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MUSIC IN BERLIN. (From our own Corretpondent.') Meyerbeer** Feldlager in Schletien, that tribute paid by the celebrated matire to his native land, has just been permanently restored to the repertory of the Royal Opera House, which wag crammed to the very ceiling —not a place to be had for love or money—on the first night of its reproduction. The opera, as most persons who trouble themselves anything about theatres in general, and opera houses in particular, are aware, was composed to inaugurate the present edifice, erected on the site of that which was burnt down. The libretto, written by the late Herr Rellstab, is a sorry affair. I should think that, when he read it, the famous composer of Robert and Let Uuguenott must have sadly regretted that a certain author named Eugene Scribe was not, for the nonce, a German writer, with a little of his stage tact and powers of construction. But alas! such a thing could not be. Rellstab had, unfortunately for Meyerbeer, and for the public, to rely upon his own talent for libretto writing.

"Non cuivis homini contingit adire Corinthum."

. It is not every writer, even though he be a celebrated critic, who can produce a livret like that of Le Frophite, La Muette, La Juive, or sundry others by the same author which I could mention, supposing I wished to convert this letter into a catalogue or index extending over a page or so, and did not mind writing away till about four p.m. The second act alone displays anything like dramatic interest, while the first and

last contain absolutely nothing at all, and appear to have been

written for the sole purpose, object, and aim of filling up the evening. When we take the above fact into consideration, we are all the more struck with the manner in which the composer has accomplished his part of the task; with the way in which he has been able to drape it by no means elegant figure, so as to make it appear perfectly beautiful— for no one can deny that in the Feldlager in Schletien he has really achieved wonders. With the quick perception of a composer thoroughly acquainted with all the exigencies and requirements of the stage, he saw that, while the second act afforded full scope for his talent, the first and third acts depended entirely upon the assistance they might derive from the music alone. And how well has he accomplished his task! Viclka's two visions, and the grand tcena with the tambourine song, may be regarded as perfect gems. While the light and graceful 'style of the French comic opera predominates in the first act, the music is purely German, nay, here and there, specially Prussian, in the second; it rises, also, to imposing tragic grandeur, and Prussia may proudly boast of possessing in the Feldlager in Schletien a really national opera. Herr von IlUlsen has done all in his power to render the revival as magnificent as possible, superintending the mite-en-scene him self. The whole execution of the work, musically as well as seenically (to coin a word for the occasion), affords irrefutable evidence of the care bestowed upon it, and will, as a matter of course, draw crowded houses for some time to come. Madllo Lucca sustained the part of Vielka, originally composed for Jenny Lind. It is always a difficult, and frequently an ungrateful, task, to play a part "created," as the French say, by a celebrated artist, who has not yet been forgotten, and the task becomes the more difficult the greater the difference in the individualities of the original and subsequent representative. Now, Jenny Lind and Maddie, Lucca are very different indeed, and, therefore, "the latter was quite right in ignoring altogether the traditions handed down from the fair Swedish prima donna, and in following out her own original ideas. The readings of both ladies find their admirers'. We may assert of Madlle. Lucca's " Vielka" that it approached more nearly than did Jenny Lind's the part which afterwards grew out of it in 1,'EtoUe du Nord. It captivated the audience by its natural tone and youthful freshness; the vocal and dramatic elements were united in one harmonious whole, and the fair artist reaped a rich harvest of applause. The other parts served but to bring out more prominently that of "Vielka," but they were all admirably supported. The band and chorus went admirably under the direction of Herr Taubert, while the ballet considerably increased the general good impression. Four days after the revival of the Feldlager in Schletien, we had a performance of Guillaume Tell, with a fresh cast of three of the characters. Heir Robinson played "Tell," but the music throughout was not suited to his voice, and he would do well to have it transposed, as was done by Herr Schober, who, by the way, was, I am given to understand, one of the best representatives of the part ever seen here. Madlle. Mareon, "Mathilde," was evidently indisposed, and omitted the by no means difficult air, "Du Stiller Wald." "Walther First " was sung by Herr Hlaha, a young man, who appeared on the stage for the first time. The part, consisting really only of a share in the grand trio for male voices, oilers but little opportunity for display, besides which, "stage fright" exercised, doubtless, no small influence in preventing the dihutant from giving his voice, fair play, so that it is impossible to pronounce a definitive judgment on him until he hasessaved some other characters. Herr Fereuczy, as "Arnold," had a wide field

for the exercise of his fine voice, and, on the whole, acquitted himself satisfactorily, although his efforts were still marred by certain defects of which he must rid himself before he can hope to be accepted as a finished vocalist of the first class. La Muette was announced for the 21st. On account of the indisposition of Mdlle. Mareon, however, there was some talk of changing the bill. In this dilemma the management applied to Mdlle. Lucca, who undertook the part of the Princess, "at the shortest notice," as outfitters promise to provide young gentlemen and others proceeding to India, Australia, etc., with every thing they can possibly require, from sea chests and flannel jackets, down to toothbrushes and telescopes. She performed her task in the most successful manner, not only proving that she is a thorough artist, but demonstrating, to the great satisfaction of the management, that, in lb sudden "fix," she is the most valuable working member of the company.

A number of professionals and amateurs were lately invited to attend a matinee given at Herr liies's, and got up to afford that gentleman's son, Herr Louis Ries, an opportunity of showing what progress he had made as a violinist in the capital of England. Of course, as you have had such frequent opiiortunities of hearing him, you do not require me to give you a criticism of his performance. "I shall content myself, consequently, with stating that the compositions selected by him were Vieuxtemps' Concerto in A minor, and a " gavotte " by Bach, and that his execution of both met with the entire approbation of all present. Mdlle. Elise Harpp, a pupil of Herr von Billow, performed Beethoven's "Appassiouata Sonata," and took part in Rubinstein's fantastic " DuoSonata"

Herr Theodor Kullak, previously pianist to the king, has been appointed pianist to the Prince of Prussia. M. Meyerbeer has returned, and is gradually recovering from his present indisposition.

It will be a hundred years on the 5th October, 1862, since Gluek'i Orpheut was performed for the first time. The performance took place in the Hofburg theatre, Vienna. Referring to this circumstance, your respected contemporary, the Neue Berliner Mutik-Zcitung, makes the following remarks:—" Of all the operas which maintain their place to the repertory of the present day—for we must recollect how successful Orpheut has proved within even the last few years in Berlin and Paris— Orpheus is the first which has had a continual anniversary. There was the greater reason to celebrate this important day, because, as we all know, it was with Orpheut tliat Gluck decidedly commenced the operatic revolutions which led to modern opera. With thej centenary of Orpheut, we celebrate simultaneously the rise of that opera, which, combined with dramatic principle and truth of expression, first seriously discriminated between different individualities. The memorable event will be solemnized at the Royal Opera-house by a performance of Orhftiu and other special entertainments, but, as the 5th of October falls on Sunday, the commemoration will be held on Monday the 6th October. The management of the Royal Opera-house will increase still more the gratitude which every lover of the noble art will feel towards them for considering it a sacred duty to pay this tribute to the memory of Gluck, and of his first masterpiece, by the fact of their having successfully exerted themselves to prevail on Mad. Jachmann-AVagner to give, on the day in question, one more performance of Orpheus. The great artist who infused new life into Orpheut among us, and gave so ideal a representation of the hero, was the most fitting person to usher the immortal work into the second century of its existence." Now, withall that the Neue Berliner Mutik-Zeilung says about the propriety of paying this tribute to Gluck and his chef cTauvre, I cordially agree. But I cannot go into ecstacies about Mad. Jachman-Wagner's having been prevailed upon to appear once again in the character of Orpheus. Why the management should ever have thought of soliciting her to do so, I cannot imagine; or if, as is not improbable, they did no such thing, but simply acceded to a request made by the lady herself, I think them much in the wrong. Mad. Jaehinann-Wagner may have a select circle of admirers who may welcome her re-appearance, even if only fora night, but it is very certain that the majority of the public is far from entertaining the same sentiments. Mad. Jachmann-Wagner has finished her career as a vocalist, and as a dramatic artist, pure et simple. She does not possess talent at all calculated to overpower any one, as she has sufficiently shown. This continual yearning to make "one .last attempt" on the scene of her former triumphs is natural, and, indeed, pardonabls on her part, but if the management show the same alacrity to comply with her wishes as they show on the present occasion, I fancy the public will take the matter up, and settle the question in a summary fashion, not over-flattering to the e\-prima donna. Van.

Albo Notata.—We are informed that Gottscbalk, the renowned pianist, realised at Saratoga, lately, by one concert, the handsome sum of 800 dollars, which be handed over at once to a committee for furnishing comforts to soldiers in the field. By it curious coincidence, the number 800 represents forty tcorr, and it was by means of a piano-/orfc score that the pianist realised it. be* this act of the maestro be chalked, or rather (iuttschalkcd, to his credit, on the canteen of every soldier in our army.— Vanity Fair.

MR. BOUCICAULT ON THEATRES.

The following letter appeared in the Times of Thursday, to which •wo earnestly direct the attention of managers, and the public in general:—

Sir,—Six new theatres hive been constructed lately in Paris to replace six old buildings condemned by the Goverment; improved systems of ventilation and lighting have been introduced with marked success, and increased accomodation secured to the public. During the last seven years several large and commodious theatres, excelling in comfort and beauty any similar buildings in Europe, have been erected by private enterprise in the metropolitan cities of the United States. Why should the London public, that pay so liberally for intellectual entertainment, be condemned to suffer martyrdom in the dingy, stuffy, comfortless, ill-ventilated, worse lighted dens called "Theatres Royal" which disgrace this metropolis? The main objections to these buildings are the narrow, tortuous entrances, where a crowd endeavouring to obtain admission gets jammed closely. Crushed bonnets, torn coats, the screams of the women, the cries of the children, the objurgations of the men, and the remonstrances of the police, however pleasant" to the managerial ear, 'afford poor tributes to tho architect who contrived such insufficient approaches to the auditorium. Having struggled into the pit or mounted into the gallery, the audience fill the seats, the alley-ways, standing in dense masses, until every available spot is occupied. What would be the result of a fire, or of an alarm of fire, upon this multitude? Is it fair to entice two thousand human beings into such a man-trap, and leave them to the chance of so probable an accident 1 When the Legislature provides against overcrowding cabs, omnibuses, steamboats, and other licensed accommodations for public convenience, why should theatres be exempt from similar supervision?

The room assigned to each individual in the audience is too small for comfort. The rows of seats are so close to each other that sufficient room is not afforded for the limbs of the sitter. No suitable provision is made for ventilation; thus in the upper tiers, especially in the gallery, the air is a sticky, fetid comthe refuse of two thousand pairs of lungs and a thousand jets of gas. the scenes there is neither ingenuity nor economy in the stage arrangments. There is a mass of rubbish called machinery in the barrel loft over the stage, and a labyrinth of timber under it. No provision is made for anything, nothing is where it ought to be, and everything is heaped into a mass of aged, reckless confusion. May we not hope that in some of the new thoroughfares now in contemplation more than one theatre will be constructed worthy of this metropolis? A large space will soon be laid bare in the Strand, near Northumberland-house. Here would be a most eligible spot for such an enterprise, and, if built with wide and commodious entrances, a well-ventilated auditorium, sufficient space given to each spectator—for a spectator is a human being, and not a sardine—the public voice would soon demand similar reforms in the old theatres. Those who regard this subject carelessly may consider that there are theatres enough in London; the public do not think so, and therefore music-halls are on the increase. The population of this city is now so great that even a moderately successful drama will run for six months, and after one has seen Lord Dundreary, the Peep o' Day, Mr. Fechter in Ilamlet, and tho Colleen Dawn, months must elapse before any other novelty is forthcoming. The audience claim some variety of amusement; our few theatres failing to afford it, they seek the next best entertainment to be had. Without criticising the performances at music-halls, few people would hesitate to admit that if the Alhambra were another Hayinarket Theatre, and the Oxford Hall were another Princess's, the public would be gratified by the substitution of an intellectual for a sensual enjoyment .

The entire cost of constructing and furnishing a theatre the size of tho Haymarket would be about 15,000/.; the rent of such a building varies from 3,600/. to 4,000/. a-year. I pay at the rate of 7,800/. for Drury-lane. The Haymarket was rented, I believe, for many years at 4,000/. a-year, and is worth that amount now. The Princess's was let to Mr. Webster for 3,800/. a-year, and I understand he has sublet it for 4,100/. A rent of 4,500/. was offered for the AdclphL About 4,000/. a-year is paid for the Lyceum. It is an error to presume that a great risk is attached to this species of property. No house-rents are paid with such regularity, and no buildings are so rarely without tenants. In most cases the rent is payable in advance, and in some leases it is stipulated that all scenery, furniture, wardrobe, and accessories made in the theatre by the lessee become the property of the landlord.

I plead, then, for the erection of a new theatre, wherein the public shall find combined the improvements of the American and French systems. Few architects have given special attention to theatrical structures, and I have never seen or heard of any engineering ability applied to stage machinery. Some estimate may be formed of the working order of a London theatre bycomparing it with an American theatre under precisely similar conditions. In 1859 I built in New York the Winter Garden Theatre, capable of containing. 2,500 persons, being very little less than the capacity of the Theatre Royal, Drury-Lane. With the same entertainments as at the Adelphi Theatre, the Winter Garden consumed 20,000 feet of gas per week; the Adelphi consumes 100,000. Tho number of carpenters required to work the stage in London varies from 20 to 30; in New York the same work is done by six. Here wo employ five or six gasmen; there the same work is well performed by a man and a boy. While in management at tho Adelphi Theatre I saw three uieu

endeavouring to move a piece of scenery. I caused a simple contrivance to bo attached to it, and a child was then abla to move it readily with his forefinger. One might supposo that such an economy of labour would have been generally adopted, but our English nature is jealous of improvement and suspicious of reform.

These matters may seem of small interest to tho public, but they underlie important results. The heavy and useless expenses, and tho waste attendant on the management of tho great theatres, drove Mr. Macrcady from Coventgarden and Drury-lane; they sapped the fortunes of the Princess's under Mr. Charles Kean. The failure of these enterprises was said to be due to lack of public patronage, it was not so. It was want of a proper economy of tho liberal patronage with which the London people never fail to reward merit in any form.

Let a party of a dozen gentlemen—I mean those who complain Bo constantly of the discomfort of the dress circle and the want of room in the orchestral stalls, subscribe and build a new and elegant theatre. Let them do something graceful for the pit and gallery, securing the people comfort, room, and air; and, if there be any modesty about starting such a subscription, I will give 5,000/. to begin with.

Your obedient servant, Theatre Royal Drury-lane, Sept. 29. Dion Bouoicaclt.

DRAMATIC COLLEGE.

On Monday last the Dramatic College at Woking was thp scene of a most interesting ceremony. Seven annuitants were formally admitted by Mr. Benjamin Webster, the Master, and his colleagues, as residents in the building, which, though not yet finished, is sufficiently complete for the commencement of charitable operations.

Arrangements have been made that each annuitant shall be provided with a suite of rooms, simply furnished with all the necessaries of life. Each has his or her sitting-room, bedroom, kitchen, and other useful offices, and is completely independent of the rest. In times to come there will be a central hall, to which all alike will be admitted, but the enjoyment of this additional luxury will be a matter of choice, and the occupant who wishes to enjoy the English privilege of regarding his house as his castle, may live—if he pleases!—in perfect seclusion, and feel secure against invasion. The annuitants admitted on Monday were Messrs. Campbell, Eugene Macarthy, Starmcr, and Henry Bedford, and Mesdames Shuter, Christian, and Rivers. To many London playgoers who are not very young the names of the gentlemen will be familiar; the ladies, we believe, are chiefly known in the provinces.

When the annuitants had been severally shown the apartments they were to occupy, they were conducted by the official dignitaries into a marquee, where an excellent collation had been provided by Mr, Benjamin Webster.

The meeting was very select, consisting of the Master and his colleagues, the annuitants, and a small body of friends, but, though tho weather was detestable even for an English autumn, and the rain rattled loudly against the canvass of the marquee, the demonstration of good feeling and hilarity could not have been surpassed had the accessories to the festivity been perfectly unexceptionable. When the guests, who had set down to table at 3, rose, late in the evening, they all felt they had partaken of one of the snuggest little banquets that were ever provided.

The speaking was remarkably good, the chief orators being Mr. Webster, who proposed the health of the annuitants; Mr. L. Buckingham, who toasted the officers of the College; Mr. It. Bell, who wished prosperity to the Institution; and Mr. Creswick, who called down blessings on the heads of the subscribers. The speeches were all directed to the great end of elevating the dignity of the actor's profession, one speaker choosing the form of exhortation, another that of historical proof. Mr. Bell confidently pointed to the progress of tho actor's social position from the days when he was stigmatized as a vagabond to tho present time, when (good conduct supposed) he is recognised as a respectable citizen. Mr. Webster congratulated the annuitants that they had found a home, and stated that nearly all of them had come to the asylum accompanied by a wedded partner. Mr. Creswick manfully repudiated the cringing position which theatrical artists had too often adopted towards their patrons, and declared that in his opinion they did not receive patronage without making a perfectly adequate return. The spokesmen on the part of the annuitants wero Messrs. Campbell and Eugene Macarthy, and several gentlemen, who in various ways had been benefactors to the institution, were toasted with all honor. Among the facts stated in the course of the entertainment were the donation of 100/. from Her Majesty, mentioned by the chairman in proposing the usual loyal toast, and the gift of 250/. from Mr. Buckstone towards the building of one of the houses, rocorded by Mr. Jcrwood in returning tlianks on behalf of the subscribera. Mr. Graves, of Pall Mall, had likewise contributed some engravings for tho decoration of tho rooms.

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A CONSPICUOUS NUISANCE.

The music-shop windows afford a gratuitous Exhibition of very peculiar works of art. These are the pictures which adorn the backs and illustrate the contents of the music books. There is somewhat in the best of them that is considerably repulsive, yet they are not altogether and simply disgusting. The pretty men attired in the height of evening dress, or brilliant fancy costume, and the fashionable ball-room beauties or stage heroines, represented as combining with them in elegant positions, are too absurd to excite unmitigated abhorrence. They are ludicrous as well as offensive. The inanity with which the epicene warriors and ruffians are depicted knitting their brows, and trying to look fierce, and the vacuity expressed in the faces of their gesticulating female associates, suggests that their originals were animated dummies, actuated solely by the love of displaying their clothes. The dancing dandies and their blooming partners look like ideal portraits of tailors' wax-works endowed with semi-consciousness. The imbecility of these figures is transcendent; its delineation evinces a genius of a sort; it amounts to the sublime and something more: and is so ridiculous as to provoke our disdainful laughter.

Among these illustrations in the music-shop windows there is one, however, that causes no laughter whatever, although it exhibits a laughing face. But the laugh is a horrid one, and the face is that of a man with long whiskers, who is dressed in a lady's clothes. There is not the least fun in this laughing face, but it wears an expression that is unspeakably odious. This print is entitled Lady Dundreary, and the less besides that we say about it the better. —(From Punch).

The Islington Times of Sept. 20th, has a notice of the Quarterly Soiree of the Barnsbury Literary Institute, which took place at Myddclton Hall, from which we make the following abridgement:—

The Quarterly Soiree of this Institute was held on Friday, 12th September, under encouraging circumstances. The chair was taken by the president, Mr. J. R. Macarthur. He briefly alluded to the occasion of their meeting, bespoke the attention of all present to the artists who would appear before them, and claimed their generous sympathy and encouragement for any aspirants, who might, through their desire to please, have overestimated the probabilities of success. He referred with pride to the fact, that only a fortnight ago, an Amateur Concert had been arranged by the members and friends of the Institute, and now they had filled the programme for this evening, without trespassing on one of those ladies and gentlemen.

Miss Marianne Warren, the pianist, whose even and effective style of playing draws crowds around her under the eastern dome of the Great Exhibition, charmed the audience with a selection from Maritana which was received with loud approbation, and calls for an encore, which the talented artiste gracefully acknowledged. Later in the evening, Miss Warren played Thalberg's Variations on "Home, Sweet Home," and received similar marks of applause. Mr. Willis followed with the song "Our Steel-clad Ships." Miss S. Charlotte Ellerie, (introduced by the chairman as a young lady, but an old friend of the Institute) was received with a hearty welcome, and sang very pleasingly "Chaeunle, Bait," and in the second part, "I'm a merry Zingara," and received much applause. Mr. George Hayles recited a selection from "Luke the Labourer," with dramatic effect. Mr. Henry Lawrence was .very successful in the songs, "The "Village Blacksmith," and "The Redcross Banner. Miss Jessie Ross (a pupil of Mr. Jules Benedict), played a Fantaisia, which elicited a burst of the heartiest applause, which brought the young performer on to the platform again. In the second part Miss Ross played Fowler's Grand Fantasia on Der Freisehutz with equal effect. Miss Jenny Laurendelle, sang "Coinin' through the Rye," And Miss Lizzie Wilson sang "The Forsaken," and "Far down a valley," in a most artistic style, calling forth great applause. Mr. Richard Travers recited one of the elder Mathew's famous pieces, "The Bashful Man," amidst loud plaudits. Miss E. H. Jameson, one of the earliest members of the Institute, was very successful in "I'm alone," and "Take this Cup of Sparkling Wine," and was loudly applauded as she quitted the platform. Air. George J. Dawson, the popular elocutionist, recited "The Captive," by "Monk" Lewis, and was recalled, want of time only preventing an "encore." The audience had a crowning treat in the singing of Mr. David Lambert, of the Chapel Royal, Windsor, and principal basso at the York and Durham festivals. Mr. Lambert sang the favourite old song, "The Holy Friar," with a distinctness and purity of voice that enraptured the audience; Beldom have we heard a more hearty recal. Mr. Lambert complied with "The Bell-ringer," and again was rewarded with unanimous applause, la the second part, Mr, Lambert gave a rollicking song from the opera

of The Merry Wives of Windsor, "Nicolai," in excellent style, exhibiting the powers of his voice in a remarkable degree.

A very hearty vote of thanks to the ladies and gentlemen who had so well entertained the members and visitors, was passed by acclamation. The Committee may well be proud of such supporters, many of whom had come several, one above twenty, miles, to give their assistance on this occasoin.

On Friday, the 10th, John Noble, Esq., delivered a lecture on "The Life and Poems of Thomas Hood."

French Anecdote Of Piatti.—The following, more amnskg than "important if true," is translated for the Musical Review and World:—

Lion Escudier, editor of the "Art Musical," gives in that paper extracts from his as yet unpublished book "Mes Souvenirs," consisting principally of recollections of the artistic world; and, among others, he tells the following anecdote of the youthful days of Piatti, who is the first violoncellist in London, and equally well known for his virtuosity and the incomparable goodness of his heart.

Poor Piatti, writes Escudier, is a victim to his own generous hospitality. On the day of his concert, and for some days after, he is accustomed to share his quarters with some eminent artist, whose talent is pledged to assist him. But he is not always so fortunate as to find these brother artists quiet sleeping companions.

The first year he had Ernst with him; the concert was over, Piatti tired, and he lay down; resolved to sleep. But just as he was falling asleep, he heard a trembling, a grinding of teeth, and groaning, as though some one was on the point of suffocation. He rose, and found his comrade in a nervous fit; he did not dare to leave him in order to seek assistance, and therefore gave him all the care and attention possible; but the attack was an obstinate one, the patient was first better, then worse, and so on—in Bhort Piatti was up for the whole night. At length the sick man was quieted, but morning had already dawned, and Piatti was obliged to go out.

The second year Wieniawski assisted him.—Piatti examined tlio new artist with a penetrating glance, before inviting him to share his chamber; this glance gave him the certain assurance that Wieniawski could not possibly be subject to nervous attacks. After the concert, as soon as they had taken a glass of punch, to assure themselves of a sound sleep, Piatti wished his friend good night, and fell asleep. Wieniawiki took a second glass of punch, however; perhaps more; certainly more than was good for him; he began to feel anything but well; he woke Piatti; his indisposition grew worse and worse; again poor Piatti had a sleepless night.

The third year it was Sainton's turn. The following conversation took place between Piatti and the new comer: "Do you suffer from your nerves?" "Never. What makes you ask such a question?" "Oh, I only asked. Are you ever, ill in the night?" "I sleep like a dormouse," "So much the better. And I would advise you not to drink anything before sleeping. Spirituous drinks arc very dangerous in the English climate." "I only drink at table." "Then you Bhall sup with me. I know what agrees with you." Piatti arranged the bill of fare; it was an anchorite's meal. Sainton slept soundly, too soundly.—The unlucky Piatti tried to awaken him several times, but bis efforts were vain. He could not close his eyes; his friend Sainton snored like a saw-mill. It sounded like half a dozen contra-bassi in unison.

The fourth guest was Sivori. Sivori did not snore; he never had attacks of the nerves, and never drank punch. Piatti hoped for a sound sleep, and began to enjoy one; but about three in the rooming, the buzzing of an enormous fly awoke him. He drew the coverlet over his head, but the humming grew louder. He sighed; he tossed about; at last, out of patience, he rose and Btruck a light, in order to drive out the tiresome fly. What did he behold? Sivori sitting up in bed, with his nightcap on, practising a trill on his violin, con sordino?

It was ordained that Vieuxtemps should break the spell With what fear and trembling Piatti extended his hospitality to him! But he did not repent it this time. This time, it was the guest who could not sleep. Poor Piatti dreamed of nervous fits, of punch, of great organ pipes, of violins playing endless trills; he had a terrible attack of nightmare. And I believe he has given up his former hospitable habits.

Pknzanck Choral Society.—At the next Concert, which takes place the 20th October, Professor Bennett's "Inauguration Ode," also Mr. Henrj Leslie's cantata, "The Daughter of the Isles," will be performed. Conductor, Mr. John H. Nnnn.

The Lily Of Killarney.—The German papers announce that M. Benedict's Opera, translated by Ilerr Dingelstadt, will be brought out at several theatres under the title of the Rose oj Erin.

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Testimonial To A Manager.—A Testimonial, in the shape of a handsome Silver Tea and Coffee Service, with Salver, has been lately presented to Mr. Henry B. Webb, Lessee of the Queen's Theatre, Dublin. The following inscription was engraved on the Salver:— 11 Presented to Henry Berry Webb, Esp Lessee Queen's Royal Theatre Dublin, from a few of his private and professional friends and admirers, as a slight token of their esteem and regard.—27th August, 1862." Mr. J. J. Cunningham, at the meeting held at Jude's Hotel, was in the chair, and in an excellent speech, proposed the toast of the evening, saying, "It was only necessary to mention Mr. Webb's name to ensure a cordial response. He had resided among them some years, and had conciliated and won the respect and esteem of all who knew him, and had proved himself a judicious and worthy caterer for the Dublin public, &c." Mr. Grice, Honorary Secretary to the Testimonial Committee, then read an address, in a portion of which he commented on "Mr. Webb's urbanity of manner and upright conduct, both in private, as a friend and gentleman, and in business transactions, as a manager." Mr. Webb, in expressing his thanks, said that the Testimonial became of superlative value, as being symbolical of the respect entertained for him, and the more so, in view of the sources from which it emanated. He could not forbear to mention, that his brother actors, both here and in England, had united with the gentlemen of the Committee, and had proved by their subscriptions how much they sympathised in that object. Upwards of 200 gentlemen had testified their opinion of him, as " a man of energy, industry, and integrity." He was very proud of this endorsement of his character, and trusted to hand it down to his children, as a most

Erecious heir-loom. In concluding a feeling and admirable speech, e expressed his heart-felt gratitude and pleasure.

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Published this day.

A NEW EDITION OF THE PIANOFORTE

STUDIES

BY

STEPHEN HELLER,

Thoroughly Revised and 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. __T T

1 SlXjirlLiiiAi txhiLiijiUxi.

THE EDITION CONSISTS OF FIFTEEN BOOKS, PRICE SIX SHILLINGS EACH.:

LONDON:

ABHDOWN AND PARRY, 18 HANOVER SQUARE.

M. THALBERG'S. ZEnEW COMPOSITIONS

AS PERFORMED AT HIS CONCERTS IN LONDON.

THALBERG'S BALLADE,

AN ORIGINAL COMPOSITION FOR THE PIANO.
Pbicb 4».

"An exquisite Romance, which no imitator, however ingenious, could 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 Times.

THALBERG'S ART OF SINGING,

APPLIED TO THE PIANO. * New Strict. Price N. each.

No. 13. Serenade from " D Barbiere."
14. Duet from " Zauberflote."
16. Barcarole from "Gianni di Calais."

16. "La ci darcm," and trio, "Don Juan."

17. Serenade by GreHry.
13. Romance from "Otello."

"Among the hitherto unknown compositions were some selections from the: Art of Singing applied to the Piano,' 'Transcriptions' of 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 in the delivery of cant a bile passages.— The Times.

BOOSEY AND SONS, HOLLES STREET.

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JOSEPH GODDARD'S PHILOSOPHY OF MUSIC.

O Price 7s. sd. (To Subscribers, Ss.)

Boossr & Soxs, Hollos Street.

BOOSEYS' SHILLING MESSIAH, complete Vocal Score, with Accompaniment for Pianoforte or Organ, demy 4to (site of *' Musical Cabinet"). Price Is.~Booskv A Sons have much pleasure In announcing their new Edition of the '* Messiah," printed from a new type, on excellent paper, and in a form equally adapted for the Pianoforte or the Concert-room. The text revised by G. F. 11 Mini-, from the celebrated Edition of Dr. Jons Clark. As a specimen of cheap music, this book is quite unprecedented, and it is only in anticipation of this universal patronage it will command at tho approaching Handel Festival the publishers are able to undertake it. Orders received by all Booksellers and Musifccllers. Post free, Is. 4d. An edition in cloth boards, gilt, M.

Booster «fc Soxs, Holies Street.

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