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own. TKe greatest difficulty occurred in deciding the chronological order of the various compositions. The certain authorities for this were Mozart's own notes; first, in the autographic catalogue of his works, from the !)th Hornung (February), 1784, to the 15th November, 1791, published by A. Andr6 in 1805, and, corrected, by Offenbach, at Johann Andre's in 1828; secondly, Mozart's autographic headings upon, the existing original MSS., the unrestricted use of which was most cheerfully accorded to the author by Herr Julius Andre1; and, thirdly, the correspondence of the Mozart family, with announcements, &c, in the publications of the period, as well as similar notices, scattered here and there, although it is true, these are not entirely to be relied on.

In spite of the numerous authenticated dates, fortunately abundant, there remained a considerable number of compositions for which more uncertain evidence, such as, materially, the character of the handwriting,' and, internally, the tenor and style of the work, had to be taken into account. How this has been done, we will allow the author himself to explain:—

"It appeared advisable to adopt five periods, of which, in order of time, we possess strictly marked characteristic pieces. I. Period 1761-1767, Boyish Essays (symphonies, concertos, pianoforte pieces). II. 1768-1778, Mozart, the Youth (La Finta Sempliee—Mitridatt— Ascanio—Il Sogno di Scipione—Litanies, Names), III. 1774-1780, The Young Man (La Finta GiardinieraJl Re Pattore—" MiserecordiaB"). IV. 1781-1784, The Mature Man (Idomeneo, Die Enlfahrung.) V. 17851791, The Master's Prime (Haydn-Quartets—Figaro—Don JuanCoei/an lute Die Zauberjldte—Titue—C major symphony—Requiem)."

In each one of these periods, moreover, We might distinguish the commencement, the middle, and the end, and class any given composition accordingly. The date of those compositions, however, whose order has not been authentically settled, could be determined with a greater or less degree of probability. But, by a fortunate dispensation, the whole period of Mozart's prime is determined by his own catalogue, while the date before 1784 is, in all his most important works, settled as far, at least, as the year is concerned, by his autographic headings, or else in some other way. In the chronological catalogue, the total of works enumerated amounts to 626. Of these, 179 belong to the period after, and 447 to that before, the year 1784. Of the former, 170 are chronologically certain; and of the latter, 176, making together 346, so that there are 280 remaining which are, chronologically, not quite, or not at all, certain; being in the proportion of about 9 to 8. Of these 280 chronologically uncertain ones, the date of more than half has been fixed with great probability, so that it is really hazarded only in about a quarter of the total number of compositions. Before all such as are chronologically uncertain, an asterisk is placed to put the reader on his guard. That the author should not have allowed the absence of incontrovertible dates to prevent him from drawing up a continuous chronological series of the master's works, is something we cannot help approving, particularly as the asterisk prevents the reader from being misled. A highly interesting portion of the book, as relating to the amount of work performed by Mozart, is the catalogue of existing compositions only commenced. This catalogue is based mostly on autographic MSS. That, however, such is invariably the case, as stated in the preface, p. xvii., is not borne out by the catalogue itself, since many pieces are mentioned, on the authority of Nissen, Jahn, &c, with the addition: "Autographic MS. unknown." Among these pieces are the beginnings of twelve masses, or other churchcompositions; five airs; thirty-nine sonatas, rondos, duets,

trios, and concertos for the piano; "twenty-four trios and quartets for stringed instruments; eight for wind instruments; and ten for symphonetic movements. Most of the uncompleted autographic MSS. are preserved in the Mozarteum, Salzburg. The catalogue of the doubtful compositions comprises forty-six pieces, but many of these, as for instance ten symphonies, have never been published, and only their themes are known. Among the more important works in this class are the two masses in C major and lily major, included in J. Novello's London edition, the pianoforte Sonato in C minor, published as Op. 47, &c.—Sixty-two compositions are given as suppositious." In addition to four masses (that in G, published as No. 7, by Simrock, Leipsic, as No. 12, by J. Novello—that in Bit, Peters, Leipsic, No. 7, J. Novello—and two "miss, brev." in C and G), there are a great many songs. The great merit of the book consists in its arrangement, which is admirably adapted to facilitate reference. Whether its compass might not have been reduced, and, consequently, its price diminished, is another question; both these objects might have been attained by the omission of the very numerous quotations from Otto Jahn's Mozart. Instead of the quotations, a mere reference to the work would have answered all the purpose. There are not many new observations. At p, 421 there is a statement of the price paid by Mad. Viardot to J. Andre's heirs for the autographic MS. of Don Juan— 180 pounds sterling. This supplies a deficiency in Jahn, vol IV., p. 363.

E Neue Berliner Musik-Zeitung, in a recent number, gives a complete catalogue of the works of Gluck, accompanied by some observations alike instructive and interesting. As is patent to every one, Gluck had written, in the fashionable Italian style of the period, about fifty operas, the names of Some of which have only lately been rescued from oblivion by recent researches, before he ventured to appear, at last, with his Orfeo, not only as an in* dependent, but also as a reformatory composer before the public of Vienna, whose ear for real music had been spoilt by a system of musical titillation. From this date (1762) we may, as a rule, speak of genuine Gluckian mtisic, because, thenceforward, the great and mighty figure of the real and inimitable creator of dramatic music stands before our eyes in its entirety and lofty grandeur. We append a catalogue of all Gluck's works, as far as we have been made acquainted by A. B. Marx's able researches, with their names, and hope that, by so doing, we shall help to direct general attention to the work of this distinguished writer on music, who has accompanied almost every detail with an exhaustive notice.

In the subjoined catalogue it should be premised that we have rendered the word " Singspiel," of the original "Piece interspersed with Music," and " Festspiel," " Festive Piece," that is, a piece written for some particular festival or commemoration, and entitled by the French, "piece oVocca.

StOrt."

(?) De Profundi!.

1741 Arttrserse. Opera.

1742 Demo/ootile. Opera.
Cleonice (Demetrio). Opera.
Ipermneetra. Opera.

1743 Siface. Opera.
Artamcne. Opera.

1744 Fcdra. Opera.

1745 J? Si Porro (Allessandro nel Sordie). Opera.

1746 La Caduta de' Giganti. Opera.

1747 Le Kozzed'Ercolecd'Ebc. Festive Fiece.

1748 Scmiramide Siconnuiciuta. Opera.

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CLASSICAL v. POPULAR MUSIC.
To the Editor of the Musical Would.

Sir,—Your leading article commencing, "A Gentleman," and the letter of a Manchester organist in No. 36 of the Musical World, are so full of truth that perhaps you will pardon the attempt of a humble member of the profession to trespass on your valuable time and space with the following, trusting that you will excuse any imperfections on account of his being a foreigner.

That publishers reject the MS. of any one but known composers, will not surprise those of the profession who have made the attempt to get their compositions published, and who, for the sake of getting it brought before the public, would gladly have accepted a number of copies in lieu of any remuneration for the copyright. It seems that no compositions of any kind will attract attention unless they are written by well-known authors. Even if a music-Bellcr were to recommend a piece or song, the purchaser's laconic reply is: "I do not know the composer's name." This settles all further recommendation. As far as the publication of 'songs is concerned, I can well understand why a publisher has a natural fear of risking the publication, for unless the song is advertised in the newspapers as sung by some of our eminent artists, the sale will be comparatively small; but then of course the thing is to get it sung—a very expensive affair, as the publisher has to pay a high fee, besides the usual professional fee, to the artist for singing a certain composition, in order to give it publicity. Of this fact I have been assured by an eminent London publisher. Hence, of course, publishers sooner purchase the copyright of songs from operas, as no extra fee is payable for bringing it before the public.

J Permit me also to make a few remarks respecting the cause which, in my humble opinion, tends to lower the taste for classical music, instead of reforming it.—How is it that all our first composers who have at the same time obtained great popularity, never write sonatas or other pieces of a classical character for publication? Why is the public continually overwhelmed with transcriptions on every popular air (even " Dixey's Land," as introduced by one of our great composers and pianists in a concerto piece)?

Surely this cannot tend to improve the public taste; and even professors from the Royal Academy of Music set this example. What reply could possibly be given to a young student who has to undergo a thorough course of instruction in counterpoint and fugue if he were to

ask: "Are my years of study only for the purpose of understanding the rules which guided Bach, Mozart, Beethoven, <fcc, &c, in their compositions, and are these rules unworthy of imitation which made the works of these masters immortal? How is it that my own teachers do not imitate these great men, but set me examples of frivolous compositions? To all these inquiries there is one very explicit reply, viz.: that the public taste must be gratified, and that the remuneration of publishers is not to be ignored. Let us, however, hope that all our eminent professors are not obliged to be of a money-grasping nature, and for the sake of gain to contribute towards a style of music whose effects are but too well known. It requires a great deal of moral courage to refuse money where it is offered, as of course it still will be, for popular compositions, but the conscience of having assisted in purifying mask will in the end repay a trivial loss.

I intend addressing you a letter next month suggesting a means of giving the young composer a chance of getting his works known, which, up to the present, does not exist, unless he risks the publication at his own expense, when, of course, it can only get a limited circulation among his own friends.

Trusting that I may not have said anything offensive to our eminent

frofessorsand composers, for whom I have the greatest respect, although have not the pleasure of knowing them personally, I remain, yours respectfully,

A Wellwkkeu.

OUR NATIONAL OPERA.

To the Editor of the Musical World.

Sir,—Just as great things are looked forward to from a new national opera association, organised under rather favourable auspices, the old Pyne and Harrison administration steps forward and commences business with a company so strong, and arrangements so much more satisfactory than usual, that it appears a matter of regret that the success which will, no doubt, follow, should be interfered with by a second establishment. To be permanent, an English Opera House, like any other speculation, must be profitable. It may be argued that the English Opera at Covent Garden is not yet all that its admirers and supporters desire. Granted; but does it not possess a magnificent band and chorus, an extensive repertory of its own, and, in the present season, some of the very best artistes that the English stage can boast? It is true that a new company would probably include Mr. Sims Reeves and Madame Sherrington. There may be found some, as yet untried talent, to second these established artistes. There are, no doubt, now in England, singers who would prove greater acquisitions than the last new comers at Oovent Garden, and that the Pyne and Harrison company cannot perform all the works of promise or merit that may be written for the English stage. But managers who can present in one week three or four different operas by the most successful English composers, supported by such able and experienced artistes as the Misses Pyne and Parepa, Messrs. Harrison, Santley, Corn, and Weiss, with others of more or less experience or promise, have a great clianco of acheiving a commercial success.

The Pyne and Harrison company have adopted the right course, at last, and could it be possible for a moment to Hupjiosc that the means and the taste which belong to the executive committee of the new company might be added to the experience and established reputation and recommendations of the old one, there would be hope of a bright future for English Opera. With two establishments arrayed against each other, the footing which English Opera has of late obtained will be lost. When one house has succumbed, it will perhaps be found that the other is bankrupt. Robin Hood.

m

'THE REV. PHOCIAN HENLEY.
To the Editor of the Musical World.

Sir,—Could any of your readers favour me with information as to where the Rev. Phocian Henley" resided. Some compositions (l'salmodyl in MS., bearing his name, having come into my i>ossession, which have certainly great merit, and are, I believe, entirely unknown at the present time. Yours truly,

September 10th, 18G2. 'R. Andrews.

Manchester.—Mr. R. Andrews gave a concert in the Chorlton Tempcranco Hall, Grosvcnor Street, on Monday evening, in aid of the Chorlton relief fund. Mr. Andrews was assisted by his talented young family, Miss Andrews, Miss Caroline Andrews (encored in two ballads, "The rising lark," and "'Twas near the banks of bonnie Tweed "), Master A. Gnilio Andrews, and Mr. John Andrews, as well as by Miss Flinn, who was encored in the "Golden Harp" The same compliment was also paid to all the vocalists, in a chorus by Rossini. Mr. R. Andrews' pianoforte performances were greatly admired. The profits of the concert, about £o, were handed by Mr. Andrews to the relief fund.

CHERUBINI.
V.

Cherubini owed his appointment as Director of the Conservatory mainly to the reputation ho had acquired by his sacred compositions, especially the Requiem—for five voices and a full band—written by him for the anniversary of Louis XVI.'s death, and performed, for the first time, on the 21st of January, 181ft, in the Cathedral of St. Denis. It was not repeated until February, 1820, when it was performed in the same edifice, at the funeral of the Due do Berri, murdered on the 13th of the same month by the fanatic Louval.* Eight months subsequently, a happier event for the royal family took place, namely, the birth of the Due dc Bordeaux, on the 29th September, 1820. In celebration of the child's christening, which took place on the 1st May, in Notre Dame, the festival opera, Blancha de Provence ou la Cour des lea, was performed the same evening at the Tuilleries, and, the evening following, at the Grand Opera. The book was written by Theaulon and Banco', and the music by Berton, Boiedieu, Kreutzer, Paer and Cherubini. It is now all forgotten, except the delightful cradle-song, by Cherubini, for three female voices in the chorus: "Dors, noble enfant," which still holds its place in the repertory of the Paris Conservatory, and has, also, lately been reprinted in Germany.f

The next work composed by Cherubini for an especial purpose was the Mass for the Coronation of Charles X. This work, however, is endowed with such a character of grandeur, that it will evermore remain a lasting monument.of art, on account of the greatness and loftiness of its ideas, the depth of its conception, the nobleness of its expression, the richness and magnificence of its harmony and tone, and its brilliant clearness in all that relates to polyphony and harmonics. The coronation took place on the 29th May, 1825, in the Cathedral of Rheims. The composition of the music for the festivities was entrusted to Lcsueur and Cherubini, solos being; excluded by the agreement. The chorus at the performance consisted of 20 first, and 20 second sopranos; 28 tenors, and 28 basses, making altogether 96 singers; the instrumental portion was represented by 3G violins, 30 viols, violoncelloes and double-basses, and 36 wind instruments and percussion instruments— making a total of 102, and a grand total of 198 artists, all of first-rate talent. The king entered the Cathedral to the strains of a majestic march. As the officiating Archbishop handed him the Bword, the anthem " Confortare," by Lesueur swelled forth, and, during the preparations for the anointing, the anthem, " Gentem Francorum," by tho same composer. During the seven different stages of tho anointing, there resounded the choruses: "Unxesunt Salamoncni," and "Vivat Rex, vivat in cetcmum." This was followed by the "Coronation March," while, at the moment the crown was placed upon the head of Charles X., the "Vivat Rex" was again heard, accompanied on this occasion by the full organ. At the same moment, and in accordance with ancient custom, a number of doves and other birds were let loose in the cathedral, the doors of the edifice were flung open, tho people rushed in, the cavalry and infantry bands, stationed around the Place, struck up, the bells pealed, and the cannon roared. Simultaneously, a ehort " Te Deum," also by Lcsueur, was sung.

This was followed by Cherubini's Mass, in which, besides the choruses, the " March at the Communion," one of the most lofty and genial pieces of instrumental music ever written, produced a wonderful impression. Johann Sebastian Bach's Mass in B minor, Beethoven's Missa Solemnit, in D major, and Cherubini's Mate du Saere, are the three most brilliant stars in the firmament of sacred music. For the interests of the art, a consideration of the various phaseB in the development of sacred music from the time of the old Italians, and Nethorlanders, down to tliat of Bach, and from him, through Haydn, Mozart, Hummel and his contemporaries to Cherubini and Beethoven, would be a highly useful undertaking. How great an influence was exerted by the spirit, which, sustained by the grand ideas of the time, sprang up in music during the concluding ten years of the last century, and the first thirty of the present, is proved by the two works in question of Beethoven and Cherubini, which were produced, quite

• It will be remembered that the dagger of the assassin struck down the Duke on the steps at the grand entrance to the Opera-house, as his Royal Bighness was accompanying his wife to her carriage. It is not so well known that the then Archbishop of Paris, Monseigneur de Quelcn, consented to administer to the dying man, who had been carried into the manager's room, the hist consolations of religion, only on condition that the house should be palled down. The Opera was first removed to the Salle Favart, and then inaugurated on the 19th August, 1821, in the building in the Rue Lcpelletier, where it still is, since the works have only just been commenced for the erection of a new Openi-houso, on the Boulevard des Capncins, opposite the Rue dc la Paix. See Architeetonogrophic des Theatres, par Alexis Donnct ct Mtizzi, continued by Kanfmann.

t By C. F. Paters, Berlin and Liipsic, with pianoforte accompaniament, and a German translation of the words. Price, \l\ Ncuo-Groscuen.

independently of each other at the same period, and yet which present so many points of resemblance in the treatment of the text, the lofty character of the musical thoughts, the way in which by means of broadly developed forms, these latter are fashioned into shape, and the employment of aU available musical resources for the purpose of carrying out the object in view. The principal portions of Beethoven's Mass were performed for the first time in Vienna, on the 7th May, 1824, while Cherubini's work was executed at Rheims, on the 29th May, 1825; bat Beethoven's was not printed till 1827, after Cherubini's. The same thing which had already happened to the two masters in the composition of the operas of Fanieka and Fidelio was now repeated in another branch of the art; on both occasions, however, Cherubini had been the first, by his Lodoiska, in the operatic style, and by his Requiem, and the Masses in F and D, in the sacred style.

It is from the first few years of Cherubini's appointment as Director of the Conservatory that we must date the foundation of the Socicte des Concerts, which has preserved, until the present day, the reputation of having introduced to the French public the works, most admirably executed, of the German masters of instrumental music. The real founder of the Society was, as we well know, Habeneck,* who was also its very heart and soul. Cherubini's share in the matter consisted in his having been the person who always advocated the public practice or displays of the pupils who had left the Conservatory, as well as of those who were still there, and, whenever they came to a standstill, always exerted himself to set them going again; furthermore, in his recognition ot Habcncck's decided talent as a director, in consequence of which the direction of the concerts in question was entrusted to Habeneck, on the recommendation of Cherubini, Gossce, and Mchul, even under Sarrette; and lastly and chiefly on his supporting, with the whole weight of hu own position, Habeneck's plan, and thereby rendering its execution possible.

Ab the establishment of the Societe" des Concerts in Paris not only marks an epoch in the history of music in that capital, but is likewise of importance for the propagation and the artistically perfect execution of German music, we have already described its origin at length, in Nos. 20 and 21 of the series of this paper (the Niederrheinieche MusikZeitung) for 1860, taking as our authority the Histoire, etc., by A. Elwart, quoted in the foot note. All that is now requisite is for us to adduce, from the same work, the proofs of Cherubini's energetic co-operation. At page 62, et seg., we read: "When Cherubini was informed of the plan by Habeneck, he agreed to the request that he should obtain the authority of the Minister with a degree of warmth which does honour to his memory." "The Minister, M. de Laroehefoucault, assented to Cherubini's proposals," and the decree of the 15th February, 1828, permitting the establishment of the Concerts, commences: "At the request of the Directors of the Ecdle Rot/ale de Muiique, we have resolved, &c, &c," and Art. 9 charges him with the execution of the decree. The statutes of the Society contain, at the very beginning, the words: "With the agreement of the Director of the School of Music." He was chairman of the administrative and executive committee (p. 98), and it was at his order, and strictly according to his directions, that the moveable platform, rising step by step, was built just as it now exists.— Cherubini knew very well that Habeneck's object was the performance of the works of Beethoven. Had he entertained so mean an opinion of the latter as he is reported to have entertained, he certainly would not have promoted and arranged the whole affair with the zeal he did, as, in other things relating to the Conservatory, he adhered to his own opinion with great firmness, or rather stubbornness. Thus, for instance, he prohibited the young ladies of the School of Music from taking part either in

* Frangois Antoine Habeneck was bom on the 23rd January, 1781, «t Mczieres, where the regiment to whose band his father, a native of Mannheim, belonged, was then in garrison. He tamed out an infant musical prodigy, and gave concerts as a violinist when only in his tenth year. In 1814, he carried off the first prize for violin playing at the Conservatory, and was patronised the Empress Josephine, who made him an annual allowance of 12,000 francs. He soon afterwards entered the orchestra of the Grand Opera, as solo violinist, with Rud. Kreutzer. His talent as a conductor was developed by his conducting the practice of tho pupils at the Conservatory from 1806 to 1815. On Dm of these occasions he caused Beethoven's Symphony in C major to be played for tho first time in Paris. Being afterwards appointed director of the Concerts Spirituels, got up by the management of the Grand Opera, he endeavoured to have the Second Symphony performed, but, instead of tho Adagio, which the band unconditionally rejected, he was obliged to interpolate the Andante (Allegretto), of the Seventh Symphony in A, which was encored at the very first performance. From 1821 to 1824, he was director of the Grand Opera, while Kreutzer was conductor. From 1824, he took Kreutzer's position, and was, »t the same time, appointed professor of a violin class established expressly for hint. The Conservatory Concerts began in the year 1828. On the 31st October, 1846, he retired from the Opera and the instruction of his class. He conducted the Concerts for the last time on the 16th April, 1848. Nine months afterwards he died, on the 8th February, 1819.—Jiutoire de la Sockti del Concerts, par A. Elwarte, Paris, 1860.

the solos or choruses of the smaller concerts (Concerts d'Emulation) given by the young artists, and concerts which Elwart conducted from 1828 to 1884. The fair pupils were only allowed to play publicly the piano and harp, while the band might execute nothing but compositions of the pupils. Despite all the representations of the most celebrated professors, Cherubim adhered immovably to these regulations (Elwart. p. 126). oin If we look through the Conservatory concert bills, which are given by Elwart from their beginning down to 1860, we shall nearly always find Beethoven and Cherubini together, the former as representative of instrumental, and the latter of vocal music, (7b be continued,)

"HI"

VIEUXTEMPS AT ANTWERP.

{By an Antwerpian.)

It may truly be said that the greatest piece of musical good fortune that could fall to the lot of any lover of the art was ours on Sunday and Monday, when we were present respectively at a quartet meeting, where Vieuxtemps held the first violin, and at the concert of the "Dames de Charitc"," when the great artist played four times. As we said, on the occasion of the concert given by the Royal Society of Harmony, Vieuxtemps is, in our opinion, the most perfect artist we ever heard; his bowing, tone, correctness, style, vigour, and sentiment, possess a magisterial breadth, a grandeur of perfection, bordering upon the sublime. To these eminent qualities, moreover, which distinguish him as an executant, Vieuxtemps, as a composer, unites others, no less exceptional, of originality, inspiration, and knowledge. He is a genius, nay, more, a great genius, in the most extended sense of the word.

Paganini, when Vieuxtemps was ten or eleven years old, was one day asked by the young artist to write something in the latter's album for him. We saw the album at the time, and, though we cannot answer for the complete exactness of the words, our memory at least recalls most faithfully the sense of the phrase Paganini wrote, and which was:—" My dear young friend, you are the colossus destined to crush us all." Such was the prophecy which Paganini wrote down and signed with his own hand about thirty years ago, and which Vieuxtemps has actually fulfilled.

It is in the execution of quartets that the really competent amateurs can best appreciate the powers of the organisation and musical genius possessed by Vieuxtemps. Consequently, all our amateurs assembled last Sunday in the saloons of the Provincial Government, where Vieuxtemps was to perform a quartet by Haydn, a quartet by Mozart, a quartet by Beethoven, and, in addition to all these, Tartini's " Dream," that piece of musical devilry which he renders still more infernal by the way in which he complicates difficulties already quite sufficient to terrify the most skilful players, but which are rendered by him with a degree of ease that causes them to appear most natural and most simple.

What shall we say of the performance of the quartets? Every hand applauding enthusiastically has declared before us; it was sublime in style, spirit, and feeling. The listener hangs upon the performer's bow, and fears even to breathe, lest one of the [>earls which fall from it, in a shower of gold, should be tarnished by his breath.

At Monday's concert, Vieuxtemps played those pieces which were new to us, his " Fantasia Impressionata," which, but for its form, might be cited as a genuine symphonctic concerto, as far as regards tho breadth of the style, and the development of the motives; the "Impromptu de Chasse," a perfect gem of charming coquettishness; and, finally, the " Transcription de Jerusalem," a real caprice of a great artist. As a "bouquet," Vieuxtemps treated us once again to his "Variations on American Motives," which are so original and poetic, the poetry, indeed, bordering upon ecstacy, when it is the composer himself who interprets and decks them up.

The whole evening was for Vieuxtemps a succession of recalls. From the orchestra to the very back of the room, everyone vied with his neighbour in applause; never did enthusiasm reach so high a pitch, and never was it so unanimous. Vieuxtemps might say: '' His good city of Antwerp remains faithful to him, and continues happy and proud every time he condescends to allow her to hear and to applaud him."

We will pass quickly over the other portions of the concert. Everything pales by the side of Vieuxtemps; in addition to which fact, those who determined the programme, selected, unfortunately, monotonous, heavy, and slow vocal concerted pieces and solos. We must, however, thank Mad. Cuypers for her obliging complaisance in placing her valuable talent at the disposal of the fair organisers of the concert, and we must also mention the brilliant manner in which the chorus from 'the Stabat Mater was executed without accompaniment. — Revue tlAnvert, 20th March.

%\t Operas.

ROYAL ENGLISH OPERA.

On Wednesday Mr. Wallace's popular opera Lurline was performed for the first time this season, and introduced a new prima donna in the person of Miss Sara Dobson, whose debut on the English stage (mora properly, perhaps, the London stage) was looked forward to with unusual interest and curiosity. Miss Sara Dobson^came from Liverpool and Manchester with powerful recommendations. She had received her entire vocal instructions at the hands of the celebrated Mrs. Wood, (Miss Paton), and was reported to have great natural endowments, and to have been trained with the utmost care. Musically speaking, perhaps no better part could have been chosen for a debutante than that of Lurline, which absolutely, without meaning, causation, or the semblance of anything mundane in a histrionic light, is invested by the composer with an abstract beauty and reality, and is listened to, if not looked at, throughout with interest. Miss Sara Dobsou's first vocal essay behind the scenes was extremely successful. The voice sounded full, mellow, and pure, and the intonation was all .but faultless. When she entered on the scene, " robed in her garments of ethereal hue," as the poet Fitzball would say, she was greeted with loud applause, which would have encouraged one apparently far more nervous. She gave her owning song extremely well, and her singing revealed great facility, and an ever well-regulated shake. There was no doubt that an accomplished artiste stood before the audience, and one who could confront their scrutiny with little or no timidities. Miss Dobson was accepted by the public in a moment, and her success was never in doubt. She was applauded loudly, and frequently was recalled after each act, and summoned at the end to be received with enthusiasm. For our own part, we intend to withhold any more definite opinion until we have heard the new singer again. We trust that we may be mistaken, but Miss Dobsou's voice appears to us to be a little overworn from extra exertion —as if its freshness had departed with straining. Nevertheless, we must say the upper notes are produced without effort, and are extremely clear and brilliant,and, after all, the want of freshnessin the tones may have arisen froinanxiety in the singer to produce her best effects. Nodoubt,Miss Dobson has unusual talents and acquirements, and promises to become one of the ornaments of the British stage. On Wednesday evening, however, we do not think she did herself entire justice. Her best effort was in the popular anacreontic, "Take this cup of sparkling wine," which she gave with infinite point and charming expression, eliciting an undeniable encore. Parts of the grand scena, "Sad as my sold," too, were excellent, more especially the melodious Andante, which could hardly have been delivered with greater suavity of voice, and with happier artistic effect. Of Miss Dobson's claims to be an actress, we cannot judge from her performance of "Lurline:" that she is easy and graceful, we may, however, assert, without fear of contrailiction.

The cast differed in other important respects from last year. Mr. George Perren was substituted for Mr. Harrison in Count Rotldph ; Miss Susan Pyne for Miss Pilling in (Jhiva; and, unless our memory fails us, Mr. Patey for Mr. George Honey in the Baron Truenfels. Mr. Santley retained his original part of the Bhineberg King, and Mr. H. Corri that of the Gnome. Mr. Santley's singing was, perhaps, the distinctive feature of the performance.

On Thursday, "The Crown Diamonds " was given, with Miss Louisa Pyne as Caterina—one of her most finished performances—and Mr. Harrison as Henrique. Auber's exquisite opera was played most admirably, and received with immense applause. In no music does Miss t'yne exhibit to greater advantage than Auber's. Her singing is really incomparable in Caterina.

Last night, " Lurline " was repeated, and Miss Sara Dobson made her second appearance.

Military Band-mast Kb and The .concert Pitch.—A notification has been received at Chatham garrison from the Horse Gnnnls, in which it is announced that, by direction of His Royal Highness the Commander-in-Chief, military band-masters shall always take precedence over civilians on tho occasions when regiments and troops in garrison are brigaded together; and that whenever bands are playing together, the military bandmaster, shall lead according to seniority of appointment. The order further directs that, with a view to insure uniformity throughout the regimental bands in the British service, the pitch to be used shall be that adopted by the Ancient co Philharmonic Society, and that on all occasions of military bands playing the National Anthem, the key shall invariably be that of By.

Jetty Trkffz.—A correspondent from Vienna writes us that this popular vocalist was married, on the 2Bth ult., to Herr Johann Strauss, the well known waltz composer.

Mb. And Mus. Brinley Richards have been on a visit to Whitland Abbey, South Wales, the scat of tho Hon. YV. H. Yelvcrton.

BRASS BAND CONTEST AT THE CRYSTAL PALACE.

On Tuesday the contest at the Crystal Palace, now resolved into an annual affair, in which about thirty bands engaged, was in itself a proof that, if not essentially a musical people, we are at any rate a people loving music. By far the larger portion of the members of these bands belong to the artisan class; and we cannot describe their performance more appropriately than in the words of a French gcntleman,who was well qualified to judge: "For professional artists, good—for workmen, wonderful." The aspect of the great Handel orchestra, when all the bands, after each had played its individual selection, assembled to join in a general concert, was singularly striking. There were volunteer bands in green or grey; there were other bands in costumes of their own—notably one in neat blue tunics and blue caps with red borders; and there were still others who played in their working clothes. Perhaps it was on the latter that attention was chiefly fixed. It can scarcely be denied that there is a tendency. in all of us to get somewhat exhausted, somewhat confused, after hearing thirty brass bands, more especially when out of the thirty pieces that the aforesaid thirty bands select, no less then ten are by Signor Verdi. Long after the ear was satiated, the eye could watch the scene with interest. Never were more energetic conductors beheld. Each sturdy leader—whether from Lancashire, Yorkshire, or Nottingham—put not only his whole soul but his whole sinews into the task of the day—until, with regard to one or two of the more enthusiastic, it became a matter for reasonable speculation whether or no they would, in their musical zeal, shake their arms out of their sockets. However, we heard of no accident of the kind, and we need scarcely say that the contest was conducted in the friendliest spirit by all who took part in it. It was at once a graceful compliment and a well-earned reward to Mr. Enderby Jackson, of Hull, the final referee, that his march was received with applause of unusual heartiness and warmth.

All present, acquainted with the previous performances, were of one accord in maintaining the superiority of the playing at the present occasion to that on any of the former contests. The gentlemen who officiated as judges were Messrs. D. Godfrey (Grenadiers), Hartman (12th Lancers), Koenig(13th Light Dragoons), Smythe (Royal Artillery), Farmer (Nottingham), Eekncr (5th Fusilecrs), Richs (37th Regiment), Wilson (Duke of York's School), Hanson (late of 30th Regiment), Wellington, Guernsey, Coward (Organist to the Crystal Palace), C. Godfrey, sen. (Coldstream Guards). The bands were those of Hall Green, Dodsworth's of Bradford, Batley, Civil Service (who, amidst the deluge of Verdi, had the good taste to stick to Mozart), Black Dyke, South Notts, Nottingham Saxe Tuba, Dewsbury, Birmingham, Keigliley, Brighton, Loyburn, Todmordeu, Ealing, Brighton, Southampton, Meltham Mills, Bromley, Sutton in Ashfiehl, Peterborough, Chesterfield, Newark, Mexborough, Barnet, 2Gth Middlesex, Blanclford. The first prize of £30 and a handsome silver cup, together with it fine contra-bass in E flat, by Distin, were awarded to the band of the Chesterfield Rifle Corps; the second prize of £20, with "Chappell's Brass Band Journal," to the band of the Black Dvke Mills; and the third prize of £15 to the Keigliley Band.

Remarks upon the performances of the Brass Bands at the annual contest at Bellevuo Gardens, Manchester, September 1st, 1862 :—

I Each band to perform a selection from Auber's Massaniello, the comets to be crooked in B2 ;—Eight bands entered.

1st Band. The commencement was very indecisive, the corners being much out of tune; in the second movement (which is written for a baritone instrument), a bad effect was produced by a comet playing in unison with the euphonion; they not only played out of tune, but they did not play together. The selection was finished with much better spirit than was displayed at the commencement.

2nd Band, This band began the selection with great precision, being well in tune; the first and second corners were very good, and the accompaniments well subdued in the piano passages; the basses were particularly good. Generally speaking, this band is most excellent; their style of performance being superior.

3rd Band. This band was inferior to the first band. 4th Band. Very similar to the second band, the baritone being also very| good.

5th Band. Superior to the first band. 6/A Band. Inferior to the third hand.

7th Band. This band was disqualified on account of their performing on Afc cornets; otherwise they played exceedingly well, and, doubtless, would have stood prominently in the list of awards.

Sth Band. This band was very little inferior to the seventh band.

After the bands had performed the selection from Massaniello, they were allowed to perform a piece of their own selection.

Is* Band. Selection from "Norma." The selection commenced very slovenly, and the solo instruments were compelled to over-blow the solos allotted to them, on account of the accompanying portion of tho band being too noisy, doubtless anxious to be heard indiridnally. The duet for two

cornets wag very creditably performed, and the finishing movement well wound up.

2nd Band. Selection from " Preciosa." This band, as a collective body, is most excellent, playing with the greatest precision, and with due consideration to the importance of allowing the solo instruments to be heard. The solo performers were very good, and all equally deserving of praise for their excellent performance of their respective parts.

3rd Band. Selection from "Ernani." The commencement was very good, but was not well kept up, as regards strict time; the baritone of the duet was very indifferently performed, but the following movement was played with great spirit by the cornet; the accompaniments, however, being very

4th Band. Selection from " La Favourite." This band also i very well; being well in time and tune. The comet player was very good; spirito gentil was very well performed, but the performer was rather inclined to jerk the notes; the accompaniments were splendidly subdued. The remarks applied to No. 2 band is also applicable to this hand.

bth Band. Selection from "Ernani." Began very indifferently, but improved as they progressed. This band is decidedly superior to No. 1 band, the soprano performer being very good.

Gth Band. Selection from "II Trovatore." This band deserved great credit for their exertions in the performance of this selection, but the piece is evidently beyond their capabilities. The Miserere was miserably attempted.

7 th Band. Selection from "Preciosa." The performance of this selection was throughout splendidly done.

Sth Bund. Selection "from "Guilliawne Tell." The performance of this band was very similar to that of No. 7 band.

The 1st Prize, of £30 and an electro-plated comet (presented by Mr. Besson), was awarded to No. 2 band.

The 2nd Prize, £20, was awarded to No. 4 band.

The 3rd Prize, £10, was awarded to No. 8 band.

The 4th Prize, £5, was awarded to No. 5 hand.

The bth Prize, £2 10s., was awarded to No. 1 band.

The judges were Alfred Phasey, from London, Uriah Richardson, from Bristol, and Alfred Crow, of Manchester.

P.S.—The above remarks were written during the time of performance, by Alfred Phasey.

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BRINLEY RICHARDS.--THE DREAM OF THE WANDERER. Romance, for the Pianoforte, 2s. M. M It was a dream, a soothing dream ; I saw my mother's face with all its holy sweetness l>cam: I hirardtbe words of grace she taught me, as I stood beside her knee in days of joy, ere launched upon tho world's dark tide, u happy sinl03S boy."— Mrs Crawford.

rpHE DUNDREARY QUADRILLE, founded on

l popular American and English Airs. By STfriiKN Glover. Piano solo, M. ; duet, 4s. "The name of the composer vouches for the excellence of this sprightly let of dances."

WARBLINGS AT DAWN; FOR THE PIANO. l'ORTE. By Bbinxky Kichabus, (conusor of " Warbling* at Ere") 3i.

WVINCENT WALLACE'S EDITION OF , CZERNY'S ETUDE BE LA VOLCITE, with new studies, by tie Author (to be found in no other edition, English or foreign), with Notes by Hamilton, an I Additions by W. Vincent Wallace. 25th edition. Two books, each M, i or complete, MU. bl. —N. B. Wallace's cdjtiud must be asked for.

VINCENT WALLACE'S EDITION OF

, , f CZERNY'S 101 ELEMENTARY STUDIES, with new Studies by the Author (to be found In no other edition, English or foreign), together with Notes by Hamilton, and Additions by W. Vincent Wallace. 30th edition. Two books, each 4s.; complete, M. —X.B. Wallace's edition must be asked for.

The ROSEBUD. Song. By U. Lincoln Cocks. Poetry by Rodekt Bit.**. Beautifully illustrated. 2n. 6d. "The melody Is truly charming, the accompaniment pure and musician-like."—The Press.

The ROSEBUD. Melody. By Lincoln Co-Eft. Transcribed for Piano by Edwin M. Lore. gs. 6d. "A brilliant little piece, divested of all dlfflcultiei."Brighton Obseiter.

JUST ISSUED, ROBERT COCKS & CO.'S QUAB

ej TERI.Y CIRCULAR OF NEW MUSIC. May be had Gratis and post u* on application. London i Robert Cocks and Co., New Burlington Street.

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