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markable is the wild, pleading earnestness of his music—his im

TIE PHILOSOPHY OF MUSIC. petuosity and fire-the glorious frenzy of a giant or a God-yet

(From The Literary Budget.) not ungovernable, and never weak. There is in him the strength,

There are few writers on music, though there are many writers about the conscious inspiration, the truth, the well-balanced energy, musicthat is to say, persons who write concerning what surround it, which can afford to abandon itself to its bold impulse, disdaining or is more or less distantly connected with it. Any one can write about mere conventional restraint. Beethoven's music travels on like music who can describe a concert-room or the dress and appearance of a rushing flame. And yet oftener it is the sullen surging of the singer, or who can narrate the plot of an opera or tell an anecdote of its restless, boundless ocean; something of gloom, to be sure, yet composer. In the same way any one can write about painting who is exalting the spirit to that pitch, that it becomes prophecy and

able to give an account of the opening of an exibition, to relate and glorious hope. Such unutterable yearning, such irrepressible con

explain the story illustrated by a figure-picture, or to give biographical stant aspiration, such intense striving, such heroic energy of ex- Po

particulars respecting some eminent artist. Indeed, a certain German

critic is said to have asked, in a paper “ about " Rembrandt's Ecce Homo, pression; such gathering of massive clouds, which only measure,

" An Deus homo esse potest ?" and having answerd this question at pronot conceal the illimitable depths of clear sky and stars beyond,

| digious length in the affirmative, to have next inquired “ Cur Deus gleaming all the more sweetly through the rifts and chasms ; such

Homo?" and thereupon to have broken out into an elaborate essay on sadness deepening such faith, is found in scarcely any other music, and could have found expression in no other day of the world but Nevertheless, numbers of critics have discussed, and do in the present this. The heart of Humanity, the whole bosom of society is just day discuss, painting as an art and pictures as artistic results. "Music now heaving with the presentiment which prompted and which can does not readily admit of such treatment. One may form some idea of understand this music. The music of Beethoven was reputed what a picture is like from reading a description of it, but who can strange at first. No wonder ; since his soul, like a deep sounding

possibly describe a symphony or sonata so as to convey the impression gallery, was among the first to catch the echoes of the approaching

which the music itself would convey? A critic who has a true feeling footfall of the mighty Future. Beethoven is to be interpreted by

for pictorial art, and at the same time possesses great descriptive power,

may reproduce a picture in written language so that to a reader who the glorious changes which are about commencing in society, and

has the eye of an artist it shall be almost visible. A critic who would so are destined to bring forth Order out of Chaos. I hear the pro

wish to reproduce a musical work would have to resort to the more phetic murmur of the hearts of down-trodden millions, new-born

material expedient of transcribing the notes. If he attempts regular to consciousness of their own great destiny, in his music. I feel descripton he falls more or less into the ingenious absurdities of the the murky gloom and sadness of the Past vainly stifling the true Russian critic, M. Lenz, who in the sonatas of Beethoven sees gad-flies, grandeur of the universal heart of man, now for the first time | torrents, volcanoes, and many other wonderful things not visible to the feeling all its strength, in those dark chords resolving themselves naked eye nor audible to the unassisted ear. into serene splendors. I see the smoky coverlid that has hung In fact, no one even endeavours to describe music except indirectly for ages over some old wicked city, lifted off by the swift scouring by comparing it to something else, which it can only resemble in the tempest of his mighty Rhythm. I am more than ever a tender,

very vaguest manner. Those comparisons are by no means objectionloving, patient, believing child when his great thoughts gather

able in themselves when they simply proceed from an emotion which

the writer feels impelled somehow or other to express, but they are strength like a whirlwind, and go roaring on and shake the world.

ludicrous when they are employed as descriptive agents. In plain Their sound is like the wild winds before day-break, which bring

reality, no piece of music is like anything else except some other piece with them a certain exhilarating taste of coming day. And his

of music, and if a writer really wishes to describe a musical work all music is most tender in its strength, most hopeful in its billowy

that he can do is to state what school it belongs to, and what particular sullenness, most believing in its startling, loud protests.

influence it exhibits, and to give such technical information as to its More or less in all his Symphonies, in all his music, although construction and general form as will convey the same notion of the he has more perhaps than any composer of the manysidedness of music as one would have of the poetry of Tennyson's In Memoriam from Shakespeare-you feel one constant theme, as great and inex being told that the poem was written in stanzas of four octosyllabic haustible, and never wearisome, as it is essentially subjective; to

lines, the first rhyming with the fourth, and the second with the third. wit, the aspiration and the struggling of the soul with destiny ;

A writer on the philosophy of music has the same sort of difficulties the ever renewed conflict of Good and Evil; the hopes, the ob

to contend with which form such serious obstacles in the path of the

writer on music as an artistic result-obstacles which the latter, for tho stacles, the onward movement of Humanity; the struggle and the

most part, knows very well how to avoid, and which, when he is writing victory, reaching at last, in the Ninth Symphony, the crowning

for a newspaper, he must avoid, on pain of being stigmatised as a pedant word of Joy, and the embrace of all the myriads of beings! Ac- | if he does otherwise. The reason why the philosophy of music has cordingly a characteristic of his style, particularly in his quick been hitherto neglected is, according to Mr. Joseph Goddard, who has movements, is the nervous accent, the reiterated emphasis, the just published a very interesting work on the subject,* that, “with bold attacking manner, and the irresistible crescendo, as if to carry regard to other ministrations of art it does the least with the palpable a stronghold by storm. The harmonies go pulsing, surging, dash- forms and influences of nature, and is the only one without the faculty ing and urging their way onward, like a mighty freshet. Master of representing them in their natural aspect. Consequently, in tracing as he is of means, of instruments, broad in harmonies and rich in its influence, in wandering amongst its array of expositions, we meet coloring, the strength resides intrinsically in the thought always.

with no effect common to other branches of moral demonstration, and These thoughts demand the full expansion of an orchestra ; that

with no object of external human interest. And thus the large sphere becomes his native element, in which he is most himself-Jove

of suggestiveness which these influences possess is lost in the contem

plation of music. Thus, the mind, in exploration of music, does not throned upon Olympus: even his Sonatas are full of orchestral

arrive at new starting points of thought, but traversing the ethereal suggestion ; the thoughts are large enough, and worthy of such

stream of sound, glides continuously on its emotional course, undiverted treatment. Yet so intrinsic is the greatness of his thought, that into new channels by the external features of nature.” even on the pianoforte his music is exceedingly effective and ex- Mr. Goddard, in his endeavour to explain the nature and meaning of pressive, losing nothing of its characteristic, and suggesting, at musical effect in the mind, begins by considering the origin of music, least, its full force of meaning through such slender outline. But and finds that it is “developed from the ordinary materials of language then it is such strong and manly music! Its very tenderness is as the blossom is from the substance of the shrub;" that it is the lanmanly; and it takes the strength of manly hands, nerves strong as guage of passion and emotion in its highest expression, its most rarefied they are sensitive, as well as manly will and imaginative intellect,

form; or, to continue Mr. Goddard's image, " that it retains the finer to denote him truly; no more sentimental enthusiasm, no super

attributes of speech as the flower still possesses in its roseate petals the ficial glittering virtuosity is competent to play Beethoven.-But

| beautiful likeness of the green leaves; and that it loses the mixed and

| dull sound of ordinary language, and wholly assumes the vesture of this is by no means all !--J. S. DWIGHT, Boston (Massachusetts),

melody, as the flower relinquishes the opaque and neutral tints of the Sep. 13.

plant and beams totally in the dazzling raiment of colour.” HELSTON CHORAL SOCIETY (CORNWALL).-The members of the above author seeks to explain the essential difference between music and the

In the essay termed Relationship of Music to the other Fine Arts, the society gave their first Concert on Wednesday morning, September 24th, at

ning, September 24th, at arts of painting, poetry, and the drama. The latter “convey the natural the Town Hall. In spite of the heavy rain the room was well filled, and incentive of emotion first and then the emotion." Music imparts the every one appeared highly delighted with the excellent singing of the choir.

emotion at once and in a direct manner. This distinction is very marked The next concert will be in the second week in December. Conductor, Mr. J. H. Nunn (M.R.A.).

The Philosophy of Music. (Boosey and Sons.)

as between music and painting. To be affected or in any way impressed M. FOUCAULT is engaged at Paris in a series of experiments tending by a picture it is necessary not only to see it, but to consider it. So to to effect. a revolution in the art of scenic decoration. Instead of tho be moved by poetry it is necessary not only to read it or hear it recited, traditional side scene representing old trees or rocks, and intended to but to understand it and take in all its meaning. With music, however, limit the extent of the back scene, instead also of the strips of canvas we are penetrated at once by the mere sound; to hear is to feel. Paint- | used as a bad imitation of air and clouds, he employs a large canvas ing seems to produce its effect more rapidly than poetry in general, but representing a panoramic view of the sky, the end of which is not less rapidly than dramatic poetry, which in that respect approaches as perceptible in any direction, either from the side boxes or orchestra. All nearly as possible to music, the very language of emotion. It would side scenes are done away with and the landscape thus acquires its full appear, then, that there is no mental pleasure to be derived from listening effect. to music. Nor, in fact, is there; unless, indeed, the mind of the hearer be occupied in following the design of the composer, in which case it

GARIBALDI AND FELICIEN DAVID.-M. Henri de Pène tells the fol. may be as actively employed as it would be in pursuing a problem in

lowing story in his Couscrie in the new journal La France :- About mathematics. This, however, is not the ordinary mode of enjoying

thirty years ago, when the sect of Saint Simonians, ridiculed and music; nor is it with a view to this sort of enjoyment that great musical

almost persecuted in Paris, emigrated in groups to the East, Felicien works are written. The finest music, though its effect may be elevating

David, (author of the new opera Lalla Rookh, which was successfully and ennobling, gives no intellectual gratification, and is none the less

brought out the other day at the Opera Comique) found himself important for that. It is not for their intellectual value that either the

ploughing the blue waters of the Mediterranean on board the Clorinde, a finest pictures or even the finest poems are esteemed.

rakish little merchantman, bound for Constantinople. Among his There is a point at which human speech may be said to become

fellow passengers were several young men, poor and despised like him. musical—at least in its effect. A man under the influence of deep

self, but who, also like himself, have since in their several vocations emotion expresses that emotion by the tone of his voice as much

risen to the pinnacle of fortune and fame. One warm evening, as the as by any words he may utter. At the battle of Ulm, Napoleon,

vessel neared the coast of Africa, Felicien David was pacing the deck who did not speak German, harangued some Bavarian troops who

in close conversation with the second mate of the Clorinde, an athletic, did not understand French. They understood him, and were as

bold-looking, and withal thoughtful and modest young man, who had much inspired by his voice as they would have been by the singing of a

sought the acquaintance of these French dreamers, and informed them national anthem, a song of liberty, or any kind of war-song. Mr.

that he was an Italian patriot; something of a Carbonaro, but for the Goddard is probably right in looking upon * tone" in the human voice

| moment the course of events had weaned him from politics. •What is as the equivalent to "melody" in music, and “emphasis” as equivalent to

that ?' suddenly exclaimed the composer, at the same time pointing “phrase." Napoleon's oratory was remarkable both for emphasis and

out to the sharper eyes of his sailor companion a black spot floating at for tone, and it may be said that all impassioned oratory holds a medium

a considerable distance from the ship. That is a turtle, and one of position between speech and song. In the instance that we have

the largest kind. The English say they make famous soup. They are adduced, Napoleon's address was something between the ordinary dis

very scarce hereabouts. What can that one be doing so far from the course of a modern general and such a composition as the “Song of

coast? There, look how it springs out of the water to breathe.' "We Roland” that Taillefer sung at the battle of Hastings. We may add,

got no turtle soup at Menilmontant,' said Felicien David with a sigh it is because tone and emphasis cannot be reproduced that speeches

1 (thinking of the short commons of the St. Simonian Club), and I which make the greatest effect at public meetings often appear so flat

should not be sorry to know what it is like. How do they catch that when we read them the next day in the newspapers. " Tone and

fish?' "At sea they are harpooned like whales; but the simplest and emphasis" will carry off the most commonplace stuff at a public meeting,

| best way is to look out for them when they come in shoals to the and “melody and phrase" will cause downright nonsense to be listened

coast to lay their eggs, and then take them in strong nets. There to with delight in an opera.

is a third manner, but is seldom resorted to, for it is dangerous.'

• Well, what is this third way? Mr. Goddard's remarks on the power of music to awaken feeling, and

This living soup, this foating to express several distinct feelings simultaneously, are also very inte

delicacy, is not, then, harınless ? "Oh! by no meang. You might resting. It has always struck us as one of the great advantages of the

as well have your leg or your arm between two Sheffield razors as operatic drama, that in it not only different and conflicting sentiments

within a turtle's beak.' 0 dear! Well, about the third way of can be expressed at the same time, but also that large bodies of men

catching them.' 'I will show it you,' quietly replied the second mate of can be made to speak (or sing) as in a crowd, and to take such a part in

the Clorinde, and at the word he plunged into the sea, accoutred as he the action of the play as would be impossible in the ordinary drama.

was. A few minutes' afterwards he re-appeared upon deck, streaming Fancy the great choral scenes in the Huguenots or Masaniello without

like a fountain, somewhat bloody, but holding his prey in his hands. the music! They would simply be unactable.

"You shall have your turtle soup,' he said to Felicien David. What In conclusion, the little book of which we have given a rambling and

rashness !' said the latter. Oh! said the officer of the Clorinde, somewhat unconnected account, is well worth perusing systematically

shrugging his shoulders, a little sooner, a little later--what matters? from beginning to end. It is a contribution to a class of literature

-and ho went to his cabin to change his clothes. I forgot to mention which numbers very few specimens. We have plenty of books in which

that the name of the second mate of the Clorindo was Joseph the authors treat of composers, singers, and musicians, but very few in

Garibaldi.” which music itself is made the subject.

THE FOLLOWING is going the rounds of musical journalism. We

hope our friend “Mr. Brown," or Thayer, will duly heed the last VIENNA.-Sig. Mocelli's Italian Opera Company will begin the season sentence; let us trust that he has at last sent up “ Signor Masoni, &c.," at the Carltheater on the 24th February. The season will last from as a pioneer balloon, to let us know that he and Beethoven are coming : that date to the 24th April, and will consist of thirty performances. - À German friend announces that Mozart's Don Juan, with the Sig. Mocelli has engaged Madlle. Patti at a monthly salary of £1000. purified and amended text, on which the Baron Alfred von Wolzogen After the first fifteen performances, Madlle. Trebelli will arrive and has been engaged, will be produced during the next Carnival at alternate with Madlle. Patti. Signor Giuglini will be first tenor; Munich, with care and state. Regarding this new version, an anecdote Signor Filippini, contralto; and M. Faure, baritone. Among the operas may be put on record as among the rare amenities of dramatic litera. already selected to form part of the programme may be mentioned ture. It appears that Dr. Wendling, of Nymphenburg (perhaps beLucia, Martha, N Barbiere, Londa, L'Elisire, etc.-Herr von Flotow is longing to that hospitable family of physicians at Mannheim, wellat present stopping here.— The old “Widow and Orphan Society" has known to all who have followed the history of Mozart's young days) changed its title, and is now called the “ Haydn Society." To comme

had also amused his leisure hours, during many years, by attempting morate the fact, the members will, at their next concert, give Haydn's to set the text of Don Juan to rights, and on hearing of another-it oratorio of Tobius, under the direction of Herr Esser. A German lady must not be said rival-laborer in the same field, with true courtesy from Odessa, whose name is not known to the writer, has had Franz and love of art, placed all his materials at the disposal of Baron A. von Schubert's grave freed from the weeds with which it was overgrown, Wolzogen. The work has gained by this, and will appear under both and planted around with flowers. She has also set aside a sufficient nameg---to the bitter dismay of all good and true pedants. Dr. Jahn, annual sum to keep it in order.

says the same correspondent, has a Life of Beethoveen in hand. May it BRUNSWICK.-Herr Franz Abt has just received the large gold medal prove less heavy than his four-volume biography of Mozart !-a rich for Art and Science from the King of Hanover.

mass of facts, many brought together from obscure places for the first CARLSRUHE.--An interesting discovery has just been made while time,)—and nevertheless about the least readable piece of musical looking through some old archieves belonging to the court This is literature that could be named. We ought by this time to be hearing nothing more nor less than somewhere about twenty well-preserved and something of the Life of Beethoven for which Mr. Thayer has been so elegantly got-up scores of operas and ballets by Lully. Among them laborious and indefatigable in making collections."-Duight's Journal of is the score of his Alceste, and that of Cadmus, his first opera. Aủ these Music. [The paragraph originally appeared in The Athenæum.--Ed. MSS., so interesting both in a historical and musical point of view, have M. W.] already been lodged in the Grand-Ducal Library.

GLOUCESTER, WORCESTER, AND HEREFORD

Triemial Musical Ffestivals,

FOR THE BENEFIT OF THE WIDOWS AND ORPHANS OF THE CLERGY IN THE

THREE IDIOCESES..

The Stewards rely on the BECEIPT from the sale of Tickets to meet the expenditure. Should the receipt be less than the expenditure, the Stewards are responsible for the DEFIOIT,

RESULTS OF THE GLOUCESTER FESTIVALS. 1790_Deficit .

£100.
6 Stewards 1829_Deficit

£533

6 Stewards. 1796 284.

1832

1400 1799 121.

1835

540 1802- SURPLUS 252.

1838

631 1805-Deficit. 209.

1841

1547 1808_SURPLUS 27 .

1844

850

8 Stewards. 1811-SURPLUS 23.

1847

450 1814Deficit 428 ..

1850

131 1817-SURPLUS 94.

1853_SURPLUS . 1820_Deficit . 183.

1856–SURPLUS

125

36 1823 .

167 482.

1859-Deficit . . 1826

308,

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28

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From these BESULTS may be seen the importance of obtaining A LARGE NUMBER OF STEWARDS, so that in case a Deficit should arise, it may not be onerous as in former years, but as in 1859 so in small ratio, that gentlemen may be found, who, as at the present time, are willing to accept OOTINUALLY the office of Steward, and who, devoting the advantages thoy have gained by experience to the working of the Festivals, may render them, if not quite free from loss, at all events never likely to become a heavy pecuniary sacrifice.

The GIFTS collected at the Doors of the Cathedral, with any SURPLUS, are invariably handed over to the Charity without deductions of any kind.

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Note.-In 1859 the Collection obtained at Gloucester exceeded any previously made by the Three Choirs; though at Worcester, the following year, th unprecedented sum of £1314 8s. 7d. was raised by Collections and Donations, the sale of tickets producing at the same time a surplus of £66. Until 1844 the number of the Stewards had been limited to six. Since that period it has been gradually increased, in each city, the result being DIMINISHING DEFICITS, while & SURPLUS has been twice obtained at Gloucester, and once at Worcester, and the Stewards have had the satisfaction of presenting INCREASING COLLECTIONS for the benefit of the Widows and Orphans.

Each Steward having, for himself, by virtue of the office and its responsibilities, free admission to all the performances, a Donation to the Charity of not less than Five Pounds, is paid to the Treasurer, the Rev. Canon Murray Browne,

That the Festivals may retain their present prosperity, the application of the OLD RULE, that "cach retiring Steward should nominate a successor," would seem to be desirable; so that a large and influential body of gentlemen, creating a lively interest throughout the county, and forming in themselves a strong guarantee against a serious loss, may be always ready to undertake the Stewardship, and thus with ease and gratification to them. selves render future Festivals, like the 138 which have passed away, a powerful support to the Benevolent Institution they have so long upheld. College Green, Gloucester, May, 1862,

J. H. BROWN,

( Secretary to the Stewards.) ; * The above official documont will be porused with interost.-Ed, M. W.

CRITICISM RIGHTLY UNDERSTOOD.-M. M. Marie and Leon Escudier tell a' ALEXANDRIA.-- The new theatre bullt in this city has received the story of Mme. Gavandan, which deserves to be read by every public performer, name of Victor Emmanuel. and weighed well (by manager Knowles, &c). She had played, one evening, We certainly thought Young Ireland meant to get its money's worth out of in le letit Chaperon rouge, in the most charming style, and on her return to the musicians on the Corcoran day; the wonder is that any of them had any the green-room was surrounded by her friends, who congratulated her on her breath left in their bodies. Our neighbour asks: -Did you ever notice how success. Among those present was a journalist, who alone kept silent. Some our Irish fellow citizens take to anybody who can blow, or fife, or beat skeeptime before he had criticised Mme. Gavaudan severely, and he seemed to be skins ? If they have a procession without just about one half of it being uneasy, walking about in evident agitation. Finally, yielding to the general “band,” it is a dead failure. Why, we had no idea that such a number of excitement, he approached the actress, and said:-"Madame, can you pardon blowers and drummers could be raked and scraped together, within forty miles me for having misjudged your admirable abilities?” “Sir," replied Mme. of Boston, as turned out the other day, and gave General CorcoranGavaudan, “ I can only return you thanks. Your severe admonitions have brave fellowsuch a triumphant reception. But there was patriotism behind greatly contributed to the success of this evening."

I those“ bands," and it will * tell” now, rest assured !

The Musical 'dorld.

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NOTICES.

proud in its integrity, thus, at one and the same time, TO ADVERTISERS.--Advertisers are informed, that for the future explains the circumstances to its readers, and resents the

the Advertising Agency of The Musical World is established affront in manly and appropriate terms :at the Asagazine of Messrs. DUNCAN DAVISON & CO.; 244,

" In justice to ourselves we desire to call public attention to a deliRegent Street, corner of Little Argyll Street (First Floor). berate insult inflicted upon our representative by the manager of the Advertisements can be received as late as Three o'Clock p.M., 'on | Theatre Royal. The manager has thought fit to withdraw from our Fridaysbut no later. Payment on delivery.

musical critic that free entrance to the Theatre during the present

operatic series which by custom the gentlemen of the press are supposed Terre Two lines and under .... ... ... 2s. 6d. to possess as an appanage of their profession. This step was taken arbi*MS ( Every additional 10 words ... ... · 6d..

trarily, without previous complaint, notice, or explanation to anyone,

and when the cause of this withdrawal of our customary privilege was TO PUBLISHERS AND COMPOSERS—All Music for Review in The asked, the only pretext given was that the lessee had become dissatisfied MUSICAL WORLD must henceforth be forwarded to the Editor,

with the operatic criticisms which have appeared in the Guardian, and care of Messrs. DUNCAN DAVISON & Co., 244, Regent Street.

in a fit of pique had decided to punish the gentleman who had written

them by refusing him the entrée to his house. This course could have A List of every Piece sent for Review will appear on the Saturday but one object, the desire, by a paltry exercise of power, to dictate to following in The MUSICAL WORLD.

us who shall be our critic, or in what strain the musical performances

at the Theatre Royal shall be criticised in our columns. Were it not To CONCERT Givers.—No Benefit-Concert, or Musical Perform

for the desire which is thus manifested to control the free expression of ance, except of general interest, unless previously Advertised, can opinion in the press, this unworthy act would have been treated by us be reported in The MỞsical World. : :

with the silent contempt which it would then alone deserve; but, viewed in the light which we take of it, we feel that these facts ought to be known to our readers, who have an interest in that fidelity and freedom in the expression of opinion which we have always exercised. We need, perhaps, scarcely add that the lessee has gained no advan

tage whatever by his unworthy act. The gentleman who has now for LONDON: SATURDAY, OCTOBER 4, 1862. years past conscientiously performed the duties of musical critic for the

Guardian will continue to represent us at the Theatre Royal as else. where ; but for the future we must pay for his admission to the house

of a man who has to thank us for many favors and much aid during W HEN will managers of theatres thoroughly understand a not inconsiderable period of time." . . . .

1 the relationship that should exist between themselves and the representives of the press ? Never, we fear. It Manager Knowles should read the foregoing spirited and seems to be an ineradicable conviction of managers that vigorously expressed defiance every morning before breakreporters should bestow nothing but praise on their doings, fast, and endeavour—if not wholly dead to all sense of what whether that praise may be deserved or the opposite. A is straightforward, just, and honourable-to profit by it. It more erroneous conviction could not possibly be enter. may be taken for granted that theatrical speculators can tained. That a reporter for the press should rather dwell never safely tamper with, can never bully with impunity, & upon the strong than on the weak parts of a performance, public journal, conscious of, and prepared to fulfil with we readily admit; but that he should (invariably and under undeviating integrity, its duties to its patrons and supall circumstances) see everything good, bad, or indifferent porters. couleur de rose, it is nothing •less than monstrous to expect. What becomes of his office under such conditions ? Who will believe a single word he, writes ? Not only does IT is extraordinary how an idea, once entertained, no the critic who eulogises one performance after another, 1 matter how wrongly, and accepted without investigation, quand même, do injustice to himself, but, in an equal may resolve itself into a precedent. Every novice in acting measure, to the theatre he attends. His reports degenerate is anxious to make his initiative essay in Hamlet, and every into mere pufts, and thus lose all authority; 80 much so, operatic candidate for prima donna honors is desirous of that when his praises, however enthusiastic, are entirely making her debut in Sonnambula, and managers appear to merited, they carry no weight with them, or, indeed, are sanction what tyros conceive. Pardon may be extended to regarded with suspicion. But managers will not see, much those who would try their first tragic flight in the Prince of less understand, least of all admit the worth of this. They Denmark, on the score of its youthfulness—since we must look upon the reporter, who honestly, fearlessly, and con- suppose that all debutantes are enabled to plead minority of scientiously performs his duty, as no better than an enemy years; but we cannot so readily comprehend the reasons of in disguise--an anonymous assailant in short.

motives that could induce instructors and directors of theatres Such narrow-minded views are, unfortunately, too pre to select Amina as an appropriate part for a beginner. We valent; and just now we have a case in point. Every one are aware that the Sonnambula is considered by many an has heard of The Manchester Guardian, as a paper (in spite opera peculiarly adapted for artists who only soar midway of its Parisian correspondence) remarkable alike for talent into the tragic regions, and not at all suited to singers of the and independent speaking. Well, last year, The Man- grand dramatic school. From this opinion we entirely dissent, chester Guardian was somewhat severe upon certain per- and on the best possible grounds. In the first place, anthor formances of Italian Opera, got up by Manager Knowles, at, and composer must be allowed to know something of thell the Theatre Royal. The Guardian had a right to its own intentions. The libretto of La Sonnambula was written opinion, and, as a public advocate, was bound to express it and composed expressly for the loftiest serious actress and openly. This, however, was so little to the taste of grandest dramatic singer combined, of the age, --Juditta Manager Knowles, that, on the resumption of the operatic Pasta ; a proof that the part of Amina was never intended for performances, a short time since, the representative of the a juvenile tragedienne. That Pasta did not make Amina one Guardian was struck off what is called the “free list." of her most striking achievements was owing entirely to the Such a proceeding was not likely to intimidate, much less absence of the comic, or lighter element of acting in the to influence, a thriving and powerful journal. It was a genius of the artist, not to the want of grander requirements direct and premeditated insult; and the Manchester paper, of the character. Malibran, the greatest and most tranda

cendent of dramatic singers, alone of all who attempted the

HER MAJESTY'S THEATRE. part of Amina, realised the character in singing and acting “The Great International Exhibition "-writes Mr. J. H. Mapleson, according to the idea of poet and musician. And who was impresario of Her Majesty's Theatre, in his recent advertisement—" having Malibran's successor ? Is there any body bold enough to

brought so many distinguished persons to town at this unusual period of the

year, the lessee has been solicited to afford the public an opportunity of hearventure on a name? Hundreds have essayed the part, and

ing some of the great artistes of Her Majesty's Theatre; but as they are some have won extraordinary distinction in the performance. already engaged to appear at the Theatre Royal, Dublin, early in October, the

Jenny Lind by her marvellous vocalization carried the representations must be absolutely limited to four only." 'world with her for awhile, but the recollection she be

Although we cannot subscribe to the influx of " distinguised persons," no

doubt numbers are attracted to London by the Exhibition who could not leavo queathed is associated with her singing only. So it had been

the country earlier—"distinguished ” farmers, harvest-men, and other rustic before in a lesser degree with Madame Persiani, and so it characters, whose occupation would prevent them from quitting the fields has been with many a singer since, who undertook to before autumn. These will be delighted to find the great Opera in the perform Amina with little idea of what the part was

Haymarket open when they least expected it, more especially with the admin

sions at a price to enable Farmer Scroggins to treat his wife and family to the capable. Why is it, when there are so many who can

stalls. The four performances comprised the most popular works in tho impersonate such characters as Lucrezia Borgia, Leonora in repertory of the theatre, such as might be supposed especially to conciliato the Trovatore, Leonora in the Favorita, and others accounted husbandmen and agriculturists-if any operas could. The country, in short, among the legitimate essays of artists in the grand tragic

is as deeply indebted to the lessee of Her Majesty's Theatre as the town. On

Monday night the intercalated season was inaugurated with the Trovatore, school, that so few succeed in Amina ? Is not the question

and introduced Mulle. Titiens and Signor Giuglini in Leonora and Manrico, significant ? and does it not imply an answer which all who supported by Madame Lemaire as Azucena and by Signor Badiali as the Count think may guess? That Malle. Patti has approached nearer di Luna. To those who had not previously heard Mille. Titiens and Signor to the Malibran type than any of her predecessors, we think

Giuglini, the surprise and delight must have been equal. The two great will be generally admitted; but this young artist in her

artists sang their best, which is equivalent to saying transcendently.

Signor Badiali is the paragon of sexagenarian barytones. Time was when versatility, her original views of character, her impulse, her | he was accounted a first-rate artist ; Signor Badiali is now a wreck of his genuine and unforced expression, and the innate grace and former self, but still evidences the accomplished artist. The part of the feeling that pervades all she does, is certainly truer to

Count di Luna would not have suited Signor Badiali in his most buoyant

days, and it is no wonder therefore that the favorite air “ Il balen” was not nature, and, consequently, more like Malibran, than any

a perfect specimen of vocalisation, although the majority of the audience singer we know, or have known.

applauded with enthusiasm. The selection of Amina for the second essay in opera of Madame Lemaire's Azucena is a very artistic and meritorious performance, Miss Sara Dobson—the yonng lady who showed so much

as we need hardly inform our roaders, and this, too, came in for a large sharo

of the evening's demonstration. promise at Covent Garden recently, and was received with

On Thursday Martha introduced Herr Formes, for the first time at Her so much favour in Lurline-was not complimentary to the Majesty's Theatre, in the part of Plumket. The great German basso conartist herself, nor to the directors of the theatre. An im- verted the umguile insignificant part into veritable importance, and sang tho possibility was expected, and was not realized. Miss Sara

beer-song like a genuine lover of malt and hops. Malle. Titiens was, of

course, Martha, and Signor Giuglini Lionel. Mad. Lemaire made a capital Dobson not only failed in the essential requisites of the

Nancy. character, but did not even exhibit the undoubted talent On Thursday Lucia di Lammermoor was performed, and the offect Malle. she possesses. She was conscientious, and, feeling the Titiens produced in the mad scene is literally beyond describing. Such a weight of the part, was incapacitated by fear. We can

grand display should have been reserved especially for the regular season. compliment Miss Sara Dobson in Lurline and Satanella, but

To-night Trovatore will be repeated, and brings the intercalated season to earnestly counsel her to eschew Amina for years to come.

MDLLE. TITIENS.

To the Editor of the Musical WORLD.

di Sir, In the account of the “ Gloucester Festival" contained in your ROYAL ENGLISH OPERA.

impression of last week, I find your correspondent has fallen into the Miss Sara Dobson, the new prima donna, has now been tried in three parts, same error as the Athenæum and many other papers, respecting the Lurline, Amina (Sonnambula), and Satanella. The first and last were by nationalty of Malle. Titiens. far the best.

If the question were put to this lady, I should be much surprised if On Tuesday Fra Diavolo was performed for the first time for three years, she did not scorn the idea of being thought an “ Austrian." Malle. Parepa sustaining the part of Zerlina; Miss Thirlwall that of Lady According to the account of my friend, Herr Carl Krebs, Musical Allcash; Mr. Harrison, that of Fra Diavolo; Mr. Weiss, Lord Allcash; Mr.

Director of the Royal Opera of Dresden, and formerly of HamburgLyall, Lorenzo; and Messrs. Corri and Aynsley Cook, the two robbers. We Malle. Titiens was his pupil and that of his wife, the celebrated concannot say that Malle. Parepa was the beau ideal of Auber's heroine, although tralto--from them she not only studied the art of singing, from a very she sang the music with great brilliancy, and was frequently received with early age, but also acting, and under their auspices she was “ brought unbounded applause. She thoroughly drew down the house by her performance of “ O hours of joy." Mr. Harrison's Fra Diavolo is excellent, manly

Herr Krebs is a man well-known by his compositions in England, and forcible throughout, with the true brigand audacity and dash, and, and is thought so much of, that Julius Rietz is conductor No. 2 in although now and then a little overdone and highly colored, never degene

Dresden. rating into vulgarity. The music, too, suits him well, and we may exemplify ! On parting from him on January 7th last, he particularly wished mo the scena “Proudly and wide my standard flies," as a vigorous specimen of to call on Malle. Titiens in London, as his friend, saying, “ I know she dramatic singing not usually witnessed on the English boards. Mr. Weiss's will make you welcome, for she is like myself a Hamburger, yes, born and Lord Allcash is rather bluff and busy, according with the English notion of educated principally in Hamburg, she will not deny you any favor you the part, than intensely comic like Ranconi, but the singing was admirable, may ask her, for the sake of her old master." and the performance altogether highly effective.

People are apt often to make great mistakes in these matters. I The exquisitely piquant and fanciful music of Auber was given to per recollect some years since seeing the name of H. Jarrett, in a German fection by the band, under the direction of Mr. Alfred Mellon; and the whole paper, figuring away as the celebrated horn player, “ Mons. H. Jarrett," performance, indeed, of this delightful opera was a real treat. The overture being engaged at Her Majesty's Theatre! Who does not know that --one of the most sparkling and characteristic of dramatic preludes-was the great horn player is an Englishman. Pray, excuse this long letter, dashed off with immense spirit, and received a genuine and well-merited

I am, yours faithfully, BENNETT GILBERT, encore.

42, Woburn Place, Russell Square. On Thursday Miss Louisa Pyne made her first appearance since her recent severe indisposition, and was welcomed with great enthusiam by a very crowded audience. The opera was The Crown Diamonds, and the popular

MDLLE. Patti and MDLLE. TREBELLI are engaged by M. artist was in her best voice, and never sang more examisitely or more | Merelli to appear at the Carl Theatre, Vienna, in a series of perfectly.

Italian Operas.

fii

The Operas.

out."

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