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teth upon the throne, and unto the Lamb for ever. And the four

GLOUCESTER, WEDNESDAY, beasts said, Amen. And the four and twenty elders fell down and worshipped Him that liveth for ever.” We have purposely given

ALTHOUGH the attendance at the Cathedral yesterday was not so this text in extenso, as some of our readers might possibly be able

large as it might have been, the stewards should be well satisfied to discover its relation to or bearing upon the charitable purpose

with the result, the difference in price more than compensating for for which the meetings are held. Whether any of the bishop's the pauci

the paucity of members, as the results of the first day are far in :hearers could at all see the connection between the text and a sermon

excess of any former meeting. At previous festivals the Tuesday which alternately deplored the war in America, the distress in was devoted to the Cathedral service, of which the musical feature Lancashire, the prevalence of lust, and the crime of drunkenness,

was the invariable Dettingen “Te Deum," the overture to Esther, and and finished without even a single allusion to the object which had a couple of anthems, these, together with a sermon, monopolising drawn them together, is another thing, but to us the prelatic elo

the day, the prices being 3s. 6d. and 1s. This time we have service quence appeared to be wasted on an entirely different subject. The and sermon, minus the Dettingen, &c., and an oratorio, to which musical portion of the service included (of course) the inevitable

the admission is 158., 10s. 6d., and 3s. 6d., &c.
the admission 18 Jose, OS. bd., ana,

If the sermon is Tallig, the well worn Croft, in a Te Deum and Jubilate, and the an absolute necessity it would be better to have it at an earlier no less used anthem of Croft, “ This is the day.” In addition to

hour, as was done at Worcester two years since, when it formed the three Cathedral choirs, the lay clerks of Bristol, Salisbury, |

part of the 8 o'clock service in the first day, and the oratorio com* Winchester, Wells, &c., assisted, thus forming a choral body which,

menced at the usual hour, and was attended by an auditory half as including nineteen trebles, twelve altos, eleven tenors, and fourteen

large again as that we had to record yesterday. Last night's conbasses, numbered fifty-six in all, and formed an imposing array in

cert was one of average festival dimensions and quality, lasting front of the orchestra. The mayor and corporation, preceded by the

from eight till half-past eleven, and not comprising one single piece sword and mace bearers, attended in their robes, and, as we have

novel to London ears. To the Gloucestrians, however, the case already said, the church was very full, and one of the incon- was no doubt different, and neither length nor material in any way veniences of this “ double” arrangement being that the crowd | interfered with their enjoyment. The two important and, to the • pouring out of the building was considerably impeded by numbers | natives, most attractive features, were Meyerbeer's Grand Overture, · Do less anxious to obtain admission for the oratorio, which was to and Verdi's Cantata, both composed for, but the former only percommence little more than half an hour afterwards. Of the

formed at, the opening of, the Exhibition, for reasons long since general performance of the Creation we can speak in favourable patent to all who take interest in such matters. An excellent band, terms, band and chorus being quite au fait at their work, as might

| led by M. Sainton, and including such well known names as the be expected from its thorough familiarity to all concerned. In the

Blagroves, Lucas, Collins, Rowland, Pratten, Nicholson, Lazarus, first and second parts Mdlle. Titiens sang the soprano music, her

Chipps, Harpers, &c., is undoubtedly capable of performing anyclear and powerful voice producing a remarkable effect, although

thing set down for them, and if neither Meyerbeer's Overture nor

thing set down for them, and he applause, as a matter of course, is unthought of in a sacred Verdi's Cantata was as satisfactory as could be desired, 1 building, or. “ With verdure clad." and "On mighty pens," would did not lie with the body of instrumentalists, all of whom were not have received a warm demonstration. In the first and third parts, only thoroughly competent, but perfectly versed in the music beMr. Montem Smith exerted himself with his usual commendable care,

fore them. We would willingly have dispensed with the etiquette the mutual endearments of the happy pair." which constitute the which places the local organist in a post for which he can hardly be - conclusion of the oratorio, falling to the lot of Miss Eleonora Will qualified, as it is neither natural nor reasonable to expect that a

kinson, one of the most pleasing, as well as of the most rising, of gentleman, who but once in three years assumes the baton, can i our young artists, and Mr. Winn, whose name is sufficient guarantee | possibly be in a position to direct those who are so much more for efficiency. Mr. Sims Reeves, gave all his wonted expression to

familiar than himself with the business in hand. At the morning 'the favourite air, “In native worth," singing recitatives and con

performances this is perhaps less conspicuous, as novelties are certed pieces with the same taste and finish that have contributed

seldom, if ever, produced, and the Messiah, Elijah, Creation, &c., to rank him as first of tenors; while Mr. Weiss's powerful

are by this time tolerably understood, even in the most remote voice was heard to the highest advantage in all the bass provincial to

provincial towns; but at the evening concert, not only such pieces music of the first and second parts. Mr. Amott, the Cathedral

Mr. Amott the Cathedral | as those to which we have alluded, but the accompaniments to organist, wielded the conductor's stick; Mr. G. Townshend

vocal or operatic selections, are frequently marred through a want · Smith, of Hereford, presiding at the organ. The attendance

of understanding between conductor, band, and singer. The latter, numbered between eight and nine hundred; the collection after the

ter the who is in front of the former, taking the time to which he has been service giving £115 11s. 10d., and that after the oratorio only

accustomed, while the chef d'orchestre is industriously misdirecting £52 14s. 8d., making a total of £167 16s. 6d. At first glance it

the instruments to the manifest disadvantage of the general effect. · might appear that despite the total inappropriateness of the

Much better would it be to resign the command to more practised · discourse, a sermon was more effective for charitable purposes than

hands, and, with M. Sainton in the orchestra, the difficulty of finding an oratorio, but the fact is that five hours and a half the time

a substitute would not be great. A selection from Acis and Gala tea occupied from the commencement of the service to the conclusion

including “ Hush! ye pretty warbling choint" "Love in her eyes of the Creation—is a little too much, and as the majority of visitors

sits playing," " O ruddier than the cherry," and “The flocks shall came from a distance, and probably have to return, dine, and dress

leave the mountains," gave most unqualified pleasure, as may be for the evening concert, it is no wonder that the experiment of so

readily understood when such singers as Miss Eleonora Wilkinson, closely combining the two arrangements should be a comparative

Mr. Sims Reeves, and Mr. Weiss are concerned. The thorongh failure. The weather, which has hitherto been magnificent, appears

unity of voice and instrument, exhibited by Mle. Parepa and just now to have taken a turn in the other direction, as since the

M. Pratten, in “Lol here the gentle lark,” was remarkable. conclusion of the performance a steady rain has set in, and heavy

In the course of Verdi's Cantata our musical readers will clouds portend a wet night.

remember that our own National Anthem is introduced. No sooner were the fainiliar strains heard, when that loyalty which is so conspicuous a feature in the character of every Englishmen, at once prompted all to rise with looks reverent as if they were per- choir, and its silvery altar window, in all its pristine purity. The forming an act of solemn worship. Presently, however, the Mar- light falling through the stained glass, the west window gorgeous seillaise (which certainly is not just now the national air of France, in colour, surmounting the tiers of heads in the gallery, which whatever Signor Verdi may say) makes itself heard, when down sits fronts the orchestra, and above all the inspired numbers of Menthe audience suddenly; after the Italian air, “Le God save," as delssohn's sublime master-piece, all combine to make an ineffaceable our lively neighbours call it, is resumed, when once more up rise impression, and dull, indeed, must be the sense of any who left the the hearers, and will not resume their seats until the end of the building unimpressed by the scene or untouched by the music. If Cantata. Although far from perfect, the performance of Beethoven's we felt it our duty to withhold commendation for the general conduct overture to Egmont, was, on the whole, the best instrumental dis- of last night's concert, we can with all the greater justice make the play of the evening, yet scarcely eliciting a hand of applause, amende to Mr. Amott, for the really admirable manner in which such compositions, perhaps, not being to the taste of the elite he directed his forces in Elijah this morning. Not only were the of the cheese county. M. Sainton's Fantasia on Scotch Airs, respective times correctly taken throughout, Mr. Amott merely however, once more enlivened the audience, who would | adopting the medium course, and neither following the example have gladly encored the talented French violinist, had he not (of which we have such frequent instance in London) of acceleradeclined the honour by simply returning to bow his acknowledg- ting the speed, with the mistaken notion of increased brillianey, ments. A highly favourable impression was also created by Mad. nor of dragging the time, as has been generally the case with the Laura Baxter, whose fine voice gave great effect to Mercadante's conductors of the festivals of the choirs. Taken altogether, it is Se M'abbondoni, as well as doing good service in Leslie's trio, hardly too much to say that this was one of the most unexception. “Oh Memory," and the canon, “Il cor e la mia fe," from Beethoven's able performances of Elijah ever heard; and although the double Fidelio. What can we tell our readers of how Mad. Sainton Dolby quartett, “For he shall give his angels," was not quite as steady as it sings the “Cangio d'aspetto," or Virginia Gabriel's ballads, by the might have been, and once or twice a slight want of sharpness in same artist, or what can we say of Mlle. Parepa's rendering of the the attack might have been perceptible to the hypercritical, still, Dinorah Shadow Song? Mr. Weiss did well to revive the song, these were but as spots on the sun, upon which it would be as idle “Hark, ye Soldiers," from the too seldom heard opera (one of as unkind to dwell. With one exception the solo parts were Balfe's best, by the way) the Castle of Aymon, and was rewarded divided; this arrangement, we presume, being consequent upon by something more than the usual round of applause. A new and having a "double company” of vocalists. In the first part, Mle. elegant ballad, from the facile and accomplished pen of Mr. Howard Parepa and Miss Wilkinson were the sopranos, Mad. Laura Baxter Glover, composed expressly for Mle. Titiens, was most favourably the contralto, and Mr. Montem Smith the tenor; thus, to the last received, and would have been gladly heard again by many in the named gentleman was assigned the lovely air, “If with all your room. These, together with an air from Verdi's Lombardi, Dr. heart," which he sang with much artistic taste and expression; to Arne's “ Now Phoebus sinketh in the west," by Mr. Winn, the duet, Mlle. Parepa the pathetic duet which records the raising of the "Pronto io son" from Don Pasquale, and Mozart's Figaro, which widow's son, and the no less dramatic scene leading up to that was worthy of a better place than the last in the programme, marvellous and triumphantly sublime climax which concludes the constituted the remainder of a concert which might have been so part. Slightly nervous at the first (this we believe being her first much the more advantageously shortened, inasmuch as it was to be appearance at these festivals), Mad. Laura Baxter delivered the followed by a ball, to which, no doubt, many stayed, and “chased touching air, “Woe unto them," in such a manner, as not only to the hours with flying feet.”

disarm criticism, but to please the most fastidious. Mlle. Titiens The gloomy forebodings of yesterday evening, as to the weather, confirmed the deserved reputation which she has so rapidly acquired were verified, for the rain has came down in torrents since our last as an oratorio singer, who not only has a magnificent voice, and a writing; fortunately the time selected for the downfall was very perfect knowledge of its use, but adds to these a degree of feeling late at night, or strictly speaking, very early in the morning. Grey and intelligence as rare as it is invaluable. To have sung “ Hear and misty day-break has been succeeded by a most glorious sun- ye Israel” more fervently than it was rendered by the great Teushine and a pure unclouded sky, throwing up every line of the tonic songstress would have been simply impossible, and the effect delicate tracery and airy pinnacles of the splendid old Cathedral produced upon all hearers was commensurate with the means emtower-one of the most perfect, as it is one of the most striking of ployed; while in the "Sanctus" her voice rang out clear and sweet its kind in England and making everything and every body look above all, and perhaps to this it was owing that a majority of the bright and gay. At this moment, too, the Cathedral bells are audience rose to their feet and remained standing an observance to ringing their merriest; carriages and four, carriages and pair, which we are only usually accustomed in the " Hallelujah Chorus" private omnibuses, and vehicles, all bearing a more or less aristo- of the Messiah. Mad. Sainton Dolby's name is so identified with cratic stamp, are dashing up the College Green, and carrying off the exquisite air, “O rest in the Lord,” that one would hardly their charge, which seems to comprise the best looking and most expect to hear it from any other singer; and again, in the Jezebel fashionably attired ladies of the county, all, too, repeating the recitatives, where she incites the people against the prophet, Mad. remark to each other (which for once in a way verifies the adage Sainton's declamation was no less impressive; while in the trio, that “what everybody says must be true”) “What a very fine 1.“ Lift thine eyes,” Mlle. Titiens and Mad. Laura Baxter taking the performance.” And so, indeed, it has been, and seldom have we other parts (the trio being usually allotted, by the way to two more thoroughly enjoyed anything than Elijah, as it has been sopranos and one contralto), the combination was nothing short of this day given in the Cathedral. Neither the seven hundred perfection, and fortunately, no manifestation of applause being (including sixteen double basses) at Exeter Hall, with its miserable possible; the succeeding chorus, "He watching over Israel," was approaches, its stilling atmosphere, and general aspect, so eminently was heard in uninterrupted succession, as it should always be. Mr. suggestive of May meetings, nor the Crystal Palace, with its bright Sins Reeves, who takes as much pains with recitatives (which are fairy like roof, its flowers, its statuary, its many attractions, and usually considered ungrateful work for a singer), as with the most its four thousand performers, can compare to the effect produced telling airs, fairly outshone himself in “ Then shall the righteous," by the compact and efficient band and chorus of three hundred, as as the mute looks of admiration, and subdued murmurs which folheard in the Norman nave, imposing in its solid simplicity, and lowed most clearly showed. Mr. Weiss sang in both parts, the contrasting so finely as it does with the most highly decorated character of the prophet being most properly confined to one singer, and not divided as in the other instances ; an arrangement unob- dark blue waters," and Mendelssolin's Wedding March concluded jectionable in the one case, but totally indefensible when applied to the concert, at a rather more reasonable hour than that of the the representative of Elijah. Never has our talented basso more preceeding night. This evening, Benedict's Undine will be the worthily sustained his reputation than by his singing this day, novelty. investing the part as he does with a degree of earnestness and Less familiar, but not less difficult than Elijah, is Mendelssohn's dignity thoroughly befitting the occasion, and singing from first | Lobgesang, or Hymn of Praise, which, we need hardly remind our to last as if he really felt the music, a secret that but too few readers, was written for the festival held at Leipsic, in 1840, in vocalists seem to understand. Before dismissing the subject, we honour of Guttenburg, the inventor of printing. To hear this cannot help once more alluding to a subject which has so often met magnificent inspiration in a cathedral is worth travelling twenty with reprehension at–our pen—the detestable practice of people times the distance from London, for nowhere do the noble harmonies leaving before the conclusion of the part; notably, while the chorus of Mendelssohn make themselves felt as in a sacred building. was proceeding, “ Thanks be to God," which many of them seemed Fortunately, too, the performance of this morning was as nearly to interpret as a sort of grace before meat, if we may judge by the as possible unexceptionable; the first and last choruses (abounding hurried manner in which they rose and thronged to the doorways as they especially do in difficulties) were occasionally somewhat with as much anxiety, and as little reverence, as if only five unsteady, although not to an extent sufficiently appreciable to minutes, instead of something like three quarters of an hour, were cause any serious detriment to the enjoyment of the work as a alowed for lunch time. It would be well if the committee would whole. But one thing was wanted to make it complete, and that take a hint from the Monday Popular Concerts, and print on was Mr. Sims Reeves, who has so completely identified himself tickets and programmes a request that the audience would not with the tenor music, that to hear any one else sing “Watchman, leave their places until the conclusion of either division. The will the night soon pass ?" is a drawback of no slight character. numbers present amounted to 1,326; and the collection to Mr. Montem Smith, who sustained the tenor part, is careful and 2176 . 168. 2 d., which sum includes the Worcester contribution, I conscientious, but, unfortunately, he has not the physical resources now increased from £60 to £61 10s., owing to the surplus there in at his command, and so, despite his most praiseworthy efforts, must 1860.

necessarily fail to, produce the effect to which we have been

GLOUCESTER, THURSDAY. accustomed. Mlle. Parepa has, both in the sacred and secular Last night's concert may be briefly dismissed, presenting but music, made a strongly favourable impression here, and in the little feature for remark. The entire first part was devoted to Lobgesang well maintained her position. To Mendelssohn's glorious Mozart, commencing with the overture, and concluding with the Hymn, which, with musicians, fairly divides the palm with Elijah, finale to Il flauto magico, and embracing excerpts from Figaro, of being unapproached and unapproachable, succeeded a selection Idomeneo, La Clemenza di Tito, and Il Seraglio : Mlles. Titiens, from Handel's Judas Maccabæus, in which the most remarkable Parepá, Wilkinson, and Laura Baxter, Messrs. Sims Reeves, points were the singing of Mlle. Titiens in “ Pious Orgies, and Montem Smith, and Signor Bossi, being the vocalists. As on the From mighty kings,” her full resonant voice telling wonderfully previous evening, two of the Exhibition compositions were per- through nave, choir, and aisles of the cathedral. Mr. Weiss never formed. It would, perhaps, have been as well to have added sang “ Arm, arm, ye brave,” or “ The Lord worketh wonders," Auber's contribution to Dr. Sterndale Bennett's Inauguration Ode, more finely. Mr Sims Reeves, who alone of any artist, native or and so have afforded the Gloucestrians an opportunity of hearing foreign, can sing such songs as “ Call forth thy powers," and the whole of the music written for the opening of that much abused - Sound an alarm," both producing an almost electrical effect, and structure at South Kensington. The fates, the stewards, or the causing in the hearers such a disposition to applaud vehemently, conductor, whichever of the three may happen to have the ordering that nothing but the fact of their being within a sacred building of these things, however, ruled otherwise, and the sparkling work could alone restrain. Nor must Mad. Laura Baxter be overlooked, of the ever fresh and genial composer of Fra Diavola and Msasa- | for the little which fell to her share; the duet, “ () never bow we niello has not blessed the ears of the inhabitants of the “fayre down," the air, “Father of heaven,” and recitative, “ From citye." The Cambridge Professor's music, so aptly fitted to the Capharsalama," were, one and all, sung in such a manner as Poet Laureate's words, fared, however, but indifferently; the to deserve unqualified commendation, and in the present dearth execution being for the most part coarse and unsteady, the light of anything like contralto voices, an organ like that of Mad. and shade, so necessary in a work of the kind, being "conspicuous Laura Baxter is invaluable, and we have little doubt but that at by its absence"-ergo, the less said about it the better. Far more future festivals we may again have occasion to speak as highly satisfactory was the succeeding overture to Der Freyschutz, where as we have this time done of the abilities of this lady. After the band, taking the matter pretty well in their own hands, Mendelssohn's elaborately written Lobgesang, the choruses of honourably distinguished themselves "par consequence.”. A reso- Judas Maccabæus, present but little difficulty, and we need lution which the stewards had come to, on the subject of encores, hardly specify anything in particular, although, perhaps, “ Fallen was ruthlessly broken through by the audience, who would not is the foe,” and “ We never will bow down,” were the best sung rest content with Mr. Reeves's merely returning to the platform and most highly effective. The selection day has usually the least after Mr. Lake's charming song, "Summer is sweet," but kept up a numerous attendance, but we think the stewards have but little call so long, loud, and persistent, that persistance would neither reason to complain, the reserved, gallery, and aisle seats being have been possible nor courteous, and the song was repeated, to generally well filled; the total number amounting to 1070, and the intense delight of all present. Mlle. Parepa's clear, powerful the collection to £157 3s. 2d. Friday is always looked upon as voice and facile execution made a marked impression in Auber's the crowning day of the meeting, and by what we hear of the air from Le Serment, which, although so frequently heard in London, disposal of tickets, to-morrow should be a bumper. The early was evidently new to these parts. To praise Mr. Weiss for his morning services, sustained by the same choral bodies mentioned singing "The Wanderer," or Madame Sainton Dolby in Mr. Oakely's on Tuesday, are generally well attended. Yesterday the service “Break, break," and Henry Smart's “Lady of the Lea," would be was Bryce in A, the anthem Gosse's “ Praise the Lord;" this more than a twice-told tale, and to say that Mlle. Titiens and Mr. | morning, Rogers in D, with “ Blessing Glory,” of Bach, for Sims Reeves sang the duet from Lucia “Egli m'odia,” is quite anthem. The weather, although not so brilliant as yesterday, still sufficient for our musical readers. Weber's quartett, “Over the remains fine, and there is every prospect of its continuation.

The Musical World.

NOTICE 8.

as pledge for at least a knowledge of what was passing

around them, should never have heard that a national TO ADVERTISERS.-Advertisers are informed, that for the future

operatic company, denominated the Royal English Opera, the Advertising Agency of Tue MUSICAL WORLD is established

had already existed, and was now in its seventh year, perat the Magazine of MESSRS. DUNCAN DAVISON & Co., 244,

forming at Covent Garden ; that its objects were precisely Regent Street, corner of Little Argyll Street (First Floor).

similar to those of the English Opera Association; and that Advertisements can be received as late as Three o'Clock p.M., on

even these objects were in a great measure being carried Fridays--but not later. Payment on delivery.

out. Surely the committee would not have sanctioned the Tere S Two lines and under ... ... ... 2s.6d. publication of the sentence in which it is hoped that Eng

publication of the sente KAS | Every additional 10 words ... ... 6d. land will be freed from the stigma of encouraging the music TO PUBLISHERS AND COMPOSERS-All Music for Review in The of every country but her own, if they had known anything MUSICAL WORLD must henceforth be forwarded to the Editor, about the transactions of the Pyne and Harrison company care of MESSRS. DUNCAN DAVISON & Co., 244, Regent Street. since its inauguration in the Lyceum Theatre seven years A List of every Piece sent for Review will appear on the Saturday

since. Did it not open with a new opera by Mr. M. W. following in The MUSICAL WORLD.

Balfe, who, we must inform the Committee, is a veritable To CONCERT GIVERs.- No Benefit-Concert, or Musical Perform

English, or Irish, composer ? Did it not adhere almost ex

clusively to English composers at the commencement, and ance, except of general interest, unless previously Advertised, can

has it not adhered almost exclusively to them ever since ? be reported in The MUSICAL WORLD.

Have not the changes been rung on the compositions of
Messrs. Balfe and Wallace, (Mr. Vincent Wallace, we must
also inform the Committee, is a veritable English, or
Irish, composer) until the public would have been thankful

for any modulation into the Italian or German repertory? . LONDON: SATURDAY, SEPTEMBER 13, 1862.

But Miss Pyne and Mr. Harrison did not pin their faith

absolutely to Mr. Balfe and Mr. Wallace. The works of The musical publicat least the London musical public, other native composers—Messrs. Howard Glover, Alfred at least that part of the London musical public that takes Mellon, Henry Leslie, and George Linley, to witąbrought an interest in operatic matters—at least in national operatic forward, disproves the encouraging of every music but matters-knows, or should know, that a new national | English music, and testifies in a manner quite unaccountable operatic company, entitled “The English Opera Association to the ignorance of the executive committee of the English (Limited),” has been set on foot for some time, and has been Opera Association. For our parts, we do not clearly underonly awaiting the favourable moment to commence operations stand the drift of the New Operatic Company, unless it be (no pun). That favourable moment, whatever it may be, to set themselves up in direct opposition to the Royal has, we are assured, now arrived, and the executive com- English Opera. And to do that, whence are the singers to mittee have entered into negociations with Mr. J. H. come? It may be true that Mlle. Titiens is secured, although Mapleson, for Her Majesty's Theatre, where it is intended the the engagement of a German as prima donna assoluta English Opera Association shall hold its inaugural season, or, would detract greatly from the boast about the employ. as may be, carry on the campaign for some subsequent seasons, ment of native talent; but one singer, however eminent, until such time as they may be enabled to build themselves a will not constitute a company, and the moi et mes poupées" new theatre, as has been proposed and contemplated, or until system is long exploded. Will Mr. Sims Reeves be inthey may obtain possession of Drury Lane, which likewise duced to lend his powerful co-operation ? If so, no doubt has been proposed and contemplated. Of the specific doings the Association will be able to make a splendid start. The of the Association, we know little or nothing. We are told great tenor and great soprano in conjunction might comthat Her Majesty's Theatre has been secured, that Mlle. mand all London. But how if Mr. Reeves refuse? Who is Titiens will be prima donna, that Mr. Henry Leslie is to supply his place? Who is to be first tenor? And having appointed conductor and musical director, and that business procured the tenor, where look for basses ? And having will commence before Christmas. This information is just found basses, where seek for a contralto ? The formation of sufficient to stimulate curiosity-no more. We want to a company of native artists who would do no discredit to know upon what principle the new company is conducted; the stage is, just now, simply impossible. Upon what then who is to assist Mlle. Titiens, and in what undiscovered can the new Opera Association ground its hopes ? If foreign country native singers have been sought and found ; and why, | singers are to be made use of, then the prefix of " national" with another National Opera already established, the Asso- or “ English” becomes a snare, a mockery, and a delusion, ciation should be originated at all.

and had better be expunged entirely. . In the prospectus published some time since, we were. We have no great faith in the management of theatrcs, informed that “The English Opera Association is founded dramatic, or lyric, by a company, and fear that this, like for the purpose of establishing a National Institution to other companies, may merge into a clique-its natural produce and maintain on the English stage, in an effective resolution. Without one authoritative head endowed with and complete manner, the works of native composers, and despotic powers, no enterprise of this kind has ever, to our likewise English adaptations or translations from the French, knowledge, succeeded. If "too much cooking spoils the German, Italian, and other schools." We are also instructed broth," be an incontrovertible axiom applied to the culinary that “ fostering and encouraging a love of musical perform-art,“ too many counsellors destroy success" would be as ances is the main object of the founders of the association ; / applicable to theatrical governments. and it is to be hoped, ere long, that England will be freed | That London is able to support two English operatic from the stigma of encouraging the music of every country establishments, we believe. Why should it not, seeing that but her own.” It is strange indeed that the members of Paris possesses three national institutions ? That competition the executive committee, whose names might be fairly accepted I would be beneficial to composers and artists, there is not a

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doubt. The new company, therefore, notwithstanding the

Pianoforte Sonatas and Fantasias ... ... expression of our fears, has our best wishes for its ultimate

Pianoforte Variations ... ... ...

XII. Pianoforte Pieces, Rondos, &c. ... success; and nothing would please us more than to be

XIII. Pianoforte Compositions for 4 hands and 2 pianos obliged to retract all we have advanced above in support of XIV. Pianoforte Sonatas and Variations with Violin ... the probability of a failure.

XV. Pianoforte Trios, Quartets, Quintets
XVI. Violin Duets and Trios ...
XVII. Violin Quartets (also with one wind instrument)...

XVIII. Violin Quintets ... ... ... ... ...
THE reputation which the Germans enjoy for conscientious

XIX. Symphonies ... ...

XX. Divertissements, Serenades for various instruments 1 research and indefatigable industry in historical matters, XXI. Orchestral Pieces, Marches... ... has received fresh corroboration from the thematic cata XXII. Dances for Orchestra ... logue of Mozart's Works, by Dr. Ludwig Ritter von XXIII. Concertos for various instruments ... ... Köchel. The full title of this production is—" A chronologi- A total of 626 works! If we now examine the compositions, cally thematic Catalogue of Wolfgang Amadeus Mozart's for instance, the Masses,-by the numbers referring to the complete Works. With a list of those compositions which chronological catalogue, we find that No. 1 belongs to the are lost, incomplete, doubtful, or merely attributed to him. year 1768; Nos. 2 and 3, to 1769; 4 and 5, to 1771 ; 6 and By Dr. L. R. von Köchel, Leipsic, Breitkopf, and Härtel, 17, to 1772 ; 8, to 1773 ; 9 and 10, to 1774; 11, to 1775 ; 1862. XVIII., and 551 pages large quarto.* The book is 12, 13, 14 and 15, to 1776 ; 16, to 1777; 17, to 1779; 18, dedicated to Professor Otto Jahn. Herr von Köchel began to 1780 ; 19; to 1783; and 20' (the Requiem), to 1791. The his task long ago, and submitted the portion he had finished continuous numbers from 1 to 626 refer to the chronological to Herr Otto Jahn, when the latter was setting about his order in which the works were written, from 1761 to 1791. own work, without either of them having been previously Next comes the description of piece according to the voico aware of the other's intention. In his dedication, the author or instrument for which it was written, thus, 550 : says: “Agreeing with me as to the plan, and the portion already completed, you placed at my disposal a mass of in- land 2 horns. Mozart himself subsequently added 2 clarionets. Com

"Symphony for 2 violins-tenor, bass-1 flute, 2 oboes, 2 bassoons, valuable materials in a manner which' no acknowledgements posed 25th July, 1788, in Vienna.- Mozart's Catalogue, 92." can repay.” During the further continuance of the work, also, Jahn gave practical proofs of his interest in it. After

Then we have the themes of each movement on two systems, an ample preface, the contents of the book are divided

in 4-6 bars, with the number of bars of each movement, into two parts, being very unequal in extent. The first

according to the autographic MS., thus, in the case of this comprises the summary of the complete compositions

same G minor symphony : according to their class and number (p. 1-24); and the "1. Allegro molto, 299 bars.--2. Andante, 121 bars.-3. Minuet, second, the chronological catalogue of the complete com Allegro, with Trio, 84 bars.---4. Finale, Allegro assai, 306 bars.” positions (p. 25-496). In the latter lies the gist of the At the end, are notices of the autographic MS. copies, whole work. An appendix (p. 497-531) gives us a list of edition

editions, and arrangements, with remarks (historical and those compositions designated on the title pages as “lost,” læsthetic, the last generally extracted from Otto Jahn). For etc. The book concludes with a copious list of names and

instance, under the head of this same symphony: productions, and another of the words. The first summary is very judiciously compiled; indeed, the execution and

" Autographic MS. in the possession of C. A. André, Frankfort, 2

scores, a, without 2 clarionets; b, with them. André, Catalogue arrangement of the entire book are excellent, the ease with

128, 53 leaves, with 100 written pages, oblique form, twelve-lined. which every detail can be found leaving nothing to be When Mozart added 2 clarionets he wrote upon separate sheets a score desired. In this respect the publishers also have greatly for the two oboes and the two clarionets---as the former had to be modified. distinguished themselves and moreover by the splendid way These pages belong to André's Autographic MS. 128. Editions, score,

| Leipsic, Breitkopf and Härtel (without clarionets),--Parts : the same in which the book is got up, have erected a monument

| publishers, Offenbach, John André-Arrangements,' &c." (Here arises worthy of a master. The first part, then, contains the series the question, whether, when the G minor symphony is now played, of completed works of each various class in continuous small the above “separate score for the oboes and clarionets" is followed, as it numbers, as, for instance, “Masses, No. 1-20; Sympho

indubitably ought to be. Are the “ modified oboes" and clarionets in nies, No. 1249, etc.;" the themes are here given only in

| the edition of the parts published by André ?-Remarks: (these contain

an esthetic eulogy from Jahn, and a notice of the error in the andante, two bars of music, with the tempo, on one system. We are discovered by Schumann). referred, kowever, to the chronological index by a larger (thick) number before each one, thus : - Requiem 20. 628." | The reader will now be able to form a just notion of the Thus this first part furnishes us with an idea of Mozart's

contents of this catalogue. The first consideration before labours generally, and, at the same time of his productions inserting each separate composition in the catalogue, was its in each separate branch of his art, while the reference to the genuineness; the second, its originality. In most cases its second part shows us what he did at the various periods of genuineness was proved by the existing autographic MSS. his life. And what a result does its summary disclose ? It

and Mozart's autographic catalogue, as well as by editions displays :

published under his own eye. When these were not to be

found, the material reasons for belief in the authenticity of Dlasses . ... ... ... ... II. Litanies, Vespers

the work are given, though, of course, they had to be corro... III. Offertories, Kyries, Te Deums, &c.

borated by internal evidence. Whatever was open to doubt Organ Sonatas

has been cleared under the head of " doubtful,” or “ imputed." Cantatas with orchestra ... ...

The term “complete,” that is to say, finished, composiVI. Operas, Theatrical Serenades, &c. ... VII. Airs, Trios, Choruses with orchestra

tions, must not be taken in its strictest sense. Among VIII. Songs with Piano

these — and, most assuredly, with justice, — are included Canons for 2-12 voices ...

... 23 works of which Mozart wrote the principal portions, although

he never put the finishing touch to them. In every such * See the Niederrheinische Musik-Zeitung.

case it is carefully remarked how much of them is Mozart's

Mas

IV. V.

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