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STERNDALE BENNETT'S SESTET,

(For Pianoforte, two Violins, Viola, Violoncello, and Double Bats).

Dit. William Stern-dale Bennett was born at Sheffield, where his father was organist, April 13,1816. Left an orphan at three years old, ho was removed to Cambridge, and thero he entered the ehoir of King's College Chapel, in 1824. He bee.-ime a student of the Royal Academy of Music in 1826, and resided in that institution for ten years. Having completed his musical education, so far as it could be completed through the medium of personal instruction—apart from the influence of daily experience on the powers of an artist, which ceases only with the close of his career—he went in 1836 to Leipzig, where he met as ready an appreciation of his genius as he had already found in London. He returned the following year, but paid a second visit of a twelvemonth to Leipzig in 1840, since when he has always dwelt in London. In 1856, he was appointed permanent conductor of the concerts of the Philharmonic Society, and from that time he has never appeared in public as a pianist; the memory of his excellence in this capacity, however, is still, and will for very long be vivid. In the same year he was elected by an immense majority to the musical chair of the University of Cambridge, and he subsequently took his degree in the faculty over which he presides, at this institution. His first work that was performed in public was the Concerto in D minor, which he played at the Academy Prize Concert, in 1831, it having been written in the previous year. The most important of his compositions of the period of his residence in the Academy are, two Symphonies, an Overture to the Tempest, and an Overture to the Merry Wives of Windsor, all unpublished; the Concertos in E flat and C minor, the Overture to Parisina, and the present Sestet, all of which are well known to the world. Thus, the masterly work before us is the production of a student of less than twenty years of age; and its maturity of manner is as remarkbale as tho perfect originality of thought which distinguishes it. Be it not supposed, because less is here said of the merits of this composition than of some others in the programme, that they arc esteemed of less interest, or as less worthy of consideration; the opportunity to pay a just tribute to the genius of a friend is most tempting, but this opportunity would be^wautonly squandered were it so employed as to give the slightest ground for a suspicion that any other feeling than one of sincere artistic admiration I induced unreserved warmth of eulogium.

The Allegro moderate (in F sharp minor), opens with this theme, first announced by the bow instruments, and carried on by the pianoforte:—

Violin.

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German Opera In New York—Mr. Carl Anschutz, anxious to do ■ something for the art of his country, has undertaken the very difficult task to give us, at Wallack's small but convenient old theatre, a season of Gorman Opera. It was but the other day, when we were asked how i it came that the Germans had so very few operas of their own. The. question appears quite natural, when we look upon the repertoire of the. so-called German opera in this city. Of the six or eight operas which . have been given for the last ten years three or four may be claimed by, the French, so that in reality we have been presented with but very few works of tins kind wliieh may be termed German with regard to! character, style, and origin. That under these circumstances tho treasures of thoroughly German operas appear in the eyes of Americans but very scanty, is a matter of course. We understand that it is the aim of Mr. Anschutz to dispel this prejudice. But the preparations for this praiseworthy object have not been quite finished, so tliat he was obliged to open the season with the two operas most known here, Martha and Der Freischutz. These wero performed in a highly. creditable manner. Singers, chorus, and orchestra were excellent, in fact better than we have heard them for a long time. A tolerably good performance of Lortzing's Czar and Carpenter proved again the sterling qualities of this opera. Mrs. Hotter and Messrs. Graff, Hartmann, Quint, Lotti, and Weiulich were tho performers. What ilic company wants is a good baritone and a lyric tenor. If the other operas which are in {(reparation, Fidelio, Elopement from the Seraglio, The Eagle's Nest, and The merry Wives of Windsor,meet the sum' fair at the hands of the performers, the success of tlds season can be safely guaranteed.—New York Musical Review.

Sprinofield—(Massachusetts).—Madame Anna Bishop, with Edward Seguin, baritone, and Uustave Dr. Spiess, pianist, has given several concerts here with varying success. In one of them Victor Masse's operetta, Les Noees de Jeannette, was given. The programme called tliis a comic opera, but the only thing we noticed that was very laughable was the idea that a women of Madame Bishop's form and size should attempt the personation of so sprightly and youthful a eliaracter as Jeannette was evidently intended to he. It is only justice to her, however, to iaj that she adapted herself t« the circumstances much better than one would have supposed possible. In the operetta more than in the concert we noticed that her voice occasionally showed the effect of years upon it; it seemed worn. Seguiu, son of the French* bass, is a clever actor—a little inclined, perhaps, to overdo his part—and a £ur singer. In concert we did not like him, but in operas he rang to much better advantage.—Neto York Musical Review.

The German Papers announce that Mr. Benedict's IMy of KiUamey, translated by Herr Dingelstadt, is to be brought out at several German theatres, under the title of The Rose of Erin.

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MONDAY POPULAR CONCERTS.

The playing of Herr Joachim on Monday night at tho second (104th) concert will not be easily forgotten by those amateurs who were fortunate enough to hear him. The programme afforded an unusually wide field ftjr the exhibition of his very remarkable talent. In Haydn's quartet, with which the concert began (No. 3, Op. 54), his performance of tho adagio, not to speak of other movements, reached the ideal of poetic expression; such genuine singiag, indeed, is. too rarely heard from the human voice, much more rarely upon an instrument. His leading of Spohr's double-quartet in E minor, at the commencement of the second part, was one of those well-sustained and masterly displays in which the highest intellectual conception goes hand in hand with.unerring mechanical address, and obtained from the crowd that filled St. James's Hall a heartier and more unanimous recognition of Spohr's great merits than, original, ingenuous, and beautiful as this double-quartet is, was probably elicited till now. The applause seemed even warmer (the attention could not have befih more marked) than,, that bestowed on Mendelssohn's OtltltoaX the previous concert. Tho great length of the work became altogether forgotten under the spell of such faultless execution; and at the conclusion of the finale the general feeling appeared to be one of regret that no more was to come. The Prelude and fugue in G Minor of John Sebastian Bach—(one of Herr Joachim's two demigods, Beethoven being the other)—was, perhaps, however, the most surprising exhibition of th»,evenihgt With what indomitable spirit and unerring skill the Hungarian violinist gives these truly marvellous solos—in difficulty unparalleled, as they are unrivalled for elaborate contrivance—our musical readers are aware; but on the present occasion he fairly outdid his previous achievments. The enthusiasm with which he threw himself into his task was quickly imparted to the audience, who, at the end of his performance, with one voice recalled him to tho platform. There was no resisting the unanimously expressed desire to hear the Fugue again; and so, to the manifest delight of all present, Herr Joachim complied. We never remember him " in finer play." The other performers in Haydn's quartet were M. Pollitzer (Herr Joachim's associate as leader of the second part in Spohr's more trying composition), Mr. H. Webb and Signor l'iatti, " the incomparable;" and to these, in the double-quartet, were added Messrs. Watson, Wiener, Hann, and Paque—all practised adepts in " quartet."

The pianoforte Bonata, in the absence of M. Charles Hallo, was entrusted to Mr. Lindsay Sloper, whose sterling qualities as a elasnical player have been more than once advantageously exhibited at these concerts, and than whom a more efficient substitute for the popular German pianist could liardly have been chosen. Mr. Sloper played the beautiful sonata, Op. 90, dedicated by Beethoven to his friend and patron, Count Moritz Liclmowski, and Hummel's brilliant trio, Op. 98 (in E flat), in which his partners were Herr Joachim and Signor Piatti. The singers were Miss Banks, who was more thoroughly at home in the plaintive romance of Glinka (repeated "by desire," and encored), than in the well-known barcarole of Schubert; and Mr. Henry Haigh, who gave songs from Fra Diavolo and The Lily of KUlarney, the former encored, notwithstanding an opposition, the strenuous expression of which should," we* think, have precluded its repetition. Mr. Harold Thomas (Mr. Benedict still being abroad) was the accompanist, and performed his duties in a thoroughly musician-like manner. At the next concert the principal feature is to be Hummel's celebrated septet, for pianoforte, wind, and stringed instruments—pianist, Mr. Hallo.— Times. ...

ROYAL ENGLISH OPERA.

Miss Louisa Pyne and Mr. Harrison continue, discreetly enough, to bestow their undivided attention on the popular works of their accepted repertory. Happily, this is ample and well varied enough to allow of a constant change of performances; and the bills are therefore never without a fresh attraction. When the manager and his accomplished partner, or her extremely clever confederate, Miss Parepa, do not appear, we have Miss Dolwon and Mr. Perren, both of whom have made legitimate way, and from both of whom still better things may confidently be expected. Miss Louisa Pync, now entirely recovered from her somewhat protracted indisposition, is in full possession of her physical means; and the benefit arising from the new system, which, by enabling her to come forward on alternate nights, instead of every night in the week, as was formerly the case, is evident both in her voice, wluoh is bright and strong, and in her singing, which—though what stood in no need of improvement cannot be saidjto have improved— is as expressive, highly finished, and brilliant as ever. One of the uigst

agreeable of the late revivals is the English version of Auber'g charming piece, Lei Diamans de la Couronne. Miss Pyne's Catarina is as near perfection as could be wished ; while in the dashing young nobleman who espouses the cause, and wins the affections of the adventurous and self-sacrificing Queen of Portugal, Mr. Harrison is provided with one of those parts of which he knows how to take the best advantage.

Besides The Rote of Castille, which is still occasionally given, and Salanella.with its tuneful and ingeniously-constructed music (Satanella, Miss Dobson), two other operas have been furnished from the same fertile source—viz., The Puritan's Daughter, and The Bohemian Girl. Of the last it is enough to Bay that its popularity has in no wise diminished ; that Miss Parepa (Arline), Mr. Harrison (Thaddeus), and Mr. Weiss (Count Arnheim) receive the customary " encores" in those evergreen ballads the names of which will force themselves too vividly on the memory of our readers for us to be at the pains of enumerating them; and that the other parts are sustained by Mr. Corri (Devilshoof —as of yore), Mr. St. Albyn, and Miss Susan Pyne. In The Puritan's Daughter—Mr. Rilfe's last and certainly one of his most attractive productions—Mr. Weiss lends tho aid of his powerful voice to the somewhat underrated part of Wolf, which—with Miss Louisa Pyne, Mr. Harrison, and Mr. Santley in their original characters—renders the cast more than usually efficient. The engagement of Mr. Weiss, indeed, is a boon not merely to the theatre in general, but in particular to Mr. Santlev, who now, like Miss Pyne, obtains the periodical repose indispensable to the healthy preservation of a voice winch, with all its compass and fine quality, is no more invulnerable to wear and tear than any other. The music of The Puritan's Daughter seems suited to every one's taste, amateurs and professors alike. The "points," however, which hit tho audience most emphatically, and elicit the heartiest tokens of approval, are precisely the same as last season—viz., Rochester's drunken song (Mr. Harrison) and Clifford's love ballad (Mr. Santley), addressed to Man- Wolf (Miss L. Pyne) at the end of the first act.

From the elegant]pen of Mr. Vincent Wallace, besides the well-known Marilana (that other "Bohemian Girl," as both the adventures of the heroine and the long-lived popularity of the music fairly entitle it to 1m named), we have had the fairy opera of Luriine—in which, it may be added, Miss Dobson, the new singer, as the "Spirit of the Rhine." achieved, by universal consent, her most genuine success. Amina is a trying ordeal for an unmatured aspirant; and, though Miss Dobson has enjoyed the advantage of a course of study in Italy, besides the valuable instruction of the once-celebrated Mrs. Wood (Miss Paton), she cannot hope, without considerably more experience as an actress and a vocalist , to master, for her own satisfaction and that of competent judges, a pirt written expressly for Madame Pasta, and which has taxed the abilities of the most renowned dramatic gingers, from Malibran to Adelina Patti. Nor is the music of La SotmambuJa quite so well fitted to English words as to the original Italian ; and this, under any circumstances, would be more or less of a drawback, even to practised 'adepts. • In Luriine no such difficulties are found. Mr. Fitzball's heroine is scarcely to be looked at as a creature of flesh and blood, and thus does not exact more than ordinary histrionic powers; while every musical phrase which Mr. Wallace has put into the mouth ofthe amphibious nymph, (to whom earth and water are elements equally accommodating), is as vocally effective as it is melodious and engaging. In Lurtme, by the way, as in Dinorah, the acquisition of the new contralto, Mad. Laura Baxter, is a fact upon which the directors may be congratulated. Tliis lady's fine voice has already charmed the ears of the Covcnt Garden audience, and inclined them to view-all she does with favor. «■ *

The English version of Fra Diavolo—another welcome excerpt from the repertory of the most gifted and prolific of musical Frenchmen—has also been played, and, on the whole so well (Zerlina, Miss Parepa; Lady Allcash, Miss Thirlwall; Fra Diavolo, Mr. Harrisou ; Lord AUcash Mr. Weiss; and Messrs. Corri and Ainsley Cook as tho two robbers) that—taking further into consideration the picturesque beauty of tho music and the universal favor it enjoys—we arc at a losx to explain why it should have been presented only once. To hear the overture and orchestral accompaniments played by the admirable land which Mr. Alfred Mellon controls with such vigor and intelligence, is alone worth a journey to the Royal English Opera. To the operas already named we have to add The Lily of KUlarney and Dinorah, both of which keep their places in the programmes. "Business," has been almost uniformly good, and foreign and country visitors drawn to Loudon by the International Exhibition have a right to be well content with the varied entertainments provided for them by the management of our only lyric theatre. There still remain the Domino /Voir (Auber), Bianca (Balfe), Victorine (A. Mellon), Romance (H. Leslie), Robin tiood (Macfarren), Ruy Bias (Howard Glover), &c, before the immediately available repertory of Miss Pyne and Mr. Harrison can be fairly pronounced exnausted. Some, if not all, of these may perhaps be forthcoming before the long-promised and anxiously expected new opera of Mr. Wallace, the title of "which, by the Way (Love's Triumph), has already been revealed,

MUSIC AT REIGATE.

(From a Correspondent.)

The concert given by Mr. Thurnam in the new Public Hall, on Friday, the 17th inst. was fa its way—for Reigate at lcaat—a sort of musical festival. The "troop" was Mr. Land's touring company, including Madame Arabella Goddard, M. Sainton, and Signer Bottcsini, Madame Gassier, Mdlle. Marie Cruvelli, Mr. Swift, and Herr Hermanns. "The most salient features of the concert," (I quote our litigate Journal) "were the instrumental performances. Perhaps no artist has done more for the cause of classical music than our gifted countrywoman, Madamo Goddard. Since she first appeared, some dozen years ago, her career has been one continued triumph. Not content with endeavoring to familiarise the pnblic with the best works of the great masters, she has revived, with great success, the almost forgotten compositions of Woclfl, Dussek, Sec. Her performances of these and other works have contributed largely to the success of the Monday Popular Concerts, and at the lame time to the elevation of the public taste. As an exponent of classical music, she has but few equals. On this occasion she selected Woelfl's iVe plus ultra sonata, with variations on ' Life let us Cherish,' and the sonata in B flat for piano and violin, by Mozart," (the one written for MdUe. Strinassachi). Woelfl's piece, according to the same writer (who seems to be unaware that Madame Goddard omitted the first movement, which alone entitled it to be called a 'sonata'), "was rendered to perfection, and warmly applauded." Ho then gives the story about Mdlle. Strinassachi and Mozart, with which The Musical World, and the programme of the Monday Popular Concerts have made your readers familiar; and excusing himself from analysing the sonata, (for whioh the Journal cannot afford bun space), proceeds to say, that the "execution of this splendid music was nothing short of perfection. M. Sainton was the able coadjutor of Madame Goldard, and both at the conclusion were warmly and deservedly applauded. M. Sainton had previously played a fantasia of bis own on Scotch melodies, in which ho displayed those qualities that have so justly made him a favorite in this country." What follows is a warm eulogy of the other instrumental performers, and n most savage onslaught on the singers, whose efforts he condemns in some terrific sentences, without condescending to specialise them :—

"The second part was enriched by the marvellous performances of Slfr. Botteslnl. It Is many years since this great artist took London by .storm, we believe at M. Julian's concerts. Before then, a solo on the double-bass seemed almost as absurd as an elephant making love,* but the genius of Iiottcsini trlt

r 1 over every difficulty.

He makes this j>ondorous Instrument discourse the most eloquent music. Like those eminent men Joachim and Platti, be gains the sympathies of his audience, not so much by unerring and brilliant execution, as by the exquisite phrasing, the warmth of expression, and the vocal character of his melodies. The best of our singers could well take a lesson from this incomparable artist. We can only add that his

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of the Instrument!)! i>art of the concert will encourage others to come to Relgate, and give ns the best music by the best artists."

Poor Madame Gassier! poor Mdllc. Crivelli! poor Mr. Swift! poor Herr Herrmanns! Happily they get more leniently treated by another critic, who, under the name of "occasional correspondent" is also allowed to record his opinion of this concert in the columns of the Reigate Journal. From this gentleman, who is somewhat verbose, I must, however, quote sparingly. Here is an instalment:—

41 Of all the numerous artists who have visited the provinces lately, thoso whom Mr. Thurnam had brought together presented tho most complete ensemble, and at tho same tlmo the most remarkable combination of executive talent. In making up concerts to be given out of London, It Is generally tho practice to depend entirely upon the name of one celebrated artist to attract the public, the rest of tho performers boing usually very Inferior In both talont and acquirements to the one particular star. * • * Mr. Thurnam, howevor, had evidently no Intention that any such slur should be upon his undertaking. The vocalists and Instrumentalists were all of tbo first rank In the musical world, while three of their number are universally acknowledged to be tho most gifted and accomplished executants of the day. Madame Gassier had not until recently been heard in this country for the last throe years—too long an absence for such a popular favorite. • * • Madame Arabella Goddard had been but seldom heard even In London during tho last six months, and Signer Botteslnl, tlie Faganini of the double bass, came but a few days ago from Naples, after having boon away for upwards of two years. Tho other artists wore Mdllo. Cruvelli, whose magnificent contralto volee and dramatic style of singing have acquired for her such an extended reputation; Mr. Swift, tho celebrated English tenor; Herr Hermans, tho German bnuo; and Mons. Sainton, whoso name and accomplishments as a violinist aro of world-wide fame. With such an array of talent it Is not surprising that an immenoc audienoe should have assembled in our fine new Publio Hall—an audience that comprised nearly all tho principal families of Relgate and the vicinity, including several from Dorking, and some even from the metropolis. Every seat appeared to bo filled—about two-thirds of the floor of tbo hall being appropriated to the reserved ticket holders, whilst the gallery was densely crowded. The scene presented by so brilliant an assemblage wag exceedingly animated and striking."

So now the poor singers may console themselves a little bit. After an appropriate compliment to Mr. Thurnam for his enterprise, &c. this "occa

sional" critic quotes the programme,—one of that miscellaneous character, for which I am aware you can never find room. After eulogising the "canon" (quartet) from Fidelio, the "vocalization" generally of Madame Gassier, and Mr. Swift's execution of a song from Wallace's Maritana, which "created much enthusiasm, and narrowly escaped an encore-," he 4evot#s some enthusiastic phrases to two of the instrumental performers. "What,"—he'exclaims— "can we say of our lovely and gifted countrywoman, Arabella Goddard, who charmed every one present by her ineffably sweet and graceful mien, and carried the audience away in rapturous enthusiasm to dreamland, by her faultless pianoforte playing? Was ever such delicious liquid harmony beard before, gushing forth from the instrument at the touch of those fair fingers? No, we will venture to assert, that at the pianoforte Arabella Goddard reign* supreme throughout Europe, the undisputed empress of pianists. She has gained a great success at Reigate, having completely won the hearts of all who listened to her divine playing. And M. Sainton,—what can the fen feeble words we may command add to the reputation of this grandiose violinist? Nothing 1 We know this full well, nevertheless must record the immensely favorable impression he created by his magnificent performance, which wns most enthusiastically received." Sip. Bottesini is then addressed in terms of befitting admiration. "His duet with M. Sainton"—he remarks— "was indescribably fine, a perfect contest between little fiddle and biz.* A melody by Himmel, too, arranged by Mr. Thurnam for pianoforte and doublobass, and'performed by that gentleman and Sig. Bottesini, is highly eulogised; and the "occasional" contributor terminates with a joint compliment to Messrs. Thurnhnm and Land, the "conductors:—

"When we add that Mr. Thurnam and Mr. Land were the Conductors, ahd each in turn presided at the piano with marked ability, we have concluded-our nOTice of thfj admirable concert, of which all present speak in the highest terms of commendation, and the recollection of which will be long retained In the memory <.t'the splendid -company that assembled to listen to It, and at the same time do bonor to Mr; ThurnanVi musioal taste and judgment." '.*'T

A compliment, in my own opinion, as fairly earned as it is unreservedly bestowed.

Reigatt, Oct. 20.

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• What becomes of Dragonettl.

MM. J. Amd E. Van Den Boobn's Concert.—The concert of MM. J. and E. Van den Boom, given last Tuesday at Willis's rooms, hod points of great interest. Hummel's grand sonata for four hands was executed by both artists with a precision and force that elicited unanimous applause from the distinguished company assembled. Other pieces plaved separately were no less favourably received. In Duets for Piano and Harmoniums of their own composition, wherein the resources of l.oth instruments are well combined, some striking and admirable effects were produced. Herr Lidel, the eminent violoncellist, and M. J. Van den Boom played Mendelssohn's sonata for piano and -violoncello, in B flat, in a most efficient manner, and Miss Banks and Mr. Wilbyev Cooper contributed to the charm of the concert, which terminated with a trio from Norma, arranged by Brisson for piano, harmonium, and violoncello—performed by MM. J. and E. Van den Boom and Herr Lidel, which was enthusiastically applauded. ■.!»•■•-. r '.

Kentish Town.—On the 17th Mr. Alfred Gilbert conducted an exceedingly good performance of The Creation at Kentish Town. The principal vocalists were Madame Gilbert, Miss Bincks, Mr. John Morgan, and Mr. T. T. Really, the chorus being the members of the Kentish Town Church Choral Society, assisted by some of The Arion. eight part choir. The accompaniments were given by a small but efficient band, consisting of, 1st violins, Mr. AV. E. Evans and Mr. Otto Booth; 2nd violins, Messrs. Albert Booth and Thomas Murby; viola, Mr. Sidebotham; violoncello, Mr. Ferdinand Booth; contra basso, Mr. Frye. Mr. W. Evans, Junr., played the flute part on a concertina with excellent effect, and this, with Mr. Elliott's clever management of the harmonium, supplied the place of the ordinary wind instruments, Tho whole oratorio was done with great precision, and in a manner Wghly ereditablo to the performers.

Exeter Hall.—There was an overflowing audience in Exeter Hall on the Wednesday evening of last week, to hear Handel's Messiah. The solo vocalists were Mad. Hudersdorft', Mdlle. Elvira Behreiisv.SIr. Wffbye Cooper, and Mr. Lambert, 'lite opening recitative " Comfort ye my people," and "Thy rebuke," were ally sung by Mr.' Cooper. Mr. Lambert displayed his fine voice in " Thus saith the Lord," and "Behold darkness ;" and his '• Why do the nation " was received with great applause. Mdlle. Behrons in "But who may abide,"," O thou that tellest," and "He was despised," was received with ecmal favor. Mad. Iludersdortr gave the Soprano music tlirougliout with vigor and expression, in "Rejoice greatly," and "I know that my Redeemer liveth," being especially successful. On Wednesday last Haydn's Creation was performed. These "Wednesday Oratorios" appear to have no present intention of arresting "business." It would he as well, however, with SQ large a chorus, to increase, the numerkal strength*! th* orchestra, it.,^,t.

Dublut—The Titiens and Giuglini party have been giving a series of operatic performances in the Irish capital wHh, if we believe the metropolitan journals, decided success. The operas have been those in which the Teutonic prima donna has made herself famous with the London public, Norma, Martha, and Don Giovanni have most particularly earned the acclamations of the writers, Mozart's opera, it appears, has been a veritable triumph. Of Mdlle. Titiens' Donna Anna we were prepared beforehand for any amount of encomium from enthusiastic Irish critics; but we could hardly have anticipated the showers of eulogies heaped upon Signer Badiali's Don Giovanni, even though we were bound to expect raptures about Herr Formes' Leporello. Signor Badiali, we are assured, "acted and looked the part (of the Don), and impressed the force of his genius in the masterly manner in which he executed the music;" was superb in " Deh vicui alia ftnestra;" and "was heard with deep gratification in concerted passages."

The Dublin Evening Nevi is particularly copious and critical about the Leporello of the German basso:—

"Who has seen the Leporello of Herr Formes that has not left the theatre wonderstricken, astonished, and powerfully impressed with all that great man does, especially in the subjugation of difficulties and the working of apparently discordant materials into a perfect concord and complete whole. The most perfect musician upon the stage—for we have a right so to call the grandest organist, most extensive classicist, both lingual and musical, most complete theorist, and most accomplished vocalist whom the lyric stage has given to us—Herr Formes, gave proof last,night that he was not alone the engaging and wonderful actor that he was of yore, but that his,glorious voice is still under as complete management as ever were the keys of the pianoforte beneath the digits of Mendelssohn. We trust, nay, we have a firm belief that those who witnessed his. performance in Leporello will have an earnest wish to learn of the repetition of Don Giovanni, and of this we are sure, that whatever may Vw the isolated opinions on the question of the presentation of the opera as a whole, Herr Formes/ Leporello' can never be regarded in any other sense than as a masterly delineation of the only great comic character wfth which Father Mozart has furnished us."

The Zcrlina of the evening was Mdlle. Paulina Castri, pupil of M. Goldberg, the eminent singing master, to whose careful training, by all accounts, she does infinite credit. To sing with such renowned artists was a severe ordeal for a beginner; but Mdlle. Castri appears to come successfully out of the fire. The success of the young lady was, indeed, unequivocal: and the Dublin papers are unanimous in their praises. The Freeman's Journal thus alludes to her performance :—

"jjtdlhJ. Castrl not only succeeded in malting''d decidedly good lnrpresstoni birt It was a great triumph for one so young in a part in which sy much Too.to be done, and la which mediocrity would not be tolerated. On coming forward with Ma&etto (Signor Bossl) she received a hearty cheer of encouragement, and, notwithstanding htr timidity on finding herself for the first time in the presence of a crowded and expecting audience, she sang her ritusic sweetly and well, and her bashfnlness told admirably in the scene when "The Don" makes overtures to her. Site was heard with marked pleasure In "La ci darero," which, had to be repeated, her *• Battl battl" was remarkable 'for tenderness and expression; and m "Vedral Carton" she gave unmistakable proof of qualifications which will enable her to aspire to a high position In the profession she has adopted. Aa encore was demanded, with which she gracefully oooiplied. Her voice is an exquisitely toned flexible soprano of considerable compass, though not Vet fully developed; her personal appearance is all'in her' favour, and her manner graceful^and easy. Her acting is natural, and she possesses that vivacity so essential tor the part which she so admirably Impersonated." , i »' .>■ I, , - / j

The' Elvira of Mdllo. Louise Michal, who had won the previous night golden opinions as Leonora in the: IVoWiore, did not fail to impress the critics with its vocal excellence.

On Sunday, the 19th inst. Mdlle. Titiens, Mdlle. Lemaire, and Signor Badiali lent their services to the celebration of High Mass in the proCathedral, Marlborough-street. The congregation was* very great, and at an early hour the doors of the church had to be closed. The Mass was sung by the Rev. Thomas Butler, and presided at by His Grace the Lord Archbishop. The music consisted of Professor Glover's Mass, No. 2, the manuscript composition, possessing great merit We may especially mention the " Gloria," which ia calculated to come into general use in choirs. The Credo" is likewise Composed in the best style of sacred music. The " Agnus Dei" is also highly meritorious. We must not omit to mention the "0 Solutaris of the same composer, sung as a trio by Mdlle. Titiens, Mdme. Lemaire, and Mr. Wm, Tracy. Mdlle. Titiens sang the " Inflammatus," and, with Madame Lemaire, the duet " Quis est homo" from Rossini's Slabat Mater. Signor Badiali gave the '' Pro peccatis." At the conclusion of Mass, the "Laudate " of the Abbe' Viigleif was performed by the choir, the solos by Madame De la Vega, Wilson, and the concerted music by Miss Leary, Mr. Lcdwich, Mr. Leahy, Mr. Coleman, &c. The music was under the direction of Professor Glover. After the ceremonies the artists were entertained at a dejeuner in the Presbytery. His Grace the Lord Archbishop personally oonveyed to . Mdlle. Titiens, Madamo Lemaire and Sig. Badiali, his thanks for their kindness in attending on the occasion. ■ -1.; I !/.'

Musical Libbahy At VlRtrSA—The library of the " society of friends of music," in Vienna, contains : 2740 volumes of theoretical works about music, 24,430 compositions, among which are more than 4000 scores for full orchestra and 6000 piano scores; further, 71 painted portraits of celebrated composers, 9 paintings the subject of which is music, 776 printed likenesses of artists, 17 busts in plaster, a collection of biographies of native musicians and composers, 92 musical instruments formerly in use, 19 medals in gold, silver and bronze, and 2t curiosities of the past and present times.

Welsh Conckht.—-A concert of'WerSh^iniornn nrosle was given at St. James's Hall on Thursday Evening the ltjth instant, - The voices were numerous, and there was a band of nineteen harps, comprising the following accomplished executants:—Messrs J. Balsir Chatterton, Frederick Chatterton, Wright Cheshire, Layland, Ellis Roberts, George Perry, Compton, Stratfordj Putnam, and J. Weippert; Mcsdames Cooper, Dryden, Trust, Carey, Gotex, Weippert, and Vinning. Mr. John Thomas, the accomplished harpist, officiated as conductor, and as accompanist to the vocal solos. The programme was not confined to choral pieces. The services of Miss Edith Wynne, (Eos Cymru Pencerddes), Miss Eliza Hughes, Miss Lascelles, and Mr. L. E, Lewis, (Llew Llwyvo), were retained, and some Welsh songs were sung by these vocalists to the great gratification of the audience. Miss Edith Wynne, who sings with remarkable expression, gave "Watching the Wheat," in Welsh,|and " The Dove," the former being immensely applauded and the latter encored. The Welsh language, from Miss Wynne's lips, flows as easily and smoothly as the choicest Italian, and no time, glaack>g~at the book of words, would imagine thatthc effect could be made so euphonious. To Miss Eliza Hughes were assigned some expressive ballads, to which she did full justice, while Miss Lascelles threw considerable feeling into " The Ash Grove," " The Maid of Oker," and " David of the White Rock," the first of these being rcdemanded- Mr. Lewis gave, in Welsh, "The Camp," a melody better known by the title "Of noble race was Shenkm," and a general favorite. Mr. Lewis also sang "Laves Fascination," which was encored. This gentleman has a fine baritone voice, and sings well. Of the choruses, the well known "Ar hyd y nos," very purely and simply harmonised, was repeated, as were also "Hob a deny danno," and "The rising of the Sun," added another to the list of encores, which were so frequent as to nearly double the length of the concert. Amongst those most discreetly bestowed we must mention a duet for two harps by Mr.'John Thomas and Mr. Bnlsir Chatterton, which was admirably played. l' .■

The English Gleet Ajjb Opeba Union.—A concert was given by the members of the above Union (Madame Bennett Gilbert, Miss, Eliza Travers, Madame Laura Leslie, Mr. Stanley Mayo, and Mr Abrm. Thomas; Conductor, Dr. Bennett Gilbert) at the Horns Assembly Rooms, Kennington Park, on Monday, the 20th instafijt. Thp operatic selection proved an attractive feature; The first selection was from the conductor's operetta, A Night in Fairy-land, remarkably well rendered. "Hither ye Shadows" was given by Miss Travers with great spirit. Mr. Stanley Mayo received a hearty ejlcqre in the'serenade,'called "The Weeping Dew." Mr. Thomas's sujgingof ":3T»ELvesso bright," was all that could be desired; " The Desert," which he gave with great pathos, was more suited to his powers. Of Madame Bennett Gilbert, prima donna of the Union (who, by the way, sang with such success last winter in Germany, as Miss Caroline Parry), we hope to hear more; her voice was heard to great advantage in " Softly sighs," as also in the "Miseiere" from J? Trovatore (a selection from which opera was given in the second part). Madame Laura Leslie, who received an encore in Balfe's " The Green Trees whispered," is a rising contralto. The room was well filled with a discriminating audience.

Liverpool.—The eighth subscription concert of the Philharmonic, on Tuesday night, was one of the most diversified and agreeable that have been given for some time. The principal singers were Miss Banks, and some of the members of the London Glee and Madrigal Union, viz., Mr. Baxter, Mr. Cummings, Mr. Land, and Mr. Winn. The concert opened with Beethoven's No. 4 symphony in B flat, by the band, which was admirably performed. If we except the solo by Mr. Winn in the chorus, "How. Phoebus sinkcth," the only songs of the evening were those sung by Miss Banks. The members of the London Glee and Madrigal LTnion are welcome wherever that gd, 'and it is a good sign to see English'vocalists forming themselves into associations of this kind, and not permitting all the honors and laurels of the country to be monopolised by foreign vocalists. There are as good voices in England as in Italy or any other country, and they only need to be encouraged and properly cultivated to give us as good classical and lyrical music as could be desired. A very agreeable feature in the programme was a duet in the second part between Miss Banks and Miss Stott, "Honour, riches, marriage-blessirig,'' very nicely sung. It is a pity the latter lady does not appear oftener in public. She would form a valuable addition to our local cantatrices. The chorus sang "Who would stay," from Oberon, with precision; but we mrfM? ngabl reytVt to the deficiency in altos under which this society labors. We are aware of the difficulty in procuring a sufficient number of this voice, yet we tUiiik there is a sufficient number in Liverpool to fill up the vacancies, if properly looked over. The band is a credit to the society and to the town; and with pcrltapsi one or two exceptions our Liverpool Philarmonic band and chorus are fit to bear comparison in point of efficiency with any similar organisation in the kingdom, out of the metropolis. Mr. Land presided at the piano with taste and ability. The hall was well filled, if not crowded. Mr. Herrmann conducted, and it is needless to add, did so well.—Abridged from the Liverpool Courier, Oct.8th.

BroSTiNi, who was little inclined to acknowledge any greatness besides his own, felt, nevertheless, great admiration for Beethoven's symphonies, and had always some of them performed in his annual concerts at Berlin. When Marx asked him one day why he did not write himself a symphony, he answered in a rough way: " It is not my Style," adding immediately in calmer tone, "lean write the great opera, and Beethoven the great symphony." >' •

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Horn, Viola, Violoncello, and Contrabass

Miss Lascelles.

ST. JAMES'S HALL, In The Musical World at
REGENT STREET AND PICCADILLY. . .

LONDON: SATURDAY, OCTOBER 25, 1862 MONDAY POPULAR CONCERTS.IT

THE Athenæum notices the recommencement of the One Hundred and Fifth Concert. 1 Monday Popular Concerts as follows:

“The Popular Concerts, which are among the most noticeable phéno. ON MONDAY EVENING, OCTOBER 27, 1862. | mena of this inconsistent London of ours, were resumed on Monday

last a month earlier than usual, in deference to the continuance of the THIRD APPEARANCE !

International Exhibition. They were resumed with unabated spirit and perfection. Herr Joachim is king of Quartet leaders, and has a

group of excellent associates, numbering Signor Piatti among them. ...HERR JOACHIM, | Mr. Hallé needs no epithet as classical pianist of the first class; and the

names of Haydn, Mozart, Beethoven, Mendelssohn, are, after all, not Luis, il ! ... PROGRAMME. . ."

bad names to conjure with. We cannot, however, cease from wishing DE PART, I.,

that the repertory might be widened, being satisfied that every oppor. *. QUARTET, in E flat (Op. 19), for two Violins, Viola, and Violon

tunity of comparison judiciously afforded will be attended by only one MM. Joachim, Ries" Webb, and Piattio :

... Mendelssohn. and the same result-a deeper and more intelligent love of what is best · BONG; “Good night, beloved."

M. W. Balfe. I and truest in Art. Without this, admiration runs a danger of degenerMr. Henry Haigh. " " . M. W. Balfe, and truest in Art. Withor 1: ating into fornialism." UN L

O OTS
SONG, “ In questa tomba oscura." ...

"
Miss Lascelles: . .. Beethoven.

ve budeme tung: 91T- Erste SONATA, In F, Op. 54, for Pianoforte solo

Our contemporary, in his earnest wish for novelty, and

experiment, appears to lose sight altogether of the real *. I. PART 11.' .

Z! ] object of the Monday Popular Concerts. This is not at all GRAND SEPTET, in D minor, for Pianoforte, Flute, Oboé, French

**. Hammel. to bring forward new and untried works, but to make the MM. Charles Hallé, Pratten, Barret, C. Harper, H. Webb, ;

: great mass of the public acquainted with recognised master. C. Severn, and Platti. BONG, “The Nightingale." ...

G, "The Nightingale." " . ........ .... Henry Smart. pieces... Now, it is scarcely necessary to urge that of thesa PRELUDE AND FUGUE, in C major, for Violin solo. (By desire) : J. S. Bach. recognised masterpieces only, a very small minority. Was SONG, “Lily Lyo",

known, before the institution of the Monday Popular . .. .... ... ...... Mactarten |

Concerts, to any but professors of music, or amateurs who TRIO, In G, for Pianoforte, Violin, and Violoncello

could afford to entertain quartet parties at their own houses. Mr. Charles Halle, Herr Joachim, and Signor Piatti. :13. Conductor • MR. LINDSAY SLOPER. i

i

So that, in fact, the larger part of the chamber works com

I posed by Haydn, Mozart, and Beethoven--to say nothing To commence at Eight o'clock precisely,' i 17" ,

of the rest was wholly strange to nineteen in twenty of rady P* NOTICE.**

I. Ali' Titl"

the visitors attracted to St. James's Hall. The vast good It is respectfully suggested that such persons as áre not desirous of remaining till then the end of the performance can leave either before the commencement of the last instru

these concerts are effecting is unanimously admitted; but mental piece, or between any two of the movements, so that those who wish to hear the | the means, by which such results have been obtained wast

Between the last vocal piece and the Trio for the Pianoforte, Violin, and Violin- / be carefully borne in mind. One hearing respectively of sello, an interval of VIVE MINUTES will be allowed. The Concort will finish before half-past Ten o'Clock.

the sonatas and quartets of Beethoven is not enough to i un raw

| allow of their influence being felt. At least half-a-dozen Sofa Stalls, 5s.; Balcony, 3s. ; Admission, Is.' Tickets to be had of Mr. Arstin, I hearings-attentive hearings too, as a matter of course--are at the Hall, 28 Piccadilly ; Messrs. Cramer and Co., Hammond, Addison, and Co.,

indispensable to familiarise the hitherto uninitiated mind with 1 their design, and thus, allow their beauties gradually ito

cultivate and form the taste., The new world of art 180 24 Upper Street, Islington; Foster and King, Hanover Street; Fabian, Circus Road,

recently opened to the public through the establishimènt of St. John's Wood; and of

the Monday Popular Concerts has been eagerly inspected. i · Messrs. CHAPPELL & CO., 50 New Bond Street

The interest it has awakened is, as The Athenceum justly

among the most noticeable phenomena" of the is..rie TO CORRESPONDENTS..

observes

. , 16 CONCERTS AT BRIGHTON AND BURY,"_next week."

day. Closer then should be the watch to prevent this in

terest from relapsing. The concerts can only be sustained at - NOTICES..

| their present height by the prestige attaching to the names TO ADVERTISERS.--Advertisers are informed, that for the future 1

of the great masters. Wlien; the treasures these have the Advertising Agency of The MUSICAL WORLD is established

| bequeathed us are exhausted, when every quartet, quintet, at the Magazine of Messrs. DUNCAN DAVISON & Co., 244,

sonata, trio, or duet, is as easily recognised by the opening Regent Street, corner of Little Argyll Street (First Floor).

bars—as Shakspeare's plays by the opening speeches, thenAdvertisements can be received as late as Three o'Clock P.., on

and not till then the director may, without detriment, Fridays-but no later. Payment on delivery. Wild

adopt the course suggested by The Athenæum, and widen

on " Trova ( Two lines and under' ...

the repertory.". Just now it is surely wide enough--28,

... ... 2s. 6d. as | Every additional 10 words ...

wide, indeed, to the majority, even at this stage of progress,

... 6d. '; TO PUBLISHERS AND COMPOSERS-AN Music for Review in Tre | Meanwhile there is little danger of “ admiration degeneratus

and as comparatively unexplored, as the interior of Australia. MUSICAL WORLD must henceforth be forwarded to the Editor, into formalism"-if we rightly apprehend this somewha care of MESSRS. DUNCAN DAVISON & Co., 244, Regent Street. I misty warning of our contemporary. He surely candy A List of every Piece sent for Review will appear on the Saturday | desire that the patrons of the Monday Popular Concerts following in THE MUSICAL WORLD. A

shall begin vaguely speculating about the “music of the To CONCERT GIVERS.-No Benefit-Concert, or Musical Perform- future," before they have made tolerable acquaintance with

ance, except of general interest, unless previously Advertised, can the music of the past... -- be reported in THE MUSICAL WORLD.....

duweni watoto wake

whole may do so withont interruption.

1

Schott and Co., Regent Street: Duff and Co., 20 Oxford Street : Prowse, Hanway
Street: J. H. Jewell, 104 Great Russell Street; Keith, Prowse, and Co., 48 Cheap-
side : Cook and Co., 6 Finsbury Place, South ; Humfress, 4 Old Church Street,
Paddington Groen: Mitchell, Cock, Hutchings, and Co., Olivier, and Hopwood and
Crowe. Bond Street: Mr. Barker, West End, Hammersmith: Sanderson aid Ward,

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