AUSTIN, at the Halí, 28 Piccadilly ; CHAPPELL and Co., 50
ing with musical sensibility, were called upon to listen to New Bond Street, and of the principal Musicsellers.
instrumentalists executing tender sonatas in A, peaceful duos
he Hail, 28 mission, Past ten o'clore Minutes
and trios in B, and profound somnorific quartets in C; while Ballad, “As they marched through the town," Mad. the vocalists endeavoured to awaken their sympathies by every
Jackson. means but the right one, and never contemplated they
Song, with chorus, " Rataplan” (Figlia), Mlle. Florence
Donizetti. were addressing a gallant band of heroes, ready at a moment's | Air. "Oh, 'tis a glorious sight to see" (Oberon), notice to try extremities with Louis Napoleon, the Czar of
Weber, Russia, or President Lincoln. What cared they for moonlight | Overture, “Siege of Corinth," by the Band of the Royal roamings, cupidian effervescences, and those verdant pastures
Italian Opera, assisted by the Bands of the of the memory upon which song-writers so frequently feed ?
Life Guards, Horse Guards, Grenadier Guards,
and Scots Fusilier Guards . . . Rossini. Their souls were athirst for the roaring of the lion and the tiger, not for the cooing of the dove, or the bleating of the This is our model Volunteer programme, which, if any lamb. Was it dulness on the part of the singers and players, Rifle Corps — say the 125th Diddlesex Rapids, or the or were they unable, in the intensity of their vanity, to see | Double-Barrel Romney Fencibles should proceed to organbeyond the shadow of their own delectable persons. We ise, or something after a similar scale and plan, at St. James's have two honourable exceptions to make? Herr Formes, at or Exeter Hall, procuring, be it understood, the gratuitous a Volunteer Concert, given in the Bayswater Athenæum this services of all the artists engaged, we beg to state we shall week, introduced the air “Non più andrai" from Figaro - have no objection to undertake the risk, and go share in the a highly appropriate song; and Mr. Weiss at the Beaumont Institution delivered himself of a fiery battle-piece, the name of which has escaped us. For the behoof of future propounders of Volunteer Con
W HILE Jean Louis Dussek is honored in accordance certs, we herewith furnish a model programme which we
W with his great deserts, it has been remarked, and not, recommend strongly to their consideration, feeling assured
we think, quite unreasonably, that Daniel Steibelt, one of that a new impetus will be thereby given to those very
his most celebrated contemporaries, if his inferior in genius, worthy and excellent entertainments, by which not only will
has been rather snubbed at the Monday Popular Concerts.
His name has only appeared once in the programmes when the deserving be benefited, but art advanced. Were we ourselves a Rifle Corps, and about to draw up a programme
in the early winter of last year Miss Arabella Goddard perof a concert to be given in aid of our band, we should,
formed his sonata (in E flat), dedicated to Mad. Bonaparte. without the least hesitation, provide something after the
It should, in upwards of seventy programmes, have appeared following :
oftener. PART I.
Steibelt was born at Berlin, in 1775. His father was a
well-known manufacturer of pianos. Steibelt's musical taBattle Symphony, by the Royal Italian Opera Band .. Beethoven. I lents were developed at an early age and good fortune in. Song, “He was famed for deeds of arms," Mr. Wilbye
troduced him to the notice of William the Third of Prussia, • Cooper . .
Shield. Sonata, “ The Battle of Prague,” Miss Arabella Goddard. Kotzwara.
under whose patronage he was enabled to pursue his studies Duet, “Suoni la tromba," M. Faure and Mr. Weiss Bellini.
in playing and composition. He afterwards travelled abroad, Chorus, “See the conq'ring Hero comes ” (Judus Maccu.
and resided during fifteen years alternately in London and beus), by the members of the Sacred Har
Paris. During Steibelt's residence in Paris, it is said that monic Society
he gave considerable offence to his fellow-artists, by assumAir, “ The Soldier tired,” Mlle. Titiens . .
Arne. Scena, “ Sorgete" (Maometto), Sig. Belletti . . Rossini,
ing an air of hauteur incompatible with the modesty of a Duet, “ The Lord is a Man of War” (Israel in Egypt),
professor. He affected to despise his mother tongue, and Messrs. Santley and Thomas
. Hundel. preferred speaking bad French to good German. In 1799, Song, “Non più andrai” (Figaro), Signor Ronconi . Mozart. he returned to Germany, and afterwards went to Russia, Chorus, “ Rataplan, rataplan” (Huguenots), Henry Les.
where he had the honour of being nominated, by the Emperor
. . Meyerbeer. Air, “Suivez-moi" (Guillaume Tell), Signor Tamberlik. Rossini.
Alexander, to the office of chapel-master. He died at St. Song, “Altho’I am but a very little lad," Mlle. Adelina
Petersburg, the 20th of September, 1823, after a painful Patti
Silver. and protracted illness. Due respect was shown to his Patriotic Song, “England and Victory," Signor Mario . F. Mori. | memory by the united efforts of his brother artists, assisted Instrumental, War March (Athalia)
. Mendelssohn, 1 h
by a great number of amateurs, who performed a solemn Part II.
dirge to his honour.
Steibelt was not less esteemed as an admirable player, “ Oath of Liberty" (Guillaume Tell), by the Sacred Har. monic Society, the National Choral Society, Mr.
than as a pleasing composer. His strength as a pianist lay Henry Leslie's Choir, Vocal Association, the Glee
chiefly in works of the bravura kind, which he executed and Madrigal Society, assisted by the Principals. .
with precision, power, and effect, united to singular grace Ballad, “Let me like a Soldier fall,” Signor Giuglini . Wallace.
and delicacy of manner. His compositions for the pianoSong, The Minstrel Boy," Mlle, Parepa .
Moore. “Sound an alarm," Mr. Sims Reeves.
forte, particularly those of the middle part of his life, had
| numerous admirers both in Germany and in England ; but, · The wounded Hussar," Miss Susanna Cole · Campbell. still more, particularly in France. This may easily be ac“ Hark! 'tis the Indian drum,” Glee and
counted for from the character of his music, which is full Madrigal Union
. Bishop. of gaiety, animation, and spirit, easy to understand and Song, “The Young Recruit," Mad. Lemmens-Sher
generally not very difficult to play. Among those pieces of rington
Steibelt which are less ephemeral, less the offspring of the ciation
Bellini, immediate fashion of the day, and more remarkable for richWar Song, “ Pif, paff” (Huguenots), Herr Formes : Meyerbeer. ness and originality of invention, are his Studies (in two
books), his two concertos for pianoforte and orchestra, in E
and E flat (generally known as The Storm and La Chasse, • Which it is not a song but a country-dance. - Printer's Devil. from the peculiar character of their last movements), his
Air, Song, Song, Glee,
War Chorus, ** Guerra, Guerra” (Norma), Vocal Asso
sonatas for pianoforte and violin, of which the one in E members appeared to sing. The event of the performance, howminor is the best, and some of his sonatas for pianoforte ever, was the first appearance in the sacred concert-room of Mlle. alone, particularly that dedicated to Madame Bonaparte, and Florence Lancia. This young lady had created so decided a another grand sonata in the same key (Op. 60, dedicated to
sensation at St. James's Hall and other places where she had been the Duchess of Courland—a favourite pupil of Dussek’s),
singing for the last few months, that no small interest attached to
her coming out at Exeter Hall in an entirely new line of performwbich will be admired so long as the pianoforte music of his
ance. That Mlle. Lancia possessed dramatic talent of a fine order age shall be esteemed.
bad been proved, but sacred music and operatic music require very Steibelt produced some operas, which appear never to different orders of capacity and intellect; and we have bad Grisi have circulated beyond the cities for which they were com | and Clara Novello as examples to show that the highest success in posed. The last of his compositions of this kind was The one line does not necessarily imply success at all in the other. We Judgment of Midas, which he left to his son in an unfinished | may state at once, that MI
may state at once that Mlle. Lancia's success last night was state, and which, unfortunately, was the only thing he had to
eminent, and surprised even ourselves, who always anticipated leave, for Steibelt, like many other men of genius, was apt
great things from her. The effect produced by the two great to pay but little regard to economy and the mere conven
songs, “With verdure clad” and “On mighty wings," was not to
be mistaken. The audience applauded tumultuously in both tional things of this world. His embarrassed circumstances
instances, and did not desist in either until the artist rose and had no small effect upon the vigour and elasticity of his bowed her acknowledgments. Mlle. Lancia has every qualification mind. In consideration of the merits of the father, however, to render her a great acquisition to the sacred concert-room. Her Count Milioradowitsch, of St. Petersburg, projected a grand voice is of fine quality, always perfectly in tune, is exceedingly concert for the benefit of his successor, which realised a con
flexible, and has an unusual range in the upper register. Moresiderable sum. Steibelt occupied the latter days of his life over, a beautiful, even flute-like shake-so indispensable in oratorio in re-considering his opera of Romeo and Juliet, the score of
singing— is a special recommendation. With all these natural which he, on his dying bed, dedicated to the then King of
advantages Mlle. Lancia has apparently at command every variety
of feeling, with unusual intensity of expression. Her singing of Prussia, out of a feeling of gratitude for the patronage and "With verdure clad” was a little marred at starting by tremulousfavours he had received from the father of that monarch. ness, but it was only for a moment, and the feeling was soon His Cinderella and Judgment of Midas were written for the conquered. Beautiful as the performance was, it was surpassed by Imperial French Theatre of St. Petersburg, where they were “On mighty wings,” which was perfect throughout, and not only performed with considerable applause. These works are gratified the ear in every note, but touched the heart and raised little known. But that Steibelt considered Romeo and
enthusiasm as well. Having so triumphantly begun, it is not to Juliet his master-piece, may be fairly inferred from the cir.'
be doubted but that the young and talented artist will prosecute cumstance of his devoting so much time to re-modelling it.
the new career which has opened so brightly for her. The other Of Steibelt it may be truly said, that if he neither opened
singers were Mr. George Perren and Mr. Lewis Thomas, both of
whom sang with their usual excellence, and obtained no small any new paths in science, nor widened its boundaries, at least
share of applause. he did much for the cultivation and improvement of that which was already known. He helped largely to advance
WESTBOURNE HALL, BAYSWATER.-The last of a series of six the interests of music, by increasing the number of amateurs
subscription concerts given at the above hall, by Mr. William through the medium of his instructions, and also through
Carter, local professor of the pianoforte and singing, and organist
of St. Stephens, came off on Wednesday night in presence of a that of his compositions, many of which still continue, de
fashionable, if not a very numerous, audience. These concerts servedly, among the most esteemed pianoforte works that
hea pianoforte works that have been given ostensibly for the purpose of making known to have outlived the age of their production. It is to Steibelt the Bayswater amateurs the pianoforte works, solo and in combithat the Parisians were indebted for their first introduction | nation, of the great masters. Mr. Carter, an excellent pianist and to Haydn's oratorio of The Creation. The critics of the thorough musician, has had for his co-operators, at different times, period were of opinion that the work abounded with excel
M. Vieuxtemps, the Messrs. Booth, Signor Piatti, M. Paque, and lent points, but upon the whole was “heavy and tedious."
others, and has presented to his subscribers some of the finest Have the Parisians materially changed since then?
chamber compositions of Mozart, Beethoven, and Mendelssohn. Do they
The introduction of these masterpieces to so remote a public apknow much more, or care to know much more, of The Crea
peared to create an unmistakeable impression, which we infer tion now? We apprehend not.
from the fact that the concerts increased in attraction as they proceeded. The performance of lighter works of the fantasia school
was a conciliation to the neighbourhood and a necessity. In the Royal ACADEMY OF Music. — The first competition for the vocal department Mr. Carter seems to have been studious to “ Westmoreland Scholarship” examination took place at the insti- secure the best available talent, as the names of Mesdames Parepa, tution on Saturday last. The following Professors comprised the Lemmens-Sberrington, Florence Lancia, Sainton-Dolby, Laura Board of Examiners : Mr. Charles Lucas (Chairman), Mr. J. Baxter, Weiss, Her Formes, Messrs. Wilbye Cooper, Tennant, Goss, Mr. G. A. Macfarren, Signor M. Garcia, Mr. H. Blagrove, George Perren, &c., would testify. At the last concert of the Mr. F. R. Cox, and Mr. Walter Macfarren. Six young ladies .series, the classic pieces were Beethoven's quartet in E flat, for (vocalists) were examined. The candidate elected was Miss E. violin, viola, and violoncello, executed by Messrs. William Carter, Robertine Henderson. Miss Cecilia Westbrook was specially Joseph Heine, Weslake, and Ferdinand Booth; and the same commended for the talent evinced by her at her examination, coinposer's grand trio in D, op. 60, for pianoforte, violin, and
NATIONAL CHORAL SOCIETY.-The performance of Haydn's violoncello, both of which were finely played and with correspondCreation on Wednesday night was a decided improvement on the ing effect. Mr. Carter chose for his solo displays Schulhoff's Messiah. The choruses in Haydn's oratorio, it must be owned, “Morceau Caracteristique," and Thalberg's fantasia on Don are simplicities compared with those in Handel's masterpiece. | Giovanni, in which his facile execution, powerful tone, and firm Nevertheless, that they require good singing to give them effect no touch were manifested. The vocalists were Mesdames Lemmensone will dispute, while in a few instances the most experienced Sherrington and Laura Baxter, Mr. Tennant and Herr Formes, choristers are taxed to the utmost. Therefore, we are inclined to of whose performances, as nothing new was given, nothing need think that the members of the National Choral Society not only be said. The finest singing of the night was that of Herr Formes found Haydn's music more easy than Handel's, but studied it within the song from Figaro, "Non più andrai," and the air, “Wer greater earnestness and purpose. The execution was indeed ein liebchen gefunden hat." Mozart's music appears to suit the thoroughly good, and on this occasion, at all events, all the great basso better than that of any other composer.
MONDAY POPULAR CONCERTS.—(From an occasional Correspondent.) | generally, and for the artistic acquirements of Mr. Sloper in par- One of the best of the season was given on Monday last, notwith- ticular, that such a task should not merely have been readily acstanding the absence of Miss Arabella Goddard, who is naturally and cepted, but triumphantly accomplished. At the conclusion of the deservedly the chief attraction of every programme where her name solo-sonata Mr. Sloper-as he well deserved to be-was unani, appears. Her place was filled by Mr. Lindsay Sloper, one of our most mously recalled. The vocalists were Miss Banks, who was en. zealous and earnest professors of the art of music, and, moreover, a
cored in " Ah, why do we love ?” (from Macfarren's Don gentleman whose neat, careful and skilful execution entitle him to a
Quixote), and Mr. De la Haye. The last piece in the programme more frequent hearing at concerts where M. Nom de Guerre, of Paris, has,
was Mozart's beautiful quintet (in A), for clarionet and wind inactually been selected to misrepresent one of Beethoven's later sonatas, and where Herr Ernst Bremen has played his version of the Sonata
struments, which has become an established favourite at St.
James's Hall. At the next concert we are promised Beethoven's Appassionata of the same composer. The manner of Mr. Sloper is free from affectation and trickery, his mechanism provokingly faultless, his
so-called Moonlight Sonata, by Mr, Hallé-and, for the first time, reading beyond impeachment. In the sonata of Weber, for pianoforte Hummel's justly renowned septet, for pianoforte, with wind and alone (in C major, Op. 24), his playing was exhibited to admiration. stringed instruments.- Times, The adagio (F major) is a pure melody, enriched with the happiest and most original harmonic treatment. The rondo finale, a moto continuo,
DRURY-LANE THEATRE. of great beauty of effect and value as a study, is the most favourable A VERY agreeable “lever de rideau," in the shape of a one-act example we know of Weber's admirable genius as a pianoforte comic operetta, from the pen of Mr. Howard Glover, preceded the writer. In the sonata for pianoforte and clarionet, the other work in pantomime on Monday night, and was received with unanimous which Mr. Sloper appeared (in E fiat, Op. 48), the pianist had the co- | favour by a crowded house. The French vaurleville from which operation of Mr. Lazarus, whose name is to the musical public a | Mr. Glover (again, as in the instance of Ruy Blas, his own libretguarantee for prodigious executive ability and artistic genius of the
tist) has derived Once Too Often, is familiar to theatrical amateurs highest order. Mr. Lazarus also played, with M. Sainton and the
under its original title of Mademoiselle de Merange, and also, if we other members of the quartet, in the clarionet quintet of Mozart in A,
remember rightly, through the medium of an English version, proa work frequently performed at the Monday Popular Concerts, and
duced under the superintendence of Mr. Charles Mathews. The which from its freshness, graceful ease, and simplicity, will never be
dramatis persone comprise four characters, and the scene takes heard without delight and exhilaration.
place at Fontainebleau, at the period (as the costumes would sufIt is a matter of no small moment to the London musical public, that the quartets at the Monday Popular Concerts should be led by a mu.
fice to indicate) of Louis XV, Count Marcillac, a sort of harmless sician of experience in chamber music, of eminent executive talent, and
cross between Don Giovanni and the Comte Ory, and by no means whose conscientious regard for the master he illustrates will ensure his innately so unprincipled as either, after innumerable victories over sinking all personal vanity and egotism, if he have any. Keeping the fairer sex, is resolved to try a stratagem upon Blanche de Méry, these things in mind, the engagement of M. Sainton will afford a one of the most beautiful and respected ladies of the Court, and pleasure to all lovers of music. The rich and solid tone of the very | maid of honour to the Queen. It is not his intention to seduce deservedly eminent Frenchman is more especially valuable in so large her, but merely by force of his irresistible attractions to inveigle a room as St. James's Hall, and the wonderful ease and dash of his
her into a sham marriage, and, with the assistance of his intimate execution is as rare as it is welcome. The 26th quartet of Haydn, friend the Baron Pompernik -a Bavarian, who has deserted his for the first time at these concerts, was played to a marvel. We have
Town wife, and readily consents, by assuming the garb of a priest, to have much to say on this work, but as the quartet is sure to be re
promote the designs of his unscrupulous companion -- he hopes to peated, may defer it for the present. The adagio in B flat (the quartet
win a large bet which bangs upon the successful issue of the advenis in F) was expressed à ravir, and the curiously Mozartish thema
ture. Blanche de Méry, however, has an attached associate in sopra una corda, no less effectively played by M. Sainton, who was sup. ported by Mr. Ries, an excellent and useful second, Mr. Webb, one of
Hortense de Caylus (another maid of honour), who, it appears, has the best viola players we have, and Signor Pezze, a clever violoncellist
herself been formerly tricked in some such manner by Marcillac, (his first appearance at these concerts).
and, overhearing his treacherous professions to her young friend, The vocal music was divided between Miss Banks and Mr. De la determines to thwart him. Accordingly, after having secretly apHaye. The lady, a pure soprano be it known, gave an air from
prised the Queen, she confronts Pompernik in his disguise, and, Gluck's mida with the faultless time and skilful phrasing wbich while feigning to solicit his benediction, so excites bim by her faswith other excellences characterise her singing. The charming song, cinations that the mock priest, forgetful of his assumed avocation, " Why do we love?" of Mr. G. Macfarren, was her other production. makes desperate love to her. By this expedient time is gained. Mr. De la Haye has a voice which has hollowness in place of sonority, Pompernik fails to keep his appointment, and the Queen, entering and is not otherwise of sufficient attractiveness to counterbalance the into the plot, attends the marriage in person, as a mark of distincunpleasant effect produced by his unsatisfactory and uneasy manner of tion to her favourite maid of honour, bringing her own private singing. These truths were wonderfully proved in “O cara immagine"
chaplain to perform the ceremony, which thus, to the consternation of Mozart, and “ La Promessa ” of Rossini.
of our libertine, takes place in good earnest. Marcillac, out-. MONDAY POPULAR CONCERTS.- Last night's concert, devoted to witted, resolves upon a final interview with his young wife, subsethe works of " various masters," demands a brief record, not merely quent to which he contemplates abandoning her and retiring to his on account of the general excellence of the performance,-with M. country estate. As in the case of Hortense and Pompernik, how. Sainton, as first violin, in one of Haydn's least known quartets ever, the lady has the best of it; and her intended deceiver, van(first time), and Mr. Lazarus as clarionet, in Weber's grand duet quished by her charms, throws himself at her feet and vows effectual in E flat, for pianoforte and clarionet,---but also on account of the | reformation. Even Pompernik, upon whom now Hortense turns unexpected appearance of our excellent English pianist, Mr. Lind- the tables, is induced to “take the pledge " of constancy, and prosay Sloper. Mr. Sloper, as all our musical readers are aware, is one mises to rejoin bis neglected wife forthwith. of the most finished executants of the day, besides being thoroughly Mr. Glover has set this little drama, which is as amusing as it is familiar with the “classical” repertory; but the distinction he earned improbable, in such a manner as to augment its liveliness and enon the present occasion was all the more honourable from the very | kance its dramatic interest. Almost every piece in the score short notice afforded him that his services would be in request. which we may premise is without either overture or chorus-is in Owing to the sudden indisposition of the pianist who had been ad its way more or less attractive. The duet upon which the curtain vertised for the sonata with Mr. Lazarus, itself a composition of norises (for the two maids of honour) is fluent and pretty, and conordinary difficulty, and for the far more difficult solo-sonata in C tains a capital solo (" Oh glorious age of chivalry !"), through which major (terminating with the famous presto, known as the moto | Blanche gives expression to those romantic sentiments that someperpetuo), it was indispensable either to change the programme, what later are on the point of leading her into palpable mischief. postpone the concert, or supply a deputy. It is hardly too much | Equally effective, in the buiso style, is that between Marcillac and to say that not one player out of a hundred foreign or English Pompernik, where the young profligate persuades his Bavarian would have undertaken without preparation to perform these two friend to aid him in his schemes against Blanche. This, the pseudosopatas before a vast and well-instructed audience ; and it speaks grandiose air for the Baron that succeeds it (“In my chateau of volumes both for the advanced cultivation of our native professors Pompernik”), and the duettino in which they get up a pretended
duel, in order to enlist the sympathies of Blanche, on behalf of in part surrounded by them. It will, we are glad to hear, be still whose perfections Marcillac pretends to be fighting, strengthen further improved, by ranging the soprani in the front line across the the conviction warranted by some passages of his Aminta, and stage, the contralti behind them, and so on, with the first and second others in his Ruy Blas, that-Mr. Glover is decidedly endowed with violins, tenors, violoncellos, &c., in line with the voices to which they the vis comica. On the other hand, in the duet for Blanche and
severally correspond, throwing the wind instruments quite behind all. her pretended adorer, which includes a charming romance for
Thus each class of voices will feel the support of its corresponding part Marcillac,—“A young and artless maiden;" in the expressive solo
in the accompaniment. This is far better than our old way of placing
the orchestra before the singers, obliging them to shout to their audience for Hortensc—“Love is a gentle thing;" in the ballad for Blanche
over a solid wall of instrumental tone. In Berlin, Leipzig, &c., the entire -"The love you've slighted still is true;" and in that for Marcil
orchestra is placed behind the singers. The orchestra was larger and lac-“There's truth in woman still," -- no less emphatic proof is
better than we had dared to hope in these times, when the war makes offered of that gift of melody which is one of the most enviable
such draughts upon our musicians. We were reduced, to be sure, to one possessions of a composer, whether for the theatre or for the cham
fagotto, and that of a somewhat uncertain sound; but this could not be ber, whether of vocal or of instrumental music. There are further said of the trumpet, which sang out admirably in its obbligato accompani. things worth notice in the operetta, and, among the rest, a song ment to the air: “ The trumpet shall sound ;” and there was a most for Pompernik, who, disguised as a priest, celebrates the convivial efficient row of first violins, including Schultze, Eichberg, Suck, and qualities of the monks of old (“In times gone by the monks were others. The rehearsals had been thorough, and the whole thing went jolly”), which, besides its happy orchestral colouring, is a racy generally well, although there is much room for improvement; our imitation, in so far as melody and harmony are concerned, of the chorus singers, impatient of that “old world ” drill, which cultivates a mediæval English style--always telling, as frequent examples have
| sensitive ear to what at first seem smallest blemishes, are naturally too declared, on the operatic stage. On the whole, the music of Once
| apt to think that they have mastered that with which they have only beToo Often will add to the reputation of its composer.
come familiar. Familiarity is not always knowledge. The performance-allowing for a little “ dragging," which may
One mark of conscientious thoroughness, one not too common here in be remedied without much difficulty-was efficient in almost every
times past, is certainly to be commended in this getting up of the Mes
| siah. Not a chorus was omitted; not a concerted piece ; nothing, in fact, respect. Mlle. Jenny Bauer (who may be remembered as the
but a piece or two of solo, which is a less important sacrifice to brevity original representative of Catarina, when the earliest version of
| and good hours. This time we heard not only " Hallelujah," “ Unto us Meyerbeer's Etoile du Nord was produced in this country) made
a child is born,” and the other popular and stirring choruses, but also an elegant Blanche, and sang her ballad, “The love you've
such profoundly beautiful and tender ones as “And with his stripes," slighted," with such feeling that she obtained a hearty encore. A the mystical quartet and chorus, “Since by man came death,” and the more comely and sprightly maid of honour than Miss Emma Hey. | exquisite duet, “O death, where is thy sting?” (soprano and tenor):wood, who gave Hortense's only air (" Love is a gentle thing") pieces in which Handel betrays a certain affinity for the time being with with true expression, and who is gifted with a contralto voice of | Bach ; pieces, which one grows to love, as one's experience of life grows genuine quality, could hardly have been desired. The gentlemen deeper and more serious. Those, too, were among the best rendered were Herr Reichardt and Herr Formes, who, considering that they pieces of the evening. The great choruses were quite successful, espcare foreigners, were not only remarkably easy, but remarkably dis
cially the “ Hallelujah ;” and we were glad that Mr. Conductor Zerrahn tinct in their pronunciation of the English language, and who
did not in, “ Unto us,” resort to Costa's cheap expedient for effect at acteu, each in his different sphere, with equal spirit and intel
Birmingham, of contrasting whispered pianissimos with sudden stunning ligence. Herr Formes raised shouts of laughter in the scene where
outbursts on the great words. Pompernik, half intoxicated, is clad in "canonicals," and delivered
In the soprano arias Mrs. Long was uncommonly happy. In voice, in his two airs, the last especially (treating of the monks of old"),
style, in feeling, her efforts of that night were among her very best ;
there was sweetness, purity and dignity in all; and she will be much with extreme unction, while Herr Reichardt infused such warmth
missed in oratorio hereafter, if she adheres to her resolution of retiring of sentiment into the romance, “A young and artless maiden,”-a
from the stage. The airs, “ Come unto Him,” “But thou didst not thoroughly refined and graceful specimen of ballad-singing, -that | leave,” and “How beautiful.” were sung by Miss Gilson, a fresh young be was compelled by the general wish of the audience ro repeat it. voice, of silvery sweetness and purity, and with an execution that pro
Although the “grand Christmas pantomime” was to follow, and mises well, albeit a little cold. The celebrated English tenor, Mr. Gusthe theatre (as we bave hinted) was crowded in every part, the tavus Geary, does not lack voice, robust and rich and resonant, but he operetta was listened to throughout with decorous attention by the docs lack naturalness in his over-refined struggles for expression, occupants of the galleries no less than by the rest of the audience, which is peculiarly unfortunate in so pathetic a recitative and air as and all the performers were called before the footlights at the end. “ Thy rebuke," &c., whose beauty and pathos are nothing, worse than Equally well placed would have been a similar compliment in
nothing, save as they are simple and unaffected. The bass, Mr. Thomas, favour of Mr. J. H. Tully for the zeal and ability he exhibited in
executed his pieces well, with a voice of manly substance, although conducting the performance. Once Too Often has been repeated
somewhat hard and dry in quality. Mrs. Kempton appeared to labour every evening since not “oncc too often;" and will be played
| under a cold ; her upper notes were feeble, husky and tremulous, but every evening next week -- not "once too often.”
her deep contralto as rich and warm as ever. In spite of these draw
backs, there was much truc style and pathos in her sivging, especially of MUSIC AT BOSTON (MASSACHUSETTS).
• He was despiscd.” The zcal of the Handel and Haydn Society was well met by the great
The new year starts with fair promise ; for the week to come we are crowd of attentive listeners that filed every seat in the Music Hall last
| to have two good things at least. 1. Wednesday evening, the third Sunday evening, to listen to the Christmas performance of the Messiah.
Chamber Concert of the Mendelssohn Quintet Club; when that wonBut for the undeniable fact that the poor old Music Hall has got to look.
derful quartet in B flat, of Beethoven's last period, will be repeated, to ing very shabby-its delicate sunset-tinted walls and ceiling being about
the great joy, no doubt, of many who enjoyed it before better than they as badly smoked and smutched as Michael Angelo's Last Judgment in
understood it. The programme also contains a quintet, with contrathe Sistine chapel - it would have seemed quite like the good old times
basso, by Onslow, a duo concertante by Spohr, and two vocal pieces ; one of half a dozen years ago, when music, to say the least, was far more
from a Psalm by Mendelssohn, the other, Mozart's “Dove sono," to be thought about than war, and civilisation was of more account than
sung by Miss Pearson. “cotton.” But so soon as the times allow a safe and peaceful passage of
2. Carl Zerrahn's first of four Philharmonic Concerts is definitely our great organ over here, which is already finished, its putting up will
announced for next Saturday evening (Jan. 1l), at the Boston Music be a signal for the renovating of those walls, whose blackened aspect
Hall. The orchestra includes all the best resident musicians. The now is in keeping with such black and troubled times. The chorus seats
programme offers, first of all, Beethoven's “ Pastoral Symphony," which were not quite as full, we thought, as in some oratorio occasions of past
will be soothing and refreshing in these wintry war times. The Tann. years; but this was the result of the good rule, which excludes “dum
haüser overture is not yet voted dangerous to healthy nerves, and if any mies” and does not allow any to “ assist” in public, who have not borne
should be seriously disturbed by it in their sweet dreams of the Past, their part in the rehearsals. There was a goodly number, though, and
they will surely find relief in the finale (orchestral arrangement) of the uncommonly well balanced; and perhaps as prompt, true and effective a
first act of Don Giovanni. For further variety, Miss Mary Kay, the mass of voices as the Society has let us hear since our Handel Festival.
brilliant young pianist, will play Mendelssohn's Capriccio in B, with The arrangement of the forces on the stage was better than it has often
orchestral accompaniment, and Thalberg's introduction and variations been, the orchestra being placed more in the middle of the singers and
to the barcarole in L'Elisire d'Amore. -Dwight's Journal of Music. "