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TO CORRESPONDENTS.

drawn characters; the dogged sternness of the reformer being · H. K. (Belfast).-— We are unable to entertain the proposition happily contrasted with the uncompromising loyalty of of our correspondent for which, nevertheless, he has our thanks. Clifford, a young cavalier pur sang, and sketched to the life;

CRITICAL. -To the first query-Ewer & Co., Schott &• Co., Ash- while the womanly devotedness of Mary Wolf (the “Puridown fo Parry. To the second-No. To the third-We cannot

tan's daughter"), stands out with equal felicity against the give opinions on unpublished works. That is the business of a pro

light-headed conduct of her companion, Jessie. Then, in fessional teacher. $y. Bs.--Trafurelleria! Sono conosciuto più della bettonica.

addition to the gaunt puritanic figures of Ephraim Fleet. Buriasso! Pestapépe !

wood and Hezekiah Briggs (Wolf*s associates)—the rascally buccaneer (Seymour), and his lieutenant, Drake-the (some.

what dreary) landlord, Spiggot, and a genuine comic per. - NOTICES.

sonage in the shape of Ralph, help to strengthen the dramatis TO ADVERTISERS.--Advertisers are informed, that for the future personce. All these have more or less to do with the plot.

the Advertising Agency of THE MUSICAL WORLD is established | This turns upon a conspiracy of the Puritans to entrap the at the Magazine of Messrs. DUNCAN DAVISON & Co., 244, “Merry Monarch" into their power, but which is frustrated Regent Street, corner of Little Argyll Street (First Floor). by Clifford, who, contriving the King's escape, is on the Advertisements can be received as late as Three o'clock P.M., on point of being sacrificed in his place, when, at the eleventh Fridays--but no later. Payment on delivery.

hour, he is rescued through the interposition of Ralph, an

accidental witness of the meeting at which the treason was Tepu S Two lines and under ... ... ... 28. 6d. ASUS (Every additional 10 words ... ... 6d.

concocted. The buccaneer, Seymour, a confederate in the

designs of Wolf-the hand of whose daughter, Mary, is to be TO PUBLISHERS AND COMPOSERS-All Music for Review in THE

| the reward of his complicity-volunteers to carry out, with MUSICAL WORLD must henceforth be forwarded to the Editor,

Editor, his own hand, the sentence pronounced against Clifford; but care of Messrs. DUNCAN DAVISON & Co., 244, Regent Street. I just as he is about to fire, he encounters a Nemesis in DrakeA List of every Piece sent for Review will appear on the Saturday I his lieutenant, and (on account of some old grudge) sworn following in The MUSICAL WORLD.

foe-who, at the critical moment, appears at a window, and To CONCERT GIVERS.—No Benefit-Concert, or Musical Perform- | levels Seymour with a pistol shot. Ralph having secretly

ance, except of general interest, unless previously Advertised, can apprised King Charles of the machinations of his enemies, be reported in THE MUSICAL WORLD.

the monarch arrives at the nick of time with an escort of

sailors; and poetical justice is done alike to "saints and BIRTH.

sinners."

We have dwelt thus at length on the plot of The Puritan's On the 10th inst., at 2 Upper George Street, Bryanston Square, the wife of ADOLPHE SCHLOESSER, Esq., of a Daughter.

| 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 Interna. tional Exhibition, who may be tempted by this and other

“revivals" to include the Royal English Opera among the LONDON: SATURDAY, OCTOBER 11, 1862. London “lions" not to be passed over.

S

... The Musical World.

MR. BALFE'S last opera has indisputably gained the ear II of the town, and a closer acquaintance only tends to I ACCORDING to the Parisian papers the literary conven. strengthen the opinion elicited from the beginning. An A tion concluded between France and the Kingdom of impression prevails, indeed, that The Puritan's Daughter is Italy is the most comprehensive one of the kind that has yet inferior to no work from its industrious and versatile com- been made. Henceforth the authors of books, pamphlets, or poser's pen, without excepting the universally popular other writings, of musical compositions, drawings, paintings, Bohemian Girl, or even The Bondman, which, although sculpture, engravings, lithographs, and of all other analogous strangely overlooked of recent years, stands perhaps highest productions in literature or the arts, will reciprocally enjoy in the opinion of musical judges-rivalling the first in attrac. in each of the two States the advantages attributed to them tive melody and the last in dramatic expression. That, on by the laws on the proprietorship of literary and artistic the whole, the music of The Puritan's Daughter is the works, and will have the same protection and legal remedy freshest Mr. Balfe has produced for a long time, must be against any infringement of their rights as if the works were admitted ; and that, while the ideas are almost everywhere published for the first time in the country itself. spontaneous, the concerted pieces are spirited and effective, "The copyright in musical works," writes the Constituthe orchestral accompaniments full of variety, and the general tionnel, "extends to the compositions known as arrangements, treatment marked by a consistency belonging to well-con-based upon airs extracted from the same works. The disputes sidered productions alone, is no less evident. Much is doubt- which may arise upon the application of this clause will be less due to Mr. J. V. Bridgman's libretto, which, besides reserved for the appreciation of the respective tribunals." being ingeniously laid out and interesting from a dramatic This is just the very clause likely to engender difficulties. point of view, deals with real characters, and is written from The words of the Constitutionnel are obscure enough; for it end to end in honest unobtrusive English. The plot, too, is so is difficult to know whether, in the instance of “arrangesimple that there is no misunderstanding it, every incidentments," the " arrangers" themselves, or the composers from of its scenic progress being set forth with exemplary clear-whom they have borrowed themes for their handywork, are ness. The “merry monarch,” and his boon companion, to be protected. Any one can concoct a so-called “fantasia" Rochester, have seldom been exhibited under a more agreeable imagine a fantasia without a gleam of fancy!) with more or stage-pourtrayal, seldom involved in a mimic adventure from less effect-witness the numbers that daily issue from the which they are extricated by more legitimate means. The portfolios of fashionable music-teachers; but good melodies Puritan Wolf, and his daughter, too, are remarkably well I are just as rare as the others are plentiful. The Constitutionnel merely says, “Copyright in musical works extends to a thing, nothing is impossible.” “Actors might certainly be the compositions known as arrangements, based upon airs improvised; but singers ! singers require a musical educaextracted from the same works"~from which it is impossible tion, a good memory, and a correct ear.” “All that is to be to guess whether the airs from new operas are open to any | attained somehow or other; in one word, I must have a and all "arrangers" who may feel disposed to lay hold of theatre-I will have a theatre.” “But, General, how can them, with or without the consent of composers or publishers, we act comedy without women ? We are, unfortunately, and hew and hack them for their purposes, as music-hucksters. totally deficient in representatives of the fairer portion of This would be ridiculously unjust: but, as nothing of the the human race, and, consequently, no actresses." After & sort is likely to have suggested itself to the French and moment's reflection, Bonaparte replied, in a comically rough Italian legislatures, we may safely dismiss the question, tone, “Confound it, select some of the 'middies' of the which, but for the oracular obscurity of the French paper, expedition, who are feminine in appearance, that is, good. would never have been raised. There is, however, in the looking, and possess some little talent; put them in petti same sentence, in addition to the negative obscurity of the coats, and you have got your actresses. The rest may be whole, the positive obscurity of a part. "Copyright in managed. Once more, it is my will, and I reckon on your musical works extends to the compositions known as energy to carry it out.” Rigel was obliged, nolens volens, arrangements, based upon airs extracted from the same to obey the General's command, so categorically expressed, works." Are we to understand that arrangements, not for the establishment, in this cheap manner, of a dramatic “based upon airs extracted from the same works," are devoid and operatic theatre. He did his best to improvise a of copyright? If no, what are we to understand ? If yes, histronic and lyrical company. While engaged in his task what is intended to be conveyed ? Are new “arranges of organising, the impresario in angusti became convinced ments" of old themes to be unprotected ? .

of the correctness of Marshall Saxe's apothegm, “It is We should really like to be informed on these points. easier to command an army of a hundred thousand men, There has been quite enough of mystery about copyright and than a company of actors, particularly if they are amateurs." non-copyright in the music trade; and should a similarly In his character' as manager, composer, and professor of comprehensive and precise convention ever be made by elocution, Rigel issued an address to the whole army. France, or Italy, or both, with England, it would be as well Among those who offered their services was Darboville, to be clear on the matter, if only for the sake of not paying who possessed a good and pleasing baritone voice, and had more for the legal adjudication of a disputed copyright received some musical education. He had previously played than the copyright itself is worth.

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, DARBOVILLE, the singer (who died at Marseilles in entitled The two Mills, was soon composed and studied. It

D 1842 *), forms the subject of the present notice. He contained, among other things, a charming melody, “ Petits gained a reputation at the Théâtre Faydeau, as successor of Oiseaux, le Printemps vient de naître," which was much the celebrated Martin, but was subsequently compelled by a liked. This romance found its way across the ocean, and malady of the trachea, to leave the stage. Had the larynx- spread all over Europe. Junot played Philoctetes, and speculum and the theory of physiological singing been as Murat, Achilles, in Iphigenie, while Colbert, the commis. much in vogue then as now, the great vocalist might have sary-general, impersonated Acomat in Bajazet. He was to been cured by the great theoreticians. Darboville entered have undertaken the part of one of the two millers, but an the French navy in the time of the Directory, and sailed for order arrived to proceed against St. Jean d'Acre. At a Egypt under General Buonaparte, who, when he became subsequent period, the comic opera proved most successful, First Consul, was ashamed of his Italian origin, and thence and Darboville met with so brilliant a reception that he forth wrote his name Bonaparte, without a “u." Darboville's determined to leave the navy and devote himself exclusively vocation for dramatic singing was brought to light in the to the stage. The little dramatic corps under the command following manner :-As we all know, Bonaparte took with of General Rigel shared the fortunes of the Army of the him to Egypt a number of “savants," literary men and East. They played and sang at Alexandria, Damietta, and artists. Among the latter was Rigel, the pianist (born in the Pyramids. 1741, at Wertheim, in Franconia). One morning, at Cairo, On his return to France, Darboville turned his whole Rigel received an order to go directly to the Commander- attention to the theatre, and obtained a great reputation as in-chief. On his arrival at head-quarters, he was forthwith an actor and a singer. As we before remarked, he was introduced, when, in his usual abrupt tone, Bonaparte selected to be Martin's successor. Martin had been'at first thus addressed him :-“ Citizen Rigel, my soldiers are in the orchestra, which he quitted by the advice of his desponding, and my officers no less so. To while away friends. Berton, the popular composer and conductor,the time, they play at hazard, or shoot themselves, they who was born at Paris in 1766, and died there in 1844must be amused, and their thoughts diverted into a more was the first to call his attention to the treasure he possessed intellectual channel, Organise a theatre for comedy, "With such a voice as yours," he observed, “ how can you tragedy, but more especially opera; something that shall waste your time in playing the fiddle ? Learn singing!" remind them of Europe and Paris.” “General," replied “I have no master.”—“Go to your uncle, Candeille" Rigel, “I don't see how it is possible to carry your com- | (operatic composer and member of the Academy of Music mands into effect.” “Why not?” “We want artists,” in Paris, where he was born in 1740, and died in 1806)* “Take the most gifted members of my staff, of the adminis. “ he will teach you.” Martin went to his uncle and pretration, of the commissioners of Fine Arts. I am convinced | ferred his request. “Ah! you want to learn singing, do you can do something. I am acquainted with your talent, you ?” replied his uncle. “I will tell you how to do so: your zeal, your patience. If a man will only resolve to do go into a wooden shed, and bawl as loud as you can; you

Neue Berliner Musik-Zeitung.

† Ibid.

• Neue Berliner Musik-Zeitang..

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will soon learn." -Fortunately, in the Italian company of

ORCHESTRAL BALANCE OF POWER. the Théâtre de Monsieur, Martin found models and masters, | SIR,—In none of the works studied by me, have I met with any whose lessons were of more use to him than his Uncle's fundamental reason, for the scientific quantities of instruments neces

sary to form a perfect orchestra. method.

I am informed by various accepted authorities, viz., Berlioz, Fétis, When Darboville, in consequence of his throat complaint, Momigny, &c., &c., that it is essential to have " string, wood, and brass was compelled to relinquish his brilliant career, he returned instruments," in certain numbers each, to form a model orchestra, and to Marseilles, where he still continued popular in vaude. to perplex the reader, each propounder varies in his given proportions !

unfortunately they all forget-or decline--to assign any reason or reavilles—where to sing is not absolutely a sine qua non.

sons why such proportions are given, and so leave entirely unknown any settled rule, by which the relative proportion of sound, of the several parts of an orchestra, can be known or balanced. To enlighten

my darkness on this subject, will you, or any of your scientific readers, MAD. ALBONI.--The statement which appeared in several French

please to tell me what the proportionate weight of tone is given from journals (and was copied into the London Athenæum) about Mad.

a G bass trombone, as compared with the weight of tone given from a Alboni's projected retirement after one more season's professional

D concert flute, both instruments being played fortissimo ? exertions, is--we hear on the best authority without foundation. After this ;-How many D concert flutes would be required, to evenly Tanto meglio. The operatic stage can ill afford to lose so accom

balance the power, or weight, of tone given out by the said G bass plished and legitimate a singer-in the very prime, too, of her voice trombone ? again,-How many violins would be required, to exactly and powers.

counterpoise the weight of tone, thrown out by the given number of D HERR JOACHIM, we are informed, will pass the winter in London. concert flutes, and Ğ bass trombone combined ? and finally, -How Desto besser. We shall hear the “last quartets" of Beethoven at

would a solitary oboe be affected, in proportion, presuming all to be the Monday Popular Concerts.

tutti fortissimo ? ROYAL ACADEMY OF Music.-At a meeting of the directors of

My gratitude will be unbounded, by learning the authority consulted,

to clearly enable a positive answer to be given to the questions here the Royal Academy of Music on the 17th of September (Sir George

propounded, so that I may enrich my library (if published), with the Clerk, bart., chairman) Miss Leila Aylward, of Salisbury-late

work, and commence forthwith to study the (to me) new science of student was created an associate of that institution.

| “ponderosity of sound," as applicable to " ensemble" playing. ApoloST. JAMES'S HALL. The concert of Welsh National Music, with

rith

viding for th

gising for the length of my note, I am Sir, yours truly, Band of Twenty Harps, aud Chorus of 400 Voices, will take place at

MARTINUS SCRIBLERUS, St. James's Hall, on Thursday evening next. The performers on the Hull, Oct. 7th., 1862. Harp will include the names of the most celebrated artists in London, The Chorus will consist of the Members of the Vocal Association and the Royal Academy of Music, under the direction of Mr. Jno. Thomas

- GLUCK UND DIE OPER. (Pencerdd Gwalia.) Altogether a great musical treat may be expected

Sir,- Referring to Mr. Towers' communication on the above subject published in No. 38. of your journal-permit me to state that I have in my possession seven songs of Klopstock's, the music by Gluck. These

songs were given some 30 years ago as supplements to articles on Gluck LETTERS TO THE EDITOR.

50 20.5.n aurar edited by Ludwis Rallstah and nublished

in the Musical Paper “ Iris," edited by Ludwig Rellstab and LORTZING'S DIE ROLANDSKNAPPEN.

by Frautwein of Berlin. This I think will be sufficient proof that

Fétis' statement was much nearer to the mark than that of Saliere, if I SIR, -As a rule the critical remarks of your Berlin correspondent

am right in presuming that the terms “Odes" and Songs, are synonyare impartial and just. In the case of Lortzing's opera mentioned

mous. I think it quite possible that Fétis might have been correct in above, the contrary is the case. A minuter knowledge of facts would

stating eight songs, as I am not at all certain but that I may have lost much have modifed the opinions to which he gave expression in your

one during the lapse of years—though this is a point, I imagine, that can last number. It is generally conceded throughout Germany that

easily be cleared up through Hoffmeister's Handbuch der musikalischen Lortzing's operas, if they live at all, will live solely by the virtue of the Litteratur haracter of his melody, and as your correspondent observes

I remain, Mr. Editor, yours obediently, " by an adroit employment of stage effects." The fact, however, of a

DR. FERDINAND RAULES, revival, after a long lapse of years, of a work very little known is a

13 Albert Street, Camden Road, October 7, 1862. proof that this particular opera at least contains “ mettle more attractive." To the opinion of your correspondent that “ It does not contain a single number which will live” time alone can give answer. That Lortzing wrote it solely from a desire pecuniarily to profit by it, I cannot SWANSEA.-M. Thalberg's Concert, given on Monday night, was a great quite believe. Goodness knows, the poor man was sorely straightened in treat to all lovers of music. It would be useless for us to pretend to criticise his circumstances, not only when he wrote that opera, but all his life.

the performance of so great and well known a musician. There is perhaps no The same sweeping remark is therefore equally applicable to all he

man living who can so illustrate the power of an instrument, and we need not wrote, and yet it would be assuming a great deal to say the opera Czar

say that the execution is marvellous. Player and instrument seemed to have und Zimmerman was dictated solely by a mercenary spirit. It holds its

some subtle relation existing between them, and to become part of each other, own to this day, and there are few musical families in Germany, where However complicated the accompaniment, or strange the variations, the air was the really clever songs and concerted pieces from this opera are not sung plainly manifest throughout, like a jewel shining clearly from a richly chased with increasing delight. It is to me a wonder that none of our enter

and massive setting. M. Thalberg's mastery of the instrument is to the uninitiprising publishing firms have as yet turned their attention to the sub

ated something incredible. Massive chords subviding in a moment into softest ject. Poverty was poor Lortzing's bête noire, and against it he struggled

harmonies, and again a mere ripple of sweet sounds swelling into a grand volume bravely to the last. Still, I believe, in fact the testimony of his letters of majestic tones. We shall not attempt to criticise in detail, and only add that is sufficient to prove, that his whole soul was filled with all that is noble

the room was tolerably full, and that Mr. Brader's changes in the way of and elevating in art, and that his highest ambition was to add one

accomodation were a great improvement. One thing more, by the way, we stone to the noble superstructure of thoroughly German operatic art.

must mention, and that is, that on such occasions those who go for some other One word as to dates. The opera was composed in 1849 not '47,

object than to hear the music, would do well to abstain from idle talking, and was first performed at Leipzig, on the 25th of May, in the former

which distracts the attention of real lovers of the art. year. It was never performed at Vienna, Brighton.

Joun TOWERS.

LEIPZIG.–The Bach Society have issued the 11th annual instalment of their splendid edition of the works of John Sebastian Bach. It

consists of two volumes. The first contains a Magnificat in D major, THE BRUSSELS CONSERVATOIRE.

with inserted pieces; a Sanctus in C major; a second Sanctus in D

minor; a third in D major, and a fourth in G major. The second SIR, I should feel obliged by you informing me if there is an volume contains vocal Chamber Music, including The contest between Academy of Music in Bruxelles, and what the terms are, also what Phæbus and Pan (Dramma per Musica); three Cantatas for a single language they speak there, German or French. I am, yours respect voice, and an occasional piece Æolus pacified. fully,

A SUBSCRIBER, Liverpool. SALZBURG.-A complete catalogue of all the manuscripts of Mozart, Four columns are open to any communication on the subject of and of the relics of him deposited in the Mozart-eum, has been pube 65 Å Subscriber's" query.--ED.]

| lished by Carl Moyse.

ENGLISH OPERA COMPANIES.

association to manage the affairs of a railway, because the directors have no

ambition to become stokers, porters, clerks, or even engineers. The general (From the Literary Budget.)

business of the company is managed, and the important appointments made, 1 N va fagot et fagot,” according to the illustrious Sganarelle, and there by the directors in common, who have seldom any technical knowledge or are English Opera Companies and English Opera Companies between which predilections, but who, as men of the world, know what the capabilities are of there is scarcely any resemblance beyond the name. There were two English a Stephenson, a Locké, or a Brunel. In the same way, we think, if the Opera Companies thirty years ago, one of which performed at Covent Garden, hazardous experiment of establishing an Opera on the joint-stock principle is the other at Drury Lane, and both of which massacred Meyerbeers Robert le 1 to be made at all, that the directors of the company ought, above all, to be men Diable in the most barbarous manner. In one of these English versions of of the world, with about as much and as little knowledge of music as educated Meyerbeer's masterpiece, the part of Raimbaut, afterwards undertaken by

undertaken bi | men of the world usually possess. We know more then one musician who is Signor Mario, was assigned to Mr. Keeley. Whether Raimbaut's music was sincerely of opinion that he is a man of genius, when he scarcely possesses eten sacrificed to Mr. Keeley in his capacity of humorist, or by Mr. Keeley in his talent, and who believes that one of his unpublished operas would be sure to capacity of vocalist, we have never heard, but the fact of such a part being make the fortune of any theatre; whereas, in all probability, no theatre could given to him at all is enough to show us how operas were got up on the afford to perform it six nights iu succession. A man of common sense, and of English stage in the year 1832. We have advanced considerably in operatic ordinary worldly experience, would know how to estimate such a composer. matters since then, and we are indebted for this progress, first to Mr. Bunn, not that he would be able to form any opinion in a direct manner of his works, whose silly librettos (not sillier, however, than those which are written in the but he would be able to consult experienced musicians, having no interest, one present day), may be pardoned him in consideration of the number of original way or the other, in their production, and from their verdict, and from other operas by Balfe, Wallace, Macfarren, Benedict, and others, which he produced facts, such as the success or non-success of previous compositions from the during his management of Drury Lane; and secondly to Miss Louisa Pyne

same pen,-would be able to form his opinion on very solid grounds. Of and Mr. Harrison, who, during the last seven years, have continued Mr. Bunn's course no system of management can be devised under which a composer of system—in many respects, have improved upon it. Mr. Bunn had an ex

great original genius may not fail to get a hearing, and a composer of no merit cellent musical conductor in Mr. Benedict, but we believe his orchestra was

tt all succeed in making himself heard; but as a general rule, we are convinced inferior to the one over which Mr. Alfred Mellon rules. This much is quite

ahat operatic managers-above all, when there are many of them-onght to certain—that Miss Louisa Pyne did not belong to Mr. Bunn's company, and

be neither composers nor singers.' The great danger of Mr. Boucicault at Miss Louisa Pyne is the great strength of the English Opera Company now

Drury Lane is, that he will always prefer his own pieces to those of other established at Covent Garden.

authors, while we know from experience that his own pieces are not by any But we were speaking of companies. Besides the English Opera Company means invariably successful. The weak point in the management of the Royal now in full work, there is an English Opera Association which exists only in

English Opera lies in one of the managers being a popular tenor, and in his eonadvertisements, but which, we are told, is to break out into actual theatrical

sequent inability (as tenors are constituted) to prevail upon another popular tenor life before the end of the autumn. The promoters of this enterprise seem to

(who knows also how tenors are constituted) to accept an engagement at his labour under the delusion that at present we have no English Opera at all.

theatre. Two first tenors, one the employer and the other the employed, could They speak of establishing one, as if there were some novelty in the idea, and

not possibly exist side by side. If the employed proved sufficiently attractive to as if, during the last seven years, they had never heard of the doings of Miss

deserve the very high salary which he would require, the employer's feelings Louisa Pyne, Mr. Harrison, and Mr. Alfred Mellon, and of the numerous

would be hurt. If, on the other hand, he obtained no very remarkable success, original works which have been produced with such remarkable success under

the employer would feel hurt through his pockets. To be plain, as long as their auspices. However, the English Opera Company, whatever its acquaint

Mr. Harrison is one of the directors of the Royal English Opera, we may be ance with passing events may be, is said to have already taken Her Majesty's

sure that Mr. Sims Reeves will never sing there, and if Mr. Sims Reeves were Theatre, and to have made some arrangement by which Mademoiselle Titiens'

to become one of the directors of the English Opera Association (to pat a services are to be secured for the winter months. If it has really engaged purely hypothetical case), it is equally certain that Mr. Sims Reeves would Mademoiselle Titiens, whose merits Mr. Mapleson in no way exaggerates when

wish to reign supreme on his own boards, even though a greater tenor than he calls her, in his advertisments, the greatest dramatic singer living; if it

Sims Reeves should arise in the land. engages Mr. Sims Reeves, incomparably our best tenor, and one of the few good

Of course, if the composers, singers, and musical conductors who have taken tenors still left in Europe ; if it engages Madame Lemmens Sherrington, one

shares in the English Opera Association are not as other men, we have nothing of the most brilliant “light sopranos” of the day, then we really cannot see

to say except that their enterprise will probably be attended with success, for how, with common prudence and discretion in the management, success is to there is certainly a sufficiently large musical public in London to support two be avoided. According to the present beautifully unsettled state of the musical theatres for a few months in the winter. But if the musical shareEnglish law, anybody may play any foreign, and a great deal of English music

holders wish to become directors, as some of them already are, we know what anywhere without having anything to pay for it. When an English manager offers

the directors who are composers will aim at, and we can also guess the views M. Meyerbeer or M. Auber a certain sum for the right of performing Dinorah

of directors who are singers and musical conductors. The result will be that or Fra Diavolo, he merely offers an honorarium; strictly speaking, there is no conductors, principal singers, and composers will all be managers, that there "right " to sell, and therefore none to buy. It is true that Mr. Gye, in

will be no management, and that the whole affair will be unmanageable. bringing out the two operas just mentioned, arranged with the composers to

MADEMOISELLE Party is still on her provincial tour. Since performsupply him with some additional music, but even this additional music,

ing at Manchester she has given concerts at Plymouth, Brighton, expressly ordered by Mr. Gye, and by him paid for, is at the mercy of any

Ryde, &c., &c. manager of a theatre, tavern, ormusic-hall, who may choose to have it

M. THALBERG is also in the provinces, and we believe intends that executed or murdered on his premises. Piratical directors may seize foreign

his pianoforte shall be heard in every part of the United Kingdom. music wherever and under whatever circumstances they find it; though in the case of English operas the music is protected by the drama. Le pavillon

Few itinerant musicians have been more successful in Great Britain

than M. Thalberg.-Litirary Budget. couvre la marchandise — the fag that protects the operatic merchandise

MOLLE. TITIENS.--"Many-tongued" rumour is exactly three-tongued being the libretto, which, worthless as it may appear, is really so much

just now on the subject of Mademoiselle Titiens and her coming enproperty. The music of Lurline, for instance, may be played anywhere, but not in connexion with the piece. The piece is something solid and palpable;

gagements. One report says that the German prima donna is to be the

chief ornament of the eminently English company which the Opera and music is essentially unsubstantial, and what becomes of it is thought

Association promises to bring together. A second speaks of her perequally immaterial. De minimis non curat lex, which, musically interpreted,

forming, during the next few months, at Her Majesty's Theatre in means that the law cares nothing for crotchets and minims.

Italian opera. A third has already taken a place for her on a steamer Although, then, there are a certain number of English operas which the

about to leave Liverpool for New York. Basing our calculations on managers of the Royal English Opera are alone entitled to perform, all managers

these three reports, it is consoling to think that the odds are just two to have the right of poaching over the whole of the rich domain of foreign opera ;

one against Mademoiselle Titiens leaving England. and there are, moreover, many English operas which are the property of music

MR. APTOMMAS—who, it may be remembered, gave a series of " Harp publishers, who will gladly allow them to be performed for nothing at any

any Recitals" in London, during the past season, with great success, has theatre, knowing that each new performance of an opera is a fresh advertise

been making a “tour" of the provinces. Among the places he has ment, on a large scale, for the music which it contains. Accordingly, the

visited are, Canterbury, Tunbridge Wells, St. Leonards, Ramsgate, directors of the new Opera Association will have no trouble in forming a

Deal, Dover, and Folkstone-at each of which his performances were repertory of English works, and of foreign works translated into English. Moreover, some half-dozen English composers are known to have operas

received with great favour, and attended by “the elite" of the inhabitants. finished, and ready for production ; and it will be very easy for any manager

RITORNELLE.-(échantillon.) of a well-conducted opera-house to secure the privilege of bringing out three or

Oh, happy he, when storms are roaring, four of the number,

Yet not so dark but one may see The weak point of the new enterprise is to be found, not in what the com

Such pleasant neighbours, fast approaching, pany proposes to do, but in the manner in which it proposes to do it. That is

By their features, brigands three. to say, the weak point is the company itself. It is a very easy thing for an

From Filzball's Croron Diamonds.

ROYAL ENGLISH OPERA.

EMANUEL D'AstonGUA.-Some new items about the celebrated com. There is no lack of activity in the English management of Covent

| poser Emanuel d'Astorgua, who died in Bohemia, have been recently Garden Theatre. The revival of Fra Diavolo, was followed on

discovered. It appears, that d'Astorgua was a descendant of the highly

reputed families of Count and Prince Capece Marchese of Rofrano. The Saturday week, by the revival of Mr. Balfe's new opera the Puri

Rofranos were partisans of the Austrian regime and related to several of tan's Daughter, one of the great successes of last season. The cast

the best families of Bohemian nobility; in Vienna even to-day a Rofrano comprised, as before, Miss Louisa Pyne, who has recovered from her street can be found. The date on which the distinguished composer indisposition, Mr. W. Harrison, and Mr. Santley; and was further Cernohorsky, teacher of Tartini, died, has also been ascertained. from strengthened by the accession of Mr. Weiss, who for the first time some documents found in the cloister Asissi. His death took place in sustained the character of Wolf. The performance, which took | Gratz July 1st. 1742, on his way from Rome to Bohemia i place in presence of a numerous audience, was most satisfactory. BOIELDIEU AND GRETRY.-"The Jean de Paris of Boieldieu," writes The opera has been given three times this week.

the Athenæum "an opera which, though old in date, has a youth of all time-an opera full of melody, full of contrivance, full of humor, full of

opportunity for every singer engaged in it to display the best of his ORGAN AT ALL SAINTS.-Out of an immense number of Candi- powers,—is to be reproduced in Paris, at the Opéra Comique. There, dates Mr. G. B. Allen has been selected for the appointment of

too, Grétry's charming Zemire et Azor will shortly be revived. The organist and choir master at All Saints, Notting Hill; lately

opera has been put out of sight, to a certain degree, by Spohr's more vacated by Dr. Gauntlett.

ambitious setting of the good old fairy legend; but the Belgian New ORGAN FOR ARMLEY CHURCH.-On Friday evening week, a special

composer has the best of it in regard to grace and melody. The score, service was held at Armley Church, near Leeds, when a new organ, built by

however, will require to be retouched, as was that of Richard Cour de Messrs. Radcliffe and Sayar of this town, was duly opened by Mr. W. J.

Lion on its revival by Adolphe Adam, -Grétry having been not 60 Prichard. The organ is not large, but it is in every way adapted for the church

much inexperienced as professedly careless in the orchestral portion of for which it was built. There is considerable power in the great organ, combined

his works." [We entirely dissent from the view adopted by our with judicious variety and excellence of tone; whilst the Swell stops are singularly

contemporary with regard to the relative merit of Grétry and Spohr in sweet, and admirably suited for combination with the great organ, although

their operas of Zémire et Azor. Ed.] we should have preferred fuller reeds than the builders have made. We append

The Indépendance Belge declares that M. Réty, the manager of the the specification :-Great Organ-CC to F. Large Open Diapason, 8 feet;

Théatre Lyrique, of Paris, has found an attraction of real value and Small Open Diapason, 8 feet ; Stopped Diapason (Chimneyed), 8 feet; Dul

promise in a new grand opera, Roland à Roncevaux, by (M. Mermet. ciana, 8 feet; Octave, 4 feet ; Suabe Flute, 4 feet ; Twelfth, 3 feet; Fifteenth,

À work of less pretension, by the same composer, Saul, was given some 2 feet; Mixture, 3 ranks ; Trumpet, 8 feet. Swell Organ—Tenor C to F,

1 years ago, at the Grand Opéra, during the reign there of Madame Lieblich Bordun, 16 feet; Stopped Diapason (metal), 8 feet ; Open Diapason,

Stoltz. M. le Comte WALEWSKI, under whose superintendence theatrical 8 feet; Octave, 4 feet; Horn, 8 feet; Oboe, 8 feet. Pedal Organ-CCC to F.

affairs in France fall, has been coming to the aid of provincial managers, Open Diapason (wood), 16 feet ; Bordun, 16 feet tone. Couplers-Swell to

whom the system of late followed in the approval and rejection of new Great ; Great to Pedal'; 3 Composition Pedals for Great Organ. A public per

musical performers has placed in great difficulties. The subscribers formance was given on the instrument by Mr. Prichard in the factory of the

to theatres, it is pleaded, have abused their privilege of contest and

dismissal of probationers allowed three trials, to such an excess, that it builders, a few days previous to its permanent erection at Armley, on which

has become next to imposslble to form a working company, and this in occasion a very favorable impression was created amongst the professional and

days when dramatic singers of merit are becoming rarer and rarer, and amateur musicians present. Last evening, in addition to the interest attached

the demands on their skill more and more exigent. The opera warfare to the opening itself, a new anthem, composed by Mr. Prichard for the occasion,

of partisanship, which of late has become riotous to brutality, is no drew a large number of musical persons together. The composer is well known as a talented musician-his extemporaneous playing on the organ being of a

longer to be permitted. The postulants are to be allowed a month's

trial, and then the approval or disapproval of the play-going public is very high order. This anthem, however, is the first piece of any importance that Mr. Prichard has written, and it fully bears out the opinion formed of his

to be tested by polling votes. Athenæum. inventive powers. The words are selected from the Book of Job and the Psalms,

A SISTER OF ADELINA PATTI.-The operatic stage is about to receive and the anthem, which occupies about twenty minutes in performance, is a work

a valuable acquisition in the person of Miss Carlotta Patti. A lameness exhibiting not only very great talent, but a true appreciation of the words to

resulting from an accident in early life has hitherto confined her to which the music is written. The choir, strengthened by a few voices from the

the limited professional sphere of the concert room, but a triumph of parish church, sang exceedingly well; indeed, the entire service was admirably

mechanical skill, achieved by Dr. Ceccarini, a surgeon in high esteem performed. An appropriate sermon was delivered by the Rev. J.B. Grant, B.A.,

among the foreign population of New York, has surmounted the diffiof Okenhope, and a collection was made. After the service, Mr. Prichard

culty. By the aid of this apparatus, Miss Patti, who was hitherto played a selection of pieces, displaying both the excellent qualities of the

| impeded painfully, can move with the same apparent ease and precision organ and his own talent as a player. Leeds Express.

as if she had never been lamed. For the last month she has been

studying hard under Sig. Scola, and will make her debut early in the Boston, (MASSACHUSETTS).-The Mendelssohn Quintet Club have re

| fall. We hope that on this occasion she will not recall the incorrect turned to Boston, after an absence of six weeks, during which time they

and unartistic singing she occasionally displayed in her performances at performed at several “College Commencements" in Vermont and New

the late concerts in Cremorne Garden. She ought not yet to dispense

the Hampshire. The last three weeks of their vacation (not an idle one)

with studies because she found high favour with the judges, assembled were spent among the White Mountains, where they not only enjoyed

in these concerts.--New York Musical Review. themselves, but charmed the audiences assembled in the large hotels. The leader of the Orpheus"-as much a lover of nature as of music,

ROME.-M. Liszt is said to have finished his Oratorio on the legend

| of Saint Elizabeth (text by Otto Roquette), and that he will soon send like every true German-tells us he met them coming over the summit

the score to Germany. of Mt. Washington. Beautiful North Conway of course kept them for

BRADFORD.--At the instigation of several Bradford gentleman, who a while. They tell of many compliments (some curious ones) from

take an interest in the progress of the drama, and who feel the necessity strangers; among others one from a young gentleman, who gravely in

which exists for a building in that town in which the works of celebrated formed the Club that it was the first time he had heard any Boston

dramatists and authors can be efficiently represented, and the audiences music, and he thought it requal to that of Philadelphia" _They uni. formly closed their concerts with the “Star Spangled Banner.”

enjoy such representations comfortably and conveniently, it has been And

determined to get up a company, under the law of limited liability, for now, we suppose, they will soon be busily rehearsing some more fine

the erection of a theatre on some suitable site. The nominal capital quartets, &c., of Beethoven and other masters for the coming winter soirées. Truly we need to hear good music again; the silence has been

to be 6,0001., in 600 shares of 101. each. It is the opinion of persons

conversant with such undertakings that a good, compact, and comfortlong.-Dwight's Journal of Music,

able building may be erected at a cost of about 4,0001. or 5,0001. The MAYENCE.-The Sängerbund of the Middle Rhine is now definitively present permanent theatre in Bradford is a wooden structure constituted. It consists of the following Vereine, or Associations, with

Mario.—The director of the great Opera has engaged the singer about 500 members. The Mayence Liedertafel, the Männergesang. | Mario at a salary of 16,000 franí a month, which sum amounts to verein, the Frauenlab Verein, the Liederkranz Verein, all of Mayence;

192,000 francs per annum ; but, al jough the Paris opera is open the the Gesangverein, of Castel; the Harmonie of Alzey; the Sängerbund whole year, it is understood of course that Mario will only receive 16,000 of Worms; and the Harmonie of Oppenheim. At the head of the francs for every month during which he will have to sing. Mario, who Association, is the Mayence Liedertafel.

is from Nice, and a compatriot of Garibaldi, had begun his musical A New “Magic FLUTE"-A book has been published in Germany, career by singing in French in Paris before he sang in Italian. Just containing “observations on' the importance of dramatic music in re- the reverse case is that of Madame Damoreau, who had sung in Italian ference to the history of the developement of the human mind.” And before becoming the prima donna of the great French Opera, and of the all this under the title of The Magic Flute!

| Opéra Comique.-Literary Budget.

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