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NICCOLI DE' LAPI.

Broken PledgesUn-dress AudiencesAnd Mlle. Titiens.

(From the Saturday Review, August 30, 1862.)

The manager of Her Majesty's Theatre deserves the [thanks of many a Londoner and his country cousins. If half guinea motions are heaven-sent manna to cheer a briefless barrister through the term, Mr. Mapleson's admission to his opera at play-house prices is a grateful concession to foreigners as well as home-bred visitors to the Exhibition. This commendable step is an index, it is to be hoped, of a prosperous state of the manager's exchequer, and an earnest of good things for seasons to come. If, at the outset of his campaign, the manager promised a great deal ho did not perform, at the close of it he has performed a great deal which he never promised. Signor Schira has been rather hardly used. Had his music proved in any way worthy of being wedded to one of the most beautiful stories of this or any other age—the Niccolo de' Lapi, by the Marquis d'Azeglio—every Italian would have hailed the production of such a work as a compliment to himself as well as the composer. Day after day was the promise renewed. That the Marquis could paint a picture was undeniable, for the fact was patent in the Foreign Art Gallery at the Exhibition, and people gave ample credit to the Minister for versatility in studio as well as study. Signor Giuglini will not take it ill if it be affirmed that the anticipated joint production of M. d'Azeglio and Signor Schira was an affair of far deeper interest tha» the utterances of the voce misteriosa, and the uomo del popolo, in the ode which now acts as a supplement to the closing performances of Her Majesty's Theatre. Niccolo de' Lapi, with its stirring scenes of Florentine history, familiar as household words to Italian readers, has been a mockery and a snare to believers in the good faith of managers. Alas! the faith of that order has always been, and ever will be, Punic. Usually, the glittering falsehood obtains currency once, and once only, and that in the elaborate prospectus at the beginning of the season. True it is that a saving clause—"if time will permit"—is occasionally added, by way of break-water to the waves of popular wrath when the promise is unfulfilled; but what man is so infatuated as to believe that tho "time" alluded to is any but the Greek Kalends'? "Where are the Euryanthes, the Der Frieschutzes, the Vestalins, which blossom annually in the flowery prospectuses, but never come to fruit or maturity? What "time" will ever "permit" their appearance? It is very hard that a man must go to Berlin and Dresden to feel and see what he can only read of in England. So large an amount of froth is compounded for by buyers at an auction and subscribers to an opera-house, that Mr. Mapleson may complain of our having selected him as a victim for special stricture. Does he differ in this respect from preceding managers V Perhaps not. We smart, however, from the fresh memory of the every-day announcement that the ScMra-tfAzeglio opera was ready for production. The mountains were perpetually parturient, but nothing was produced. At last the notice was withdrawn.

The manager has, however, made up for this shortcoming by his liberality towards the close of the season. 'ITie waiver of the restrictions on dress is, during this summer season, a real boon; and it is a satisfaction, while habitues are off to the moors, for the less privileged classes to occupy, at a reasonable price, the patrician boxes and stalls. People in walking costume are just as competent to criticize Mile. Titiens as the exquisites who lounge in Fop's Alley; and, if that artist values appreciation conveyed from other quarters besides May Fair, she may be sure of an audience as intelligent as well as demonstrative. As a real artist, she probably does set store by these latter-day cheap audiences. Charles Young, the late actor, preferred acting" to Manchester cotton-spinners in their own city rather than in Ixmdon; Mrs. Siddons played three years consecutively at Edinburgh in preference to the metropolis; and Mile. Titiens probably has the good sense to share these artistic Yiews.

Mr. H. C. CoorEll And Madame Tonnelieh.—Wo beg to call the attention of musical cntrcpcncurs in Brighton anil its neighbourhood to the advertisement of Mr. H. C. Cooper and Madame Tonnelier, whose services will doubtless be largely called into requisition throughout Sussex and the adjacent

IMPORTANT TO MUSICIANS.

An ingenious yet simple invention has recently come under our notice, in the shape of a small gymnastic apparatus, called the " Banelagh.' 1 Its object is the expansion of the chest, the prevention and correction of spinal curvature, and general strengthening and developing the muscles of the anus, back, loins, and legs. It has the merit of being so portable, that when packed it occupies little more space than the crown of an ordinary sized hat; it can be fixed in a moment in any room, and used without tho slightest fear of strain or undue exertion by ladies or children, and enjoys the additional advantage of not getting out of order. Of the agreeable sensation it communicates to the whole frame we can speak highly, from our own personal experience. To singers, tho "Kanclagn " would be of inestimable value, expanding that part of the body in which the lungs are situated, giving the whole breathing anjaratus full play, and fortifying tho system generally throughout. We nave, therefore, no hesitation in recommending thu admirable contrivance, of which full particulars may be learned of Mr. F. Milnes, Gloucester.

. ROBERT COCKS & CO.'S LIST OF IMITTSIC.

rpHE NEWEST DUNDREARY POLKA for the

X. Pianoforte (dedicated to iny Bwothew Ttaam), by Adam Wright. Finely illustrated. 3s.

VINCENT WALLACE.—For Piano, SOUVENIR

de« INDF.S ORIENTALES, Meiodie, from tho Burlington Album, a. Blue Belli of Scollnud, solo, 3s. ; duot, 4s. Ye Banks and Braes, solo, 3s.; duet, is. Twilight Romance, 2s. Fading- Away, 3s. Annie Laurie, 2s. 6d. Uosebud Polka, Ss. 6d. Home, Sweet Home, 3s. Robin Adair, 4s. Croyei-inoi, 2s. 6d. Twilight Romances, 3s. Catalogue of his most recent works gratis and post free.

BRINLEY RICHARDS' WARBLINGS AT DAWN, Romance for Piano. 3s.

T<HE SWISS BOY, Melody transcribed for Piano by

JL BRINLEY RICHARDS. 3«.

WELSH FANTASIAS, by BRINLEY RICHARDS. No. 1, North Wales, 4s.; No. 2, South Wales, 4s. These Fantasias were performed by the author at the great National Festivals held at Denbigh, North Wales, and Aberdarc, South Wales.

rpHE PEEP 0' DAY QUADRILLE; for Piano, by

JL C. Hall. Illustrated. 4s.

41 This quadrille, sn rich in the choicest Irish melodies, always called forth applauseVhen performed in the courseof tho 1 sensation drama,' and will always be a favourite in the ball-room."

London: Robebt Cooks A Co. New Burlington Street;
and of all music sellers.

Now ready. In 2 vols, with Portraits, 21s.,

rPHIRTY YEARS' MUSICAL RECOLLECTIONS.

_1_ By lisMrt F. Chorlbt.

"Every reader will follow Mr. Chorley's chronicle with unflajrirlng interest. We can hardly name two volumes of pleasanter gossip about music and singers."— ComAifl Magazine.

"Mr. Chorley's interesting, amusing, and Instructive work, while fuU. of anecdote, Is characterised by the highest critical acumen.1'—Pott.

"Every page of these volumes offers pleasant reminiscences. Whether as a conscientious history, a graceful series of portraits, or an anecdotical record, the author must be congratulated on the work he has accomplished.—Atheiueum.

Hurst And Blackbtt, Publishers, 13 Great Marlborough Street

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Published this day.

A NEW EDITION OF THE PIANOFORTE

STUDIES

BY

STEPHEN HELLER,

Thoroughly lie vised said partly Re-written.
Published under the immediate superintendence of the Composer.

EXTRACT FROM PREFACE.

"A great number of Studies for the Pianoforte already exist, solely intended to form the mechanism of the fingers. "In -writing a series of short characteristic pieces, I have aimed at a totally different object.

"I •wish to habituate both Students and Amateurs to execute a piece with the expression, grace, elegance, or energy required by the peculiar character of the composition ; more particularly have I endeavoured to awaken in them a feeling for Musical Rhythm, and a desire for the most exact and complete interpretation of the Author's intentions.

"STEPHEN HELLER."

THE EDITION CONSISTS OF FIFTEEN BOOKS, FBICE BIX SHILLINGS EACH.

LONDON:

ASHDOWN AND PASEY, 18 HANOVER SQUARE.

M. THALBERG'S,

COMPOSITIOITS

AS PERFORMED AT HIS CONCERTS IN LONDON.

THALBERG'S BALLADE,

AN ORIGINAL COMPOSITION FOR THE HANO.
Pmce 4».

"An exquisite Romance, which no imitator, however ingenious, rould have written—as quaint, as fascinating, and at the same time as Thalbergian as anything of the kind that has been produced for years." —The Timet.

THALBERG'S ART OF SINGING,

APPLIED TO THE PIANO.
Xeic Series. Price 3». each.
No. 13. Serenade from " 11 Barbiere."
14. Duet from " ZauberflBte."

16. Barcarole from " Giani di Calais."

IG. "La ci darem," and trio, "Don Juan."

17. Serenade by Grdtry.

13. Romance from "Otcllo."

"Among the hitherto unknown compositions were some selections from the 'Art of Singing applied to the Piano,' 'Transcriptions' ot Operatic Melodies, arranged in M. Thalberg's ornate and elaborate manner, invaluable to Pianists who believe that the instrument of their choice can, under skilful management, emulate the violin, itself iu the delivery of (xmtabilt passages—The Timet.

BOOSEY AND SONS, HOLLES STREET.

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JOSEPH GODDARD'3 PHILOSOPHY OF MUSIC,

J Price 7s. 6d. (To Subscribers, 5s.)

Boosbt A Sons, Holies Street.

BOOSEYS' SHILLING MESSIAH, complete Vocal Score, with Accompaniment for Pianoforte or Organ, demy 4to (si7.e of " Musical Cabinet"). Price Is.—Boosry «fc Sons have much pleasure in announcing thoir new Edition of the " Messiah," printed from a new typo, on excellent paper, and in a form equally adapted for the Pianoforte or the Concert-room. The text revised by (i. F. Iiakius, from the celebrated Edition of Dr. John Clark. As a specimen of cheap music, tllis book is quite unprecedented, and it is only in antidilution of tho universal patronage it will command at the approaching Handel Festival the pulvlishcrn are able to undertake it. Orders received by all Booksellers and Musicscllcrs. Post free, Is. id. An edition inoloth boards, gilt, 3s.

BoofsTT A Sons, Holies Stmt.

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Printed by Hjisdskson, Rmt, and Fentok, at No. 13, Winsley Street, Oxford Street, in the Parish of Marylcbone, in the County of Middlesex.
Published, by Jviw Boobit, at tho Office ot Boosar & Soks, 2g Holloa Street.—Saturiidv, SupKmixr 20,1862.

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"the Worth Of Aut Appears Most Eminkht In Music, sraca It Requires no Material, no Subject-matter, Whose Effect

MUST BE DEDUCTED: IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES."—Ootht.

SUBSCRIPTION-Stamped for Fostage-20s. PER ANNUM Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28, Holmes Street, Cavendish Sq, London, W.

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PROVINCIAL TOUR, OCTOBER, NOVEMBER, and December, 13(2.

ARTISTS.

MAD. GASSIER (Her first appearance In the Provinces these three years). MLLE. MARIE CKUVELLI (Of the Grand Imperial Opera, Berlin). MB. SWIFT (The popular English Tenor).

HERB JOSEPH HERMANNS (Prlmo Basso of Her Majesty's Theatre).

INSTRUMENTALISTS. MAD. ARABELLA OODDABD (Solo Pianist). MON. SAINTON (Solo Violinist).

SIGNOR BOTTESINI (Contra Basso, his first appearance in the Provinces

these two years.)

Director MB. LAND,

To whom communications should be addressed, 4 Cambridge Place, Regent's Park, N.W. or to Mr. Shiffakd, 28 Orosvenor Street, W.

PRIZE MEDAL FOR PRATTEN'S PERFECTED

I FLUTES, WITH THE OLD SYSTEM OF FINGERING.—Boosit & Sons have much pleasure in announcing that these instruments have, received the Prize Medal of the International Exhibition. An Illustrated Catalogue may be obtained upon application to the manufacturers, Boosby & Boss, 24, Holmes Street, W.

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"VIEW SONGS BY W. VINCENT WALLACE.—

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NEW SONGS BY ALEXANDER REID "Good Night" (Cradle Song)

"Memory" (dedicated to Miss*IIelen Hogarth)

11 Are they meant but to deceive me f"

"Tho Golden Stars"

11 Thou art so near and yet so far," as a Vocal DuiT

London: Duxcax Dauwn & Co., Hi Regent Street,HVV»

w

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tttfo JJianirfwtc SJitsk.

DREAM DANCE. For the Pianoforte. By Emanuel Acuii-ab. 3s.

T7ANTASIA ON AIRS FROM HOWARD GLOVER'S

Jj OPERETTA, "ONCE TOO OFTEN." By Emii.8 Biboi*. 3s.

TARANTELLA. FOR THE PIANOFORTE. By Walter Macfarrbx. 4s.

London: Dcxcan Davisos & Co.

"Theso aro three morceaiix de salon of tho most elegant description. Mr. Aguilak's 4 Dream Dance' is a graceful and Imaginative movement, which would make a charming accompaniment to a dance of sylphs or fairies in a ballet. Mr. Berger has selected as tho themes of his fantasia the two most favourite airs, * There's truth in woman still,'and ' A young and artless maiden,' In Mr. Howard Glover's pretty operetta; working them, by adding a short introduction, and a brilliant coda in ttmpo di valsa, into a masterly and animated pianoforte piece. In which the vocal melodies are embellished by a rich and varied accompaniment. Mr. Macfarren's Tarantella is of course in the time and measure of this Neapolitan dance, and preserves the rapidity of its breathless whirl. While, however, it is thus conventional In its form, it is now and original in its details. There occurs, In particular, in the midst of it, a dellclously soft and flowing melody, played with the left hand, as if an the violoncello or bassooa, with a light and airy accompaniment in the upper part which contrasts beautifully with the impetuous current of the rest of the movement." —The Prat.

THE AIRS, BALLADS, FANTASIAS, QUADRILLES, WALTZES, &c. IN THE OPERETTA OF

"ONCE TOO OFTE N."

COMPOSED BY HOWARD GLOVER. Performed with the freatest success at tho Theatre Royal, Drury Lane.

"Oh t Glorlons Age of Chivalry." Duet. For Soprano and Contralto ... *' Tho Solemn Words his Lips hare spoken." Grand Air. For Soprano ... "The Love you've slighted still is true." Ballad. Sung by Mllo. Jknnt Bacb 14 Stratagem is Woman's Power." Ballad. 8ung by Miss Emma Hktwood... *• I.ovo is a gentle Thing." Ballad. Sung by Miss Emma Hbtwood "A young and artless Maiden." Romance. Sung by Herr Rkicrarot "There's Truth in Woman still." Romance. Sung by Herr Reiohabdt ...

M The Monks were Jolly Boys." Ballad. Sung by Herr Formes

"In my Chateau of Pompernlk." Aria Buffa. Sang by Herr Foiuiia

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MEYERBEER.

THE FOLLOWING COMPOSITIONS (Copyrights), by this eminent Composer, are published by DUNCAN DAVISON £ CO. :—

VOCAL. ». d.

"Friendship." Quartet Tor 2 Tenors and 2 HaMcs 4 0

"The merry huntors." Chorus for Tenors and liaflses 4 0

'* To thee, dear land, I sing"(a la Patrio), for'2 Tenors. 2 Basses, and Chorus' '5; 0

"God save the Queen," 2 Tenors and 2 Basses, with Piano ad lib 3 0

The Lord's Prayer for Soprano, Alto, Tenor, and Bass, with Organ ad lib.,.. 3 0

11 This house to love is holy." Serenade for S Voices (without accompaniment) 4i 0

"Aspiration," for Bass, Solo, and Chorus of 3 Sopranos, 2 Tenors, and 1 Bass 4 0

** Here on the mountain," with Clarinet obbligato 0 6

Violin or Violincello In lieu of Clarinet, each 4 0

"Near to thee," with Viollnwllo obbligato 4 0

"The Flshermalden" 1 II

PIANOFORTE.

Royal Wedding March. Composed for the marriage of the Princess Royal

of England with Prince Frederick William of Prussia 5 0

Ditto, as a duet 10 0

London: Doscax Davison li Co. 214 Regent Street, W.

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EMORY. Song. The Poetry by Desmond Ryan.

The Music by Alexander Eiichardt. 3s.

HAST THOU NO TEAR FOR ME? Ballad. The Words by M. Diigu. The Musio by Ciro Pixsom. 3s.

SLEEP AND THE PAST. Canzonet. The Poetry by Harriet Power. The Music by J. P. Knight. 3s.

Y GENTLE ELODIE. Romanza. The Poetry by

Mrs. Crawford. The Music by Edward Land. 3s.

London; Duncan Davison and Co.

11 Tho above are a few of tho prettiest vocal pieces that have appeared during the past publishing season. They arc all by well-known and popular composers, of whose talents they are agreeable specimens. Balfe's French romance is in his happiest vein. Our countryman has successfully contended with the Parisian composers on their own ground—witness the reception of his line operas, La Quatre Fit* Afmm and Lt PuittSAmour, at the Opera Comique; and in the little song before ns be shows how entirely he is at home in the French style. It 1« tender and passionate, with that infusion of graceful lightness and gaiety which gives the French poetry and muslo of this class their peculiar charm. Signor Gardoni has snng it in public with delicious effect; but it by no means requires the aid of such a siuger to make It charming. Mr. Alfred Melton's ballad is worthy of that able and eminent musician. The melody Is simple and natural, without being trite or commonplace; and ths whole composition shows that new and striking effects of modulation and harmony may be produced without setting at defiance (as is too often done) the eats'" principles and rules of art.—Few vocal pieces of the present time have obtained

ig, " Thou art so near," not only in I

popularity than Herr Keiehardt's song,

but (by means of its German and French versions) all over the Continent, production, ' Memory,' is of a similar character, and bids fair to have a sitUii*i success. Mr. Desmond Ryan's verses are elegant, and Keichardt has united them to a melody at once pure, simple, and expressive. Signor Pinsuti's ballad, *Hastthoa no tear for me!' has been recommended to the attention of the public by the \

performance of Mr. Tennant, for whom it wa? written, and by whom it has been saog at many of the best concerts of the season. Signor Pinsuti, an Italian, has produced an air of Italian grace and beauty, while he has entirely avoided the faults into which foreign composers so often fall In setting English words to music. The melody not only expresses the sentiment conveyed by the poetsy, but does not present a sirf/to misplaced emphasis or accent—a most important requisite in vocal music. Mr. Knight's canzonet is melodious, flowing, and extremely well fitted for a mezzo-soprano or contralto voice. There is a flaw in one place which dims the clearness of th» harmony. In bar 8, page 2, G flat in the melody is accompanied by E natural in th? bass, creating a diminished third (or tenth}—an interval very rarely allowed, and not, we think, In the present case. There is much that Is masterly in Mr. Land's romanza, and Mr. Santley, for whom it was composed, has sung it with deserved saccess. We could havo wished it had l>ccn a little less elaborate; that the flow of the melody had been less disturbed by extraneous modulation; and that tho pianoforte accompaniment had boon lighter and less loaded with notes. It is a fine seep, nevertheless, and not unworthy of the author's well-merited reputation."—The F

NEW AKD REVISED EDITION.
Prico 12s.

THE VOICE AND SINGING

(The Formation and Cultivation of the Voice for Singing). ADOLFO FERRARI.

"Tho great and deserved success of this work lias brought ft. In no long time, to a second edition, carefully revised, and enriched with a number of additional exercises, which greatly Increase its value."—Illustrated Xetc$.

London: DUNCAN DAVISON & Co. 244 Regent Street, W.
Just Published,

QIX OPERATIC RECITALS for the PIANOFORTE,

O «

IMMANUEL LIEBICH.

a, d.

No. 1. "Frej-schiitz," dedicated to Miss Catherine M. Pfcil. ... 4 0

2. "Freyscliiitz," dedicated to Miss Taylor ... ... ... 4 0

3. "Norma," dedicated to Miss Kalherine Grecnhiil ... 4 0

4. "Norma," dedicated to the pupils of Miss Gilbartson ... 4 0 6. "Oberon," dedicated to Miss Parkcs ... ... ... 4 0

6. "Martha," dedicated to Miss Frances Gurney ... ... 4 0

London: Duncan D Avisos A Co. 344 Regent Street, W.

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