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THE

ALEXANDRE HARMONIUMS

POPULAR SONGS, &c. FROM THE NEW OPERETTA,
BLONDE OR BRUNETTE,

WRITTEN BY
J. P. WOOLER, ESQ.,

THE MUSIC COMPOSED BY
W. M. LUTZ. . .

AT

CHAPPELL'S, 50 NEW BOND ST.

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MERRY LITTLE MAUD. Tenor
'TIS GONE! THE HOPE THAT ONCE DID BEAM. Soprano

ALEXANDRE AND SON
HURRAH! FOR THE CHASE. Baritone ... ... ... 3 0
AS I LAY UNDER THE LINDON TREE. Tenor ...

HAVE taken out a new Patent for the Drawing-Room Harmonium, which LOVE'S BRIGHTEST DREAM. Soprano

effects the greatest improvement they have ever made in the Instrument. The

... ... ... 2 6 Drawing-Room Models will be found of a softer, purer, and in all respects more THE BELLE OF BALLINGARRY. do. : ... ...

6 agreeable tone than any other instruments. They have a perfect and easy means WHICH IS MINE, THE HAND OR FLOWER? Duet. of producing a diminuendo or crescendo on any one note or more; the bass

Soprano & Tenor ... ... ... ... ... 3 0 can be perfectly subdued, without even the use of the Expression Stop, the HOW OFT UNKINDLY THUS WE CHIDE. Baritone ... 2 6 great difficulty in other Harmoniums. To each of the New Models an SWEET MAIDEN MINE. Tenor

additional blower is attached at the back, so that the wind can be supplied by a second person, and still under the new Patent the performer can play with

perfect expression. THE RING AND THE KEEPER.

THE NEW CHURCH HARMONIUM, AN OPERETTA, written by J. P. WOOLER, Esq., A the Music composed by W. H. MONTGOMERY.

WITH TWO ROWS OF KEYS. THE DEAR FORGET-ME-NOT. Tenor ... ... ...

2 6! These Instruments are a perfect substitute for the Organ; the upper key. ANNALIE ... ... do. ...

2 6 board has a Venetian Swell, and acts as a Soft or Choir Organ, on which a SOMETHING TO LOVE. Soprano. ... ...

perfect diminuendo and crescendo can be produced ; and the lower keyboard MY LADY'S PAGE ...

The tone of these Instruments more

answers the purpose of a Full Organ. do. ... ... ... ... 2

closely resembles that of an Organ than any Harmonium yet produced, being KEEPER, TAKE THIS RUBY RING. Duet

3 0 rich and pure in quality. The construction is of a simple character, and not

likely to be affected by damp, rendering them peculiarly suited to Churches.

An additional blower is attached to each Instrument.
THE JOLLY BEGGARS.
No.

Guineas. WHEN I BADE GOOD-BYE TO PHEBE. The Popular 1. Eight Stops (three and a-half rows of vibrators), Rosewood Case ... 46

Song from G. LINLEY's successful Cantata, “ The Jolly 2. Twenty-two Stops (six rows of vibrators), Rosewood Case ...
Beggars," in A and C ... ... ... ... ... ... 2

2
6
6 3. Twenty-two Stops (eight rows of vibrators), Rosewood Case,

Octaves of Pedals "
THE JOLLY BEGGARS' QUADRILLE, by COOTE.

.. .. ... ... ... 86

Illus-
trated in colors ... ... ... ... ... ... ... 4 0

THE DRAWING-ROOM MODEL
HATTON'S NEW SONG,

IS MADE IN THREE VARIETIES :-
No.

Guineas.
NHILDREN." Words by LONGFELLOW. Sung by Miss 1. Three Stops, Percussion Action, additional Blower, and in Rosewood
U PALMER with the greatest success.

2. Eight Stops ditto

ditto THALBERG'S NEW COMPOSITIONS. 3. Sixteen Stops ditto

ditto Voix Céleste, &c.

(the best Harmonium that can be made)... ... MELODIES OF SCHUBERT.-Transcribed for the

Pianoforte. No. 1. Die Taüschung

MESSRS. CHAPPELL have an enormous Stock of the

... 10 2. Der Neugierige

& FIVE-GUINEA AND SIX-GUINEA 3. Die Post ... ... ... ... ... ... 26

HARMONIUMS, Complete, price 48. "Home, sweet home !" Fantasia

COMPASS, FOUR OCTAVES; “ Last Rose of Summer," do. ...

ALSO THE As performed by M. THALBERG, at his Concerts, with great success.

NEW FIVE-OCTAVE HARMONIUM AT

SEVEN GUINEAS:
THALBERG'S SONG_“WITHIN THE CONVENT
GARDEN," with German and English Words.

And of all varieties of the ordinary kind, which are perfect for the CHURCH,

SCHOOL, HALL, or CONCERT Room: '
Price 2s.

No.
Guineas. No

Guineas. 1. One Stop, Oak Case

7. One Stop (with percussion action), 2. Ditto, Mahogany Case

Oak Case, 16 guineas; Rosewood MADAME OUR Y'S NEW PIANOFORTE 3. Three Stops, Oak, 15 guineas; 8. Three Stops (ditto), Rosewood ... PIECES.

Rosewood ... ...

16 9. Eight Stops (ditto Oak or RoseDANISH NATIONAL HYMN

Transcription

4. Five Stops (two rows of vibrators), KING OF ITALY'S MARCH

01

Oak, 22 guineas ; Rosewood 23 10.
Do.

Twelve Stops (aitto), oni
CHANT DU PATRIOT

Dorceau de Salon ...

5. Eight Stops
0
(ditto),

11.
Oak, 25

ditto (ditto), Rosewood SUNSHINE

Valse de Salon ..

guineas; Rosewood

Patent Model (ditto), Oak or LA CHASSE DE COMPIEGNE ..

Fantaisie
Twelve Stops (four rows of vibra-

Rosewood ...
...
ROSALIE THE PRAIRIE FLOWER

Impromptu

tors), Oak or Rosewood Case ... 35

Case

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25

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METZLER & Co.

Testimonials from Professors of Music of the Universities of Oxford and

Cambridge, the Organists of St. Paul's and Westminster Abbey, the Professor 37, 38 & 35 GREAT MARLBOROUGH STREET, W. of the Harmonium at the Royal Academy of Music, &c., &c., together with

full descriptive Lists (Illustrated), may be procured on application to PIANOFORTE AND HARMONIUM WAREROOMS AT No. 16.

CHAPPELL & CO., 49 & 50 NEW BOND STREET.

AND

Printed by HENDERSON, RAIT, and FxxTOx, at No. 13, Winsley Street, Oxford Street, in the Parish of Marylebone, in the County of Middlesex.

· Published by Jom Boosiy, at Wao Ofico of WOODET & Sons, 28 Holion Street, Saturday, October 11, 1862.

"The Worth or Akt Appears Most Eminent Ih Music, Sihch It Requires Ho Material, Ko Subject-matter, Whose Effect

MUST BE DEDUCTED: IT IS WHOLLY FORM AKD POWER, AXD IT RAISES AXD ESSOBLES WHATEVER IT EXPRESSES."—QStht.

STTBSCHIPTION—Stamped for Postage—20s. PER ANNUM Payable in advance by Cash or Post-Offlce Order to BOOSEY St SONS, 28, Holies Street, Cavendish Sq. London, W.

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DREAM DANCE. For the Pianoforte. By Emanuel Aomui. 3s.

T7ANTASIA ON AIRS PROM HOWARD GLOVER'S

Jj OPERETTA, "ONCE TOO OFTEN." By Erni.ii Bsroeb. 3s.

TARANTELLA FOR THE PIANOFORTE. By Walter Macfarrkh. 4s. ^

London: Dukcak Davison & Co.

"Those are three morceaux de salon of the most elegant description. Mr. Agcilak's 1 Dream Dance1 is a graceful and imaginative movement, which would make & charming accompaniment to a dance of sylphs or fairies In a ballet. Mr. Bergcr has selected as the themes of his fantasia the two most favourite airs,' There's truth in woman still,' and ' A young and artless maiden,* in Mr. Howard Glover's pretty operetta; working them, by adding a short introduction, and a brilliant coda in tempo di raha, into a masterly and animated pianoforte piece, in which the vocal melodies are embellished by a rich and varied accompaniment. Mr. Macfarren's Tarantella is of course in the time and measure of this Neapolitan dance, and preserves the rapidity of its breathless whirl. While, however, it is thus conventional in its form, it Is new and original In its details. There occurs, in particular, In the midst of it, a dellciously soft and flowing melody, played with the left hand, as if on the violoncello or bassoon, with a light and airy accompaniment In the upper part which contrasts beautifully with the impetuous current of the rest of the movement." —The Press.

THE AIRS, BALLADS, FANTASIAS, QUADRILLES, WALTZES, &c. IN THE OPERETTA OF

"ONCE TOO OFTE N."

COMPOSED BY HOWARD GLOVER. Performed with the greatest success at the Theatre Royal, Drury Lane.

"Oh! Glorious Age of Chivalry." Duet. For Soprano and Contralto

11 The Solomn Words Ms Lips have spoken." Grand Air. For Soprano ...

"The Love you've slighted still is true." Ballad. Sung by Mile. Jbnnt Bach

'* Stratagem Is Woman's Tower." Ballad. Sung by Miss Emma HKTWOon...

M Love is a gentle Thing." Ballad. Sung by Miss Emma Hetwood ...

*' A yonng and artless Maiden." Romance. Sung by Herr Rbichardt

M There's Truth in Womdn still." Romance. Sung by Herr Reichakdt ...

M The Monks were jolly Boys." Ballad. Sung by Herr Formes

** In my Chateau of Pompernik." Aria Buffa. Sung by Herr Forjies

FANTASIAS, QUADRILLES AND WALTZES.

Brinley Richards' Fantasia, on " Once too Often" 4 0

Emlle Berger's Fantasia, on " Once too Often" 3 0

14 Fontalnbleau Quadrille," by Strauss. (Handsomely Illustrated In Colours) 4 0

"La Bella Blanche Waltz," ditto 4 0

London: Duhcan Davison & Co. 244 Regent Street, W.

MEYERBEER.

THE FOLLOWING COMPOSITIONS (Copyrights), by this eminent Composer, aro published by DUNCAN DAYISON * CO. :—

VOCAL. d.

"Friendship." (Frcundschaft.) Quartet for a Tenors and 2 Basses 10

The merry hunters." (Die Lustigen Jagersleut.) Chorus for Tenors and

Basses * 0

*' To thee, dear land, I sinE" (a la Patrie), for 2 Tenors, 2 Basses, and Chorus 8 0

"God save the Queen," 2 Tenors and 2 Basses, with Piano ad lib 3 0

The Lord's Prayer for Soprano, Alto, Tenor, and Bass, with Organ ad lib.... 3 0

This house to love is holy." Serenade for 8 Voices (without accompaniment) 4 0

"Aspiration," for Bass, Solo, and Chorus of 3 Sopranos, 2 Tenors, and 1 Bass 4 0

Here on the mountain," with Clarinet obbligato 0 6

Violin or Vlollnccllo in lien of Clarinet, each 4 0

1 Near to thee," with Violincello obbligato 4 0

X 0

5 0

10 0

The Fishermaidcn." (Das Fischcrmadchen)

PIANOFORTE.

Royal Wedding March. Composed for the marriage of the Princess Royal

of England with Prince Frederick William of Prussia

Ditto, as a dnet

London: DmtOAH Davison & Co. 244 Regent Street, W.

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Just published, price 3s.

LLE. ADELINA PATTI'S NEW WALTZ,

"DI GIOJA INSOLITA." Sung with distinguished success by Mile.
Patti, In the operas of MII Barbiere di Seviglia," " Don Pasquale," Ac. «fcc.
Is by Lorenzo Mostkrasi, the Music by Maurice Strakosch.
London: Dcncan Davison *fe Co. 244 Regent Street, W,

Just published, price 3s. with a Portrait.

MLLE. ADELINA PATTI'S NEW BALLAD, "THE OLD HOUSE BY THE LINDENS." The Poetry by LoxGf Ellow. Sung with the greatest success by Mile. AniiLiSA Fatti, for whom lt,was expressly composed by Howard Gloves.

London: DtscAS Davisox A Co. 244 Regent Street, W,

THE HAKP OF WALES. Ballad. Composed by Bmm.et Richards, sung with such distinguished success at the CARNARVON FESTIVAL, by Mr. Lewis Thomas, is published, prico 3s. by

Duxcaa Davison & Co. 244 Regent Street, W.

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I TD SAVAIS. Romance. Compose par M. W.

BALK*. 33.

BELOVED ONE, NAME THE DAY. Ballad. The Words by JoHX Lamb, Esq. The Musio by Alfred Mellox. 2s. 6d.

MEMORY. Song. The Poetry by Desmond Ryan. The Music by Alexander Reichardt. 3s.

HAST THOU NO TEAR FOR ME? Ballad. The Words by M. Deioh. The Music by Ciuo Prjtsrn. 3s.

SLEEP AND THE PAST. Canzonet. The Poetry by Harriet Power. The Musio by J. P. Kxioht. 3s.

Y GENTLE ELODIE. Romanza. The Poetry by

Mrs. Crawford. The Musio by Edward Land. 3s.

London: Duncan Davison and Co.

"The above are a few of the prettiest vocal pieces that have appeared during the past publishing season. They are all by well-known and popular composers, of whose talents they are agreeable specimens. Balfe's French romance Is in his happiest vein. Our countryman has successfully contended with the Parisian composers on their own ground—witness'the reception of his fine operas, Les Quatre FSsAymM and Le Puits <t Amour, at the Opera Comique; and In the little song before us he shows how entirely he Is at home in the French style. It is tender and passionate, with that infusion of graceful lightness and gaiety which gives the French poetry snd music of this class their peculiar charm. Signor Gardoni has sung it in public vita delicious effect; but it by no means requires the aid of such a singer to make It charming. Mr. Alfred Mellon's ballad is worthy of that able and eminent musician. The melody is simple and natural, without being trite or commonplace; and the whole composition shows that new and striking effects of modulation and harmony may be produced without setting at defiance (as is too often done) the established principles and rules of art.—Few vocal pieces or the present time have obtained greater popularity than Herr Rcichardt's song, " Thou art so near," not only in English, but (by means of its German and French versions) all over the Continent His new production, * Memory,' Is of a similar character, and bids fair to have a similar sa:cess. Mr. Desmond Ryan's verses are elegant, and Keichardt has united them tea melody at once pure, simple, and expressive. Signor Pinsuti's ballad, * Hast them no tear for me I' lias been recommended to the attention of the pnbilo by the pleasing performance of Mr. Tennant, for whom It wa« written, and by whom it has been nag at many of the best concerts of the season. Signor Piusutl, an Italian, has prodneed an air of Italian grace and beauty, while he has entirely avoided the faults into which foreign composers so often fall in setting English words to musio. The melody e,ot only expresses the sentiment conveyed by the poetry, but does not present a sing1,? misplaced emphasis or accent—a most important requisite in vocal music Mr. Knight's canzonet is melodious, flowing, and extremely well fitted for a mezzo-soprano or contralto voice. There is a flaw in one place which dims the clearness of the harmony. In bar 8, page 2, G flat in the melody is accompanied by E natural in the bass, creating a diminished third (or tenth)—an Interval very rarely allowed, and not, we think, in the present case. There is much that is masterly in Mr. Land's romanza, and Mr. Santley, for whom It was composed, has sung it with deserved saccess. We could have wished It had been a little less elaborate; that the flow of the melody had been less disturbed by extraneous modulation; and that the pianoforte accompaniment had been lighter and less loaded with notes. It is a fine song, nevertheless, and not unworthy of the author's well-merited reputation."— The Prut.

NEW AND REVISED EDITION.
Price 12a.

THE VOICE AND SINGING

(The Formation and Cultivation of the Voice for Singing).
ADOLFO FEBRARL

"The great and deserved success of this work has brought it, In no Ion; time, to i second edition, carefully revised, and enriched with a number of additional exercUo, which greatly increase its value."—Illustrated Sent.

Lokdos: DUNCAN DAVISON & Co. 244 Regent Street, W.

Jul Published,

SIX OPERATIC RECITALS for the PIANOFORTE,

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REVIEWS

"The Curfew." Words by Longfellow; Music by Mrs. Ccnitisoham Smith. (Paterson and Sons.)

The following interesting communication, from Professor Longfellow himself, is as good and just a criticism as could be written about Mrs. Cunningham Smith's very graceful and expressive setting of his beautiful words :—

"Cambridge, Jan. 9, 18G2. "Dear Madam,—I hope you will pardon me for this long delay in answering your friendly note, and in thanking you for the music you were so kind as to forward to me. Having no one in the house who could play it, or sing it to me, I have been obliged to wait a long while for a chance to hear it; and even now I have not heard it sung—only played; so that it remains still a voiceless song to me. The music seems to me, very sweet, with a solemn and pathetic toll in it, well adapted to the subject. When you write to your sister, I beg you to tell her how much gratified I am by this mark of regard for anything I have written; and, with my thanks, give her also my compliments on her success. I remain, dear Madam, yours very truly,

"Henry W. Longfellow."

What more need be added to so hearty and (as we have hinted) well-deserved a tribute?

"The Wanderer's Welcome." Words by C. Smallfield; Music by

Joseph Mckewan. (W. Blagrove.) "The Fairy Exile's Lament." Words by Ibid; Music by Ibid. (ibid.)

Mr. McKewan is evidently a good musician. He has, moreover, a laudable ambition; and there is merit in both these songs, besides that of their being written with unimpeachable correctness. "The Wanderer's Welcome," a kind of scene, shows good knowledge of accompanied recitative, and contains an allegretto in B major (12-8 time), which is distinguished alike by melody and expression. "The Fairy Exile's Lament," as well as being intrinsically attractive, is set off with a showy obligato accompaniment, which may be entrusted either to oboe or violin. For ourselves we should vote for the latter. Both songs are extremely well harmonised.

"The Viceroy of Egypt's March." Composed by Ellen L. Gla.seock. (Metaler & Co.)

A very spirited march, and appropiately inscribed to the illustrious African potentate, whose name it bears, and whose portrait is on the title-page.

"0 Stars of Silence." Words by Shirley Brooks; Music by ■
Caroline Adelaide Dance. (Rob. W. OIKvier.)

"The Syren River." Words by Gerald Massey; Music by Caroline Adelaide Dance. (Same publisher.) Miss Dance—who writes gracefully and with excellent taste, as usual—is fortunate in her poets. We should like to q uote both songs, but space only permitting of one being absorbed into our columns, we must select that of Mr Shirley Brooks:— "Stars, 0 Stars of silence! 0 Gems in crystal blue,' Is it vainly, is it vainly That love looks upon you? Since hearts have learned to throb, Since hearts have learned to pine, 0 Stars, 0 Stars of silence! Love has worshipped at your shrine.

"Through your mystic dances,
O'er the vault on high,
Stray the lover's fancies,—
Breathes the lover's sigh.
But more sweetly glistens
Your soft beam the while,
Yonder dear one listens
With her star-bright smile."

Miss Dance has been peculiarly happy in her setting of these unaffectedly beautiful lines; nor has she failed to do justice to the verses of Mr. Gerald Massey. We can unreservedly commend both songs.

"A walk through Nottingham." Words and Music by
James Tongue. (James Tongue.)

Here is poetry of another kind. Take a stanza for example:—

"A lovely view of Nottingham is down from Wilford Hills, Then on the London Road to go unto the Railway Bridge, And on to Fishergate you go, and then to Carlton Hill, And there you'll see a lovely sight that you'll not forget; Then on the Queen's Walk I love to go to view the meadows so gaily, oh!"

The music is composed of an uninterrupted succession of consecutive fifths and octaves. Take one instance:—

We presume this song was concocted for a joke. We cannot think it a funny one.

MARIO. (Illustrated Times.) Signor Mario has signed a contract for Paris, and will appear at the French Opera (" Thedtre de F Opera," as it is now called). The musicians and amateurs of the French capital are said to be delighted at the thought of hearing once more the tenor who is still decidedly the greatest of all tenors living, and who, for some years past, has never sung anywhere continuous!}', except in London. Judged by the standard of absolute perfection, Signor Mario's voice certainly leaves much to be desired. But his manner of singing is admirable, and he has a natural manly tone which is quite wanting in most tenors—indeed, all other terrors of the present day, including even the accomplished Signor Tamberlik of the powerful throat and tremulous voice. We are glad that Signor Mario has been engaged for rather a long term at Paris, where it will be seen that he will obtain a triumphant success, because the habitual grumblers of London are fond of saying that this unrivalled singer is over-appreciated by the English public, that he "would not do abroad," &c. The question that ought to be considered is, not whether Signor Mario is the best of all possible tenors, past and future, but simply whether he is not decidedly the best tenor on the stage. Perhaps the people of Berlin prefer Herr Wachtel? If so (which we doubt), they have Herr Wachtel, and are welcome to him. But we are quite sure that the people of Vienna do not prefer their tenor of the coming season, Signor Giuglini, nor the people of St. Petersburg theirs, Signor Tamberlik, to the tenor whom all candid and unprejudiced persons in London and Paris, whether musicians or not, delight to hear and to applaud. Let us put one inquiry to our musical grumblers. If there are tenors hidden somewhere in Italy, who are superior to Mario, or to Tamberlik and Giuglini, why are they not discovered and brought into general European notice? A speculator could make a little fortune by engaging an unknown tenor in Italy, on his own account, at a very small salary, and re-engaging him to an operatio manager in London, Paris, or St. Petersburg, at a very large one. Moreover, English, French, and Russian agents are constantly employed in visiting the land of tenors, to see whether a new Mario can be found. Hitherto the search has not been successful. Mario is to make his first appearance (or rather reappearance) at the Theatre de l'Ope'ra on the 15th of next month, either in Le Comte Ory, or Let Huguenots. It was at this theatre (called at that time the Acadelmie Boyale) that he commenced his operatic career, in 1838. "It was on the 80th of November, 1888," says the French theatrical journal the Entr'acte, in noticing the event, "that the young and brilliant Viscount di Candia made his first appearance on the stage under the name of Mario." Two years before he had become attached to the Opera as a pupil. His success as a singer had attracted the attention of M. Duponchel, then the director of tho Opera, who was eager to attach him to the theatre, and allowed a pension of loOOf. a month all the time he followed the classes of Penchard and Bordoniat the Conservatoire. He made his debut in Robert h Viable. Meyerbeer had added an air in the second act expressly for him. His success was complete. Mario did not agree with the "director, M. Pilet , and quitted the Opera in 1S41. At his farewell representation he sang the second act of William Tell, and the third and fourth act of Les Huguenots. He was engaged immediately afterwards at the Salle Ventadour (Italian Opera), and every one knows how rapid and brilliant his success was iu the Italian repertory.

MONDAY POPULAR CONCERTS.

The Monday Popular Concerts have commenced this autumn a month earlier than usual, for reasons not difficult to guess. The director—Mr. S. Arthur Chsppell—no doubt in an amiable spirit of philanthrophy, wishes to afford our foreign and country visitors, still attracted by the inexaustible riches of the International Exhibition, an idea of what kind of quartet and sonata playing may be heard in London. He could not have begun his fifth season under luckier auspices. Herr Joseph Joachim being still in England, Mr. Chappell has secured the assistance of the greatest artist of the day. Signor Piatti, too, the violoncellist without peer, was at hand; and with those excellent English players, Messrs. Carrodus and H. Webb, for second violin and viola, a quartet »an» tache (unbefleckl) might be relied upon. Then, for the pianoforte sonata there was M. Charles Halle', one of Beethoven's most eager and redoubted champions. Such a company of instrumental players has rarely (perhaps never) been brought togther at this season of the year; but zeal, with good management, sets obstacles at naught; and our musical readers need not be told that more uniformly well-conducted entertainments than the Monday Popular Concerts were never devised for the gratification of London amateurs.

The first concert (the 103d since the institution, in 1859) took place in St. James's Hall, on Monday night, in presence of an audience quite as attentive and able to appreciate as it was crowded. The programme, including masterpieces by Haydn, Mozart, Beethoven, and Mendelssohn, was one of the best on record—so judiciously made out, indeed, and in all respects so interesting, that we are induced to quote it:—

PART I.

Quartet in D minor (first time at the Monday Popular Concerts) ... Haydn.

Cradle-song, " Sleep thou Infant angel" Glinka.

Song " Pairs fin" Winter.

Sonata in D major, pianoforte solo Mozart.

PART II.

Grand Ottet, in E flat, Op. 20, for four Violins, two Violas, and two

Violoncellos Mendelssohn.

Songs, " Who is Sylvia 1" "Hark, hark, the lark" Schubert.

Song, " The Savoyard's Song" Mendelssohn.

Duet, " Pnro clcr' Paer.

Sonata, in G, Op. 30, for Pianoforte and Violin Beethoven.

Conductor—Mr. Lindsay Sloper.

Some German critic is reported to have said that when the name of Haydn ceased to be exhibited in the programmes of classical concerts he would take up his pen and write "The Epitaph of Music." This enthusiastic gentleman need be under no apprehension, however, about the continued popularity of a man capable of writing such a quartet as the one introduced by Herr Joachim on the occasion under notice. In this work (belonging to the famous set which contains the quartet with variations on the "Austrian Hymn,") and in some others, while strongly influenced by the later music of Mozart, Haydn seems to have foreshadowed one peculiarity of the many-sided Beethoven—that playful fancy which, in the composer of the Pastoral Symphony, so frequently assumes the character of absolute caprice, without venturing upon the domain of eccentricity. This is visible in the trio of the minuet—the minuet itself, a " canon on the octave," belonging, like the first allegro, more essentially to the style of Mozart—and here and there in the final rondo. The graceful andante (with variations) shows Haydn most unreservedly himself, which by no means renders it the least agreeable and charming feature of the quartet. A finer performance than that of MM. Joachim, Carrodus, Webb, and Piatti, would scarcely have been possible. Herr Joachim seems to play Haydn with a gusto not less hearty and genuine than the sympathy that distinguishes his readings of the masters of his especial predilection—J. S. Bach and Beethoven. The quartet was heard throughout with intense satisfaction, every movement being loudly applauded, and the andante redemanded, though the compliment was prudently declined. In this instance the "first time of performance has small chance of being the last." The Quartet in D minor will unquestionably soon be heard of again. Mozart's sonata—clear and transparent, melodious and full of ingenious contrivance—can hardly be cited as an advance upon the quartet of Haydn, which, on the whole, must be acknowledged a work of a higher cast. Mr. Halley's playing was artistic and masterlcy, as usual. The Sonata in D major, however, has becd twice heard already at the Monday Popular Concerts, and from the same expert hands ; it is enough, therefore, to add that it was received with the accustomed favour. The fact of a piece of such chaste and unobtrusive beauty depending for effect upon the unaided efforts of a single performer, and producing, in a vast music hall, a lively impression upon an audience of not far short of 2,000 persons, is one of those "signs of the times" unmistakably declaring the progress of taste among us. True, the Musio-master—like the "schoolmaster," when Lord Brougham first addressed the multitude on the inestimable advantages of education—is now effectually " abroad."

Mendelssohn's Ottetto (with all deference to the illustrious names of Haydn, Mozart, and Beethoven) was the conspicuous feature of the evening. It appears almost incredible that a work so large in design, so elaborately filled out, so ripe in scholarship, so crowded with ideas, as new as they are beautiful, should have fallen from the unpractised pen of a youth of fifteen. This was, nevertheless, the case. The Ottetto preceded the overture to A Midsummer Night's Dream by something like two years; and we have no hesitation in ssiying that its composition at so early an age is a feat to which the history of

the musical art affords no parallel. Nearly 40 years have elapsed since it was first tried in Berlin, at the house where Mendelssohn's family resided; and the universal esteem in which it is now held by musicians and cultivated amateurs is a proof that its merits are genuine—independent, in short, of the extraordinary incidents connected with its production. The first allegro exhibits the lofty aspiration and powerful grasp of Beethoven himself; the slow movement, the romantic feeling, and the scherzo the bright and sparkling fancy so peculiarly the attributes of Mendelssohn; the finale, the skilful contrivance and contrapuntal freedom of Mozart. Nothing, indeed, but a certain diffuseness—the offspring chiefly of what a German critic might denominate "a genial striving upwards," impelled, too, by an inordinately rich invention—proclaims it the work of a young and comparatively inexperienced musician; and such is the charm which genius has thrown over every part, that even this very diffuseness exercises a potent spell, no lover of Mendelssohn's music being at all disposed to see a single bar curtailed. This was not the first time of the Ottetto being heard at the Monday Popular Concerts; but it was the first time with Herr Joachim as leader; a circumstance which invested the performance with twofold attraction. Never did the Hungarian violinist play with greater fire and enthusiasm, never with greater judgment and expression (witness the exquisite reading of the andan'e), never (the fairy-like scherzo, for example) with greater delicacy. The quartet of performers already named were supported in the Ottetto by M M. Wiener, Watson, Hann, and Paque. The execution—with a trifling exception or so, to signalise which would be hypercritical—was the finest we remember. Herr Joachim and Signor Piatti, on their respective instruments, constituted the "Alpha and Omega" of musical excellence. The pedestal was worthy of the statue. From first to last the performance was listened to with breathless interest, and movement after movement rapturously applauded. The success was, in a word, 11 colossal." It is only in the non-operatic season that the director of these entertainments is enabled to assemble together so many competent executants as are required for pieces demanding such exceptional means; and the announcement of others of the same kind during the autumn series (including one of Spohr's double-quartets, the Septets of Beethoven and Hummel, &C.), shows that Mr. Chappell intends to let his patrons profit by the advantages just now at his disposal.

The last instrumental piece—the sonata in G (Op. 80), by Beethoven, for pianoforte and violin—a particular favorite at the Monday Popular Concerts —was given with wonderful " brio" by MM. Halle' and Joachim, and kept the interest of the great majority of the audience alive to the end. The vocal music afforded a pleasing variety. The plaintive cradle-song of Glinka (extremely well sung by Miss Banks) was a welcome novelty—a step, too, in the right direction. The vocal music of " the Russian Mozart" is a mine well worth exploring. Miss Banks was no less successful in Schubert's beautiful settings of Shakespeare —the last of which ( " Hark, hark, the lark") was encored; while the rich contralto voice of Miss Lascelles was favourably displayed in the canzonet of Winter (who, more than any other composer, knew how to imitate, while diluting, Mozart), and in the quaint "Savoyard's Song" of Mendelssohn. The graceful nolturno of Paer—Rossini's predecessor, as manager of the Opera Italien, and Cherubini's as "principal" of the Conservatoire, in Paris—united the voices and talents of the two young ladies with pleasing effect Mr. Lindsay Sloper, who (in the absence of Mr. Benedict) occupied the post of conductor, accompanied the vocal pieces to perfection. At the next Concert (October 20), Spohr's magnificent double-quartet, in E minor, is to be one of the principal attractions, and Mr. Sloper will play one of the sonatas of Beethoven.

Berlin.—The birthday of Queen Augusta was celebrated at the Royal Opera House by Weber's "Jubel Overture," a prologue by Adami, spoken by Herr Bemdal, and Nurmahal, which last, on account of the opportunity it affords for scenic display, is frequently selected for festival performances. The principal parts were ably represented by Mdlles. Lucca, De Ahna, and Herr Woworsky. A young lady of the name of Moser has appeared as "Matilda," in Guillaume Tell; but, though possessing a fine voice and a pleasing exterior, failed from want of a musical training. On the sixth inst., the centenary celebration of the first performance of Gluck's Orpheus und Eurydice took place before a crowded house. The following is a chronological list of the performances of this opera in Berlin:—1808, April 20th, first time; for the benefit of Mdme. Schick. 1808, three times.—" Orpheus," Herr Eunike: "Eurydice," Mdme. Schick; "Amor," Mdme. Schick (afterwards "Frau von Schatzel.") 1818, three times Herr Sturuer, Mdme. Miller, Mdlle. Eunike. 1819, once.—Herr Stumer, Mdme. Miller, Millie. Eunike. 1821, twice, in Italian.—Mdme. Borgondio, Mdme. Seidler, Mdlle. Eunike. 1841, twice.—Mdlle. Hanel, Mdlle. Hedwig Schulze, Mdlle. Tuezeck. 1854, four times —Mdlle. Wagner, Mdme. Kiister, Mdlle. Tuezeck. 1855, three times.— Mdlle. Wagner, Mdme. Koster, Mdlle. Tuezeck. 1856, four times —Mdlle. Wagner, Mdme. KOster, Mdlle. Tuezeck. 1857, three times.—Mdlle. Wagner, Mdme. Kiister, Mdlle. Tuezeck. 1858, twice.—Mdlle. Wagner, Mdme. Koster, Mdlle. Tuezeck. 1859, four times. —Mdlle. Wagner, Mdme. Koster, Mdlle. Tuezeck. 1860, three times.—Mdlle. Wagner, Mdme. Koster, Mdlle. Tuezeck. 1861, twice.—Mdlle. Wagner, Mdme. Koster, Mdlle. Tuezeck.

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