Oldalképek
PDF
ePub

will soon learn."-Fortunately, in the Italian company of the Théâtre de Monsieur, Martin found models and masters, whose lessons were of more use to him than his Uncle's method.

When Darboville, in consequence of his throat complaint, was compelled to relinquish his brilliant career, he returned to Marseilles, where he still continued popular in vaudevilles-where to sing is not absolutely a sine qua non.

MAD. ALBONI.-The statement which appeared in several French journals (and was copied into the London Athenæum) about Mad. Alboni's projected retirement after one more season's professional exertions, is we hear on the best authority-without foundation. Tanto meglio. The operatic stage can ill afford to lose so accomplished and legitimate a singer-in the very prime, too, of her voice and powers.

HERR JOACHIM, we are informed, will pass the winter in London. Desto besser. We shall hear the "last quartets" of Beethoven at the Monday Popular Concerts.

ROYAL ACADEMY OF MUSIC.-At a meeting of the directors of the Royal Academy of Music on the 17th of September (Sir George Clerk, bart., chairman) Miss Leila Aylward, of Salisbury-late student was created an associate of that institution.

ST. JAMES'S HALL.-The concert of Welsh National Music, with

Band of Twenty Harps, aud Chorus of 400 Voices, will take place at St. James's Hall, on Thursday evening next. The performers on the 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 (Pencerdd Gwalia.) Altogether a great musical treat may be expected

D

LETTERS TO THE EDITOR.

LORTZING'S DIE ROLANDSKNAPPEN.

That

SIR,-As a rule the critical remarks of your Berlin correspondent are impartial and just. In the case of Lortzing's opera mentioned above, the contrary is the case. A minuter knowledge of facts would much have modifed the opinions to which he gave expression in your last number. It is generally conceded throughout Germany that Lortzing's operas, if they live at all, will live solely by the virtue of the national character of his melody, and as your correspondent observes "by an adroit employment of stage effects." The fact, however, of a revival, after a long lapse of years, of a work very little known is a 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. Lortzing wrote it solely from a desire pecuniarily to profit by it, I cannot quite believe. Goodness knows, the poor man was sorely straightened in his circumstances, not only when he wrote that opera, but all his life. The same sweeping remark is therefore equally applicable to all he wrote, and yet it would be assuming a great deal to say the opera Czar und Zimmerman was dictated solely by a mercenary spirit. It holds its own to this day, and there are few musical families in Germany, where the really clever songs and concerted pieces from this opera are not sung with increasing delight. It is to me a wonder that none of our enterprising publishing firms have as yet turned their attention to the subject. Poverty was poor Lortzing's bête noire, and against it he struggled bravely to the last. Still, I believe, in fact the testimony of his letters is sufficient to prove, that his whole soul was filled with all that is noble and elevating in art, and that his highest ambition was to add one stone to the noble superstructure of thoroughly German operatic art. One word as to dates. The opera was composed in 1849 not '47, and was first performed at Leipzig, on the 25th of May, in the former year. It was never performed at Vienna, Brighton.

JOIN TOWERS.

THE BRUSSELS CONSERVATOIRE. SIR,-I should feel obliged by you informing me if there is an Academy of Music in Bruxelles; and what the terms are, also what language they speak there, German or French. I am, yours respectfully, A SUBSCRIBER, Liverpool.

[Our columns are open to any communication on the subject of "A Subscriber's" query.-ED.]

ORCHESTRAL BALANCE OF POWER. SIR,-In none of the works studied by me, have I met with any fundamental reason, for the scientific quantities of instruments necessary to form a perfect orchestra.

I am informed by various accepted authorities, viz., Berlioz, Fétis, Momigny, &c., &c., that it is essential to have "string, wood, and brass instruments," in certain numbers each, to form a model orchestra, and to perplex the reader, each propounder varies in his given proportions! unfortunately they all forget-or decline-to assign any reason or reasons 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, please to tell me, what the proportionate weight of tone is given from a G bass trombone, as compared with the weight of tone given from a D concert flute, both instruments being played fortissimo?

[ocr errors]

After this;-How many D concert flutes would be required, to evenly balance the power, or weight, of tone given out by the said G bass trombone? again,-How many violins would be required, to exactly counterpoise the weight of tone, thrown out by the given number of D concert flutes, and G bass trombone combined? and finally, -How would a solitary oboe be affected, in proportion, presuming all to be tutti fortissimo?

My gratitude will be unbounded, by learning the authority consulted, to clearly enable a positive answer to be given to the questions here propounded, so that I may enrich my library (if published), with the work, and commence forthwith to study the (to me) new science of ponderosity of sound," as applicable to "ensemble" playing. ApoloMARTINUS SCRIBLERUS.

66

gising for the length of my note, I am Sir, yours truly,

Hull, Oct. 7th., 1862.

GLUCK UND DIE OPER. 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 in the Musical Paper "Iris," edited by Ludwig Rellstab and published 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 am right in presuming that the terms "Odes" and Songs, are synonymous. I think it quite possible that Fétis might have been correct in stating eight songs, as I am not at all certain but that I may have lost one during the lapse of years-though this is a point, I imagine, that can easily be cleared up through Hoffmeister's Handbuch der musikalischen I remain, Mr. Editor, yours obediently,

Litteratur.

DR. FERDINAND Rahles,

13 Albert Street, Camden Road, October 7, 1862,

SWANSEA.-M. Thalberg's Concert, given on Monday night, was a great treat to all lovers of music. It would be useless for us to pretend to criticise the performance of so great and well known a musician. There is perhaps no man living who can so illustrate the power of an instrument, and we need not say that the execution is marvellous. Player and instrument seemed to have some subtle relation existing between them, and to become part of each other, However complicated the accompaniment, or strange the variations, the air was plainly manifest throughout, like a jewel shining clearly from a richly chased and massive setting. M. Thalberg's mastery of the instrument is to the uninitiated something incredible. Massive chords subviding in a moment into softest harmonies, and again a mere ripple of sweet sounds swelling into a grand volume of majestic tones. We shall not attempt to criticise in detail, and only add that the room was tolerably full, and that Mr. Brader's changes in the way of accomodation were a great improvement. One thing more, by the way, we must mention, and that is, that on such occasions those who go for some other object than to hear the music, would do well to abstain from idle talking, which distracts the attention of real lovers of the art.

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, 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 volume contains vocal Chamber Music, including The contest between Phoebus and Pan (Dramma per Musica); three Cantatas for a single voice, and an occasional piece olus pacified.

SALZBURG.-A complete catalogue of all the manuscripts of Mozart, and of the relics of him deposited in the Mozart-eum, has been published by Carl Moyse.

ENGLISH OPERA COMPANIES.

(From the Literary Budget.)

"Il y a fagot et fagot," according to the illustrious Sganarelle, and there are English Opera Companies and English Opera Companies between which there is scarcely any resemblance beyond the name. There were two English Opera Companies thirty years ago, one of which performed at Covent Garden, the other at Drury Lane, and both of which massacred Meyerbeers Robert le Diable in the most barbarous manner. In one of these English versions of Meyerbeer's masterpiece, the part of Raimbaut, afterwards undertaken by Signor Mario, was assigned to Mr. Keeley. Whether Raimbaut's music was sacrificed to Mr. Keeley in his capacity of humorist, or by Mr. Keeley in his capacity of vocalist, we have never heard, but the fact of such a part being given to him at all is enough to show us how operas were got up on the English stage in the year 1882. We have advanced considerably in operatic matters since then, and we are indebted for this progress, first to Mr. Bunn, whose silly librettos (not sillier, however, than those which are written in the present day), may be pardoned him in consideration of the number of original operas by Balfe, Wallace, Macfarren, Benedict, and others, which he produced during his management of Drury Lane; and secondly to Miss Louisa Pyne and Mr. Harrison, who, during the last seven years, have continued Mr. Bunn's system-in many respects, have improved upon it. Mr. Bunn had an excellent musical conductor in Mr. Benedict, but we believe his orchestra was inferior to the one over which Mr. Alfred Mellon rules. This much is quite certain that Miss Louisa Pyne did not belong to Mr. Bunn's company, and Miss Louisa Pyne is the great strength of the English Opera Company now established at Covent Garden.

But we were speaking of companies. Besides the English Opera Company now in full work, there is an English Opera Association which exists only in advertisements, but which, we are told, is to break out into actual theatrical life before the end of the autumn. The promoters of this enterprise seem to labour under the delusion that at present we have no English Opera at all. They speak of establishing one, as if there were some novelty in the idea, and as if, during the last seven years, they had never heard of the doings of Miss Louisa Pyne, Mr. Harrison, and Mr. Alfred Mellon, and of the numerous original works which have been produced with such remarkable success under their auspices. However, the English Opera Company, whatever its acquaintance with passing events may be, is said to have already taken Her Majesty's Theatre, and to have made some arrangement by which Mademoiselle Titiens' services are to be secured for the winter months. If it has really engaged Mademoiselle Titiens, whose merits Mr. Mapleson in no way exaggerates when he calls her, in his advertisments, the greatest dramatic singer living; if it engages Mr. Sims Reeves, incomparably our best tenor, and one of the few good

tenors still left in Europe; if it engages Madame Lemmens Sherrington, one of the most brilliant "light sopranos" of the day, then we really cannot see how, with common prudence and discretion in the management, success is to be avoided. According to the present beautifully unsettled state of the English law, anybody may play any foreign, and a great deal of English music anywhere without having anything to pay for it. When an English manager offers M. Meyerbeer or M. Auber a certain sum for the right of performing Dinorah or Fra Diavolo, he merely offers an honorarium; strictly speaking, there is no "right" to sell, and therefore none to buy. It is true that Mr. Gye, in bringing out the two operas just mentioned, arranged with the composers to supply him with some additional music, but even this additional music, expressly ordered by Mr. Gye, and by him paid for, is at the mercy of any manager of a theatre, tavern, ormusic-hall, who may choose to have it executed or murdered on his premises. Piratical directors may seize foreign 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 the flag that protects the operatic merchandise being the libretto, which, worthless as it may appear, is really so much property. The music of Lurline, for instance, may be played anywhere, but not in connexion with the piece. The piece is something solid and palpable; and music is essentially unsubstantial, and what becomes of it is thought equally immaterial. De minimis non curat lex, which, musically interpreted, means that the law cares nothing for crotchets and minims.

couvre la marchandise

Although, then, there are a certain number of English operas which the managers of the Royal English Opera are alone entitled to perform, all managers have the right of poaching over the whole of the rich domain of foreign opera; and there are, moreover, many English operas which are the property of musicpublishers, who will gladly allow them to be performed for nothing at any theatre, knowing that each new performance of an opera is a fresh advertisement, on a large scale, for the music which it contains. Accordingly, the directors of the new Opera Association will have no trouble in forming a

repertory of English works, and of foreign works translated into English. Moreover, some half-dozen English composers are known to have operas finished, and ready for production; and it will be very easy for any manager of a well-conducted opera-house to secure the privilege of bringing out three or four of the number,

The weak point of the new enterprise is to be found, not in what the company proposes to do, but in the manner in which it proposes to do it. That is to say, the weak point is the company itself. It is a very easy thing for an

association to manage the affairs of a railway, because the directors have no ambition to become stokers, porters, clerks, or even engineers. The general business of the company is managed, and the important appointments made, by the directors in common, who have seldom any technical knowledge or predilections, but who, as men of the world, know what the capabilities are of a Stephenson, a Locke, or a Brunel. In the same way, we think, if the hazardous experiment of establishing an Opera on the joint-stock principle is to be made at all, that the directors of the company ought, above all, to be men of the world, with about as much and as little knowledge of music as educated men of the world usually possess. We know more then one musician who is sincerely of opinion that he is a man of genius, when he scarcely possesses even talent, and who believes that one of his unpublished operas would be sure to make the fortune of any theatre; whereas, in all probability, no theatre could afford to perform it six nights iu succession. A man of common sense, and of ordinary worldly experience, would know how to estimate such a composer. not that he would be able to form any opinion in a direct manner of his works, but he would be able to consult experienced musicians, having no interest, one way or the other, in their production, and from their verdict, and from other facts, such as the success or non-success of previous compositions from the same pen, would be able to form his opinion on very solid grounds. Of course no system of management can be devised under which a composer of great original genius may not fail to get a hearing, and a composer of no merit tt all succeed in making himself heard; but as a general rule, we are convinced ahat operatic managers-above all, when there are many of them-ought to be neither composers nor singers. The great danger of Mr. Boucicault at Drury Lane is, that he will always prefer his own pieces to those of other authors, while we know from experience that his own pieces are not by any means invariably successful. The weak point in the management of the Royal English Opera lies in one of the managers being a popular tenor, and in his eonsequent inability (as tenors are constituted) to prevail upon another popular tenor (who knows also how tenors are constituted) to accept an engagement at his theatre. Two first tenors, one the employer and the other the employed, could not possibly exist side by side. If the employed proved sufficiently attractive to deserve the very high salary which he would require, the employer's feelings would be hurt. If, on the other hand, he obtained no very remarkable success, the employer would feel hurt through his pockets. To be plain, as long as Mr. Harrison is one of the directors of the Royal English Opera, we may be sure that Mr. Sims Reeves will never sing there; and if Mr. Sims Reeves were to become one of the directors of the English Opera Association (to put a purely hypothetical case), it is equally certain that Mr. Sims Reeves would wish to reign supreme on his own boards, even though a greater tenor than Sims Reeves should arise in the land.

shares in the English Opera Association are not as other men, we have nothing Of course, if the composers, singers, and musical conductors who have taken to say except that their enterprise will probably be attended with success, for there is certainly a sufficiently large musical public in London to support two musical theatres for a few months in the winter. But if the musical share

holders wish to become directors, as some of them already are, we know what the directors who are composers will aim at, and we can also guess the views of directors who are singers and musical conductors. The result will be that conductors, principal singers, and composers will all be managers, that there will be no management, and that the whole affair will be unmanageable.

ing at Manchester she has given concerts at Plymouth, Brighton, MADEMOISELLE PATTI is still on her provincial tour. Since performRyde, &c., &c.

his pianoforte shall be heard in every part of the United Kingdom. M. THALBERG is also in the provinces, and we believe intends that than M. Thalberg.-Litirary Budget. Few itinerant musicians have been more successful in Great Britain

just now on the subject of Mademoiselle Titiens and her coming enMDLLE. TITIENS.-"Many-tongued" rumour is exactly three-tongued gagements. One report says that the German prima donna is to be the chief ornament of the eminently English company which the Opera Association promises to bring together. A second speaks of her performing, during the next few months, at Her Majesty's Theatre in Italian opera. A third has already taken a place for her on a steamer these three reports, it is consoling to think that the odds are just two to about to leave Liverpool for New York. Basing our calculations on one against Mademoiselle Titiens leaving England.

Recitals" in London, during the past season, with great success, has MR. APTOMMAS-who, it may be remembered, gave a series of "Harp been making a "tour" of the provinces. Among the places he has visited are, Canterbury, Tunbridge Wells, St. Leonards, Ramsgate, received with great favour, and attended by "the elite" of the inhabitants. Deal, Dover, and Folkstone-at each of which his performances were

RITORNELLE.—(échantillon.)

Oh, happy he, when storms are roaring,
Yet not so dark but one may see
Such pleasant neighbours, fast approaching,
By their features, brigands three.

From Fitzball's Crown Diamonds.

OCTOBER 11, 1862.]

ROYAL ENGLISH OPERA. There is no lack of activity in the English management of Covent Garden Theatre. The revival of Fra Diavolo, was followed on Saturday week, by the revival of Mr. Balfe's new opera the Puritan's Daughter, one of the great successes of last season. The cast comprised, as before, Miss Louisa Pyne, who has recovered from her indisposition, Mr. W. Harrison, and Mr. Santley; and was further strengthened by the accession of Mr. Weiss, who for the first time sustained the character of Wolf. The performance, which took place in presence of a numerous audience, was most satisfactory. The opera has been given three times this week.

ORGAN AT ALL SAINTS.-Out of an immense number of Candidates Mr. G. B. Allen has been selected for the appointment of organist and choir master at All Saints, Notting Hill; lately vacated by Dr. Gauntlett.

NEW ORGAN FOR ARMLEY CHURCH.-On Friday evening week, a special service was held at Armley Church, near Leeds, when a new organ, built by Messrs. Radcliffe and Sayar of this town, was duly opened by Mr. W. J. Prichard. The organ is not large, but it is in every way adapted for the church for which it was built. There is considerable power in the great organ, combined with judicious variety and excellence of tone; whilst the Swell stops are singularly we should have preferred fuller reeds than the builders have made. We append sweet, and admirably suited for combination with the great organ, although the specification:-Great Organ-CC to F. Large Open Diapason, 8 feet; Small Open Diapason, 8 feet; Stopped Diapason (Chimneyed), 8 feet; Dulciana, 8 feet; Octave, 4 feet; Suabe Flute, 4 feet; Twelfth, 3 feet; Fifteenth, 2 feet; Mixture, 3 ranks; Trumpet, 8 feet. Swell Organ-Tenor C to F, Lieblich Bordun, 16 feet; Stopped Diapason (metal), 8 feet; Open Diapason, 8 feet; Octave, 4 feet; Horn, 8 feet; Oboe, 8 feet. Pedal Organ-CCC to F. Open Diapason (wood), 16 feet; Bordun, 16 feet tone. Couplers-Swell to Great; Great to Pedal; 3 Composition Pedals for Great Organ. A public performance was given on the instrument by Mr. Prichard in the factory of the builders, a few days previous to its permanent erection at Armley, on which occasion a very favorable impression was created amongst the professional and amateur musicians present. Last evening, in addition to the interest attached to the opening itself, a new anthem, composed by Mr. Prichard for the occasion, 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 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 inventive powers. The words are selected from the Book of Job and the Psalms, and the anthem, which occupies about twenty minutes in performance, is a work exhibiting not only very great talent, but a true appreciation of the words to which the music is written. The choir, strengthened by a few voices from the parish church, sang exceedingly well; indeed, the entire service was admirably performed. An appropriate sermon was delivered by the Rev. J. B. Grant, B.A., of Okenhope, and a collection was made. After the service, Mr. Prichard played a selection of pieces, displaying both the excellent qualities of the organ and his own talent as a player.-Leeds Express.

BOSTON, (MASSACHUSETTS).—The Mendelssohn Quintet Club have returned to Boston, after an absence of six weeks, during which time they performed at several "College Commencements" in Vermont and New Hampshire. The last three weeks of their vacation (not an idle one) were spent among the White Mountains, where they not only enjoyed themselves, but charmed the audiences assembled in the large hotels. The leader of the "Orpheus"-as much a lover of nature as of music, like every true German-tells us he met them coming over the summit of Mt. Washington. Beautiful North Conway of course kept them for a while. They tell of many compliments (some curious ones) from strangers; among others one from a young gentleman, who gravely informed the Club that it was the first time he had heard any Boston music, and he thought it "equal to that of Philadelphia"-They uniformly closed their concerts with the "Star Spangled Banner." And now, we suppose, they will soon be busily rehearsing some more fine quartets, &c., of Beethoven and other masters for the coming winter soirées. Truly we need to hear good music again; the silence has been long.—Dwight's Journal of Music.

MAYENCE.-The Sängerbund of the Middle Rhine is now definitively constituted. It consists of the following Vereine, or Associations, with about 500 members. The Mayence Liedertafel, the Männergesangverein, the Frauenlab Verein, the Liederkranz Verein, all of Mayence; the Gesangverein, of Castel; the Harmonie of Alzey; the Sängerbund of Worms; and the Harmonie of Oppenheim. At the head of the Association, is the Mayence Liedertafel.

A NEW "MAGIC FLUTE"-A book has been published in Germany, containing "observations on the importance of dramatic music in reference to the history of the developement of the human mind." And all this under the title of The Magic Flute!

EMANUEL D'AstonGua.-Some new items about the celebrated composer Emanuel d'Astorgua, who died in Bohemia, have been recently discovered. It appears, that d' Astorgua was a descendant of the highly reputed families of Count and Prince Capece Marchese of Rofrano. The Rofranos were partisans of the Austrian regime and related to several of the best families of Bohemian nobility; in Vienna even to-day a Rofrano street can be found. The date on which the distinguished composer Cernohorsky, teacher of Tartini, died, has also been ascertained. from some documents found in the cloister Asissi. His death took place in Gratz July 1st. 1742, on his way from Rome to Bohemia.

BOIELDIEU AND GRETRY.—“ The Jean de Paris of Boieldieu," writes 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 powers,-is to be reproduced in Paris, at the Opéra Comique. There, too, Grétry's charming Zemire et Azor will shortly be revived. The opera has been put out of sight, to a certain degree, by Spohr's more ambitious setting of the good old fairy legend; but the Belgian composer has the best of it in regard to grace and melody. The score, Lion on its revival by Adolphe Adam,-Grétry having been not so however, will require to be retouched, as was that of Richard Cour de much inexperienced as professedly careless in the orchestral portion of his works." [We entirely dissent from the view adopted by our contemporary with regard to the relative merit of Grétry and Spohr in The Indépendance Belge declares that M. Réty, the manager of the Théatre Lyrique, of Paris, has found an attraction of real value and their operas of Zémire et Azor. Ed.] promise in a new grand opera, Roland à Roncevaux, by M. Mermet. A work of less pretension, by the same composer, Saul, was given some years ago, at the Grand Opéra, during the reign there of Madame Stoltz. M. le COMTE WALEWSKI, under whose superintendence theatrical affairs in France fall, has been coming to the aid of provincial managers, whom the system of late followed in the approval and rejection of new The subscribers musical performers has placed in great difficulties. to theatres, it is pleaded, have abused their privilege of contest and dismissal of probationers allowed three trials, to such an excess, that it has become next to impossible to form a working company, and this in days when dramatic singers of merit are becoming rarer and rarer, and the demands on their skill more and more exigent. The opera warfare of partisanship, which of late has become riotous to brutality, is no 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 to be tested by polling votes.-Athenæum.

A SISTER OF ADELINA PATTI.-The operatic stage is about to receive a valuable acquisition in the person of Miss Carlotta Patti. A lameness the limited professional sphere of the concert room, but a triumph of resulting from an accident in early life has hitherto confined her to mechanical skill, achieved by Dr. Ceccarini, a surgeon in high esteem among the foreign population of New York, has surmounted the difficulty. By the aid of this apparatus, Miss Patti, who was hitherto as if she had never been lamed. For the last month she has been impeded painfully, can move with the same apparent ease and precision studying hard under Sig. Scola, and will make her debut early in the fall. We hope that on this occasion she will not recall the incorrect and unartistic singing she occasionally displayed in her performances at the late concerts in Cremorne Garden. She ought not yet to dispense with studies because she found high favour with the judges, assembled in these concerts.-New York Musical Review.

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 the score to Germany.

BRADFORD.-At the instigation of several Bradford gentleman, who take an interest in the progress of the drama, and who feel the necessity which exists for a building in that town in which the works of celebrated dramatists and authors can be efficiently represented, and the audiences enjoy such representations comfortably and conveniently, it has been determined to get up a company, under the law of limited liability, for the erection of a theatre on some suitable site. The nominal capital to be 6,000l., in 600 shares of 107. each. It is the opinion of persons conversant with such undertakings that a good, compact, and comfortable building may be erected at a cost of about 4,000l. or 5,000l. The present permanent theatre in Bradford is a wooden structure MARIO. The director of the great Opera has engaged the singer a month, which sum amounts to Mario at a salary of 16,000 fran 192,000 francs per annum ; but, al 1ough the Paris opera is open the whole year, it is understood of course that Mario will only receive 16,000 francs for every month during which he will have to sing. Mario, who is from Nice, and a compatriot of Garibaldi, had begun his musical career by singing in French in Paris before he sang in Italian. Just the reverse case is that of Madame Damoreau, who had sung in Italian before becoming the prima donna of the great French Opera, and of the Opéra Comique.-Literary Budget.

[graphic]

ROBERT COCKS & CO.'S

LIST OF NEW MUSIC.

THE ALBERT EDWARD MARCH," for Pianoforte, by BRANLEY RICHARDs, inely illustrated with a Fortrait of H. B. H. the Prince of Wales, 35.

[ocr errors]

TUSIC.-Just issued, gratis and post free, an ADDENDUM to ROBERT COCKS & Co's VOCAL CATALOGUE, containing Songs, Ballads, &c., with the key, compass, &c., of each composition marked. NEW SONGS by FRANZ ABT.-"Thee only I love," 2s. 6d. "O! rosy morn," 2s. 6d. "Like a well-spring in the desert," 2s. 6d. O! sweet-flowing streamlet," 2s. 6d. "Bird Song," 2s. 6d. (Poetry of all these by Aroon" (Poetry by Mrs. Crawford), 2s. 6d. "The dear old songs of home" (Poetry Geo. Linley). "Oh! ye tears" (Poetry by Chas. Mackay), 2s. 6d. "Kathleen by Mrs. Fenton Aylmer), 2s. 6d. Farewell, my Fatherland" (Poetry by J. E. Carpenter), 2s. 6d. "Wood notes," four-part song, separate parts, 2s. "Good morning," 25. "My heart replies," 25.

N.B.-Messrs. ROBERT COCKS & Co. are, by the Composers' recent assignment, constituted sole publishers of Herr Franz Abt's new works for Great Britain and its dependencies.

follows with Puritani, and winds up this spasmodic effort with Lucia. It will be an experiment, and we opine a successful one. If we can't stand three nights of opera, Ullman had better sell out. Cordier and in 1 November. Anchutz commences to-night a season of German opera, at Wallack's old theatre. His company consists of Mme. Von Berkel, Mme. Rutter, Mme. Johannsen and Messrs. Quint, Rudolphsen, Hartmann, Graft, Weinlich, and Lotti. Weber, Auber, Lortzing, Lachner, Wagner, and Nicolai are promised, but judging from previous seasons, will not be given. The introductory opera will be Martha.

Tietiens are in store for us- Cordier early in October, Titiens

OBERT COCKS & CO'S NEWEST MUSIC.-
Mazurka, Une fleur de Pologne, Mazurka, 3s.; and the Old 100th Psalm, tran-
W. VINCENT WALLACE-Maggie Lauder, transcribed for piano, 3s.; Victoire,
scribed, 4s.

BRINLEY RICHARDS.-The DREAM of a WAN-
Dawn. Romance for the piano, 3s.; Brinley Richards' the Men of Harlech, for piano
DERER. Romance for Piano, 2s. 6d.; BRINLEY RICHARDS' Warblings at
solo, 3s.; ditto, duet, 3s. Brinley Richards' the Mountaineer's Lay, 2s. 6d.
London: ROBERT COCKS & Co., New Burlington-street, and 4,Hanover-square, W.
Publishers to the Queen, and of all musicsellers.

change from the old Stadt in the Bower to Broadway is a happy one. MARIE D'ANNETTA'S NEW DANCE MUSIC

&. d.

40

30

36

[ocr errors]
[ocr errors]

EW ORGAN MUSIC, BY HENRY SMART,

sung by all the leading vocalists. Words and Music commend this ballad as

one of the most elegant and refined compositions of the day.

JEWELL & Co., 104 Great Russell Street, British Museum.

ORGAN,

With Pedal Obligato, by

HENRY SMART.

London: DUNGAN DAVISON & CO. 244 Regent Street, W.

Published this day.

A NEW EDITION OF THE PIANOFORTE

STUDIES

BY

STEPHEN HELLER,

Thoroughly Revised and partly Re-written.

Published under the immediate superintendence of the Composer.

EXTRACT FROM PREFACE.

"A great number of Studies for the Pianoforte already exist, solely intended to form the mechanism of the fingers.

"In writing a series of short characteristic pieces, I have aimed at a totally different object.

"I wish to habituate both Students and Amateurs to execute a piece with the expression, grace, elegance, or energy required by the peculiar character of the composition; more particularly have I endeavoured to awaken in them a feeling for Musical Rhythm, and a desire for the most exact and complete interpretation of the Author's intentions.

"STEPHEN HELLER.”

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

[blocks in formation]
[ocr errors][merged small][ocr errors][merged small]

FOR ORCHESTRA.-MEYERBEER'S GRAND

Price 12s

Also AUBER'S GRAND EXHIBITION MARCH, for Orchestra. Price 7s. 6d.
BOOSEY & SONS, Holles Street.

201

SIGNOR GARDONI'S NEW SONG, "Pourquoi."

By SIGNOR MURAtobi. Sung by SIGNOR GARDONT at the Concerts of the Nobility during the present Season, with immense success. Price 2s. 6d. BOOSEY & SONS, Holles Street.

SIMS REEVES' NEW SONG, "She may smile on

success. Encored on every occasion. Price 38.

TOZART'S

BOOSEY & SONS, Holles Street.

MOZART'S DON

New

DON JUAN. 9s. BooSEY & SONS' Edition, complete, for Voice and Pianoforte, with English and Italian words. The whole of the Recitatives and Notes of the Author's Instrumentation. Price 9s. In cloth (400 pages).

This splendid Edition, the best and cheapest ever published, of Mozart's great work, should be in the hands of every professor of music. Also Figaro, 95. Zauberflöte, 5s.

JOSEPH

BOOSEY & SONS, Holles Street.

OSEPH GODDARD'S PHILOSOPHY OF MUSIC.
Price 7s. 6d. (To Subscribers, 53.)
BOOSEY & SONS, Holles Street.

[ocr errors]

OOSEYS' SHILLING MESSIAH, complete Vocal cal Cabinet"). Price 18.-BOOSEY & SONS have much pleasure in announcing their Score, with Accompaniment for Pianoforte or Organ, demy 4to (size of “ Musínew Edition of the "Messiah," printed from a new type, on excellent paper, and in a form equally adapted for the Pianoforte or the Concert-room. The text revised by G. F. HARRIS, from the celebrated Edition of Dr. JOHN CLARK. As a specimen of cheap music, this book is quite unprecedented, and it is only in anticipation of the universal patronage it will command at the approaching Handel Festival the publishers are able to undertake it. Orders received by all Booksellers and Musicsellers. Post free, 1s. 4d. An edition in cloth boards, gilt, 2s.

BOOSEY & SONS, Holles Street.

« ElőzőTovább »