TH Statisticle content tricalchen. Attached to the Italian, Opera, are two architects, HE Niederrheinische Musik-Zeitung publishes some Sixteen actors. and actresses. Total, 5,333 thalers 8 gros artists at the commencement of the last century, which possess an interest even at the present time, when singers are paid as liberally as Archbishops, and twice as well as Prime Ministers or Lord Chancellors. It appears that the Electoral Prince of Saxony-afterwards Elector Friedrich August II concluded, at Venice, in the year 1717, the following contracts for the Italian Opera in Dresden, for the space of one year, beginning on the 1st September:Antonio Lotti, conductor, together with his wife, Santa Stella Lotti, 2,100 louis-d'ors at 5 thalers the louis-d'or 10,500 thalers. Margherita Zani Marucini, second soprano, 4,000 thalers. Lucia Gaggi Bavarini, contralto, 8,000 thalers. Francisco Bernardi Senesino, first male soprano, one with 2,666 thalers, and the other with 960 thalers; six painters, 3,288 thalers; five carpenters, 3,384 thalers; an 3,285 thaler, Total, 10,418 thalers, 16' groschen. interpreter, 120 thalers. Total, 10,418 thalers, 16 groschen. Officials and labourers.Inspector of the theatre and operahouse, as well as stage painter, Wilhelm Castell, 100 thalers; two, French decorators, 166 thalers, 16 groschen each; inspector of the wardrobe, Joh. Fried. Tränkel, 200 thalers; a French draughtsman for costumes, 500 thalers; a tailor for the Opera, 100 thalers; his assistant, 50 thalers; a stage-joiner, 24 thalers; a stage locksmith, 20 thalers. Total, 1,426 thalers, 8 groschen. The tenor, Guicciardi, 3,000 thalers; the poet, Leschina, 1,000; the first bass, 1,000, etc. The violinist, Verocini, 1,200 thalers. These artists were allowed, moreover, a liberal sum for travelling expenses, besides free lodgings, board, fire, and candle; Senesine and Verselli having, in addition listo all this, a carriage! The total number of persons engaged at the theatre at the beginning of August, 1719, I was as follows: 7,000 thalers. Varselli, second male soprano, 4,500 thalers. English sovereigns, Mr. Gye would be only lent in Grand total of the entire Salary-list: 106,234 thalers, 16 groschen-a sum which, represented by its equivalent in too happy to know would cover one half of his expenses for the season of 1863. THERE are few organists who have achieved a higher Chapel and chamber music. J. C. Schmidt and J. Dav.monial was accompanied by a tea and coffee service, with a Heinichen, conductors, 1,200 thalers each; Volumier, leader, 1,200 thalers; Verocini, violinist, 1,200; Petgold, 450; J. W. Schimdt, 300; and Pantaleon Hebenstreit, (organists,) 1,200; Weiss, 1,000; Arigoni, 400; (Violdagambists) and G. Bentley, theorbist, 400; seven violinists (one of whom was J.G. Pisendal, with 500 thalers), 2,930; five tenors, 11,168; five violoncellists (three Frenchmen and two Italians), 1,750; three double-bassists (one of whom was Personelli, with 800 thalers, and another, Joh. Dism. Zelenka, with -400), 1,400; two pianists (one of whom was Pierre Gabr. Buffardin, with 500 thalers), 900; five oboists (one of whom was F. Le Riche, with 2,600 thalers, and another, Joh. : Christ. Richter, with 600), 3,080; two French horn players, 640; three bassoonists, 940; an inspector of instruments, 140; a copyist, Joh. Jak. Lindner, 80; a harpsichord tuner, Joh. Heinrich Grabner, 150; and a servant for the orchestra, 100. Total, 21,820 thalers. J 1 Italian Opera.* Conductor, A. Lotti, 9,975 thalers; poet, Stef. Pallavicini, 1,333 thalers, 8 groschen. Female singers Santa Stella Lotti (see A. Lotti); Marg. Duras tanti, 5,225 thalers; Mar. Ant. Laurentini, called Coralli, 2,375; Vittoria Tesi, 2,375; Madelaine des Salvay, 2,000; Livia Constantini, 1,600. Male singers-Francesco Bernardi, called Senesino, 6,650 thalers; Mateo Berselli, 4,275; Guiseppe Maria Boschi, 3,325; Francesco Guicciardi, 2,850; Lucrezio Bossari, 1,333 thalers, 8 groschen; two prompters, 320 thalers. Total, 43,636 thalers, 16 groschen. Musiciens vocales Francais.-Margh. Prache de Tilloy (dessus-soprano), 400 thalers; François Godefroid Beau regard (haute contre, counter tenor), 400 thalers; Pierre Diar (taille, tenor), 500 thalers; J. Dav. Droh (basse), 600 thalers. Total, 1,900-thalers.. Comedie Francaise. Ten actors, eleven actresses, and one woman-prompter. Total, 10,866 thalers, 16 groschen. Danse,-Dupare, ballet-master, 1,000 thalers; Nic. Corette, under ballet-mastea, 400; ten male and ten female dancers, 9,433 thalers. Total, 10,833 thalers. Comedie Italienne. Joh. Christ. Hesse and his wife are not included in the salary list, since they were engaged for only 800 thalers, with 320 thalers for travelling expenses, and 1000 thalers as a present. salver, on which is the following inscription: Presented to Edmund T. Chipp, Esquire, Mus. Doc., with a Silver Tea and Coffee Service, by the Choir, Incumbent, Curates, and a few friends of the congregation of Trinity Church, Paddington, 1st October, 1862. Visitors to the International Exhibition will not be likely to forget the performances on Messrs. Forster and Andrews' large organ, originally placed in the nave, and subsequently removed to the north eastern transept on Wednesdays and Saturdays, when Dr. Chipp attracted crowds by his masterly playing, and delighted musicians by his selections, which invariably included pieces suited to the instrument, and never condescended to the trivial exhibitions of which we have had many examples in the same building. The fugues of Bach, Handel, and Mendelssohn, grand choruses from the best oratorios, and other works of the kind, have formed the staple of Dr. Chipp's programmes-an agreeable contrast to the operatic selections, overtures, and worse, which sound so ridiculously small, and are so entirely at variance with the scope and character of a great organ. The fine instrument now on duty at St. Paul's Cathedral was, as our readers are aware, originally built for the Panopticon, where Dr. Chipp proved himself a thoroughly efficient successor to Mr. T. W. Best, after the latter had transferred his services to St. George's Hall, Liverpool. But it is not merely as organist that Dr. Chipp is favorably known; his name as violinist having been for years honorably associated with the orchestras of the Philharmonic, the Opera, the Sacred Harmonic Society, and all the "festivals," metropolitan or provincial; while his Organ Sketches, and other published works, show him to be as accomplished a musician as he is a practised executant. The fact of Dr. Chipp's abandoning London as the sphere of his professional exertions, in favor of a country town, Leven though that country town is Belfast itself, the most musical in musical Ireland, must therefore seriously be regretted. We have not so many earnest laborers among us that we can afford to lose one of the most earnest and gifted of them all. MDLLE. BARBARA MARCHISIO. The marriage of this popular contralto with General Cialdini is announced in the French papers. PHILHARMONIC SOCIETY. [The following account of the formation of the Philharmonic Society, and criticism of its first concert-held in the Argyle Rooms (1813)-is taken from a series of letters on music and musicians, published about 45 years ago, and long since out of print.] "We now approach the end of our undertaking, and consider our. selves fortunate in being enabled to conclude our account of the present state of music in this country by recording the recent establishment of the Philharmonic Society. The public are indebted to the liberality and meritorious enthusiasm of many eminent professors at present resident in London, for the most complete instrumental performance ever witnessed in this, or perhaps any other country. "It having been lamented by several gentlemen at the head of the profession of music, that; in consequence of the fluctuations of fashion, and public opinion in matters of amusement, they seldom, if ever, had had an opportunity of hearing, or assisting at the performance of the inimitable symphonies and other instrumental compositions of Haydn, Mozart, Beethoven, Cherubini, &c., with such an association of talents, as were required to produce the full effect, and of which this country was at present in possession; to obviate all difficulties, and to do away with the question of pre-eminence, it was determined without any view to private emolument, or idea of individual precedency, to form an establishment, in which the most celebrated professors were alternately to lead and conduct, each in his turn, and at other times to take their station in the orchestra at the discretion of the leader for the night. From the above short account of this association, and of the disinterested views of its members, our readers will naturally anticipate the result which we have to record. In executing this task, it will be difficult to avoid those enthusiastic expressions of delight which extraordinary excellence in an art so commonly draws from its admirers; but as enthusiasm frequently leads into the regions of faney, we shall endeavour to suppress it; for it is our wish to give a faithful account of a performance which requires no aid to recommend it but that of truth. The first concert of this society was given at the Argyle Rooms, on Monday, March 8th, 1813. It commenced with Cherubini's overture to Anacreon, a piece of music which we believe had never before been even attempted to be performed in this country. It is a composition that must be placed in the first class both on account of its originality and its extraordinary effects. It seemed to transport the audience, for it was repeatedly interrupted by loud bursts of applause, and was enthusiastically encored by every voice. This was followed by a quartet of Mozart for two violins, viola, and violoncello, a piece of a more tranquil cast and full of exquisite melody. The violin part by Mr. Francois Cramer, was a most finished performance. The next piece in the list was a vocal quartet," Nell' Orror," by Sacchini, which was followed by a beautiful serenade for wind instruments only, by Mozart, a grand Symphony by Beethoven, concluding the first part of the concert. The second act commenced with a symphony of Haydn, less known than many of his works, but abounding with every species of musical excellence. "This was succeeded by" Placido e il mar," a chorus from Mozart's opera of Idomeneo, which was followed by a quintet of Boccherini, an author who delighted our grandfathers, and whose revival does honour to this society. Mr. Salomon performed the principal part of this piece with undiminished execution and taste. The whole was concluded by the well-known Chaconne of Jomelli, and a grand march by Haydn. "This performance, we will venture to pronounce, has never been surpassed in this, or any other country; and probably has never been equalled. The band consisted of persons who are all at the head of their respective departments, and certainly no orchestra ever before exhibited so many celebrated leaders playing the subordinate parts. Such, however, was the case on this occasion, as well as in every subsequent performance; and the effect was adequate to the means. The violins in particular produced a sound so simultaneous, that it seemed to proceed from one extraordinary instrument, struck by some equally extraordinary hand. It was not only the power and unity of the band that was remarkable, but also the consummate taste and judgment of every individual composing it. "Each concert-there were eight in all-had its particular leader. Mr. Salomon presided on the first night, and could his fame have admitted of augmentation, it would have received it on this occasion,. "The whole of the performances, which are to be continned during the approaching, and, we sincerely hope, many future seasons, were conducted with the utmost regularity; and the management reflects much honour on the directors. "The Philharmonic Society is under the immediate patronage of his Royal Highness the Prince Regent. "By the list of subscribers published at the end of the season, it appears that, exclusive of the families of professional members and associates, they were exactly three hundred members, among whom were their Royal Highnesses the Dukes of Cumberland, Sussex, and Cambridge, and many other personages of distinguished rank. "Having endeavoured to gratify our readers by communicating what we believe to be the general sentiment in regard to the merits of the Philharmonic Society, it is almost superfluous to observe that perhaps, stood, so ably practised, or so judiciously patronised in this country as at no former period has the science of music been so generally underat the present hour. Independently of foreign auxiliaries, we may enumerate among our native bands many vocal and instrumental performers, in no respect inferior to their continental rivals. In regard to the united excellencies of natural talent, embellished by the highest polish of cultivated taste, Italy herself would find it difficult, if not impossible, to produce parallels to the names of Billington, Bartleman, and Braham. And as instrumental professors, Messrs. J. and Francois Crainer, each in his respective line, may safely assert his claim to a degree of strength, correctness, and elegance of expression, incalculably superior to the tricks and rapid execution of those dealers in "notes, et rien que des notes," whom the tasteless caprice of fashion is constantly importing, like other wonderful and useless exotics, the natural productions of warm and more enervating regions." [It will have been observed that the writer of the foregoing does not state which of the symphonies of Beethoven was performed, or venture on any opinion as to its merits. The Symphony in C major-the first of the nine-was, however, also the first ever tried by the Philharmonic Society. ED.] THE MENDELSSOHN SCHOLARSHIP FUND. The recent death of Mr. Klingemann created a vacancy in the ranks of the committee for the management of this fund. That vacancy has, we understand, been filled up by the appointment of Mr. Otto Goldschmidt, who readily accepted the responsibility. For more than one reason, superfluous to mention, a wiser choice could not have been made. SIGNOR MARIO. In addition to the Count in Comte Ory and Robert, in Robert le Diable, it is now settled that Mario will appear at the Grand Opera as Masaniello in La Muette de. Portici. Also it is hinted that the great tenor will perform Arnold in Guillaume Tell. tragedian, has, we see by our advertisement columns, turned his MR. HENRY VANDENHOFF, Son of the late accomplished attention to elocution, in respect to connection with singing. ST. JAMES'S HALL.-The concert of National Melodies to take place on Thursday Evening next, 30th inst. will give an opportunity to the large number of visitors now in London, to hear some of the most popular National Melodies of the United Kingdom, performed by a Chorus of 400 Voices, and accompanied by a Band of 20 Harps, Rudersdorff, Madame Laura Baxter, Miss Palmer, and Mr. T. by the most eminent performers in the Metropolis. Madame Lawler are the principal Vocalists. ILKLEY (near Leeds)-The concert at the Ilkley, Bath Charitable Institution for the benefit of the Lancashire operatives was a decided besides many visiters from the Hydropathic Establishment and lodging success. There was a large assemblage of the nobility and gentry houses. Great praise is due to Mr. Sims Reeves for originating this concert. Mr. Reeves, Mrs. Reeves, Miss Palmer, and Mr. R. S. Burton, of Leeds, generously gave their valuable services, and Messrs. Hopkinson, of Leeds, kindly lent one of their grand pianos. The first part of the performance consisted of sacred music, mostly by Mendelssohn. The choruses were admirably sang by members of the Leeds Choral Society. Mrs. Sims Reeves sang "With verdure clad," and was warmly applauded. The " Evening Prayer" was deliciously rendered by Miss Palmer. Mr. Reeves also sung "If with all your hearts" and "In native worth." In the second part, which consisted of secular pieces, Mr. Reeves sang "My pretty Jane" and the Death of Nelson," and was enthusiastically applauded. The rich mellow voice of Miss Palmer was charmingly displayed in the pieces allotted to her. The room was well filled, and a good sum will be realised.-Leeds Mercury. HAMBURGH.-At the invitation of the management of the Stadt theater, M. Gounod was present at the 52nd performance of his Faust. The house was illuminated a giorno on the occasion. Letters to the Editor. REGISTRIES. SIB, Will you have the kindness to inform me, in your answers to correspondents, what course the proprietors of an entertainment can take to register it, so as to have protection against other companies assuming the same title, and what are the expenses ?* Yours, &c., GOLDEN STAB. [Will any of our legal readers answer this question ?-ED.] ORCHESTRAL BALANCE OF POWER. SIR,-Allow me to thank your correspondent," Mr. C. Mandel, (Professor of Theory)," for his reply to my letter, inserted in No. 41 of the MUSICAL WORLD, and to state, that I hope the whole of the musical profession do not take it for granted that "It is impossible to state definitely how many "D concert flutes are required to evenly balance the power or weight of tone given out by the G bass trombone, or how many violins would be required to exactly counterpoise the weight of tone thrown out by the given number of D concert flutes and G bass trombone combined;" but that some scientific or theoretical musician can give conclusive scientific or theoretical grounds or reasons for "the natural rule, which is, less brass instruments than reed, and less reed than stringed instruments." I need not remind you that this is one of the queries propounded by me in my last, and a conclusive answer to which will reconcile many apparent incongruities in the practice and science of music, and go far to explain the unsatisfactory results of our large music meetings, as compared with our ordinary or smaller orchestras. Yours, &c., MARTINUS SCRIBLERUS. Sr,-Will you be kind enough to inform me, per the MuSICAL WORLD, who is the publisher of "Altho' I'm but a very little lad "a song often given by Malle. Patti; but which the music publishers tell me is unknown. Yours, &c., A SUBSCRIBER. [Can any reader supply the desired information ?-ED.] MOZART'S TWELFTH MASS ? SIR, A very well known and popular musical work seems at this present moment to be going begging for an author, and to be reduced to the lamentable condition of the individual sometimes met with on the stage, who never had a father, Herr Jahn states that in his opinion, and in that of musical connoisseurs generally, what is here known as Mozart's 12th Mass was not in fact composed by Mozart. Might I ask if this opinion be held in England? If so, it thould be distinctly notified to the Sacred Harmonic Society, and other similar societies who persist in giving periodical performances of this Mass, as Mozart's As Herr Jahn and the other musical connoisseurs do not assign the authorship to any other composer, this Mass is in the embarrassing condition of having no author. Yours, &c., AN ENQUIRER. + 2 STANZAS FOR MUSIC. Oh! turn not from me those bright eyes, Far more than pearls hid in the sea ! Think not they change my love for thee; I never can forget that smile, And proved my heart ne'er false could be. Florence.-Sig. Bottessini the double bass player has gained the first prize (300 franks) in the quartet-contest just held here. The second prize (200 franks) was awarded to M. F. Anichini, professor at the Institute. THE BOHEMIAN GIRL. The Bohemian Girl, the most popular of all Mr. Balfe's numerous works, may be looked upon as his most successful production in more senses than one. In the first place, no English opera has ever been played so often in England; in the second place, no English opera has ever been played so often abroad. Thirdly, The Bohemian Girl is the oldest English opera that keeps the stage. We do not know why it is so, but such is the case. Mr. Balfe has not yet adopted the tone and style of a patriarch; but he is the father of the whole tribe of modern English operas, of which The Bohemian Girl is the eldest child. What pre-Bohemian-Girl-opera is ever placed on the English stage in the present day? Mr. Barnett's Mountain Sylph is almost unknown to the great of Rochelle and Keolanthe, seem also to be forgotten. We do not say that majority of playgoers; and Mr. Balfe's earlier works, such as The Siege the history of English opera begins with The Bohemian Girl; but it appears as if no anterior work where thought worthy of revival; and at the present moment that production is, in the eyes of the public, the alpha of English opera, as (until the alphabet be extended) The Puritan's Daughter is its omega. The history of The Bohemian Girl would form a very interesting chapter, or rather series of chapters, in Mr. Balfe's life. Its very production marks an important epoch, for it was brought out at a time. when English opera appeared to have perished, and the success which it obtained enabled not only Mr. Balfe, but a great many other composers also to produce works which, but for the good fortune of The Bohemian Girl, might never have seen the foot-lights, at least not in England. If Mr. Balfe ever does write the history of this fortunate child of his, we hope he will begin by explaining to us why he suffered it to enter upon its career under a false name, Arline is no more a Bohemian Girl than the Maid of Artois, the Maid of Orleans, the Maid of Judah, or any other maid who never had any connection with Bohemia. No one has ever made the attempt, but we believe it might easily be proved that Shakspeare was quite right in giving the Bohemia of ancient times a sea-coast, absurd as that may appear to modern commentators, who think that Bohemia was always the little insignificant province that it is now, and who forget that the Austrian empire has a sea-coast, and yet may some day lose it, and that Poland had once a sea-coast, and has altogether lost it. No one, however, can show that Mr. Bunu was right in making Bohemia the native country of a young lady who never lived there, and who was of German parentage and gipsy education. Count Arnheim, the father of the interesting girl, was apparently the feudal master of those vassals and serfs who where "at her side" in the cele brated dream which she afterwards narrated to her lover in an air that has become rather popular; and there is reason to believe that his "marble halls" (if marble they really were) were situated somewhere in the Rhine country. When Arline was carried off by gipsies she appears to have adopted to some extent the habits and manners of that ill-habited, ill-mannered race, and that may certainly be construed into a reason for calling her a gipsy or even (in Shakspearean language) an "Egyptian," but not for describing her as a "Bohemian" an epithet which no more belongs to her than it does to that terrible old gipsy, Azucena, in the Trovatore. The libretto of Mr. Balfe's Bohemian Girl is founded upon the ballet of La Gitana, and before being converted into The Bohemian Girl it is tolerably evident that the Italian "book" must have passed through French hands and have been termed in one stage of its metamorphosis La Bohémienne-which Mr. Bunn did not know and had not wit enough to guess, is the French for "gipsy" in the feminine. We suppose it does not matter very much what an opera is called so that it be successful; but M. Meyerbeer would, we should think, object, to his Africaine being brought out as l'Américaine, and Mr. Balfe ought not to have allowed his most popular work to have been named The Bohemian Girl, when The Gipsy Girl is its proper title. It will be rightly designated, however, in Paris, where it is about to be produced as La Bohémienne, and we all know that it is styled La Zingara, in the Italian version. La Bohémienne either has been or is on the point of being produced at the Théâtre Lyrique. This will be the fourth opera that Mr. Balfe will have brought out in Paris, including the Etoile de Seville, written, for the Académie (now the Théâtre de l'Opera) Le Puits d' Amour and Les Quatre fils d'Aymon, written for the Opéra Comique. The two lastnamed works, which, as it seems to us, are the best Mr. Balfe has composed, were translated into English and played with much success a good many years ago at the Princess' Theatre. L'Etoile de Seville has never been presented in an English dress, but we believe that several of the principal pieces-especially one brilliant air for the prima donnaare introduced in The Rose of Castille. * From the Illustrated Times.“ LEGHORN.-A new opera buffo, words and music by Giuseppe Penso, has lately been produced with success. It is entitled: Don Fabio. MUSIC IN PARIS. (From an occasional Correspondent.) The second series of the Popular Concerts for classical music commenced on Sunday the 12th inst. Once more has M. Pasdeloup unfolded the standard of Mozart, Haydn, Beethoven, and MenMR. EDITOR, will you allow an outsider-one who is not regularly delssohn. The proceeds of the first concert were devoted to the engaged on your staff, but who is fond of music nevertheless, and poor children of the 11th arrondissement, and must have amounted fancies he knows something about it, to post you up what is to a considerable sum, for the Cirque-Napoléon was nearly full. going on in Paris at the present moment? I venture to presume I say "nearly," because, here and there, I perceived some vacant you will graciously accept my letter, influenced by that Christian places, but I believe they were paid for, although not occupied. sentiment which is so popular among the managers of our chari-At concerts given for charitable purposes, one person will sometable institutions, and which prompts them to inform the public times take three, four, or more stalls, and as he cannot possibly that "the smallest contributions are thankfully received." If, fill them all himself, some necessarily remain vacant, unless he however, I am mistaken, and "errare est humanum," the worst takes the trouble to send the tickets to his friends. that can happen is, that my letter will be consigned to the limbo of your waste-paper basket, and I shall console myself with the reflection that the letter has, ere now, afforded a resting-place to the effusions of many a better man than myself. Having thus briefly given you to understand that I am prepared for all eventualities that I should bear fortune's favor without a murmur, just as I should greet her smiles with delight, I will proceed at once to facts, dished up with what descriptive flourish circumstances may demand, and my fancy may dictate. Mad. Frezzolini has appeared at the Italiens, and met with a rapturous reception. The Parisians have been often accused of fickleness, but this charge cannot, with justice, be brought against them as far, at least, as Mad. Frezzolini is concerned. She was always most popular with them, and what she hitherto has been she still remains. It is many years since-how many I am afraid to say, for their number reminds me that I myself am not quite so young as I used to be, when I wore that peculiarly elegant dark colored frock-coat with the velvet collar, and which became me so well, but will not now meet by almost four inches-it is many years, I repeat, since Mad. Frezzolini first courted the favor of a Parisian audience, and during the entire interval which has elapsed she has never had cause to complain of any coldness on their part. They are always as glad to see her as she is to meet them. This was proved last Tuesday, when she made her reappearance in Lucia. The house was crammed with the élite, the crème de la crème, of Imperial Paris, and the welcome accorded her was gratifying in the extreme. As a critic of one of your French contemporaries remarks:-"there are grand and beautiful lines which time cannot injure, and we are obliged to take time into account when speaking of Mad. Frezzolini, since, in her case, time signifies thirty years of success. We find a striking example of these grand lines, these fine proportions, unalterable-when viewed in the light of art, and through the prism of enthusiasm, in the person of Mad. Frezzolini. On the stage, she is still the most beautiful Lucia it is possible to behold. Her profile stands out magnificently, and, in the dramatic scenes of this touching work, resembles an antique cameo, after appearing, in the softer scenes, as pure as a head painted by Titian or Raphael." To speak the truth, the whole truth, and nothing but the truth, however, Mad. Frezzolini's voice is not what it was, but still it retains sufficient of its former force and beauty to dominate over the others in the concerted music, as was triumphantly proved in the famous sestet. Thanks to Mad. Frezzolini, this splendid page of composition produced an overpowering effect. Her vocalisation is irreproacable; her style invariably that of a great artist and a perfect cantatrice. Her phrasing is a model of finish. What a study does she afford for some of our young would-be Grisis and Malibrans! The opera was, on the whole, admirably given, Naudin being especially good. I have a bone to pick, vulgarly speaking, with the orchestra. It has got into the execrable habit of hurrying the tempo. One consequence of this, the other evening, was, that the splendid finale of the second act was spoilt, the delicious phrase for the violins, which runs through the entire score of the marriage contract, losing all that charm and grace for which it is so celebrated. When I hear a magnificent piece of music thus sacrificed, thus scampered through anyhow, I cannot help fancying the gentlemen of the orchestra are thinking more of their demi-tasse and game of dominoes after the opera than of what they are playing. The last revival at the Imperial opera is M. Félicien David's Herculaneum. It was produced on Friday, and well received. By the way, are you aware that M. David has been named officer of the Legion of Honour? The programme comprised Gluck's overture to Iphigénie en Aulide; Beethoven's Symphony in C minor, the Andante of Haydn's 50th Quartet, and the overture to Der Freischütz. The Andante of the Symphony was encored, and the finale very narrowly escaped the same mark of approbation. But the public felt that it would have been rather too much to insist on the orchestra playing it again, and consequently did not persevere in their demand. In writing the present letter, I have abstained as much as possible from indulging in criticism, as my opinions might, perhaps, not tally exactly with yours. What I have endeavoured to give you is a catalogue-a catalogue raisonné, however of facts. But at present, I cannot be silent; I must speak. What do you say to M. Pasdeloup's having Haydn's quartets, intended for four stringed instruments, as the veriest tyro in music is aware, performed by a full orchestra; M. Pasdeloup is a gentleman who has done much to advance the cause of classical music in France, and therefore, I am loth to find fault with him; but patience has certain limits. Does M. Pasdeloup require to be told that if Haydn had wished any composition of his to be performed by a full band, he would not have written it as a quartet? Such perversion of a composer's-and a great composer's, to boot-intention is unworthy of a conscientious musician like M. Pasdeloup. It is highly bombastic, and, I fear, eminently French. Still, eminently French though it be, I trust it will not occur again; but I have serious misgivings. The programme of the second concert, on the 19th inst., consisted of Haydn's Symphony in G major, No. 31; Adagio of Mozart's Third Quartet; Mendelssohn's Overture to Ruy Blas; and Beethoven's Symphony in A. I was not present at this second concert, and, therefore, I will not swear that M. Pasdeloup did not have Haydn's Spmphony played as a solo on the Jew's harp. I do not suppose, however-despite the liberty he took with the quartet-that he would go quite as far as that. The New Opera house is progressing rapidly, all things considered. It is already three or four metres above the level of the ground, on the side looking towards the Boulevard des Capucines. On the south side, where the stage will be situated, it is only on a level with the ground. The Theatre-Lyrique will not open for another week-or fortnight. It appears that there were certain alterations necessary in the front of the house. The following engagements are announced:-Montjauze is engaged for three years; Mad. Cabel will remain attached to the company till the end of the campaign. Battaille will sustain the part at first had some words with the management. M. Bouvard is engaged, destined for M. Bonnesour in Ondine. The latter gentleman has and will sing in M. Semet's opera. M. Sainte Foy, also, is engaged. Among other varieties promised is Balfe's ever young Bohemian girl, the heroine the " Girl," in fact, being impersonated by Mdme. Miolan Carvalho. MUSIC AT LEIPSIC.* was a success, especially in the allegretto, but the scherzo betrayed the conductor, Herr Reinecke, into a far too precipitate tempo. In Malle. Orwill we made the acquaintance of a talented pupil of Mdme. Viardat Garcia. She possesses a fine and sufficiently strong mezzo-soprano, of agreeable, but by no means overpowering tone, which has completed the higher study of its art, so as to merit the diploma of "very good." The bravura and shake still exhibit shortcomings, which, however, may be surmounted by study and perseverance. The young lady selected an aria from Handel's Julius Cæsar, with the "Ah, desio" of Mozart, and, by so doing, paid rather too much deference to so-called good taste. Her reception, however, was particularly favorable. Maestro Vieuxtemps consecrated the evening by a chef-d'œuvre-his A Minor Concerto, a composition as full of manual 'difficulties as distinguished for feeling and by an unpublished Polonaise, which does not contain any striking features. His performance was eminently fine. The second concert is fixed for the 12th inst. The directors have secured the services of Mdlle. Sara Magnus, as soloist. This young pianist made her début here, a few months ago. Leipsic, Oct. 6th., 1862. The musical Michaelmas Fair is now at boiling point. Nothing greets the ear save music in every direction, but what music? The gangs of Miners' bands, guitarists, harp-girls, organ-grinders, and other peripatetic wretches appear to start out of the earth, and the statistic returns of the police must prove their numbers to be such as to make one's hair stand on end with horror. The lover of art is surrounded by contrasts. "Par aspra ad astra," he thinks, as, accompanied by the discordant sounds of a miserable polka, he hastily leaves the confused crowd and bustle in the street, and ascends the steps of the Gewandhaus, to revel in Beethoven's Seventh Symphony. Completely carried away by the immortal strains, full of the heavenly beauties of the work, his heart teeming with the noblest and mightiest melodies, he hurries off, and a fearful street-quartet, consisting of a screeching clarinet, a trumpet, a horn, and a bass-tuba, snatches him with a spirit of grinning mockery, by means of the Radetzki-March, from his illusions. With stoical composure, the genuine Leipsicker bears this most terrible of all nuisances, and retains sufficient good sense to go and enjoy Menzel's concerts in the Schützenhaus, or the concerts of the MUSIC IN THE METROPOLIS FIFTY YEARS SINCE. If there were no Prussian military-director, Herr Rosen Roanz in the Centralhalle.music halls, and few or no musical public-houses, the want was comThe opera selected for the fair at the Stadttheater was Wagner's pensated by the abundance of out-door concerts, which required no licence, and were undisturbed by the ancient race of soinnolent watchFliegender Holländer, not a very advantageous selection in a pecuniary light, since there has been a decrescendo in the attend- men, who were rather glad than otherwise to be sung to sleep. Every ance, out of keeping with the expenses incurred for scenery and open space and convenient corner, from Holborn Bars and Temple Bar to Whitechapel, was occupied by itinerant singers and musicians, at all machinery. It would be useless to go into a detailed account of fitting seasons. They were not fond of daylight, though on festival the work itself, which is an embrio of the Wagnerian Art-Produc- occasions they would follow their vocations at any hour; but, as a rule, tions of the Future, and is placed even by the advocates of the they "loved the shade," and appealed to their public by the "glimpses Wagnerian school in the doubtful domain of striving and non- of the moon," or by the still more" ineffectual" glowwormish light of attainment. Shall we collect the stubble, to praise what pleases, the street lamps. Saturday and Monday evenings were the favorite and censure what displeases us? Of all Wagner's librettos, that of the times for street concerts. These peripatetic vocalists, having retentive Fliegender Holländer is the most interesting, despite the bad verses, memories and abundance of assurance, never encumbered themselves of which, like his other librettos, it contains a large number. It with sheet music; they carried a bundle of ballads, printed separately, has genuine dramatic touches, which keep the attention fixed to on slips of dirt-coloured paper, and the type very indistinct, all the letters seeming afflicted with delirium tremens. Each slip was about the very last, and upon which a musical superstructure might well have been raised. At present, however, the music is simply a con- twelve inches long and four wide, embellished at the top with a smudgy ornament, libellously called the "Royal arms." This people's edition tinuous experiment, with dramatic effects following each other of popular songs was sold by the publisher, who dwelt somewhere in without due selection or connection, and, at times, mirroring nude Seven-dials, at 3d. per dozen, but the street price was d. each, though nature with revolting truthfulness. The overture and first act 1d. was never refused. The minstrel, if alone, needed nothing else in were coldly received. There was nothing like applause till the his business, unless he wanted an accompaniment, and then a cracked When the "Spinning-song," and ballad in the second act, but the applause fiddle, or a disabled guitar fully answered his purpose. was bestowed upon precisely those pieces which are founded upon company was double or treble, a man and woman, or two men and a the so-called "worn-out stand point." The performance was woman, there might be a harp, which had been in service from the age good and careful, proving that the Leipsic theatre possesses at the of Cadwallader, a fife, a flute, (suffering from bronchitis), or, if the music was to be martial, a drum, There were no German bands in present moment, a highly valuable company of vocalists. The those days, and the organs were "few and far between." They hardly girlish character of Senta was admirably embodied by Madme. dared to try Mr. Bull's patience then; if they had, it would have been. Rübsamen Weith. Her dramatic impersonation, however, is still at the risk of stoning, or something worse. A reasonably good livelihere and there deficient in certainty and vivacity. Her singing, hood was made by some of those street Apollos; and a few of them, however, is marked with feeling, and rendered by a fine voice, though with little or no musical knowledge, were gifted with very fine though the effect of the latter is marred, at intervals, by a harsh voices, and, of course, their success was in proportion.-City Press. gutteral tone. Herr Ossenbach (Daland), has a fine, soft, bass voice, distinguished for its elevated character. Herr Weidemann, who had to represent the unhappy personage Erik, is a valuable tenor, whose voice, however, is unfortunately deficient in that certainty and power of endurance requisite for more important parts; his intonation is invariably wavering. Herr Jungmann, on the other hand, pleased us very much in the small part of the Helmsman. The hero found an excellent representative in Herr Rübsamen. He possesses a fine, powerful baritone, which he knows how to turn to the best advantage. His pronunciation, however, is blurred by faults, of which, as a vocalist, he should get rid. The choruses are exceedingly difficult, and were badly executed. That the run of the opera will be only ephemeral, no one doubts. The first Gewandhaus concert was a brilliant one, as regards programme, attendance, and execution. It began with the "Anacreon Overture," that clever piece of mosaic by Cherubini, the melodic fragments of which are worked up into a wondrous whole. The mode in which it was performed was nothing more nor less than unsurpassable; there was such perfection, even in the slightest details, that the delight it afforded was something extraordinary. The execution of Beethoven's A Major Symphony, also, * Translated from the New Berliner Musik Zeitung. BELFAST. (from a Correspondent.)-Handel's "Ode for St. Cecilia's Day" has been given, with a miscellaneous selection by the Classical Harmonists' Society. Madame Rudersdorff, Miss Julia Elton, and Mr. J. G. Inkersall were the singers, and Mr. Harper, the trumpeter, was also engaged. Madame Rudersdorff's singing in the ode was, indeed, all that could be desired: her delivery of the accompanied recitative, “But bright Cecilia" and the following solo, raised her audience to enthusiasm. The choruses were given steadily and tunefully, and the orchestral parts, including the overture, were finely played. The second part of the concert, devoted to songs, &c., introduced a young lady, Miss Julia Elton, who, with an excellent contralto voice, a large herself in a favorable position with the audience. In an agreeable air of A. amount of artistic resources, and a good deal of earnestness, rapidly established Randegger Sleep, dearest, Sleep"-she was encored; the most important piece was Madame Rudersdorff's "Let the bright seraphim," with Mr. Harper's accompaniment. In Signor Arditi's valse "Il bacio," her agile and flexible voice, and finished execution made a furore. The concert was conducted by Dr. Edmund T. Chipp, the celebrated organist who holds the appointment of conductor to the Anacreontic and Classical Harmonists' Society, and organist to the Ulster Hall. The presence of so thorough a musician in Belfast, cannot but have an important influence on the musical history of the town. As an organist, Dr. Chipp has few equals, and as a conductor, he showed that he possesses high qualifications. When the new organ is erected, he will have many opportunities of displaying his superior talents as an organist, and the public will be able, from time to time, to enjoy a rich and intellectual treat in listening to his performances. |