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Newsome, of Canterbury Cathedral. Anthem, "Ascribe unto the Lord," Travert. Has a pleasant voice; but was very unwell during the trial.—No. 2. Mr. Mason, of Worcester Cathedral. Anthem, "The Lord is very great," Beckwith. A voice of good compost and power, but rather coarse in quality: the solo very well sung.—No. 8. Mr. Price, of Manchester Cathedral. Anthem, "O Lord our Governor," Stevenson. A fine and sweet voice of great compass; sings with great taste and feeling, and it's a good reader.—No. 4. Mr. Robson, of Durham. Anthem, " Lord, what is man?" Handel. A nice votes, but much too small for a large cathedral: tolo very well sung.— No. 5. Mr. Whitehead, of Huddersfield. Anthem, " Comfort ye, my people," Handel. A splendid voice, of good quality and great compass: sings in first rate style: is a good reader.— No. 6. Mr. Tait, of Chester Cathedral. Anthem, " If with all your hearts," Elijah. A very pleasing quality of voice, but quantity too small for Durham Cathedralt sang his pieces very creditably.

Each of the six candidates then sang a second Anthem, in the same order, viz.: No. 1. "If with all your hearts, Elijah. No. 2. "Ascribe unto the Lord," Travers No. 8. "If with all your hearts," Elijah. No. 4. "Wherewithall," Ahoy. No. 5. "If with all your hearts," Elijah. No. 6. "How beautiful are the feet," Haydn. The following four were then selected to be tested as to their capabilities for reading: Messrs. Mason, Price, Whitehead, and Barnbyv Mr. Mason, Mr. Price, and Mr. Whitehead each sang " The earth is the Lord's," Croft. Mr. Price and Mr. Whitehead sang the solo correctly and with taste. Mr. Whitehead then sang the last verse in " O sing unto the Lord," Greene. correctly. Mr. Price and Mr. Barnby sang the first verse in " My God, my God," Oreene. Mr. Price sang correctly. The four then sang "Luther's Hymn;" Mr. Price and Mr. Whitehead each singing the •olo remarkaby well, and, eventually, those two gentlemen were selected by the Dean and Chapter to fill the two vacant Tenor stalls in Durham Cathedral. This choice gave general satisfaction.

The choir of Durham Cathedral is considered to be one of the finest in the kingdom. The members are: Altos, Messrs Martin, Bates, and Walker; Tenors, Messrs. Smith, Price, and Whitehead; Basses, Messrs. Brown, Lambert, Kayo, and Hemingway. Organist, Dr. Henshaw; frecentor, Dr. Dykes, (Doctors in Music).

THE MUSIC AND DANCING LICENSES.

{Middlesex Sessions, Oct 9.)

The Court sat to-day at Clerkenwell to hear and determine applications for the renewal of licenses for music, and music and dancing, under the provisions of the Act 25th George IL, cap. 36. The total number of applications in the list is 453—379 for renewals and transfers (opposition was entered against seven), and there were 7G applications for new licenses. Mr. Pownal presided, and there were about 12 magistrates present. The court was densely crowded, but the arrangements made by the officers of the court for the accommodation of the public were carried out in the most satisfactory manner. The list of renewals and transfers was gone through, and, with several exceptions, the licenses were passed. Three were refused to houses where readings of plays had been given on Sunday evenings.

In the case of Highbury Barn, one of the magistrates asked whether that was not the place where the person known as the "Female Bloudin" had met with a serious accident while performing on a rope. Mr. Sleigh, who appeared for Mr. GiovanneUi, the proprietor of the Bam, said that was indeed true, but the applicant had kindly and generously got up a free benefit for the unfortunate young woman who met with the accident, and no one more than he regretted the sad occurence. The magistrate wished to know if such performances were to be repeated, or if the applicant was prepared to say that they should not. Mr. Sleigh assured the bench, on the part of Mr. GiovanneUi, that nothing of the kind would be attempted again. The license was than granted.

In the case of the Sir Hugh Myddelton, New River Head, Clerkenwell, a magistrate called attention to the fact that free admissions had been distributed at gentlemen's houses for the servants. Mr. Sleigh, on behalf of Mr. James Deacon, most emphatically denied this, and said he could prove by the evidence of the police, the public, and the general frequenters of Mr. Deacon's music-hall that it was as well conducted as any in London, and had been since he had had the license. This complaint had sprung suddenly upon Mr. Deacon; no notice of opposition had been given. To derive Mr. Deacon of his license would really be cruel in the extreme. Besides, many similar establishments in London issued free admissions, but Mr. Deacon had a full, complete, and most satisfactory answer to this extraordinary complaint. The tickets were given to a gentleman who asked for them (.'), but it was absurd to suppose that Mr. Deacon, a highly respectable man, who had had the Myddelton near upon twelve years, Knew That They Webk To Be Oivkm To Servant Oibls. He had expended a considerable sum of money on his musichall, which was equal in its management for decorum and good conduct to any other. As au act of "mercy, the Court, he submitted, ought not

to refuse the renewal of this license, but to allow Mr. Deacon time to rebut the accusation made against him. The license was formally refused, but leave was granted to Mr. Sleigh to renew the subject yesterday morning. Mr. Sleigh said he was obliged for that permission, and the local magistrates would be served with notices. Inspector Allen, G, said there was no complaint whatever as to the conduct of the music-hall. Mr. Sleigh said the whole division could say the same.

A number of petitioners not having answered to their names when called, the Chairman said in future the licenses would be refused in all such instances, and the application would have to be treated as an original one, which would cause the delay of a year. The opposed applications are—the Star and Garter, Green-street, Leicester-square; the Adelaide Gallery, the Alhambra; Assembly-rooms, Lincoln's-innfields; the Black Horse and Windmill, Fieldgate-street; the Artichoke, Dog-row, Bethnal-green; the Strand Music-hall, by the Exeter Changearcade; the Retreat, Highgate-road, Kentish-town; the Pegasus Tavern, Green-lanes; the Nag's Head, Roadside, Whitechapel; the British Oak, Oxford-street, Whitechapel; Sir John Barleycorn, Thomas, street, Whitechapel; the Cape of Good Hope, Commercial-road; the Foresters, Hawthorndean-place, West-street, Limehouse; the Victory, No. 3, Colet-place; and the Eagle, Chestnut-road.

Music At Coburg.—The Duke of Coburg-Gotha has bestowed upon

Herr F. W. Markall, musical director in Dantzic, the Cross of Merit for Art and Science, affiliated to the Order of the House of Ernst. The meeting of delegates from the Associations for Male Voices of Germany, which was lately held here, was not intended to impose by numbers, or to give any artistic performance on a large scale. The delegates assembled simply as speakers, to carry out the plan adopted at the last annual Sangerfest in Nuremburg, of founding a grand universal German "Sangerbund," or Vocal Confederation. About eighty delegates were present, from all parts of the German Fatherland, and the Reithalle was selected, as the building wherein to receive them solemnly, on the 20th ult., in presence of the general public. The two associations, Liederkranz and Sangerkrauz, belonging to this town, were on the spot, and executed a short but highly appropriate musical programme. After an introductory piece of music, Herr Kawaczinsky was charged, in the name of the committee of the Coburg Singer- kranz, with the task of welcoming the guests, which he did in a dignified and becoming manner. Hereupon followed the chorus: "0, Isis," from Hie Zaubcrflote, words written especially for the occasion, being adapted to the indescribably solemn strains. The writer is bound to state that, of all pieces performed, not one was so powerful and so calcuted to touch the deepest feeling of those present, as this chorus of the unrivalled master, although it was not included in the programme, as it formed the accompaniment to the welcome. Herr Elben, from Swabia, then mounted the speaker's tribune, and, after him, the composer, Rud. Tschirch. The principal piece in the programme was a composition by Ferd. Mohring, "Deutscher Schwur uud Gebet" (" German Oath and Prayer") with orchestral accompaniments. At 8 o'clock r.M., on the 21st, the meeting commenced their deliberations in the Reithalle for the constitution of the Confederation. The most important resolutions adopted in a long debate were to the effect that, the " Sangertag," which is declared established, shall take place every two years, and a Universal German Vocal Festival, every four. To meet the expenses of the Confederation, each seperate Vocal Association shall contribute an annual sum, according to the number of its members. The subscription of each member is fixed at 3 kreutzers a year. The members of the committee of the Swabian Vocal Association were first appointed members of the General Committee as were, also, ten other gentlemen, namely: Dr. Gerster, of Nuremberg; Herr Meyer, of Thorn; Herr Fentsch, of Munich; Dr. Hiilzel, of Vienna; Herr Eberhardt, of Coburg; Herr Tschirch, of Berlin; Herr Julius Otto, of Dresden; Dr. Bauer, of Vienna; Herr von Lossing, of Brunswick; and Herr Abt, of the same town. No city had sent in a request to be selected as the place for the next meeting of the German Vocal Festival, and the selection was left to the committee. During the meeting, a telegram containing a cordial greeting to the vocal congress from the Duke, at Reinhardbrunn, was received and read. After three lusty cheers had been given for his Royal Highness, an answer was agreed upon and despatched. The visitors assembled for a public dinner in the lodge. The walk to the " Veste Coburg" was delayed till a tolerably late hour, but the magnificent weather rendered it most delightful. An immense crowd had assembled there at a very early hour of the afternoon. The Duke's opera of Diana von Solange was to have been performed in the evening, but, on account of the hoarseness of Mad. Stttnann de Paez, Gounod's Faust was substituted at the list moment. In spite of the difficulties, both artistic and scenic, resulting from the unexpected change, the performance was exceedingly good, and the reception of the work enthusiastic. The first German "Sangertag" concluded with an excursion, on the following day, to liosenau.—Newt Berliner itusik-ZciHmg.

PARIS.
(From our own Correspondent.)

Thursday, Oct. 9.

The Theatre Italian lias opened for the season, but not with any extraordinary eclat. Who could have anticipated that any deep emotion or violent curiosity would be evoked now-a-days by Norma, or by Madame Penco? Norma is a good opera, and Madame Penco is a good artist. Everybody knows it—admit* it. But the public has heard the one sufficiently often, and can remember greater singers than the other in the part of the Druid Priestess. Signor Naudin, like most tenors, strove too much with Pollio, a disagreeable part it must be owned, and very taxing. Had he sung less, he would have sung better; had he acted less, the audience that smiled might have applauded. Signor Naudin has a charming voice, and sings well, but lacks moderation. Adalgisa was personated by Madame Volpiiii. It would be difficult to find one more appropriate as regards "looks;" but I have heard better singing in the part. The new basso, Signor Capponi, is tolerable—no more. Cenerentola is announced for this evening—without Alboni. A Mdlle. Daniel, of whom I can give no account, personates Angelina. In my next 1 shall offer you my opinion of the debutante, as also of Signor Vidal, the new tenor, who, likewise, makes his first appearance this evening, as Don Rarniro.

The Grand Opera still keeps ringing the unchanging changes on OuiUauma Tell, the Huguenots. La Juive, and Robert It Diahle. But great alterations loom in the distance. Masaniello is rehearsing, and the Oomte Ory, "with new scenery and decorations," is to be given, on the 13th proximo, for the debut of Signor Mario. The direction has entreated M. Faure to support the caste with his powerful talent in the character of Raimbault; but that high-swollen barytone— M. Faure, not Raimbault — has signified his opinion that the part is beneath his dignity; notwithstanding which, if Rossini would write a new air, he would condescend. The general opinions seems to be that Rossini will not oblige M. Faure. There is confident talk of the production of Bon Giovanni. Rumour already assign's the parts as follows :—" Donna Anna," Mdlle. Sax; "Zerlina," Mad. Vandcnlieuvel-Duprez; "Elvira," Mdlle. Haminackers; "Don Giovanni," M. Faure; "Ottavio," Signor Mario, or M. Michot; "Leporello," M. Obin. The translation' is by M. E. Duprez. I can hardly fancy Mozart at the Grand Opera, his anti"sensation" music requiring more faith tlian is possessed by the majority of Parisians. However, I may be mistaken, and the cast of Don Juan, must have a special attraction, except in the instance of Signor Mario, who may be deemed an " interloper."

Mad. Cinti-Damourcan lias been recently stricken with apoplexy at Chantilly, and the greatest fears are entertained for her recovery. Her maiden name was Hyacinthe Moutalaud—the first she changed to Cinti to appear at the Theatre Ventadour. Some chroniclers have averred that the name was Cinthee and not Hyacinthe.

There is a new hope for your London Italian Opera Managers. H. Gueymard has solemnly renounced the French stage—at least for a space—and is determined to try conclusions with Signors Mario, Tamberjik, and Giugliui. If my opinion were of any use, I would strongly recommend M. Gueymard for such parts as " Pollio" in Norma; of other parts in the Italian repertory I prefer saying nothing. M. Gueymard takes Mad. Gueymard with him in his new art peregrinations.

The revival of GrStry's Zemin el Azor at the Opera Comique has been essayed with success. Gre try is famous as the composer complimented by Voltaire on his wit, while affecting to believe that all musicians in general were remarkable for their betisc. Times are changed since then. Rossini, Auber, Meyerbeer, are all proverbial for rivalling the most spiritual of their collaborateurs in wit and grace. Rossini's bonuiots are often cruelly piquant; as, for instance, when Lamartine suggested that he should place a " lyre" over his iron gate "And you a tire-lire" (a money-box) replied the composer. Poor Lamartine is again reduced to beg for charity in the shape of a lottery at twenty-five centimes the ticket. The obolum of Belisarius may thus be translated by the Gallic (catch) penny.

The Gymnase has just given Let Fous, by M.E. Plonviez. There is but oue real madman, however, in the piece, a madman escaped from Cliarenton, the French Bedlam; but the doctor commissioned to bring him back, finds himself greatly embarrassed on discovering, at every step, folks reputed wise, who deserve to be incarcerated as mad. This piece de lunalico imptirendo is so unequal, that hisses of discontent disputed its success with the applause of admiration. The Porte St. Martin lias retrieved its ill-luck by Paul FeVal's Dossu, whose hump is only a fictitious one, borne with as good a grace as may be by the actor Melingue; the melo-drama, however, must be rather obscure to those amongst the spectators who may happen not to have read the novel by the same author from which it is taken. Paul Feval has had the tact to ensure success to his work by

taking M. Bourgon into partnership for the dramatic exposition of his piece. Dolores, the drama in verse by M. Louis Bouilhet, is admired with a yawn, and already is La Fits de M. Giboyel put in rehearsal. The piece is by Emile Augier, and they say, that, in order to make it pass the censorship, the author has placed it under the protection of Prruce Napoleon, whose intimate protege he is. An actor who has for many years played the dandies at the Theatre Frangais, is just now gaining great applause in the part of Tartuffe. As M. Leroux has preserved his complexion, he does not pretend to represent a Dale ascetic devotee, but a well-fed devotee, who conceals his appetites without at all seeking to extinguish them. Tartuffe almost becomes a man of the worla. When Moliere's piece was translated into English, Tartuffe became s canting Methodist parson. If it were translated anew in our day, to what class, to what profession, to what persuasion, would the English Tartuffe belong?

Wcrzburo.—The public rehearsals of the musical Institute were closed this summer by the performance of a grand Oratorio, Jerusalem the work of a living composer, Mr. H. Pierson's. It met with applause. Oratorio of Jerusalem (originally produced at the Norwich Festival).

Manchester.—The first concert of the season at the Concert Hall, introduced the London Glee and Madrigal Union. Horaley's " By Celia's arbour" after a full orchestral symphony, was injudiciously placed, but the first few strains, gave little cause for apprehension, and though wa have heard the glee sung during the last forty years by the vocalists best acquainted with English part music, it must be acknowledged that the execution has never been surpassed in our experience. It was delicate in style, pure in tone, truthful in intonation, and rich in. coloring. "Come see what pleasures," by Elliot, had the additional advantage of a solo soprano voice—that of Miss Banks, just the voice for blending. "Under the greenwood tree," sung by Messrs. Baxter, W. Cummings, Land and Winn, we have been accustomed to hear a shade quicker; but it was charmingly sung, and encored. The party have a decided advantage in frequently singing together, under the direction of so accomplished a master as Mr. Land, Dr. Arne's " Now Phoebus sinketh in the west," was delivered by Mr. Winn, with thorough musical feeling. Why did Miss Banks give us a modern version of "Where the bee sucks?" A serenade by J. L. Hatton, "Good night, beloved,"—and the ballad, "In my wild mountain valley," from The Lily of Killarney, the latter nicely sung by Miss Banks; also was entitled to notice, a flute solo by M. De Jong, admirably played, was added to the programme, and Mozart's symphony in C, as well as the overture to Mendelssohn's Midsummer Night's Dream, were ably conducted by Mr. Halle, and carefully given by the orchestra; the " Andante grazioso" iu the symphony more especially.— Abridged from the Examiner and Times, Oct. 7th, 1862.

Brigfitos{From a Correspondent).—This has been quite a musical week down here. First a concert for the benefit of "Master Jackson," a local artist of rising talent; next, a soiree, by the local Rifle Volunteer Band. What the music was, and how performed, I am unable to Bay, not having been present. As, however, music-softening influence was for the millionth time brought to bear in the cause of charity—the benefit of the Lancashire operatives, it is sincerely to be hoped there was a full attendance. On Wednesday, at the Pavilion, Herr Kuhe gave the first of a series of three "Pianoforte Recitals." There was a numerous and fashionable audience, who listened, with marked attention to a long series of performances of the most varied character. I must reiterate, however, the stigma to which I gave expression in your last number. Out of eleven instrumental pieces, only one was by Beetbovcn, only one by Mozart, the rest, with on« exception, perhaps (S. Heller's Dans les Boil, No. 3) were exclusively modern effusions, calculated, if not to please, at least to startle. Beethoven's Sonata in D minor, was finely given, which makes it the more to be regretted that Herr Kuhe wastes his time on inferior music. The second of Herr Derffel's " Recitals" was given on Thursday, in the same place, to an audience at least equally numerous, though perhaps of a somewhat different order, more juveniles and a larger number of professionals were present. Herr Derffel's reputation is gradually extending, and admirers of Beethoven's music alwuys flock to bear bun play it. The sonata on the preseut occasion was the Fathetique. To this, full justice was done. The vibrating, light and shade, and expression generally, were unexceptionable; but the first allegro and the rondo were taken somewhat too fast, although no palpable indistinctness ensued. I timed it, and for comparison's sake append my observations: first movement, seven minutes and a half; second, four minutes and three quarters; third, three minutes and a half; Total, fifteen minutes and three quarters. The performance was listened to with great attention, and (for ladies) hearty plaudits followed its close. Herr Derffel also played in capital style, uate o cara" and Mozart's Zauberflote duett, by Thalbcrg. We hope shortly to hear from the some fingers at least one prelude and fugue by Bach. Mr. Derffel is forming the syle of his pupils by these "Recitals;" and no better model, in a certain school, exists than Bach.

MDLLE. PATTI, FROM A BELGIAN POINT OF VIEW*

But to return to JIdlle. Patti, whom we have left too long. We have already mentioned her incomparable voice, and the habitual purity of her taste. We will now say a word or two of the charming manner in which she sustains the character (Amina). Always attentive to what is going forward, she lends animation to everyone around her. In the scene of jealousy at the end of the first act, she was most entrancing. Amina loves Elvino dearly; nay, adores him; but then the language of the Count is so choice, and his manners are so pleasing. She knows that her listening to him more than is necessary is tantamount to breaking her lover's heart; she knows this, and the knowledge gives her pain; but how can anyone bo impolite with so amicable a nobleman? At length, Elvino gets angry; Amina goes up and reassures him, while she looks out of the corner of her eye at the Count. The curtain falls, doubtless to the great joy of Elvino, but with a slight touch of regret on the part of Amina, who says to herself, perhaps, that it is difficult to please everyone, and Elvino too. Throughput this scene, her acting is distinguished by a degree of grace and naive coquetry truly charming. In the finale of the second act, she exhibit* touches of genuine pathos; how her heart bounds towards Elvino; how her voice appeals to him; what depth of prayer there is in her expressive eyes! Elvino begins to grow incomprehensible .... how can he possibly refrain from falling at her feet? In the third act Amina reveals a true artistic nature, an incomparable voice at the bidding of habitual good taste, and, besides all this, real histrionic genius. There is another brilliant star on the radiant firmament of art, who knows? Perhaps a new Malibran.

The immense success obtained at each of her performances, by this interesting young lady, is, in our eyes, fully justified by the remarkable qualities she continues to exhibit on every fresh occasion. She is young—19 years of age—pretty, most ladylike, and nature has kindly showered on her all her favours. To a rare mind, to intelligence of the first order, nature has graciously added one of the most extended, fresh, agreeable and ductile toprano voices ever known—flexible, sweet, pure, seductive, dramatic, passionate—a voice, in fact, impossible to hear, without being deeply moved. As though she had not already done sufficient, nature has bestowed, also, on her that precious quality without which no one can be a perfect artist. She made her a great actress. This is a qualification somewhat neglected at the present day, seeing that the majority of ladies and gentlemen in possession of the lyric stage, appear, with incredible obstinacy, to think the art of acting beneath their notice. After the Somnambula, which was quite sufficient to bring out all her genuine feeling, H Barbkre presented us to her- in a new light; and, lastly, Lucia completed this trinity. The sentimental Amina gave no cause for jealousy to the spruce Bosina, and the poetical Lucia caused many a tear to a flow at the sight of her despair.

* Translated from the Independance Beige.

ST. JAMES'S HALL.

[imbajr IJoplar €mmU.

THE ONE HUNDRED AND THIRD CONCERT.

Director: Mr. S. ARTHUR CHAPPELL.

The Fifth Season of the Monday Popular Concerts (established February 7, 1859) will commence at St. James's Hall, on the evening of October 13. The reason of beginning a month earlier than usual Is to afford the very many amateurs still attracted, from the country and from abroad, by the tame of the International Exhibition, an opportunity of listening to performances which hare not only enjoyed the constant patronage of the London public, but elicited marked encomium no less from correspondents of distinguished foreign journals than from the musical representatives of the universal press of England.

The plan upon which the Monday Popular Concerts were Instituted, and their form and character as musical entertainments, are now so well known, that It Is unnecessary to add anything to explanations already published. It was originally Intended, in 1859, to give six performances, and to repeat the experiment, should it turn out successful, from year to year. So unanimous, however, was the response to this first appeal—an appeal based no less upon a faith In the ability of tho general public to appreciate, than In the power of genuine music to attract and charm—that in the first season the proposed six concerts were increased to thirteen, in the second to thirty, eight (including eleven held at Liverpool, Newcastle, Edinburgh, Glasgow, <bc.), in the third to twenty-four, and in the fourth to twenty-six. The; programmes of these one hundred and two concerts have included nearly all the trios, quartets, quintets, and double quartets of Mozart, Beethoven, Spohr, and Mendelssohn; many quartets, quintets, Ac, by Haydn, Dussek, Chorublni, Schubert, Spohr, Macfarren, Loder, Mellon, «fcc.; the most colebratert sonatas and other compositions for pianoforte, solo or concerted, of Mozart, Beethoven, Woelfl, Stelbelt, Dussek, Clementl, Pinto, Hummel, Weber, Schubert, Mendelssohn, Sterndalc Bennett, <fec., and several of the lurpslchord works of Handel, Scarlatti, and Sebasliau Bach, together with a large

number of songs, duets, and other vocal pieces from the ancient and modern schools of Italy, Germany, France, and England.* As executants, In every department, the most eminent artists have been provided, engagements having been contracted with

most eminent artists have been provided, engagements having beon cc renowned performers abroad as well as at home. A constant attendance at St. Hall, throughout a series of Monday Popular Concerts, was, therefore—to nse the words of a previous address—" equivalent to a varied course of lecture) music of the great masters, with practical illustrations by the first j day.*

The presence of Herr Joachim In London has enabled the Director to obtain that gentleman's Invaluable co-operation as first violin, Herr Joachim having agreed to assist at each of the concerts to be held while the International Exhibition i open, and to lead quartets by Haydn, Mozart, Beethoven, and Mendelssohn. Piatt i has also accepted the post of violoncello; that of second violin being undertaken by Mr. Ries, and that of viola by Mr. Webb. The pianoforte will be represented by Mr. Charles Halle* and Mr. Lindsay Sloper, one of whom will play a solo sonata from the great masters at each concert.

The instrumental pieces of the first concert (Monday, Oct. 13) comprise Haydn's quartet in D minor, Mozart's sonata in D major (No. 21 of Mr. Charles Halle's edition of "Mozart's Sonatas for the Pianoforte"), Mendelssohn's celebrated Otttto in E fiat, for two first violins, two second violins, two violas, and two violoncellos (led, for the first time at the Monday Popular Concerts, by Herr Joachim), arid Beethoven's sonata In G, for pianoforte and violin. No. 3, Op. 30 (Mr.Charles Halle* and Herr Joachim.) The vocal music will be sustained by Miss Banks and Miss Lascelles.

At every concert, until further notice, the programme will be changed, a i quartet, a new solo sonata, a new duet, and a new grand concerted piece I double quartet, or pianoforte trio) supersediug the one at the previous ec musical visitors to the International Exhibition may have a constant variety.

Further particulars about future projected arrangements for t Concerts will be found in the analytical programme of the even announcing the common cement, of tho Fifth Season, on Monday, October 13, Director has again to tender his thanks for the liberal and unremitting support with which his undertaking has been honoured, and again respectfully to solicit its continuance. ______________

* A catalogue of the Instrumental works which have been already Introduced at the Concerts, with the names of the performers and tho dates of the

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Monday Poi various

will appear In an early

ST. JAMBS'S HALL,

BEGENT STREET AND PICCADILLY.

MONDAY POPULAR CONCERTS.

ON MONDAY EVENING, OCTOBER 13,1862. The First Concert of the Fifth Season,

THE PROGRAMME, VOCAL AND INSTRUMENTAL, WILL BE SELECTED FROM THE WORKS OF

VARIOUS COMPOSERS.

PROGRAMME.

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PART. L

QUARTET, In D minor, for two Violins, Viola, and Violoncello
(First time at the Monday Popular Concert!.)
MM. Joachim, Ries Webb, and Piattl.

CRADLE-SONO, "Sleep, thouluCant Angel"

Miss Banks.

SONG, "Pagafui"

Miss Lascejles.

SONATA, in D major, for Planoforde Solo (No. 31 of Mr. Halle's

edition)

Mr. Charles Halle.

PART IL

GRAND OTTET, In E flat, Op. 20, for four Violins, two Violas, and

two Violoncellos

MM. Joachim, Ries, Carrodus, Watson, Webb, Hann, Paque, and Piatti.

SONGS, "Who is Sylvia t" "Hark, hark, tho lark" Schubert.

Miss Banks.

80NG, "The Savoyard's Song". Mendelssohn.

Miss Lascelles.

DUET, "Puro del" Pacr.l

Miss Banks and Miss Lascelles.

SONATA, In G, Op. 38. for Pianoforte and Violin Beethorn.

Mr. Charles Halle and Herr Joachim.

Conductor — Ma. LINDSAY SLOPER.
To commence at Sight o'clock precisely.

NOTICE.

It is respectfully suggested that such persons as are not desirous of remaining tiil the end of the performance can leavo either before the commencement of the last instrumental piece, or betteeen any two qf the movements, so that those who wish to hear th* whole may do so without interruption.

Between the last vocal] ploco and the Sonata for the Pianoforte and Violin, an Interval of Five Mikutes will be allowed.

The Concert will finish before half-post Ten o'clock.

Sofa Stalls, Ss.; Balcony, 3s.; Admission, Is. Tickets to be had of Messrs.

Cuuteu. Co. to New Bond Street. - •

TO CORRESPONDENTS.

H. K. (Belfast).. We are unable to entertain the proposition of our correspondentfor which, nevertheless, he has our thanks.

CRITICAL.—To the first queryEwer If Co., Schott Co., Ashdown if Parry. To the secondNo. To the thirdWe cannot give opinions on unpublished works. That is the business of a professional teacher.

Sy. Bs.Trafurelleria! Sono conosciuto piu della bettonica. Buriasso! Pestapepe!

NOTICES.

To Advertisers.Advertisers are informed, that for the future the Advertising Agency of The Musical World is established at the Magazine of Messrs. Duncan Davison & Co., 244, Regent Street, corner of Little Argyll Street (First Floor). Advertisements can be received as late as Three o,Clock P.M., on Fridaysbut no later. Payment on delivery.

Trnwa / Two lines and under ... 2s. 6d.

Ierhs l Every additional 10 words 6i>

To Publishers And Composers—All Music for Review in The Musical World must henceforth be forwarded to the Editor, care of Messrs. Duncan Davison & Co., 244, Regent Street. A List of every Piece sent for Review will appear on the Saturday following in The Musical World.

To Concert Givers.No Benefit-Concert, or Musical Performance, except of general interest, unless previously Advertised, can be reported in The Musical World.

BIRTH.

On the 10th inst,, at 2 Upper George Street, Bryanston Square, the wife of Adolph Schloesser, Esq, of a Daughter.

LONDON: SATURDAY, OCTOBER 11, 1862.

MR. BALFE'S last opera has indisputably gained the ear of the town, and a closer acquaintance only tends to strengthen the opinion elicited from the beginning. An impression prevails, indeed, that The Puritan's Daughter is inferior to no work from its industrious and versatile composer's pen, without excepting the universally popular Bohemian Girl, or even The Bondman, which, although strangely overlooked of recent years, stands perhaps highest in the opinion of musical judges—rivalling the first in attractive melody and the last in dramatic expression. That, on the whole, the music of The Puritan's Daughter is the freshest Mr. Balfe has produced for a long time, must be admitted; and that, while the ideas are almost everywhere spontaneous, the concerted pieces are spirited and effective, the orchestral accompaniments full of variety, and the general treatment marked by a consistency belonging to well-considered productions alone, is no less evident. Much is doubtless due to Mr. J. V. Bridgman's libretto, which, besides being ingeniously laid out and interesting from a dramatic point of view, deals with real characters, and is written from end to end in honest unobtrusive English. The plot, too, is so simple that there is no misunderstanding it, every incident of its scenic progress being set forth with exemplary clearness. The "merry monarch," and his boon companion, Rochester, have seldom been exhibited under a more agreeable stage-pourtrayal, seldom involved in a mimic adventure from which they are extricated by more legitimate means. The Puritan Wolf, and his daughter, too, are remarkably well

drawn characters; the dogged sternness of the reformer being happily contrasted with the uncompromising loyalty of Clifford, a young cavalier pur sang, and sketched to the life; while the womanly devotedness of Mary Wolf (the "Puritan's daughter"), stands out with equal felicity against the light-headed conduct of her companion, Jessie. Then, in addition to the gaunt puritanic figures of Ephraim Fleetwood and Hezekiah Briggs (Wolfs associates)—the rascally buccaneer (Seymour), and his lieutenant, Drake—the (somewhat dreary) landlord, Spiggot, and a genuine comic personage in the shape of Ralph, help to strengthen the dramatis persona. All these have more or less to do with the plot. This turns upon a conspiracy of the Puritans to entrap the "Merry Monarch" into their power, but which is frustrated by Clifford, who, contriving the King's escape, is on the point of being sacrificed in his place, when, at the eleventh hour, he is rescued through the interposition of Ralph, an accidental witness of the meeting at which the treason was concocted. The buccaneer, Seymour, a confederate in the designs of Wolf—the hand of whose daughter, Mary, is to be the reward of his complicity—volunteers to carry out, with his own hand, the sentence pronounced against Clifford; but just as he is about to fire, he encounters a Nemesis in Drake— his lieutenant, and (on account of some old grudge) sworn foe—who, at the critical moment, appears at a window, and levels Seymour with a pistol shot. Ralph having secretly apprised King Charles of the machinations of his enemies, the monarch arrives at the nick of time with an escort of sailors; and poetical justice is done alike to "saints and sinners."

We have dwelt thus at length on the plot of The Puritan's Daughter for two reasons; first, because it was merely glanced at on the occasion of its production (last season), and secondly, for the benefit and enlightenment of visitors to the International Exhibition, who may be tempted by this and other *' revivals" to include the Royal English Opera among the London "lions" not to be passed over.

ACCORDING to the Parisian papers the literary convention concluded between France and the Kingdom of Italy is the most comprehensive one of the kind that has yet been made. Henceforth the authors of books, pamphlets, or other writings, of musical compositions, drawings, paintings, sculpture, engravings, lithographs, and of all other analogous productions in literature or the arts, will reciprocally enjoy in each of the two States the advantages attributed to them by the laws on the proprietorship of literary and artistic works, and will have the same protection and legal remedy against any infringement of their rights as if the works were published for the first time in the country itself.

"The copyright in musical works," writes the Constilutionnel, "extends to the compositions known as arrangements, based upon airs extracted from the same works. The disputes which may arise upon the application of this clause will be reserved for the appreciation of the respective tribunals." This is just the very clause likely to engender difficulties. The words of the Constitutionnel are obscure enough; for it is difficult to know whether, in the instance of " arrangements," the " arrangers" themselves, or the composers from whom they have borrowed themes for their handywork, are to be protected. Any one can concoct a so-called "fantasia" (imagine a fantasia without a gleam of fancy!) with more or less effect—witness the numbers that daily issue from the portfolios of fashionable music-teachers; but good melodies are just as rare as the others are plentiful. The Conttituttonnel merely says, "Copyright in musical works extends to the composition* known as arrangements, based upon airs extracted from the same works"—from which it is impossible to guess whether the airs from new operas are open to any and all "arrangers" who may feel disposed to lay hold of them, with or without the consent of composers or publishers, and hew and hack them for their purposes, as music-hucksters. This would be ridiculously unjust: but, as nothing of the sort is likely to have suggested itself to the French and Italian legislatures, we may safely dismiss the question, which, but for the oracular obscurity of the French paper, would never have been raised. There is, however, in the same sentence, in addition to the negative obscurity of the whole, the positive obscurity of a part. "Copyright in musical works extends to the compositions known as arrangements, bated upon airs extracted from the same works." Are we to understand that arrangements, not "based upon airs extracted from the same works," are devoid of copyright? If no, what are we to understand? If yes, what is intended to be conveyed? Are new "arrangements" of old themes to be unprotected?

We should really like to be informed on these points. There has been quite enough of mystery about copyright and non-copyright in the music trade; and should a similarly comprehensive and precise convention ever be made by France, or Italy, or both, with England, it would be as well to be clear on the matter, if only for the sake of not paying more for the legal adjudication of a disputed copyright than the copyright itself is worth.

DARBOVILLE, the singer (who died at Marseilles in 1842*), forms the subject of the present notice. He gained a reputation at the Theatre Faydeau, as successor of the celebrated Martin, but was subsequently compelled by a malady of the trachea, to leave the stage. Had the larynxspeculum and the theory of physiological singing been as much in vogue then as now, the great vocalist might have been cured by the great theoreticians. Darboville entered the French navy in the time of the Directory, and sailed for Egypt under General Buonaparte, who, when he became First Consul, was ashamed of his Italian origin, and thenceforth wrote his name Bonaparte, without a "u." Darboville's vocation for dramatic singing was brought to light in the following manner:—As we all know, Bonaparte took with him to Egypt a number of "savants," literary men and artists. Among the latter was Bigel, the pianist (born in 1741, at Wertheim, in Franconia).f One morning, at Cairo, Rigcl received an order to go directly to the Commanderin-chief. On his arrival at head-quarters, he was forth with introduced, when, in his usual abrupt tone, Bonaparte thus addressed him : — " Citizen Rigel, my soldiers are desponding, and my officers no less so. To while away the time, they play at hazard, or shoot themselves, they must be amused, and their thoughts diverted into a more intellectual channel. Organise a theatre for comedy, tragedy, but more especially opera; something that shall remind them of Europe and Paris." "General," replied Nigel, "I don't see how it is possible to carry your commands into effect." "Why not?" "We want artists." "Take the most gifted members of my staff, of the administration, of the commissioners of Fine Arts. I am convinced you can do something, I am acquainted with your talent, your zeal, your patience. If a man will only resolve to do

Neue Berliner Musik-Zeitung. , t Ibid.

a thing, nothing is impossible." "Actors might certainly be improvised; but singers! singers require a musical eduoation, a good memory, and a correct ear." "All that is to be attained somehow or other; in one word, I must have a theatre—I will have a theatre." "But, General, how can we act comedy without women? We are, unfortunately, totally deficient in representatives of the fairer portion of the human race, and, consequently, no actresses." After * moment's reflection, Bonaparte replied, in a comically rough, tone, "Confound it, select some of the 'middies' of the expedition, who are feminine in appearance, that is, goodlooking, and possess some little talent; put them in petti, coats, and you have got your actresses. The rest may be managed. Once more, it is my will, and I reckon on your energy to carry it out." Rigel was obliged, nolens volent, to obey the General's command, so categorically expressed, for the establishment, in this cheap manner, of a dramatic and operatic theatre. He did his best to improvise a histronic and lyrical company. While engaged in his task of organising, the impresario in angusti became convinced of the correctness of Marshall Saxe's apothegm, "It is easier to command an army of a hundred thousand men, than a company of actors, particularly if they are amateurs." In his character as manager, composer, and professor of elocution, Rigel issued an address to the whole army. Among those who offered their services was Darboville, who possessed a good and pleasing baritone voice, and had received some musical education. He had previously played at a private theatre in Marseilles, and sung at concerts. Rigel now looked about for a libretto. Balzac, who was painter to the expedition, wrote one. The little comic opera, entitled The two Mills, was soon composed and studied. It contained, among other things, a charming melody, "Petits Oiseaux, le Printemps vient de naitre," which was much liked. This romance found its way across the ocean, and spread all over Europe. Junot played Philoctetes, and Murat, Achilles, in Iphigenie, while Colbert, the commissary-general, impersonated Acomat in Bajazet. He was to have undertaken the part of one of the two millers, but an order arrived to proceed against St. Jean d Acre- At a subsequent period, the comic opera proved most successful, and Darboville met with so brilliant a reception that he determined to leave the navy and devote himself exclusively to the stage. The little dramatic corps under the command of General Rigel shared the fortunes of the Army of the East. They played and sang at Alexandria, Damietta, and the Pyramids.

On his return to France, Darboville turned his whole attention to the theatre, and obtained a great reputation u an actor and a singer. As we before remarked, he was selected to be Martin's successor. Martin had been at first in the orchestra, which he quitted by the advice of his friends. Berton, the popular composer and conductor,— who was born at Paris in 1766, and died there in 1844— was the first to call his attention to the treasure he possessed— "With such a voice as yours," he observed, "how can you waste your time in playing the fiddle? Learn singing y'--. "I have no master."—"Go to your uncle, Candeille" (operatic composer and member of the Academy of Music in Paris, where he was born in 1740, and died in 1806)* "he will teach you." Martin went to his uncle and preferred his request. "Ah! you want to learn singing, do you?" replied his uncle, "I will tell you how to do so: go into a wooden shed, and bawl as loud as you can; you

• Keue Berliner Musik-Zeitung.

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