“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. Fo OR ORCHESTRA.-MEYERBEER'S GRAND EXHIBITION OVERTURE is now ready, for full orchestra. Price 128 Also AUBER'S GRAND EXHIBITION MARCH, for Orchestra. Price 7s. 6d. BOOSEY & SONS, Holles Street. IGNOR GARDONI'S NEW SONG, "Pourquoi." SIGN Romance. By SIGNOR MURAtori. Sung by SIGNOR GARDONI at the Concerts of the Nobility during the present Season, with immense success. Price 2s. 6d. BOOSEY & SONS, Holles Street. IMS REEVES' NEW SONG, SIMSY She may smile on many." By HOWARD GLOVER. Sung by Mr. SIMS REEVES with unprecedented success. Encored on every occasion. Price 3s. OZART'S MOZAR BOOSEY & SONS, Holles Street. DON DON JUAN. 9s. BOOSEY & SONS' New 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. BOOSEYS' SHILLING MESSIAH, complete Vocal cal Cabinet"). Price 1s.-BOOSEY & SONS have much pleasure in announcing their Score, with Accompaniment for Pianoforte or Organ, demy 4to (size of "Musinew 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 cheap music, this book is quite unprecedented, and it is only in anticipation of the G. F. HARRIS, from the celebrated Edition of Dr. JOHN CLARK. As a specimen of 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. THE RING AND THE KEEPER. N OPERETTA, written by J. P. WOOLER, Esq., the Music composed by W. H. MONTGOMERY. THE DEAR FORGET-ME-NOT. Tenor KEEPER, TAKE THIS RUBY RING. Duet THE JOLLY BEGGARS. 2 6 2 6 2 6 2 6 THE ALEXANDRE HARMONIUMS AT CHAPPELL'S, 50 NEW BOND ST. ALEXANDRE AND SON HAVE taken out a new Patent for the Drawing-Room Harmonium, which effects the greatest improvement they have ever made in the Instrument. The Drawing-Room Models will be found of a softer, purer, and in all respects more agreeable tone than any other instruments. They have a perfect and easy means of producing a diminuendo or crescendo on any one note or more; the bass can be perfectly subdued, without even the use of the Expression Stop, the great difficulty in other Harmoniums. To each of the New Models an 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 NEW CHURCH HARMONIUM, WITH TWO ROWS OF KEYS. These Instruments are a perfect substitute for the Organ; the upper keyboard has a Venetian Swell, and acts as a Soft or Choir Organ, on which a perfect diminuendo and crescendo can be produced; and the lower keyboard answers the purpose of a Full Organ. The tone of these Instruments more closely resembles that of an Organ than any Harmonium yet produced, being 30 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. 26 4 0 THE DRAWING-ROOM MODEL IS MADE IN THREE VARIETIES:- Guineas. HILDREN." Words by LONGFELLOW. Sung by Miss 1. Three Stops, Percussion Action, additional Blower, and in Rosewood PALMER with the greatest success. THALBERG'S NEW COMPOSITIONS. 2 6 2. Eight Stops 3. Sixteen Stops (the best Harmonium that can be made)... MESSRS. CHAPPELL have an enormous Stock of the 16 FIVE-GUINEA AND SIX-GUINEA ... ... 246 Complete, price 4s. ... ... ... As performed by M. THALBERG, at his Concerts, with great success. 3 0 THALBERG'S SONG "WITHIN THE CONVENT GARDEN," with German and English Words. Price 25. HARMONIUMS, COMPASS, FOUR OCTAVES; ALSO THE NEW FIVE-OCTAVE HARMONIUM AT And of all varieties of the ordinary kind, which are perfect for the CHURCH, No. 1. One Stop, Oak Case 2. Ditto, Mahogany Case MADAME OURY'S NEW PIANOFORTE 3. Three Stops, Oak, 16 guineas; 46 45 26 12. Patent Model (ditto), Oak or 56 35 Morceau de Salon... Valse de Salon 4. Five Stops (two rows of vibrators), 23 10. Twelve Stops (ditto), oak Impromptu 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 AND PIANOFORTE AND HARMONIUM WAREROOMS AT No. 16. full descriptive Lists (Illustrated), may be procured on application to Printed by HENDERSON, RAIT, and FENTON, at No. 13, Winsley Street, Oxford Street, in the Parish of Marylebone, in the County of Middlesex, "THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT MUST BE DEDUCTED: IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES."-Göthe. SUBSCRIPTION-Stamped for Postage-20s. PER ANNUM Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28, Holles Street, Cavendish Sq. London, W. The programme will include Irish, Scotch, and Welsh melodies. Sung by a Chorus of 400 Voices (Members of the Vocal Association and other principal Metropolitan Choral Societies), and accompanied by a Band of Harps (the most eminent performers in London). The harp parts, with new preludes, and symphonies are arranged expressly for this occasion by Mr, John Cheshire. Conductor: MR. ALBERTO RENDEGGER. Tickets at Austin's, 28, Piccadilly. Sofo Stalls 5s., Balcony 35., Area 25. Admission 1s. FLUTE, GUITAR, AND CONCERTINA. 38 Welbeck Street, Cavendish Square, W., where may be had all their publications. MR. TR. HENRY VANDENHOFF, COMEDIAN, Pupil of the late Signor CRIVELLI, and Student of R. A. M., calls the attention of Operatic Artistes to his Course of Instruction in ELOCUTIONARY SINGING and GESTURE, so indispensable to Students of the Dramatic and Lyric Art. Only address-4 Kingston-Russell Place, Oakley Square, N.W. DR. R. MONK'S MUSIC SCHOOL, YORK. Dr. MONK, ISS LASCELLES begs to inform her Pupils and to Dr. Monk. MISS Friends she is in town for the winter season. Letters to be addressed to 8 York Street, Portman Square, W. ΜΙ M WANTED for the Adare Church Choir, a SOPRANO, ISS HELEN HOGARTH begs to announce to her Thursdays and Fridays. Constant employment could be had by any person who Friends and Pupils that she has returned to town for the season. 1 BLOOMSBURY SQUARE, W.C. ISS PALMER begs to announce to her Friends and Pupils that she will return to town on Monday, October 27. All letters to be addressed to her residence, 25, Sherwood Cottage, Park Village East, N.W. who will be required to lead the singing at service, and attend practice on could do plain or fancy work. Salary for singing £20 per annum. Any person possessing a really good voice would find a great many advantages in Adare not met with generally. Apply to W. Power O'Donoghue, Organist, Adare. & PARRY (successors to Wessel & Co.) beg to inform the Profession that they forward Parcels on Sale upon receipt of RS. J. HOLMAN ANDREWS begs to announce to purposes, may be had, post-free, on application. MRS. her Friends and Pupils that she has RETURNED to TOWN for the Season. 50, Bedford-square, W.C. M. YONEL will play his admired Waltz, "THE SILVER CORD," THIS DAY, and during the ensuing week, in the English and German Courts, at the International Exhibition. R. HANDEL GEAR, Professor of Singing, begs to MR. acquaint his pupils and friends that he has returned to town, and has removed to No. 7 Inverness Place, Bayswater, W. PRIZE MEDAL FOR PRATTEN'S PERFECTED FLUTES, WITH THE OLD SYSTEM OF FINGERING.-BOOSEY & SONS have much pleasure in announcing that these instruments have received the Prize Medal of the International Exhibition. An Illustrated Catalogue may be obtained upon application to the manufacturers, BOOSEY & SONS, 24, Holles Street, W. PRIZE MEDAL FOR BOOSEY & SONS' MILITARY R. GEORGE B. ALLEN begs to announce that he pleasure in announcing that these instruments have received the Prize Medal of the THE POETRY BY THE REV. HAMILTON DICKER, The Music by J. P. Knight, 15 Who has not in a happy dream And felt the grief which ever blends With memories of that passing gleam!] Do we not hope the voices still "The great and deserved success of this work has brought it, in no long time, to and moonbeams lle upon the hill, "Since its first publication this book has met with general acceptance, and is now used as a vade-mecum by many of the most eminent and intelligent vocal Instructors both in the metropolis and the provinces. We say vocal instructors, because it is only to instructors that works of this class can be of material use. Singing is not an art which can be learned by solitary study with the help of books, and those who are selftaught (as it is called) are always badly taught. But a good treatise, in which the principles and rules of the art, founded on reason and experience, are clearly expressed, is' of infinite value, first to instructors, in assisting them to adopt a rational and efficient method of teaching, and next to pupils themselves, in constantly reminding them of, and enabling them to profit by, the lessons of their master. In both these ways Signor Ferrari's work has been found pre-eminently useful. + "The foundation of singing is the formation of the voice. A bad voice cannot be made a good one; but the most mediocre voice may be mude a source of pleasure both to its possessor and to others. Accordingly, ample dissertations on the formation of the voice abound in our treatises on singing. But it unfortunately happens that these dissertations are more calculated to perplex than to enlighten the reader. We could refer to well-known works by professors of singing of great and fashionable name, in which the rules for the formation of the voice are propounded with such a parade of science, and with descriptions of the vocal organs so minute, and so fall of Greek anatomical terms, that no unlearned reader can possibly understand them. Signor Ferrari (as he tells us) was brought up to the medical profession before following the bent of his inclination, he betook himself to the study of music. But this circumstance, while it made him acquainted with the physical construction of the human organs of sound, has not led him into the common error of displaying superfluous learning. We have not a word about the 'glottis "or the "trachea, but we have a broad principle distinctly enunciated, and intelligible to everybody. "Signor Ferrari's principle is of the simplest kind. Everyone,' he says, 'who can speak may sing. The only difference between speaking and singing is, that in speaking, we strike the sound impulsively and immediately leave it, whereas in singing we have to sustain the sound with the same form of articulation with which we struck it impulsively. It is on this principle that Signor Ferrari's practical rules for the formation and cultivation of the voice are based. To give the pupil a sufficient control of the breath for the utterance of prolonged sounds to soften the harshness and increase the strength and equality of the natural tones of the voice, without ever forcing it these are the objects of the scales and exercises on sustained sounds, which must be practised under the careful superintendence of the teacher, whose assistance Signor Ferrari always holds to be indispensable. "Signor Ferrari makes an observation which, as far as we are aware, is new. It is evidently well founded, and of great importance. Owing to the want of attention to ! the tone in which children speak, they acquire bad habits, and contract a habitual tone which is mistaken for their natural, veice. It is a result of this neglect, he says, that 'the young ladies of the present day speak in a subdued, muffled tone, or what may be called a demi-falsetto, in consequence of which very few natural voices are heard.' Hence a young lady, when she begins to sing, frequently continues to use this habitual tone. The result is,' says Signor Ferrari, that not only does she never sing well, but soon begins to sing out of tune, and finally loses her voice, and in too many instances injures her chest. Indeed,' he adds, "I have no hesitation in saying that hundreds of young ladies bring upon themselves serious chest affections from a bad habit of speaking and singing. Signor Ferrari afterwards shows how this great evil may be cured by making the pupil read or recite passages in a deep tone, as though engaged in earnest conversation; and he adds, I cannot advise too strongly the greatest attention to th the free and natural development of the lower tones of the voice. It is to the stability of the voice what a deep foundation is to the building of a house,' Signor Ferrari deprecates, as fatal errors, the custom of practising songs or solfeggio with florid passages before the voice is sufficiently cultivated. He is of opinion that young ladies ought to begin the study of singing at thirteen or fourteen, and not, as is generally done, at seventeen or eighteen, by which time they ought to be good singers. In regard to the Important question how long the pupil ought to practise, he observes that this will depend on the acquisition of a proper method. The more a pupil practises with an improper intoration the worse; but once able to sing with a natural tone, he may practise two, three, or more hours a day without danger. All Signor Ferrari's precepts are of the same sound and rational character. "The exercises, embracing the scales, and all the various passages which belong to modern, melody, are sufficiently copious and admirably adapted to their purpose. In the original publication these exercises were confined to the soprano, or the corresponding male voice, the tenor. But in this new and revised edition a number of exercises are added for contralto or baritone voices a very great addition to the value of the work."-Illustrated News. LONDON: DUNCAN DAVISON & Co. 244 Regent Street, W.i Of last night's dream may haunt us yet? Like one awoke from dream of light, A I think upon the days gone by; I knew but in thy memories gone! London: DUNGAN DAVISON & Co., 244 Regent Street, W. Sleep and the Bast. Night came in visions lone, Like music's distant strain: But I woke to know that thy gentle breath, Is for ever hush'd in the sleep of death. I thought I saw thine eye, E'en as in bygone days, With thy deep and earnest gaze: But I woke to know that death shadows lie I thought I held thy form Unto my beating heart, With a pressure fond and warm, As though we ne'er could part: But I woke to know that on earth's cold breast And night has come to me, A long and starless night Since 'neath the cypress tree They hid thee from my sight: But I know I shall wake-we shall meet once more, Let life be bright, why cloud It o'er It may be thou wilt ne'er deplore London: DUNGAN DAVISON & CO., 244 Regent Street, W. MUSICAL BIOGRAPHY.. The universal badness of musical biographies will hardly be disputed It will at all events soon be conceded by any one who will take the trouble to compare half-a-dozen standard lives of workers in any other department of art with the lives of half-a-dozen great musicians. Among the most common defects in these books there is a provoking tendency to secondhand gossiping, which alternates with critical passages of a wonderful kind. We know of no parallel in literature to the portentous use of superlatives which it is not unusual to meet with when the musical biographer comes to review, or addresses himself to worship, his hero's masterpieces. The want of a genuine critical standard is apparent at every turn. We sometimes get mere complacent twaddle like that of Burney, who was the Coryphæus of musical writers a hundred years ago, and who has prefaced his bulky History of Music with a definition worth quoting:— "What is music? An innocent luxury; not necessary, indeed, to our existence, but a great improvement and gratification of the sense of hearing." This is taking the extreme sensuous view with a vengeance. One wonders whether painting is an innocent luxury, not necessary indeed to our existence, but a great improvement and gratification of the sense of sight. Yet, after all, mere twaddle is better then the silly pretentiousness that would set Music above Poetry, or than the literary ignorance which has permitted a comparison of Beethoven, sometimes to Dante, sometimes to Shakspeare and Michel Angelo, and sometimes to Jean Paul Richter. The reason of these shortcomings is not far to seek. It must be remembered that the great prizes of the musical profession not only may be secured without, but, as a general rule, must be sought for by a more or less definite abandonment of, an enlarged and liberal cultivation. The demands made upon mechanical dexterity in every department of music are now so heavy that little short of engrossing practice from a very early age is found sufficient to meet them. During Mendelssohn's visits to London, it was remarked of him, as an unusual and unexpected merit, that he was good company without his music. Now, it is upon eminent professional musicians that the duty of commemorating their brethren generally devolves. It devolves, that is, upon men whose lives have been spent within a narrow circle of interests and sympathies, and whose judgment, naturally inclined to be biassed and distorted, is very poorly provided with the salutary checks and compensations that come of a genuine liberal education. Many of Mr. Mill's readers will remember an interesting passage treating of music, in his Dissertation on Poetry and its Varieties. Short as that passage is, it is quite enough to set the general run of musical criticism in strong relief against what such writing might become, if illustrated by the attention of only a few independent thinkers, possessed of real learning and wide culture. The failure of the art to attract writers like these has been accounted for by supposing that a taste for music is a kind of defect in the organization of the brain, and that your man of first-rate intellect is uniformly unmusical-sure to be disinclined, if he is not organically disqualified, to treat of the subject. It is really curious to find how much apparent ground for this notion may be gained by running over at random a list of great names whose likes and dislikes in this respect happen to have been recorded; though the single exception of Milton is enough to show that the notion is nothing more than a fancy. Milton not only understood and regularly practised music himself, but in his Tract on a model scheme of Education, he warmly recommends it as a means by which-in Aristotle's phrase-radűs oxodášeiv, a worthy and noble method of relaxation. But there is a more important explanation of the estrangement of men of letters from musical matters. It accounts, at any rate, for an unwillingness in such men to write about music. This is the ill-defined position of Music as a branch of art. More, incomparably more, than any other branch, it has suffered from the foolish claims of its devotees. The broad expression and the intensification of passion were its earliest known functions; and these still remain its most legitimate province. There are, however, many ardent musicians who go farther, and claim for music a versatility and delicacy of delineation equal, if not superior, to the productions of poetry and painting. The question then is, obviously, how comes it that no sooner does a musical passage approach actual and pronounced description than we are sensible of a violation of taste? The magnificent oratorio of Israel in Egypt, and the works of Handel generally, supply plenty of instances. Or (to look at matters from another point of view) take the well known canto (xi.) of In Memoriam, which begins-- "Calm is the morn, without a sound, Calm as to suit a calmer grief, It would be hard to meet with a poetical passage more capable than 66 Men of letters have probably been repelled by several causes working together. There is, first, the fact that the section of the public who take an interest in music as an art is a very small one indeed. As a mere source of amusement, music is almost universally patronised.of Beethoven's music will feel how well he would have set the canto The rush to the pianoforte made by both sexes of late years proves (xv.) beginning, To-night the winds began to rise;" or, the single that the effort of mastering the rudiments of execution is an increasingly the very same emotions as the poet, he had sat down to give them verse (cxxix.), "Thy voice is on the rolling air." But if, impressed by popular diversion. The statistics of concerts show that people like, utterance with his own art as the sole vehicle, he would never have better than ever they did, assembling to listen even to the elaborate equalled the distinct delineation of the poet. Similarly, in a little piece compositions of great masters. But the combination of physical and called The Lake, Professor Sterndale Bennett has very cleverly described non-physical endowments necessary to judge of music, and to perceive a calm sheet of water, presently ruffled by a creeping current of wind. its real intention and scope, is a very uncommon one indeed-much more Yet, if it were not for the verbal announcement of the subject, one sees uncommon, probably, than the analogous combination which makes no reason why the same strain should not do duty as the description of a tolerable judge of paintings. Beethoven himself, forty years ago, a calm moonlight scene, broken by some envious cloud, and by-and-by believed the capacity of musical perception to be then decidedly on the relapsing into serene light. But, whatever be the value of these individual distinctions, it is to some wider and sounder method of criticism that we must look in order to define and raise the artistic platform of music, and to make it worth the while of cultivated and reflecting men to pay more attention than they now do to the subject. Men of genius among musicians may then hope for some worthier memorial than they are now likely to obtain. decrease: "I once asked Beethoven (says one of his biographers) why he had not affixed to the different movements of his Sonatas an explanation of the poetical ideas they expressed, so that these ideas might at once present themselves to the mind of the intelligent hearer. His answer was that the age in which he composed his Sonatas was more poetical than the present (1823), and that at the former period such explanations would have been superfluous. At that time,' he continued, every one perceived that the Largo in the Third Sonata in D, Op. 10, painted the feelings of a grief-stricken mind, with the varying From The Saturday Review. [We should like to hear Mr. Joseph Goddard's opinion of this piece of self-sufficient literary paradox.-ED.] |