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vibration of other souls transmitted through the nervous medium of works, where no ideas exist, is Malle. Lucca-a lady as potent as our sensibilities. We seldom act or speak naturally. But when | Mdlle. Löwe was a score of years ago. In stature and stage behaviour we do, the mere tones, without words, indicate enough. Or rather,
she is not unlike Malle. Piccolomini, but greatly inferior to that little words indicate, but tones convey, transmit; words are signals, tones
lady as an actress. Her voice, which is strong and extensive in comare arrivals of the real presence. We know persons by their voices
pass, reaching to E in alt by its pea-hen tone (no other epithet presents more infallibly than by almost any sign. The opera composer,
itself), recalls that of Malle. Anna Zerr; but that lady, if not charming, therefore, must be he who knows most of this natural language of
was, at least, honest in her execution. This cannot be said of Malle.
Lucca, who avoids, yet is complete in, no passage of voluble brilliancy, the feelings; and of course he must be a person of sensibility.
and already is uncertain as to intonation. Herr Vielka, in M. MeyerBut Opera meets another want. It supplies the craving of the
beer's Camp of Silesia, was a poor and pretending exhibition, though senses for excitement, quenching the thirst of pleasure with a whole quoted as if it had been a choice display of Art by a Sontag or a Lind. some draught. It feeds the appetite with a nectar that is good also | Nothing could be less satisfactory to the ear than the entire execution for the soul. Our tendency to excess, to reckless, glorious enthu of this opera. The elegant duet and effective finale to the first act, and siasm, which is dangerous to deny, dangerous to indulge unworthily, the charming trio in the third (not introduced into L'Etoile), could overflows with graceful self-recovery in the world of art and beauty.
hardly be followed, so incompetent are those to whom they were inTransport is a part of our divine birth-right; no soundness, no
trusted. The trio with two flutes was a piece of discord rather than freshness, no nobleness of soul can long survive its seasons of re
cunning dialogue. Even the military choruses in the Camp Act were currence. This is the virtue of such music as Mozart's—that it
weak and insipid. M. Meyerbeer's music bears such disrespectful transports one into voluptuousness, that does not smack of earth
handling worse than most ; nor will the squadrons of accurately dressed or aught impure. He in music, as Raphael in colours, has taught
and accoutred supernumeraries on the stage pacify the ear, which be
comes irritated by the ineficiency and the pretension of those to whom us the spiritual ministry of the senses. Through music Palestrina the principal interest of the story and the music is confided. rises above the life of the senses. Through music Mozart bears a | The repertory still continues to be the strong point of the Berlin charmed life in the sphere of the senses. The consecration of the Opera-house. During the few past and coming weeks might and are senses, the idealizing of common life, the vindication of Nature, the to be heard, in addition to the operas specified, Spontini's Nourmahal, harmony of sense with soul appears to be the meaning of Opera. Gluck's Armida, among the farewell representations of Madame Köster,
J. Š. DWIGHT. with whom the faëry opera may for a time vanish, no successor appearBoston, Massachusetts, Sept, 20.
ing in the horizon ; and Gluck's Orpheus, for which work it has been necessary to recall Madame Jachmann-Wagner, although she has left
the musical stage in consequence of the total failure of her voice, and, MUSIC IN NORTH GERMANY.
like our Mrs. Cibber, in similar circumstances, taken to tragic acting. (From The Athenæum.)
| Anyhow, it appears to matter little whether there be style or no style,
Berlin, September, 1862. method or no method, voice in or voice out of tune, provided the The Opera-house in Berlin, apparently, still keeps some of its old demanded amount of noise be emitted and the action be busy. Much traditions-among others, liberality in all matters appertaining to stage lower the requisitions of taste cannot fall. direction. The works given are mounted with sufficient luxury, some The number of second-class theatres here has increased greatly of which could be well spared, were the funds sustaining it spent on during the last fifteen years. In some I hear of winter Italian operas, objects of greater intrinsic importance. In a theatre on such a footing, I given with the solo parts in the Southern language and the choruses there ought to be no such performances possible as one of Der in German! If we poor English permitted such practices, how our Freischütz which I heard there, ventured by an “Agatha," an cousins would stare! At the second opera-house, Herr Wachtel “ Aunchen" and a “ Max" as innocent of every idea and precept of (whose beautiful tenor voice has small chance of being set in its the singer's art as if they had come out of the music loft of some place) is singing in Fra Diavolo. To another minor establishment, village church in the obselete days of noisy and drawling unisonal M. Offenbach's farce-operas are imported from "Les Bouffes Parisiens." psalmody. They were, nevertheless, applauded and called for by the Nothing like home comedy in music appears to have succeeded, since indulgent audience. The “ Casper,” Herr Fricke, was better. He is Nicolai's death. young, of good presence, acts well, and possesses a tuneful bass voice; l While the managements of the Berlin theatres are so strenuously but this, it may be feared, is on the road to ruin. Every passage is working out the hopeless task of giving musical dramas without forced out by him, not delivered to which evil practice there can be adequate singers, and while, betwixt this incompatibility and the but one sequel and issue. The orchestra is weak in its stringed noxious influence of false principles paraded as discoveries, public instruinents, and its conductor, Herr Taubert, is either tired of Der taste suffers, Berlin has still its own quieter musical parishes, in which Freischutz, and allowed his band to be slovenly, or else he is not a good a love of what is sterling in composition and excellent in performance conductor. From the general absence of accent, and neglect of the flourishes unobtrusively and wholesomely. Herr Liebig's Symphony closing note of every bar (a habit not uncoinmon with those imperfectly Concerts, which were originated some fifteen years ago, and are given gifted with nice rhythmical sense), I suspect the latter may be the on the cheapest possible scale of admission, are of the very highest case. The chorus is not as good nor as sure as the Carlsruhe chorus. merit. This is the programme of a sixpenny entertainment at which I Donizetti's best serious opera, La Favorite, is given very lamely, with was present in the Sommer-salon :-Overture, Idomeneus, Mozart; omissions in the fourth act especially) which displayed not merely Symphony, C minor, Spohr; Overture, Elise, Cherubini ; Romance, disregard of Italian effect but also of German power to please. Why, Schwantzer; Overture, Euryanthe, Weber; Symphony, F major, for instance, seeing that so much store is set on the chorus in this Beethoven. The Sommer-salon, a cool, cheerful room in three divicountry, should some of the most picturesque portions of the Monag- sions, decorated in the best taste, was filled by a burgher audience of tery music have been suppressed? The principal male singers were some eight hundred strong, most prepossessing in appearance, in very poor, and evaded a large part of their task by singing the canta-attention, and in refinement of behaviour; an audience worth pleasing, biles with a slipshod secrecy which, however favourable to the conceal- by the best offerings. Herr Liebig's band consists of forty-five perment of their want of skill, was destructive of the composer's intentions. formers. I have never heard such symphony-playing for many a long The “Leonora," Malle. D'Ahna, is young and inexperienced, but her day, nor German symphonic music more competently conducted, with appearance is pleasing; her mezzo-soprano voice, a good one, has re due ease, expression, breadth and spirit. The following has been the ceived some training, and there is nothing to offend in her acting. repertory of the year :--The nine symphonies of Beethoven, all his In a more favourablc atmosphere she might become a good singer. It overtures, his music to Egmont, and to The Ruins of Athens, entire; also will be hard for her to improve, if compelled habitually to appear his Septuor-twelve symphonies by Mozart, all his overtures, and three before an audience so deficient in discrimination as that of the Prussian unpublished marches-choice pieces by Bach and Gluck-eighteen capital.
symphonies by Haydn-three symphonies by Spohr (including The The " cynosure," meanwhile, of Berliu opera-goers, who flock to the Power of Sound )-Schubert's symphony in C major, Schumanns theatre to be amused, and not to scck for ideas in dreary modern flat major-all the overtures of Weber, of Mendelssohn, his symphonies
also, and his Midsummer Night's Dream music-all the overtures of * It is in curious coincidence with this thought that the first opera, (pro Cherubini ---the triumphal symphony of Titus Ulrich, with lighter perly so called) and which was produced at Rome in 1600, by Emilio del | music.
H. F. C. Cavalieri, had for its title: Rappresentazione del Animo e del Corpo. It was of the nature of a morality, and its characters were the Body, the Soul, Vienna.- A biography of Franz Schubert has been completed by Pleasure, the World, and Time ; which allegorical personages were treated Ferdinand Luib. after the orthodox fashion, no doubt; yet it is impossible after what we have Munich.-A composer who resides here, Max Bach by name, has been considering, not to notice how accidentally the opera symbolised its own been completing Mendelssohn's untinished opera, Loreley (!)- Dwight's mission by touching on the problem of the soul and body in its first essay. Journal of Music.
HANDEL IN 1718-1728.*
had created a scandal in Dresden, in order to get to London sooner, FOUNDATION OF THE OPERA IN LONDON.
the academy was too careful and intelligent to accept their services
before the time stipulated in their contracts ; but we must except It is difficult to say what circumstance first suggested the idea of
Signora Durastanti, who was necessary at that moment. Count an academy for opera. But it is possible that the plan originated Flemming. who was a man of great power in the court of the at one of those musical entertainments, so extravagantly brilliant,
elector August, with titles and places at command, could not which the Duke of Chandos prepared in Albermarle Street for the
understand, of course, why a simple musician should treat his fashionable world of London. The wish must have been frequently
invitations with indifference. But Handel was not everybody's expressed, that these enjoyments might become prominent, especially
friend, or a conceited virtuoso, seeking to make himself of conseas London was then behind many other large cities in musical
quence through powerful protection; he was a plain, independent advantages. Paris had already an academy, Vienna a court opera,
man, who attended to his business, who maintained his freedom in almost every insignificant prince on the continent could command
private life, without molesting others, or allowing himself to be enjoyments that London principally owed to aocident, or the
molested by them. He never visited any one who did not return liberality of a few.
his visits on a footing of equality (except in matters of business); We have more certain information as to the period when the plan
and the Saxon general-field-marshal had to content himself with became ripe. It was deliberated on during the winter of 1718--19,
such treatment as English dukes and earls had already received. at the time of the South Sea speculation ; but, without requiring
The pride that inspired such behaviour could not offend, as it dis
The me a dissolution of Parliament, was sooner decided on than that.
played itself principally in reserve; but the ladies of the court Already in February, 1719, Handel, in a letter to his brother-in
concerts long bore ill will towards the master, because he could law, spoke of the affair as settled; for the “ urgent business” that
never be persuaded to accompany them in their chamber music. had so long occupied” him, and on which he cheerfully and
• Handel, when he allowed himself to be heard by His Majesty and expectantly believed that his “fortune depended," was nothing else
the Royal Princes on the clavier, received a hundred ducats. The but the preparatory measures necessary before the erection of an
order is dated February, 1720, from which we must not conclude opera house, the musical department of which would probably be
that Handel was still in Dresden, but rather that the expense of placed in the hands of Handel, from the commencement. On the this
this "royal pleasure" was noted down late and negligently, or else 21st of February, a London paper, “ Applebee's original Weekly that the hur
that the hundred ducats were afterwards sent to Handel in London Journal," published the following announcement: " Mr. Handel,
through the Saxon ambassador. Handel was more fortunate than a famous Master of Musick, is gone beyond sea, by order of his
Bach, who, having won an artistic victory over the French clavier Majesty, to collect a company of the choicest singers in Europe, for
player Marchant, a year before at the same court, was cheated out the Opera in the Hay-Market." We do not know which, or how
of a similar reward through the rascality of an officer of the court. many places he visited with this object; we only know that he was
It would be most interesting, could any remarks on the play of in Dresden and Diisseldorf, and as he found nearly all that he
these men, by Count Flemming, or some other bel esprit of this court, wanted here, he did not probably travel farther, but spent a quiet
be discovered. Forkel says that Bach expressed a wish to make summer, partly at the Hanoverian court, and partly with his family
Handel's personal acquaintance, and undertook a journey to Halle and friends in Halle.
with that object, but only arrived there when the composer had - In Düsseldorf he obtained Benedetto Baldassarri, chamber singer
er | left. This must have been late in the autumn of 1719. The King to the Palatine. In autumn, 1719, he found almost all the celeb
went back to London in the middle of November; Handel prorities of the Italian world of song assembled in Dresden, under the
bably returned a little sooner. At least I conclude so, as the opera direction of Lotti, the composer, to celebrate the marriage of the
house academy formed itself into a society and held several meetings electoral prince with the archduchess Maria Josepha. But these
in the beginning of November. The first representation took place talents were not attainable for the next winter. The elector had
a on the 2nd of April, 1720.
I set the first performance of Acis and apparently invited the singers to Dresden with the enjoinment that ca
Galatea, and the composition of the opera, Radamisto, to the winter they should remain in his service some time after the festivities;
months of 1719-20. and a year's contract, from the first of October, 1719, was closed
(To be continued). with all those whom Handel also desired to engage. That Handel was in Dresden at the time of the famous September festivities we are assured by a letter of the Saxon general-field-marshal Count
DURHAM. Flemming, to Handel's pupil, Fräulein von Schulenburg. Here is
(From a Correspondent.) the letter :
Dresden, October 6th, 1719.
The trial of candidates for the Tenor vacancies in Durham Cathedral « Mademoiselle!_With this I send you from Vienna that operetta
| Choir, occasioned by the deeply lamented death of Mr. Charles Ashton,
and the resignation of Mr. Thomas Brown, took place in the choir of about which I had the honor of speaking with you. I could not yet obtain the operas from here; they are so particular about them that
| the cathedral, on Thursday and Friday, Sep. 25th and 26th. Twelve
candidates appeared from various cathedrals, six of whom sang on the they will not even leave the parts with the singers, which enrages
Thursday, and six on the Friday. The following six sang on Thursday, these people terribly. I wished to see Mr. Handel, and to show him
in the following order, each a solo of his own choice. The order of some attention on your account, but I have not been able to do so; I
rotation was determined by lot:-No. 1. Mr. Barraclough, of Lincoln made use of your name to induce him to come and see me, but he
Cathedral. Anthem, “ Ascribe unto the Lord,” Travers. Has a good was always ill or out; I think he is a little foolish, and he certainly
strong voice, quality coarse, and sings out of tune.--No. 2. Mr. Barnby, of should not be so with me, seeing that I am a musician from inclination,
Hereford Cathedral. Anthem, “ Comfort ye my people," Messiah. Voice and that I consider it an honor to be one of your most faithful servants,
is more loud than pleasant ; singing too much strained; reads fairly.-No. 3. mademoiselle, and that you are the most amiable of the pupils ;-İ
Mr. Dawson, of Newcastle. Anthem, “ Ascribe unto the Lord," Travers. thought I would tell you this, so that, in your turn, you might give
Very good voice, but style rough and uncultivated.-No. 4. Mr. Horton, of some lessons to your master.— I have the honor to be," &c. &c.
Cork Cathedral. Anthem, “ Praise the Lord," Croft. A beautiful voice; Handel's position was a difficult one, and required great care and
but too limited in quantity for a large cathedral. No. 5. Mr. Pheasant, of foresight, in order to lull the suspicions of the Saxon court, and not
Peterboro'. Anthem, “ Give the Lord the honour due," Kent Voice to tempt the singers, who longed for English guineas, to a breach
very limited, both in range and quantity; no style.-No. 6. Mr. Roberts, of contract. All that he could do was to engage Signoras Duras
of Armagh Cathedral. Anthem, “Comfort ye, my people," Messiah.
Has a very moderate voice, and did not make much of his pieces. tanti and Salvai, the sopranos Senesino and Berselli, and the bassist
Each candidate sang a second Anthem in the same order, as follows:Boschi, for the academy, from October 1st, 1721. Although the
No. 1. “Comfort ye." No. 2. “Ascribe unto the Lord." No. 3. “I Italian singers conducted themselves in their usual manner towards / will cry,” Mozart. No. 4. O Lord our Governor," Stevenson. No. 5. the German musicians in Dresden, Senesino especially, towards the " Comfort ye," and No. 6. “Wherewithall," Elvey. chapel-master Ileinichen, so that the elector was obliged to drive Messrs. Barraclough, Barnby, and Dawson were selected for a trial of away his entire Italian Parnassus as early as February, 1720, this skill in reading at sight, and each sang, “ Praise the Lord," Boyce. had no influence on the London Academy; for although the Italians None sang it well. Mr. Barnby was eventually selected to sing with the
six who were to appear the following day. This closed the trial for • Translated from Friedrich Chrysander's Life of Handel, by Fanny Malone Thursday, which was resumed on Friday, when six new candidates Raymond.
appeared, and the singing was of a much superior order. No. 1. Mr.
Nowsome, of Canterbury Cathedral. Anthem, “ Ascribe unto the to refuse the renewal of this license, but to allow Mr. Deacon time to Lord," Travers. las a pleasant voice; but was very unwell during the rebut the accusation made against him. The license was formally trial.-No. 2. Mr. Mason, of Worcester Cathedral. Anthem, “The refused, but leave was granted to Mr. Sleigh to renew the subject yesLord is very great," Beckwith. A voice of good compass and power, bu! terday morning. Mr. Sleigh said he was obliged for that permission, father coarse in quality : the solo very well sung.–No. 3. Mr. Price, of and the local magistrates would be served with notices. Inspector Manchester Cathedral. Anthem, “O Lord our Governor," Stevenson. Allen, G, said there was no complaint whatever as to the conduct of the
A fine and sweet voice of great compass ; sings with great taste and feeling, music-hall. Mr. Sleigh said the whole division could say the same. and is a good reader.-No. 4. Mr. Robson, of Durham. Anthem, “Lord, A number of petitioners not having answered to their names when what is man?" llandel. A nice voice, but much too small for a large cathe- called, the Chairman said in future the licenses would be refused in all dral : solo very well sung.- No. . Mr. Whitehead, of Huddersfield. such instances, and the application would have to be treated as an Anthem,“ Comfort ye, my people," Handel. A splendid voice, of good original one, which would cause the delay of a year. The opposed quality and great compass: sings in first rate style: is a good reader. applications are the Star and Garter, Green-street, Leicester-square; No. 6. Mr. Vait, of Chester Cathedral. Anthem, “ If with all your the Adelaide Gallery, the Alhambra ; Assembly-rooms, Lincoln's-ionhearts,” Elijah. A very pleasing quality of voice, but quantity too small fields; the Black Horse and Windmill, Fieldgate-street; the Artichoke, for Durham Cathedral : sang his pieces very creditably.
Dog-row, Bethnal-green; the Strand Music-hall, by the Exeter ChangeEach of the six candidates then sang a second Anthem, in the same arcade; the Retreat, Highgate-road, Kentish-town; the Pegasus order, viz.: No. 1. “If with all your hearts, Elijah. No. 2. “ Ascribe Tavern, Green-lanes; the Nag's Head, Roadside, Whitechapel; the unto the Lord," Travers. No. 3. “If with all your hearts," Elijah. British Oak, Oxford-street, Whitechapel; Sir John Barleycorn, Thomas, No. 4. “Wherewithall," Elvey. No. 5. “If with all your hearts," street, Whitechapel; the Cape of Good Hope, Commercial-road; the Elijah. No. 6. “How beautiful are the feet," Haydn. The following Foresters, Hawthorndean-place, West-street, Limehouse; the Victory, four were then selected to be tested as to their capabilities for reading : No. 3, Colet-place; and the Eagle, Chestnut-road. Messrs. Mason, Price, Whitehead, and Barnby. Mr. Mason, Mr. Price, and Mr. Whitehead each sang “ The earth is the Lord's," Croft. Mr. Music at COBURG.-The Duke of Coburg-Gotha has bestowed upon Price and Mr. Whitehead sang the solo correctly and with taste. Mr. Herr F. W. Markall, musical director in Dantzic, the Cross of Merit Whitehead then sang the last verse in “O sing unto the Lord," Greene. for Art and Science, affiliated to the Order of the House of Ernst. correctly. Mr. Price and Mr. Barnby sang the first verse in “My God, The meeting of delegates from the Associations for Male Voices of my God," Greene. Mr. Price sang correctly. The four then sang Germany, which was lately held here, was not intended to impose by “ Luther's Hymn;" Mr. Price and Mr. Whitehead each singing the numbers, or to give any artistic performance on a large scale. The Bolo remarkaby well, and, eventually, those two gentlemen were delegates assembled simply as speakers, to carry out the plan adopted selected by the Dean and Chapter to fill the two vacant Tenor stalls in at the last annual Sängerfest in Nuremburg, of founding a grand Durham Cathedral. This choice gave general satisfaction.
universal German “Sängerbund," or Vocal Confederation. About The choir of Durham Cathedral is considered to be one of the finest eighty delegates were present, from all parts of the German Fatherland, in the kingdom. The members are: Altos, Messrs Martin, Bates, and and the Reithalle was selected, as the building wherein to receive them Walker; Tenors, Messrs. Smith, Price, and Whitehead; Basses, Messrs. solemnly, on the 20th ult., in presence of the general public. The two Brown, Lambert, Kaye, and Hemingway. Organist, Dr. Henshaw; associations, Liederkranz and Sängerkranz, belonging to this town, Precenior, Dr. Dykes, (Doctors in Music).
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 SängerTHE MUSIC AND DANCING LICENSES.
kranz, with the task of welcoming the guests, which he did in a
dignified and becoming manner. Hereupon followed the chorus: “O, (Middlesex Sessions, Oct 9.)
Isis," from Die Zauberflöte, words written especially for the occasion, The Court sat to-day at Clerkenwell to hear and determine applica- being adapted to the indescribably solemn strains. The writer is tions for the renewal of licenses for music, and music and dancing, un-bound to state that, of all pieces performed, not one was so powerful der the provisions of the Act 25th George 11., cap. 36. The total and so calcuted to touch the deepest feeling of those present, as this number of applications in the list is 455_379 for renewals and transfers chorus of the unrivalled master, although it was not included in the (opposition was entered against seven), and there were 76 applications programme, as it formed the accompaniment to the welcoine. Herr for new licenses. Mr. Pownal presided, and there were about 12 magis Elben, from Swabia, then mounted the speaker's tribune, and, after him, trates present. The court was densely crowded, but the arrangements the composer, Rud. Tschirch. The principal piece in the programme was made by the officers of the court for the accommodation of the public a composition by Ferd. Möhring, “ Deutscher Schwur und Gebet" were carried out in the most satisfactory manner. The list of renewals (“ German Oath and Prayer") with orchestral accompaniments. At and transfers was gone through, and, with several exceptions, the licenses 8 o'clock p.M., on the 21st, the meeting commenced their deliberations were passed. Three were refused to houses where readings of plays had in the Reithalle for the constitution of the Confederation. The most been given on Sunday evenings,
important resolutions adopted in a long debate were to the effect that, In the case of Highbury Barn, one of the magistrates asked whether the “ Sängertag," which is declared established, shall take place every that was not the place where the person known as the “Female Blondin" two years, and a Universal German Vocal Festival, every four. To meet had met with a serious accident while performing on a rope. Mr. | the expenses of the Confederation, each seperate Vocal Association shall SLEIGH, who appeared for Mr. Giovannelli, the proprietor of the Barn, contribute an annual sum, according to the number of its members. said that was indeed true, but the applicant had kindly and generously The subscription of each member is fixed at 3 kreutzers a year. The got up a free benefit for the unfortunate young woman who met with the members of the committee of the Swabian Vocal Association were first accident, and no one more than he regretted the sad occurence. The appointed members of the General Committe as were, also, ten other magistrate wished to know if such performances were to bo repeated, or gentlemen, namely: Dr. Gerster, of Nuremberg; Herr Meyer, of if the applicant was prepared to say that they should not. Mr. SLEIGH Thorn; Herr Fentsch, of Munich; Dr. Hölzel, of Vienna; Herr assured the bench, on the part of Mr. Giovannelli, that nothing of the Eberhardt, of Coburg; Herr Tschirch, of Berlin; Herr Julius Otto, of kind would be attempted again. The license was than granted. Dresden; Dr. Bauer, of Vienna; Herr von Lössing, of Brunswick; and
In the case of the Sir Hugh Myddelton, New River Head, Clerken- Herr Abt, of the same town. No city had sent in a request to be well, a magistrate called attention to the fact that free admissions had selected as the place for the next meeting of the German Vocal been distributed at gentlemen's houses for the servants. Mr. Sleigh, on Festival, and the selection was left to the committee. During the behalf of Mr. James Deacon, most emphatically denied this, and said he meeting, a telegram containing a cordial greeting to the vocal congress could prove by the evidence of the police, the public, and the general from the Duke, at Reinhardbrunn, was received and read. After three frequenters of Mr. Deacon's music-hall that it was as well conducted lusty cheers had been given for his Royal Highness, an answer was as any in London, and had been since he had had the license. This com- agreed upon and despatched. The visitors assembled for a public plaint had sprung suddenly upon Mr. Deacon; no notice of opposition dinner in the lodge. The walk to the “ Veste Coburg" was delayed had been given. To derive Mr. Deacon of his license would really be till a tolerably late hour, but the magnificent weather rendered it most cruel in the extreme. Besides, many similar establishments in London delightful. An immense crowd had assembled there at a very early issued free admissions, but Mr. Deacon had a full, complete, and most hour of the afternoon. The Duke's opera of Diana von Solange was to satisfactory answer to this extraordinary complaint. The tickets were have been performed in the evening, but, on account of the hoarseness given to a gentleman who asked for them (?), but it was absurd to suppose of Mad. Säinann de Paez, Gounod's Faust was substituted at the list that Mr. Deacon, a highly respectable man, who had had the Myddelton moment. In spite of the difficulties, both artistic and scenic, resulting near upon twelve years, KNEW THAT THEY WERE TO BE GIVEN TO SERVANT | froin the unexpected change, the performance was exceedingly good, GIRLS. He had expended a considerable sum of money on his music and the reception of the work enthusiastic. The first German hall, which was equal in its management for decorum and good conduct “Sängertag" concluded with an excursion, on the following day, to to any other. As an act of mercy, the Court, he submitted, ought not | Rosenau,-Neus Berliner Musik-Zeitung.
taking M. Bourgon into partnershtp for the dramatic exposition of his
piece. Dolorès, the drama in verse by M. Louis Bouilhet, is admired with (From our own Correspondent.)
a yawn, and already is La Fils de M. Giboyel put in rehearsal. The
Thursday, Oct. 9. piece is by Emile Augier, and they say, that, in order to make it pass The l'héâtre Italian has opened for the season, but not with any | the censorship, the author has placed it under the protection of Prince extraordinary eclat. Who could have anticipated that any deep Napoleon, whose intimate protégé he is. An actor who has for many emotion or violent curiosity would be evoked now-a-days by Norma, or years played the dandies at the Théâtre Francais, is just now gaining by Madame Penco? Norma is a good opera, and Madame Penco is a great applause in the part of Tartuffe. As M. Leroux has preserved good artist. Everybody knows it-admits it. But the public has his complexion, he does not pretend to represent a pale ascetic devotee, heard the one sufficiently often, and can remember greater singers but a well-fed devotee, who conceals his appetites without at all seeking than the other in the part of the Druid Priestess. Signor Naudin, like to extinguish them. Tartuffe almost becomes a man of the world, most tenors, strove too much with Pollio, a disagreeable part it must be When Molière's pieco was translated into English, Tartuffe became a owned, and very taxing. Had he sung less, he would have sung canting Methodist parson. If it were translated anew in our day, to better; had he acted less, the audience that smiled might have what class, to what profession, to what persuasion, would the English applauded. Signor Naudin has a charming voice, and sings well, but Tartuffe belong? lacks inoderation. Adalgisa was personated by Madame Volpini. 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
WURZBURG.-The public rehearsals of the musical Institute were Capponi, is tolerable—no more. Cenerentola is announced for this closed this summer by the performance of a grand Oratorio, Jerusalene evening without Alboni. A Malle. Daniel, of whom I can give no the work of a living composer, Mr. H. Pierson's. It met with applause. account, personates Angelina. In my next I shall offer you my opinion Oratorio of Jerusalem (originally produced at the Norwich Festival). of the debutante, as also of Signor Vidal, the new tenor, who, likewise,
MANCHESTER.--The first concert of the season at the Concert Hall, inakes his first appearance this evening, as Don Ramiro.
introduced the London Glee and Madrigal Union. Horsley's “By Celia's The Grand Opera still keeps ringing the unchanging changes on Guillaume Tell, the Huguenots, La Juive, and Robert le Diable. But
arbour" after a full orchestral symphony, was injudiciously placed, but great alterations loom in the distance. Masaniello is rehearsing, and
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 the Comte Ory, " with new scenery and decorations," is to be given, on the 13th proximo, for the debut of Signor Mario. The direction has
best acquainted with English part music, it must be acknowledged
that the execution has never been surpassed in our experience. It was entreated M. Faure to support the caste with his powerful talent
delicate in style, pure in tone, truthful in intonation, and rich in in the character of Raimbault; but that high-swollen barytone M. Faure, not Raimbault - has signified his opinion that the
coloring. “Come see what pleasures," by Elliot, had the additional part is beneath his dignity; notwithstanding which, if Rossini
advantage of a solo soprano voice that of Miss Banks, just the voice would write a new air, he would condescend. The general
for blending. "Under the greenwood tree," sung by Messrs. Baxter, opinions seems to be that Rossini will not oblige M. Faure. There
W. Cummings, Land and Winn, we have been accustomed to hear a is confident talk of the production of Don Giovanni. Rumour
shade quicker; but it was charmingly sung, and encored. The party already assign's the parts as follows :-"Donna Anna," Malle. Sax;
| have a decided advantage in frequently singing together, under the
direction of so accomplished a master as Mr. Land, Dr. Arne's “ Now " Zerlina," Mad. Vandenheuvel-Duprez; “ Elvira," Malle. Ham
Phæbus sinketh in the west," was delivered by Mr. Winn, with mackers; “ Don Giovanni,” M, Faure; “Ottavio," Signor Mario, or M. Michot ; « Leporello," M. Obin. The translation is by M. E.
thorough musical feeling. Why did Miss Banks give us a modern
version of “ Where the bee sucks?" A serenade by J. L. Hatton, Duprez. I can hardly fancy Mozart at the Grand Opera, his anti
"Good night, beloved,"_and the ballad, “In my wild mountain “ sensation" music requiring more faith than is possessed by the
valley," from The Lily of Killarney, the latter nicely sung by Miss majority of Parisiang. However, I may be mistaken, and the cast of Don Juan, must have a special attraction, except in the instance of
Banks; also was entitled to notice, a flute solo by M. De Jong, ad. Signor Mario, who may be deemed an “interloper."
mirably played, was added to the programme, and Mozart's symphony Mad. Cinti-Damourean has been recently stricken with apoplexy at
in C, as well as the overture to Mendelssohn's Midsummer Night's Chantilly, and the greatest fears are entertained for her recovery. Her
Dream, were ably conducted by Mr. Halle, and carefully given by the maiden name was Hyacinthe Montalaud--the first she changed to Cinti
orchestra ; the " Andante grazioso" in the symphony more especially, to appear at the Théâtre Ventadour. Some chroniclers have averred
Abridged from the Eraminer and Times, Oct. 7th, 1862, that the name was Cinthée and not Hyacinthe.
BrighTON~(From a Correspondent).--This has been quite a musical There is a new hope for your London Italian Opera Managers. week down here. First a concert for the benefit of “ Master Jackson," 8. M. Gueymard has solemnly renounced the French stage at least for a
local artist of rising talent; next, a soireé, by the local Rifle Volunteer Band. space and is determined to try conclusions with Signors Mario,
What the music was, and how performed, I am unable to say, not having been Tamberlik, and Giuglini. If my opinion were of any use, I would
present. As, however, music-softening influence was for the millionth time strongly recommend M. Gueymard for such parts as “Pollio" in Norma;
brought to bear in the cause of charity--the benefit of the Lancashiro of other parts in the Italian repertory I prefer saying nothing. M.
operatives, it is sincerely to be hoped there was a full attendance. On Gueymard takes Mad. Gueymard with him in his new art peregrina- Wednesday, at the Pavilion, Herr Kuhe gave the first of a series of three tions.
“Pianoforte Recitals." There was a numerous and fashionable audience, who The revival of Grétry's Zemire et Azor at the Opera Comique has listened with marked attention to a long series of performances of the most been essayed with success. Grétry is famous as the composer com- varied character. I must reiterate, however, the stigma to which I gavo plimented by Voltaire on his wit, while affecting to believe that all expression in your last number. Out of eleven instrumental pieces, only one musicians in general were remarkable for their bélise. Times are was by Beetboven, only one by Mozart, the rest, with one exception, perhaps changed since then. Rossini, Auber, Meyerbeer, are all proverbial for (S. Heller's Dans les Bois, No. 3) were exclusively modern effusions, calculated, rivalling the most spiritual of their collaborateurs in wit and grace. if not to please, at least to startle. Beethoven's Sonata in D minor, was finely Rossini's bonmots are often cruelly piquant; as, for instance, when given, which makes it the more to be regretted that Herr Kuhe wastes his Lamartine suggested that he should place a "lyre" over his iron gate / tiine on inferior music. The second of Herr Derffel's “Recitals " was given " And you a tire-lire” (a money-box) replied the composer. Poor on Thursday, in the same place, to an audience at least equally numerous, Lamartine is again reduced to beg for charity in the shape of a lottery though perhaps of a somewhat different order, more juveniles and a larger at twenty-five centimes the ticket. The obolum of Belisarius may thus number of professionals were present. Herr Derffel's reputation is gradually be translated by the Gallic (catch) penny.
extending, and admirers of Beethoven's music alwuys flock to hear him play The Gymnase has just given Les Fous, by M.E. Plouviez. There it. The sonata on the preseut occasion was the Pathetique. To this, full is but one real madman, however, in the piece, a madman escaped justice was done. The vibrating, light and shade, and expression generally, from Charenton, the French Bedlam ; but the doctor commissioned were unexceptionable; but the first allegro and the rondo were taken someto bring him back, finds himself greatly embarrassed on discovering, what too fast, although no palpable indistinctness ensued. I timed it, and for at every step, folks reputed wise, who deserve to be incarcerated
comparison's sake append my observations: first movement, seven minutes as mad. This piece de lunatico inquirendo is so unequal, that hisses and a half; second, four minutes and three quarters; third, three minutes of discontent disputed its success with the applause of admiration. and a half; Total, fifteen minutes and three quarters. The performance was The Porte St. Martin has retrieved its ill-luck by Paul Féval's listened to with great attention, and (for ladies) hearty plaudits followed its Bossu, whose hump is only a fictitious one, borne with as good a close. Herr Derffel also played in capital style, "a te o cara,” and Mozart's grace as may be by the actor Melingue; the melo-drama, however, Zauberflöte duett, by Thalberg. We hope shortly to hear from the same fingers must be rather obscure to those amongst the spectators who may at least one prelude and fugue by Bach. Mr. Derffel is forming the syle of his happen not to have read the novel by the same author from which it is pupils by these “ Recitals ;” and no better model, in a certain school, exists taken, Paul Féval has had the tact to ensure success to his work by 1 than Bach,
MDLLE. PATTI, FROM A BELGIAN POINT OF VIEW.* number of songs, duets, and other vocal pieces from the ancient and modern era
Italy, Germany, France, and England. As executants, in every department the But to return to Malle. Patti, whom we have left too long. We most eminent artists have been provided, engagements having been contracted with have already mentioned her incomparable voice, and the habitual
renowned performers abroad as well as at home. A constant attendance at St. James's
Hall, throughout a series of Monday Popular Concerts, was, therefore--to use the purity of her taste. We will now say a word or two of the charming
words of a previous address_“ equivalent to a varied course of lectures on the chamber manner in which she sustains the character (Amina). Always attentive music of the great masters, with practical illustrations by the first professors of the to what is going forward, she lends animation to everyone around her.
day." In the scene of jealousy at the end of the first act, she was most en.
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 trancing. Amina loves Elvino dearly; nay, adores him ; but then assist at each of the concerts to be held while the International Exhibition remaine the language of the Count is so choice, and his manners are so pleasing, open, and to lead quartets by Haydn, Mozart, Beethoven, and Mendelssohn. Signor
Piatti has also accepted the post of violoncello; that of second violin being undertaken She knows that her listening to him more than is necessary is tanta
by Mr. Ries, and that of viola by Mr. Webb. The pianoforte will be represented by mount to breaking her lover's heart; she knows this, and the knowledge | Mr. Charles Hallé and Mr. Lindsay Sloper, one of whom will play a solo sonata from gives her pain ; but how can anyone be impolite with so amicable a the great masters at each concert. nobleman? At length, Elvino gets angry ; Amina goes up and reas
The instrumental pieces of the first concert (Monday, Oct. 13) comprise Haydn't
quartet in D minor, Mozart's sonata in D major (No. 21 of Mr. Charles Halles edition sures him, while she looks out of the corner of her eye at the Count. of « Mozart's Sonatas for the Pianoforte"), Mendelssohn's celebrated Otteto in E Mat. The curtain falls, doubtless to the great joy of Elvino, but with a slight for two first violins, two second violins, two violas, and two violoncellos (led, for the touch of regret on the part of Amina, who says to herself, perhaps, that
first time at the Monday Popular Concerts, by Herr Joachim), and Beethoven's sonata
in G, for pianoforte and violin, No. 3, Op. 30 (Mr. Charles Hallé and Herr Joachim.) it is difficult to please everyone, and Elvino too. Throughout this
The vocal music will be sustained by Miss Banks and Miss Lascelles. scene, her acting is distinguished by a degree of grace and naïve At every concert, until further notice, the programme will be changed, a Dør çoquetry truly charming. In the finale of the second act, she exhibits I quartet, a new solo sonata, a new duet, and a new grand concerted piece (quintat, touches of genuine pathos; how her heart bounds towards Elvino;
double quartet, or planoforte trio) superseding the one at the provious concert; so that
musical visitors to the International Exhibition may have a constant succession of how her voice appeals to him ; what depth of prayer there is in variety. her expressive eyes! Elvino begins to grow incomprehensible .... Further particulars about futuro projected arrangements for the Monday Popular how can he possibly refrain from falling at her feet? In the third act
Concerts will be found in the analytical programme of the evening. Meanwhile, in
announcing the commencement of the Fifth Season, on Monday, October 13, the Amina reveals a true artistic nature, an incomparable voice at the
Director has again to tender his thanks for the liberal and unremitting support with bidding of habitual good taste, and, besides all this, real histrionic which his undertaking has been honoured, and again respectfully to solicit its 00s. genius. There is another brilliant star on the radiant firmament of art,
tinuanoe. who knows? Perhaps a new Malibran.
. A catalogue of the instrumental works which have been already introduced at the The immense success obtained at each of her performances, by this
Monday Popular Concerts, with the names of the performers and the dates of the interesting young lady, is, in our eyes, fully justified by the remarkable various performances, will appear in an early programme. 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 soprano voices ever known-flexible, sweet, pure, seductive, dramatic, passionate a voice, in fact, impossible to
REGENT STREET AND PICCADILLY. 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 | ON MONDAY EVENING, OCTOBER 13, 1862. beneath their notice. After the Somnambula, which was quite sufficient to bring out all her genuine feeling, Il Barbiere presented us to her in The First Concert of the Fifth Season, a new light; and, lastly, Lucia completed this trinity. The sentimental Amina gave no cause for jealousy to the spruce Rosina, and the poetical | THE PROGRAMME, VOCAL AND INSTRUMENTAL. WILL BE SELECTED Lucia caused many a tear to a flow at the sight of her despair.
FROM THE WORKS OF
(First time at the Monday Popular Concerts.)
MM. Joachim, Ries Webb, and Piatti.
. ... Glinka.
ST. JAMES'S HALL,
MONDAY POPULAR CONCERTS.
Monday Popular Concerts.
Mr. Charles Halle.
: Watson, Webh.
nimence at St. James's mansual is to afford the verse International Exhibi.
Mendelssohn. . Miss Lascelles.
... ... Paer.) Miss Banks and Miss Lascelles. SONATA, in G, Op. 30, for Pianoforto and Violin
Mr. Charles Hallé and Herr Jorhim
Conductor - MR. LINDSAY SLOPER.
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 & month earlier than usual is to afford the very many amateurs still attracted, from the country and from abroad, by the fame of the International Exhibi. tion, an opportunity of listening to performances which have not only enjoyed the constant patronage of the London public, but elicitod 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 the 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. cight (including eleven held at Liverpool, Newcastle, Edinburgh, Glasgow, &c.), 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, Becthoven, Spohr, and Mendelssohn; many quartets, quintets, &c., by Haydn, Dussek, Cherubini, Schubert, Spohr, Macfarren, Loder, Mellon, &c.; the most celebrated sonatas and other compositions for pianoforte, solo or concerted, of Mozart, Becthoven, Woell, Steibelt, Dussek, Clementi, Pinto, linmmel, Weber, Schubert, Mendelssohn, Sterndale Bennett, &c., and several of the harpsichord works of Handel, Scarlatti, and Sebastian Bach, together with a large