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SEPTEMBER 13, 1862.]

581

GLOUCESTER, WEDNESDAY,

teth upon the throne, and unto the Lamb for ever. And the four 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 with the result, the difference in price more than compensating for 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 the paucity of members, as the results of the first day are far in for which the meetings are held. Whether any of the bishop's excess of any former meeting. At previous festivals the Tuesday hearers could at all see the connection between the text and a sermon was devoted to the Cathedral service, of which the musical feature was the invariable Dettingen "Te Deum," the overture to Esther, and which alternately deplored the war in America, the distress in a couple of anthems, these, together with a sermon, monopolising Lancashire, the prevalence of lust, and the crime of drunkenness, and finished without even a single allusion to the object which had 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 an absolute necessity it would be better to have it at an earlier musical portion of the service included (of course) the inevitable the admission is 15s., 10s. 6d., and 3s. 6d., &c. If the sermon is Tallis, the well worn Croft, in a Te Deum and Jubilate, and the 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 comWinchester, 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 To the Gloucestrians, however, the case front of the orchestra. The mayor and corporation, preceded by the from eight till half-past eleven, and not comprising one single piece was no doubt different, and neither length nor material in any way sword and mace bearers, attended in their robes, and, as we have novel to London ears. already said, the church was very full, and one of the inconveniences 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, no less anxious to obtain admission for the oratorio, which was to and Verdi's Cantata, both composed for, but the former only perOf the formed at, the opening of, the Exhibition, for reasons long since commence little more than half an hour afterwards. 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 applause, as a matter of course, is unthought of in a sacred Verdi's Cantata was as satisfactory as could be desired, the fault only thoroughly competent, but perfectly versed in the music bebuilding, 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, Mr. 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 Wil-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 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 are by this time tolerably understood, even in the most remote 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 as those to which we have alluded, but the accompaniments to voice was heard to the highest advantage in all the bass provincial towns; but at the evening concert, not only such pieces music of the first and second parts. Mr. Amott, the Cathedral 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 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 a substitute would not be great. A selection from Acis and Galatea 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 sits playing," ," "O ruddier than the cherry," and "The flocks shall occupied from the commencement of the service to the conclusion including "Hush! ye pretty warbling choir" "Love in her eyes of the Creation-is a little too much, and as the majority of visitors readily understood when such singers as Miss Eleonora Wilkinson, 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 closely combining the two arrangements should be a comparative Mr. Sims Reeves, and Mr. Weiss are concerned. The thorongh M. Pratten, in "Lo! here the gentle lark," was remarkable. failure. The weather, which has hitherto been magnificent, appears unity of voice and instrument, exhibited by Mlle. Parepa and No In the course of Verdi's Cantata our musical readers will just now to have taken a turn in the other direction, as since the conclusion of the performance a steady rain has set in, and heavy remember that our own National Anthem is introduced. sooner were the familiar strains heard, when that loyalty which is clouds portend a wet night. so conspicuous a feature in the character of every Englishmen,

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once prompted all to rise with looks reverent as if they were performing an act of solemn worship. Presently, however, the Marseillaise (which certainly is not just now the national air of France, whatever Signor Verdi may say) makes itself heard, when down sits the audience suddenly; after the Italian air, "Le God save," as our lively neighbours call it, is resumed, when once more up rise the hearers, and will not resume their seats until the end of the Cantata. Although far from perfect, the performance of Beethoven's overture to Egmont, was, on the whole, the best instrumental display of the evening, yet scarcely eliciting a hand of applause, such compositions, perhaps, not being to the taste of the elite of the cheese county. M. Sainton's Fantasia on Scotch Airs, however, once more enlivened the audience, who would have gladly encored the talented French violinist, had he not declined the honour by simply returning to bow his acknowledgments. A highly favourable impression was also created by Mad. Laura Baxter, whose fine voice gave great effect to Mercadante's Se M'abbondoni, as well as doing good service in Leslie's trio, "Oh Memory," and the canon, "Il cor e la mia fe," from Beethoven's Fidelio. What can we tell our readers of how Mad. Sainton Dolby sings the "Cangio d'aspetto," or Virginia Gabriel's ballads, by the same artist, or what can we say of Mlle. Parepa's rendering of the Dinorah Shadow Song? Mr. Weiss did well to revive the song, "Hark, ye Soldiers," from the too seldom heard opera (one of Balfe's best, by the way) the Castle of Aymon, and was rewarded by something more than the usual round of applause. A new and elegant ballad, from the facile and accomplished pen of Mr. Howard Glover, composed expressly for Mlle. Titiens, was most favourably received, and would have been gladly heard again by many in the room. These, together with an air from Verdi's Lombardi, Dr. Arne's "Now Phoebus sinketh in the west," by Mr. Winn, the duet, "Pronto io son" from Don Pasquale, and Mozart's Figaro, which was worthy of a better place than the last in the programme, constituted the remainder of a concert which might have been so much the more advantageously shortened, inasmuch as it was to be followed by a ball, to which, no doubt, many stayed, and "chased the hours with flying feet."

The gloomy forebodings of yesterday evening, as to the weather, were verified, for the rain has came down in torrents since our last writing; fortunately the time selected for the downfall was very late at night, or strictly speaking, very early in the morning. Grey and misty day-break has been succeeded by a most glorious sunshine and a pure unclouded sky, throwing up every line of the delicate tracery and airy pinnacles of the splendid old Cathedral tower-one of the most perfect, as it is one of the most striking of its kind in England—and making everything and everybody look bright and gay. At this moment, too, the Cathedral bells are ringing their merriest; carriages and four, carriages and pair, private omnibuses, and vehicles, all bearing a more or less aristocratic stamp, are dashing up the College Green, and carrying off their charge, which seems to comprise the best looking and most fashionably attired ladies of the county, all, too, repeating the remark to each other (which for once in a way verifies the adage that "what everybody says must be true") "What a very fine performance." And so, indeed, it has been, and seldom have we more thoroughly enjoyed anything than Elijah, as it has been this day given in the Cathedral. Neither the seven hundred (including sixteen double basses) at Exeter Hall, with its miserable approaches, its stifling atmosphere, and general aspect, so eminently suggestive of May meetings, nor the Crystal Palace, with its bright fairy like roof, its flowers, its statuary, its many attractions, and its four thousand performers, can compare to the effect produced by the compact and efficient band and chorus of three hundred, as heard in the Norman nave, imposing in its solid simplicity, and contrasting so finely as it does with the most highly decorated

choir, and its silvery altar window, in all its pristine purity. The light falling through the stained glass, the west window gorgeous in colour, surmounting the tiers of heads in the gallery, which fronts the orchestra, and above all the inspired numbers of Mendelssohn's sublime master-piece, all combine to make an ineffaceable impression, and dull, indeed, must be the sense of any who left the building unimpressed by the scene or untouched by the music. If we felt it our duty to withhold commendation for the general conduct of last night's concert, we can with all the greater justice make the amende to Mr. Amott, for the really admirable manner in which he directed his forces in Elijah this morning. Not only were the respective times correctly taken throughout, Mr. Amott merely adopting the medium course, and neither following the example (of which we have such frequent instance in London) of accelerating the speed, with the mistaken notion of increased brillianey, nor of dragging the time, as has been generally the case with the conductors of the festivals of the choirs. Taken altogether, it is hardly too much to say that this was one of the most unexceptionable performances of Elijah ever heard; and although the double quartett, "For he shall give his angels," was not quite as steady as it might have been, and once or twice a slight want of sharpness in the attack might have been perceptible to the hypercritical, still, these were but as spots on the sun, upon which it would be as idle as unkind to dwell. With one exception the solo parts were divided; this arrangement, we presume, being consequent upon having a "double company" of vocalists. In the first part, Mlle. Parepa and Miss Wilkinson were the sopranos, Mad. Laura Baxter the contralto, and Mr. Montem Smith the tenor; thus, to the last named gentleman was assigned the lovely air, "If with all your heart," which he sang with much artistic taste and expression; to Mlle. Parepa the pathetic duet which records the raising of the widow's son, and the no less dramatic scene leading up to that marvellous and triumphantly sublime climax which concludes the part. Slightly nervous at the first (this we believe being her first appearance at these festivals), Mad. Laura Baxter delivered the touching air, "Woe unto them," in such a manner, as not only to disarm criticism, but to please the most fastidious. Mlle. Titiens confirmed the deserved reputation which she has so rapidly acquired as an oratorio singer, who not only has a magnificent voice, and a perfect knowledge of its use, but adds to these a degree of feeling and intelligence as rare as it is invaluable. To have sung "Hear ye Israel" more fervently than it was rendered by the great Teutonic songstress would have been simply impossible, and the effect produced upon all hearers was commensurate with the means employed; while in the "Sanctus" her voice rang out clear and sweet above all, and perhaps to this it was owing that a majority of the audience rose to their feet and remained standing-an observance, to which we are only usually accustomed in the " Hallelujah Chorus " of the Messiah. Mad. Sainton Dolby's name is so identified with the exquisite air, “O rest in the Lord," that one would hardly expect to hear it from any other singer; and again, in the Jezebel recitatives, where she incites the people against the prophet, Mad. Sainton's declamation was no less impressive; while in the trio, "Lift thine eyes," Mlle. Titiens and Mad. Laura Baxter taking the other parts (the trio being usually allotted, by the way to two sopranos and one contralto), the combination was nothing short of perfection, and fortunately, no manifestation of applause being possible; the succeeding chorus, "He watching over Israel," was was heard in uninterrupted succession, as it should always be. Mr. Sins Reeves, who takes as much pains with recitatives (which are usually considered ungrateful work for a singer), as with the most telling airs, fairly outshone himself in "Then shall the righteous,” as the mute looks of admiration, and subdued murmurs which followed most clearly showed. Mr. Weiss sang in both parts, the character of the prophet being most properly confined to one singer,

and not divided as in the other instances; an arrangement unobjectionable in the one case, but totally indefensible when applied to the representative of Elijah. Never has our talented basso more worthily sustained his reputation than by his singing this day, investing the part as he does with a degree of earnestness and dignity thoroughly befitting the occasion, and singing from first to last as if he really felt the music, a secret that but too few vocalists seem to understand. Before dismissing the subject, we cannot help once more alluding to a subject which has so often met with reprehension at-our pen-the detestable practice of people leaving before the conclusion of the part; notably, while the chorus was proceeding, "Thanks be to God," which many of them seemed to interpret as a sort of grace before meat, if we may judge by the hurried manner in which they rose and thronged to the doorways with as much anxiety, and as little reverence, as if only five minutes, instead of something like three quarters of an hour, were allowed for lunch time. It would be well if the committee would take a hint from the Monday Popular Concerts, and print on tickets and programmes a request that the audience would not leave their places until the conclusion of either division. The numbers present amounted to 1,326; and the collection to £176 168. 24d., which sum includes the Worcester contribution, now increased from £60 to £61 10s., owing to the surplus there in 1860.

GLOUCESTER, THURSDAY.

dark blue waters," and Mendelssohn's Wedding March concluded the concert, at a rather more reasonable hour than that of the preceeding night. This evening, Benedict's Undine will be the novelty.

Less familiar, but not less difficult than Elijah, is Mendelssohn's Lobgesang, or Hymn of Praise, which, we need hardly remind our readers, was written for the festival held at Leipsic, in 1840, in honour of Guttenburg, the inventor of printing. To hear this magnificent inspiration in a cathedral is worth travelling twenty times the distance from London, for nowhere do the noble harmonies of Mendelssohn make themselves felt as in a sacred building. Fortunately, too, the performance of this morning was as nearly as possible unexceptionable; the first and last choruses (abounding as they especially do in difficulties) were occasionally somewhat unsteady, although not to an extent sufficiently appreciable to cause any serious detriment to the enjoyment of the work as a whole. But one thing was wanted to make it complete, and that was Mr. Sims Reeves, who has so completely identified himself with the tenor music, that to hear any one else sing "Watchman, will the night soon pass?" is a drawback of no slight character. Mr. Montem Smith, who sustained the tenor part, is careful and conscientious, but, unfortunately, he has not the physical resources at his command, and so, despite his most praiseworthy efforts, must necessarily fail to produce the effect to which we have been 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 Parepa, 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 Masa- for the little which fell to her share; the duet, "O never bow we niello has not blessed the ears of the inhabitants of the " "From 'fayre down," the air, "Father of heaven," and recitative, 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 Maccabaus, 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, sufficient for our musical readers. Weber's quartett, "Over the remains fine, and there is every prospect of its continuation.

still

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THE musical public-at least the London musical publicat least that part of the London musical public that takes an interest in operatic matters-at least in national operatic matters-knows, or should know, that a new national operatic company, entitled "The English Opera Association (Limited)," has been set on foot for some time, and has been only awaiting the favourable moment to commence operations (no pun). That favourable moment, whatever it may be, has, we are assured, now arrived, and the executive committee have entered into negociations with Mr. J. H. Mapleson, for Her Majesty's Theatre, where it is intended the English Opera Association shall hold its inaugural season, or, as may be, carry on the campaign for some subsequent seasons, until such time as they may be enabled to build themselves a new theatre, as has been proposed and contemplated, or until they may obtain possession of Drury Lane, which likewise has been proposed and contemplated. Of the specific doings of the Association, we know little or nothing. We are told that Her Majesty's Theatre has been secured, that Mlle. Titiens will be prima donna, that Mr. Henry Leslie is appointed conductor and musical director, and that business will commence before Christmas. This information is just sufficient to stimulate curiosity-no more. We want to know upon what principle the new company is conducted; who is to assist Mlle. Titiens, and in what undiscovered country native singers have been sought and found; and why, with another National Opera already established, the Association should be originated at all.

In the prospectus published some time since, we were informed that "The English Opera Association is founded for the purpose of establishing a National Institution to produce and maintain on the English stage, in an effective and complete manner, the works of native composers, and likewise English adaptations or translations from the French, German, Italian, and other schools." We are also instructed that "fostering and encouraging a love of musical performances is the main object of the founders of the association; and it is to be hoped, ere long, that England will be freed from the stigma of encouraging the music of every country but her own." It is strange indeed that the members of the executive committee, whose names might be fairly accepted

as pledge for at least a knowledge of what was passing around them, should never have heard that a national operatic company, denominated the Royal English Opera, had already existed, and was now in its seventh year, performing at Covent Garden; that its objects were precisely similar to those of the English Opera Association; and that even these objects were in a great measure being carried out. Surely the committee would not have sanctioned the publication of the sentence in which it is hoped that England will be freed from the stigma of encouraging the music of every country but her own, if they had known anything about the transactions of the Pyne and Harrison company since its inauguration in the Lyceum Theatre seven years since. Did it not open with a new opera by Mr. M. W. Balfe, who, we must inform the Committee, is a veritable English, or Irish, composer? Did it not adhere almost exhas it not adhered almost exclusively to them ever since? clusively to English composers at the commencement, and 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? But Miss Pyne and Mr. Harrison did not pin their faith absolutely to Mr. Balfe and Mr. Wallace. The works of other native composers-Messrs. Howard Glover, Alfred Mellon, Henry Leslie, and George Linley, to wit-brought forward, disproves the encouraging of every music but English music, and testifies in a manner quite unaccountable to the ignorance of the executive committee of the English Opera Association. For our parts, we do not clearly understand the drift of the New Operatic Company, unless it be to set themselves up in direct opposition to the Royal English Opera. And to do that, whence are the singers to come? It may be true that Mlle. Titiens is secured, although the engagement of a German as prima donna assoluta would detract greatly from the boast about the employment of native talent; but one singer, however eminent, will not constitute a company, and the "moi et mes poupées system is long exploded. Will Mr. Sims Reeves be induced to lend his powerful co-operation? If so, no doubt the Association will be able to make a splendid start. The great tenor and great soprano in conjunction might.command all London. But how if Mr. Reeves refuse? Who is to supply his place? Who is to be first tenor? And having procured the tenor, where look for basses? And having found basses, where seek for a contralto? The formation of a company of native artists who would do no discredit to the stage is, just now, simply impossible. Upon what then can the new Opera Association ground its hopes? If foreign singers are to be made use of, then the prefix of "national" or "English" becomes a snare,

English" becomes a snare, a mockery, and a delusion, and had better be expunged entirely.

We have no great faith in the management of theatres, dramatic, or lyric, by a company, and fear that this, like other companies, may merge into a clique-its natural resolution. Without one authoritative head endowed with despotic powers, no enterprise of this kind has ever, to our knowledge, succeeded. If "too much cooking spoils the broth," be an incontrovertible axiom applied to the culinary art, "too many counsellors destroy success" would be as applicable to theatrical governments.

That London is able to support two English operatic establishments, we believe. Why should it not, seeing that Paris possesses three national institutions? That competition would be beneficial to composers and artists, there is not a

doubt. The new company, therefore, notwithstanding the expression of our fears, has our best wishes for its ultimate success; and nothing would please us more than to be obliged to retract all we have advanced above in support of the probability of a failure.

THE reputation which the Germans enjoy for conscientious research and indefatigable industry in historical matters, has received fresh corroboration from the thematic catalogue of Mozart's Works, by Dr. Ludwig Ritter von Köchel. The full title of this production is-"A chronologically thematic Catalogue of Wolfgang Amadeus Mozart's complete Works. With a list of those compositions which are lost, incomplete, doubtful, or merely attributed to him. By Dr. L. R. von Köchel, Leipsic, Breitkopf, and Härtel, 1862. XVIII., and 551 pages large quarto. The book is dedicated to Professor Otto Jahn. Herr von Köchel began his task long ago, and submitted the portion he had finished to Herr Otto Jahn, when the latter was setting about his own work, without either of them having been previously aware of the other's intention. In his dedication, the author says: "Agreeing with me as to the plan, and the portion already completed, you placed at my disposal a mass of invaluable materials in a manner which no acknowledgements can repay." During the further continuance of the work, also, Jahn gave practical proofs of his interest in it. After an ample preface, the contents of the book are divided into two parts, being very unequal in extent. The first comprises the summary of the complete compositions according to their class and number (p. 1-24); and the second, the chronological catalogue of the complete compositions (p. 25-496). In the latter lies the gist of the whole work. An appendix (p. 497-531) gives us a list of those compositions designated on the title pages as "lost," etc. The book concludes with a copious list of names and productions, and another of the words. The first summary is very judiciously compiled; indeed, the execution and arrangement of the entire book are excellent, the ease with which every detail can be found leaving nothing to be desired. In this respect the publishers also have greatly distinguished themselves, and, moreover, by the splendid way in which the book is got up, have erected a monument worthy of a master. The first part, then, contains the series of completed works of each various class in continuous small numbers, as, for instance, "Masses, No. 1-20; Symphonies, No. 1-49, etc.;" the themes are here given only in two bars of music, with the tempo, on one system. We are referred, however, to the chronological index by a larger (thick) number before each one, thus: "Requiem 20, 626." Thus this first part furnishes us with an idea of Mozart's labours generally, and, at the same time, of his productions in each separate branch of his art, while the reference to the second part shows us what he did at the various periods of his life. And what a result does its summary disclose? It displays:

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A total of 626 works! If we now examine the compositions, for instance, the Masses,-by the numbers referring to the chronological catalogue, we find that No. 1 belongs to the year 1768; Nos. 2 and 3, to 1769; 4 and 5, to 1771; 6 and 7, to 1772; 8, to 1773; 9 and 10, to 1774; 11, to 1775; 12, 13, 14 and 15, to 1776; 16, to 1777; 17, to 1779; 18, to 1780; 19, to 1783; and 20 (the Requiem), to 1791. The continuous numbers from 1 to 626 refer to the chronological order in which the works were written, from 1761 to 1791. Next comes the description of piece according to the voice or instrument for which it was written, thus, 550 :

"Symphony for 2 violins-tenor, bass-1 flute, 2 oboes, 2 bassoons, and 2 horns. Mozart himself subsequently added 2 clarionets. Composed 25th July, 1788, in Vienna.-Mozart's Catalogue, 92." Then we have the themes of each movement on two systems, in 4-6 bars, with the number of bars of each movement, according to the autographic MS., thus, in the case of this same G minor symphony:

"1. Allegro molto, 299 bars.-2. Andante, 121 bars.-3. Minuet, Allegro, with Trio, 84 bars.---4. Finale, Allegro assai, 306 bars.” At the end, are notices of the autographic MS. copies, editions, and arrangements, with remarks (historical and esthetic, the last generally extracted from Otto Jahn). For instance, under the head of this same symphony:

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Autographic MS. in the possession of C. A. André, Frankfort, 2 scores, a, without 2 clarionets; b, with them. André, Catalogue 128, 53 leaves, with 100 written pages, oblique form, twelve-lined. When Mozart added 2 clarionets he wrote upon separate sheets a score for the two oboes and the two clarionets---as the former had to be modified. Leipsic, Breitkopf and Härtel (without clarionets).—Parts: the same These pages belong to André's Autographic MS. 128. Editions, score, publishers, Offenbach, John André-Arrangements, &c." (Here arises the question, whether, when the G minor symphony is now played, the above" separate score for the oboes and clarionets" is followed, as it indubitably ought to be. Are the "modified oboes" and clarionets in the edition of the parts published by André ?—Remarks: (these contain an aesthetic eulogy from Jahn, and a notice of the error in the andante, discovered by Schumann).

The reader will now be able to form a just notion of the contents of this catalogue. The first consideration before inserting each separate composition in the catalogue, was its genuineness; the second, its originality. In most cases its genuineness was proved by the existing autographic MSS. and Mozart's autographic catalogue, as well as by editions published under his own eye. When these were not to be found, the material reasons for belief in the authenticity of the work are given, though, of course, they had to be corroborated by internal evidence. Whatever was open to doubt has been cleared under the head of " doubtful," or " imputed." The term "complete," that is to say, finished, compositions, must not be taken in its strictest sense. Among these and, most assuredly, with justice, are included works of which Mozart wrote the principal portions, although he never put the finishing touch to them. In every such case it is carefully remarked how much of them is Mozart's

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