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figure in quavers and semiquavers, is, generally, not heard. Just
in the same manner, this is repeated in C minor :-

“ Drei Heften Sonate für Violine allein"-JOHANN SEBASTIAN BACH

(Schott). Heft III. of this elegant, correct and valuable republicationincluding Nos. 5 and 6 of the famous Sechs Sonaten-has alone

reached us. The instalment, however, is welcome-en attendant Further on, at p. 43, where the first bassoon presents the theme in les autres. “Old Forkel" (as they call him), John Nicholas B flat major, we find a new accentuation of the third bar, in its Forkel (as we shall call him)_author of the little book entitled repetition by the violins :

Ueber Johann Sebastian Bach's Leben, Kunst und Kunstwerke, which perhaps, after all, tells us more about " The Leipsic Cantor" (as they call him, alternately with “Father Bach" and the Rare old Contrapuntist") than any other work extant, notwithstanding its silence (a result of its author's ignorance) about the compo

sitions for the Church-makes the subjoined brief allusion to the (To be continued.)

Sechs Sonaten :

"The violin solos were universally regarded, for a long series of

years, by the greatest performers on the instrument, as the means of BRIGHTON.- The Brighton Gazette has a long article devoted making the student a perfect master." to a Morning Concert, which took place on Saturday last, at the What is most singular, however, is, that no music for the violin Pavilion, in aid of the First Sussex Volunteer Artillery Band Fund, has been composed since Bach's day at all comparable to his solos, which we present with some indispensable curtailments :

either in ingenuity or in difficulty. That anybody could have " The weather was extremely inclement, rain pouring in torrents, the executed them, when Bach lived, seems now quite as unlikely as heaviest continuous rain perhaps ever remembered by the oldest inhab. that anybody, Bach only excepted, could have written them. The itant, but notwithstanding this the musical attraction was so great that Heft before us contains the Fugue in C major, the most elaborate the room was filled with a fashionable company. The Inspector of Flys, and perhaps the most extraordinary of all the solos. Amateurs Mr. Terry, who let the compang out of the carriages, was drenched, even under of Bach's music will at once recognise its theme, with the first two the porch in front of the Pavilion. So numerous an attendance in such

answers : weather may be accounted for in some respects by the great attraction,

Theme. for among the musical celebrities there were three of the greatest artists in the world on their respective instruments, namely, Madame Arabella Goddard, M. Sainton, and Signor Bottesini. The vocalists were Made. Gassier, Madlle. Marie Cruvelli (a sister of the great cantatrice of that name) Mr. Swift and Herr Hermanns; and with Mr. Land as conductor, the troupe was complete. The Volunteer Band, under the direction of Mr. W. Devin, opened the concert with the March from Faust (Gounod). Madlle. Cruvelli and Mr. Swift then gave the duet · Ah! si di mali miei;' the duet was admirably rendered. Then came Sainton's fantasia Scotch airs, introducing · Wha'll be King but Charlie,' and "Auld Robin Gray." The expression in the latter was delightful, and the variations equally interesting. Herr Hermanns gave a song of Nicolai, from the Merry Wives of Windsor. It is some time since Made. Gassier has appeared in Brighton, and she was much applauded when she came on the platform. Her voice appears to have increased in strength, not in quality. We might say, in non-musical parlance, that she ran all over the place. Mr. Swift sang Wallace's “Yes, let me like a soldier fall,' with plenty of force. Made. Arabella Goddard next appeared on the platform, which was the signal for a burst of applause. She selected WoelA's Ne plus ultra, with variations on Life let us cherish,' in which she displayed great versatility of talent, whether in the beautiful under current of accompaniment whilst she clearly struck out the air, or in the power of her left hand, whilst revelling in the lighter passages in the upper notes. Mdme. Arabella Goddard is also distinguished for light and shade, and the purity and elegance of her expression, all of which amount almost to perfection,-indeed it would

nor will they have forgotten the admirable ingenuity with which require a very nice ear to discover the slightest blemish. Her perform

the same theme is afterwards worked " al riverso :" ance was artistic in the extreme, and we need scarcely say that she was

Theme al riverso. rewarded with unbounded applause. Madlle. Cruvelli sang an air from the Favorita with much purity of expression. A sonata in B flat, by Mozart, for pianoforte aud violin, by Made. Arabella Goddard and M. Sainton, was perfection itself. It was delightful to hear with what accuracy they took up the various points. Bottesini commenced the second part with a fantasia on airs from Lucia di Lammermoor. What Paganini was on the violin, Bottesini is on the great instrument which he has chosen for the display of his extraordinary skill. Madame Arabella Goddard played a fantasia on airs from Lurline(Ascher). It seemed almost incredible that a lady could combine with the most refined taste and delicate touch such masculine power as she did in this piece. The immense rapidity of the arpeggios, the clearness of the chromatic passages, whilst thundering forth the bass with her left hand à la Thalberg, displayed powers of an extraordinary kind. Mr. Swift sang a ballad of Mr. Land's, What can the heart want more,' with nice expression. In the duet of Sainton and Bottesini, a composition of the great contra basso, it was dfficult at times to tell whether Sainton was

But recently Herr Joachim, by his wonderful talent, has been playing the violin or Bottesini. The Artillery Band performed a galop,

winning as much favor, and raising as much enthusiasm, on and closed the concert with the National Anthem.

account of Bach's music for violin alone, at the Monday Popular

Concerts, as have long been accorded to the sonatas and quartets of | Mozart, Beethoven, and Mendelssohn. This very fugue in C major

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ser Galeries Doleful Ki

is probably the cheval de bataille of the gifted Hungarian. It is Though somewhat labored, these melodies (hardly well intituled, the second and principal movement of the 5th Sonata, which com- by the way) have the merit of being for the most part extremely mences with a short adagio, in the same key, and further contains well written, and reveal a commendable desire to avoid commona largo, in F major, and an allegro assai-a sort of moto perpetuo, place. There are some few crudities in No. 2 ("The Maiden's in the key of the fugue. The Sixth Sonata, which contains no Song"), and No 3 (** The Hunter's Song "_which may have been fugue, begins with a brilliant, well-sustained and immensely inspired by Mendelssohn's third Lied in Book 1); but both these effective prelude in E major, and further comprises a " louré," and No. 1 ("* The Lover's Song") contain much that is good, much gavotte and rondo, two minuets, bourre," and " Giga," all in that is thoughtful, and nothing that is trivial. the same key-a compilation much in the same form as the Suites Anglaises for the harpsichord. The careful fingering of every difficult passage, by Herr Ferdinand David of Leipsic, gives a double value to this edition of the Sechs Sonaten, which should be

MUSIC RECEIVED FOR REVIEW. on the desk of every ambitious student of the violin-however

AUGENER & Co. distant the hope of his becoming one day a JOACHIM.

Halte, J. J., " The mariner's dream,” vocal. Haite, J. J., “ The dying soldier,"

vocal. Hatton, J. L., “Spirit rapping," vocal. Sheppard, J. Hallet, "Oh, doubting No. 1. "Ah! gay art thou Dreaming?" Ballad. Words and Music by

heart," vocal. Hartog, Henri, “ Home, sweet home," violin. Smith, Sydney, " The

mountain stream," piatiotorte. Owex HOPE. (J. H. Jewell).

ASHDOWN & PARBY. No. 2. "Constancy," Ballad. Words and Music by OwEX HOPE. Crump, Arthur, " Farewell," vocal. Basley, Edward A., “Oh, call it by some better (J. H. Jewell).

name," vocal. No. 3. “Croydon's Doleful knell." Round for Three Voices. Words from the

ADDISON & Lucas. "Golden Garland of Princely Delights.” Music composed by I. M'Murdie. | Baumer, Henry, “Polacca brillante," pianoforte. Nunn, John 1., “ Yon fading (Robert Cocks and Co.)

cloud," vocal. No. 4. “I am but a Lowly Flower." Song. Words from the German of

Robert Cocks & Co. RUCKERT. Composed by W. ADLINGTOx. (Robert Cocks and Co.)

Abt, Franz, “O! sweet flowing streamlet," vocal. Abt, Franz, “O! rosy morn,"

vocal. Abt. Franz, " Like a well-spring in the desert," vocal. Abt, Franz, "The No. 5. “Will you Come to my Mountain Home?” Ballad. Written by dear old songs at home," vocal. Abt, Franz, " Birds that in yon pine trees sing." ALFRED WHEELER. Music composed by F. H. Browx. (Robert Çocks

vocal. Fricker. Anne. “I built a bridge of fancies," vocal. Lindsay, Misg M..

* Thalassa," vocal. Oscar, Alfred, “Sunlight," vocal. Faust, Carl, “For thee," and Co.)

pianoforte. Glayer, Stephen, " The gem of the isle," pianoforte. Glover, Stephen, No. 6. "To Thee.” Ballad. Written and Composed by WILLIAN BROCK. 1. The bridal march," pianoforte. Hall, E. V., “May bloom," pianoforte. Prince, (Addison, Hollier, and Lucas).

Henry, “ Polka, des Zouaves," pianoforte. Wright, Adam, “The newest Dundreary

polka, pianoforte. West, G. F., “Gems from the great masters," No. 11 and No. 16, No. 7. “ Happy Days of Childhood.” Ballad. Poetry and Music by

pianoforte. Wallace, W. Vincent," Maggie Lauder," pianoforte. WILLIAM BROCK. (Cramer, Beale, and Chappell).

CRAMER, BEALE, & Wood. No. 8. “My own Sweet Home.” Ballad. Poetry written by WILLIAM Gretton, George, “ Der Hexen Tanz," pianoforte. Gretton, George, “Erde und

BROCK. Music Composed by JOHN BLOCKLEY. (Cramer, Beale, and Himmel," pianoforte. Gretton, George, “Caprice pathetique," pianoforte. Gretton, Chappell.)

George, “ Grande marche," pianoforte. Kremer, Joseph, "Chants des Alpes," piano

forte. Kremer, Joseph, “Sur la Plage," pianoforte. Mr. Owen Hope's ballads (Nos. 1 and 2) are correct to a nicety;

BOOSEY & Soxs. but their melody, if « wise"-as the Atheneum would say-is Glover, Howard, "She may smile on many," vocal. hardly new.

T. L. FOWLE. Mr. M.Murdie's round (No. 3) is written with an intention to Fowle, T. L., “Smile again, dear mother," vocal. Fowle, T. L., "All nations good harmony, which alone will inspire respect.

whom thou hast made," vocal. Fowle, T. L., “Rest on thy marble corals," vocal.

Fowle, T. L., “A grand march," pianoforte. Mr. Adlington's song (No. 4) is an attempt after the ballad style of Messrs. Balfe and Wallace, but hardly a successful one.

HALE & Co.

Hutchinson, w., “ 'Twas evening, in the summer time," vocal. Hutchinson, W., The English version of Rückert's words is, however, smooth and “Oh, wake those tones no more," vocal. pretty.

LONSDALE. Mr. F. H. Brown's ballad (No. 5) calls for no especial remark. Candela, C. DI, “ Take back thy gifts," vocal. Mr. William Brock’s “ To thee" (No. 6) might be appropriately

JEWELL. inscribed to the composer of "My own, my guiding star," of Atkinson, F. C., “ The bells," vocal. Condron, H., "L'espérance," pianoforto. which it is a direct, if not a highly successful, imitation. The

Gattie, James, " A sketch," organ. same gentleman's “Happy days of childhood " (No. 7) is not more

COCK, HUTCHINGS, & Co. original,

Smith, Alice Mary, * The last footfall," vocal. Smith, Alice Mary, * Vale of

Tempo," pianoforte. An occasional turn of what may be called modern English

METZLER & Co. tune partially redeems Mr. Blockley's “ Own sweet home" (No. 8) Ascher, J., “ Espoir do cæar," pianoforte. Ascher, J., “ Virginska," pianoforte. from insipidity.

Ascher, J., “Marche des Amazones," pianoforte. Oury, Madame.“ King of Italy's grand march," pianoforte. Schlosser, A., " The meeting of the waters," pianoforte.

Talexy, Adrian, “chant du monastère," planoforte.. “ Over the Downs." Words by Eliza Cook; Music by John RAYMOND.

L. Moorex.
Sung by Mr. Sims Reeves. (Joseph Williams).

Moonen, Léon, "When first I beheld thee smile," vocal.
We like Miss Cook's words ; but we cannot like Mr. Raymond's


Haydn, “ The Creation," vocal. Nichols, W. H., "Spring," vocal. Trego, Henry music, especially such progressions as the following :

Stafford, “Three soft voluntaries," organ.

Thomas, Harold, “ Across country," pianoforte.

PAYMENT OF FRENCH SINGERS.- Figaro refers to the fabulous sums to which the salaries of lyric artists now reach in Paris, and remarks that the dearness of provisions is a mere jest in comparison with the dearness of sweet sounds. Speaking of the Grand Opera, it says:-" In 1862, during seven months, Gueymard received 1,000f, for each performance in which he appeared. As he sang forty-two times, that payment is equivalent to 72,000f. a year. Madame Gueymard had 1,407f. a night; she appeared twenty-three times, which makes 54,000f. a year. The others are in proportion. The most costly artist has been Niemann, who was specially engaged to sing in Tannhäuser ; his engagement was for a year, at 46,000f., and Tannhäuser having been

performed only three times, it results that M. Niemann received Where has Mr. Sims Reeves sung this ballad (by the way)? 15,333. 33c. per night."

Here JOACHIM returns to Hanover, to direct the Court Concerts • Three Melodies," for the pianoforte. E. H. TURPIN. (Addison, held in that Capital during the winter months, after the Monday Hollier, and Co.)

| Popular Concert on the 1st of December.

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C. Severn, and Piatti.

Mr. Santley.


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Herr Joachim

... Bach.

It is respectfully suggested that such persons as are not desirous of remaining till

ST. JAMES'S HALL, Orpheus. The subject, however, is so fraught with interest REGENT STREET AND PICCADILLY.

for all lovers of good music, that we cannot refrain from once more reverting to it.

On the 5th October, a century ago-when Marie Antoinette, the unfortunate daughter of the “ woman king,"* was still

a blooming girl, not yet married to the grandson of Louis ON MONDAY EVENING, NOVEMBER 3, 1862. XV.; when the Parc-aux-cerfs was still in existence, and

the people were tolerated only that they might minister to LAST APPEARANCE BUT FOUR

the wants of a licentious court and dissolute aristocracyOF

Gluck's Orpheus und Eurydice was produced for the first time, at the Hofburg theatre, in Vienna. Since then what

changes have occurred! What events have convulsed not PROGRAMME.

alone France, but the world! How many monarchs-inPART, I. GRAND SEPTET, in E flat, Op. 20, for Violin, Viola, Clarionet,

cluding, by the way, Otho of Greece-have passed before Horn, Bassoon, Violoncello, and Double Bass

Beethoven. us, almost as rapidly as their phantom brothers in Macbeth, MM. Joachim, H. Webb, Lazarus, C. Harper, Hutchins,

no more to wear the regal crown, or grasp the royal sceptre ! SONG, "L'Alouette" .. ticente" . . . Glinka.

But Orpheus and Eurydice survive in the tender melody of SONG, “ I never can forget" ... ... ... ... ... . Mellon.

Gluck, full of life and vigor as on the evening they first SONATA, in B flat (No. 8 of Mr. Halle's edition), for Planoforte

appealed to and captivated "a delighted audience.” Thus it *** ** Mia Charles Hälle. ***

Mozart. is, and must be ever. Material force and political power are

transient as sunshine, while the empire of genius is enduring PART II. FRAGMENTS from an unfinished Quartet (Posthumous).... ... Mendelssohn. |

as the sun. It is to the credit of the Royal Opera House MM. Joachim, L. Ries H. Webb, and Piatti.

at Berlin that Gluck's masterpiece has always formed one SONG, “Dawn gentle flower" .... "Price one *** *** * Henry Smart.

of its stock operas. The management deserves praise also CHACONNE, for Violin alone ...

for determining to celebrate its hundredth anniversary, with SONG, “ The Bellringer." (By desire) . ... ... ... ... W.V.Wallace a solemnity that should be at once a tribute to the merits of

Mr. Santley.
QUARTET, in B flat, for Pianoforte, Violin, Viola, and Violoncello C.M. von Weber,

Gluck and a proof how highly they were appreciated. As
Mr. Charles Hallé, Joachim, H. Webb and Piatti,

the fifth of October fell, however, on a Sunday, the ceremony, Conductor . MR. LINDSAY SLOPER.

if we may so designate it, was postponed to Monday, the 6th. To commence at Eight o'clock precisely.

The performance appears to have commenced with a prologue, NOTICE.

written by Herr Hans Köster (husband of the singer of

that name), and delivered by Herr Berndal. This prologue the end of the performance can leave either before the commencement of the last instru

alluded, in elegant language, to what Gluck had done to aid whole may do so without interruption

the progress of dramatic music, and dwelt, appropriately Between the last vocal piece and the Quaret for Pianoforte, Violin, and Violon

enough--considering it was written by a German poet, spoken The Concort will finish before half-past Ten o'Clock.

by a German actor, and listened to by a German audienceSofa Stalls, 5s. ; Balcony, 38.; Admission, 1s. Tickets to be had of Mr. AUSTIN, on the fact that the great master was, before all, German, at the Hall, 28 Piccadilly; of

unflinchingly German. Next came the opera. It need Messrs. CHAPPELL & CO., 50 New Bond Street.

scarcely be added, in conventional parlance, “ that everyone

exerted himself to the utmost ?" Cela va sans dire. Mad. NOTICE 8.

Jachmann (Johanna Wagner) was Orpheus, “ for this TO ADVERTISERS.--Advertisers are informed, that for the future

night only." About her performance, accounts materially the Advertising Agency of THE MUSICAL WORLD is established

differ. Some extol, some criticise, others patiently submitat the Magazine of Messrs. DUNCAN DAVISON & Co., 244,

out of deference, no doubt, to Gluck and the 100th anniRegent Street, corner of Little Argyll Street (First Floor).

versary of his Orpheus. “I will merely observe,"—writes Advertisements can be received as late as Three o'Clock P.M., on

one correspondent—" despite the risk of meeting the ire of

her admirers, that it was perfectly unnecessary to recall her Fridaysbut no later. Payment on delivery.

to the stage she had formally quitted, in order that she TERMS S Two lines and under ...

might once again appear under the features of Orpheus, onal 10 words ... ... 6d. To PUBLISHERS AND COMPOSERS-Al Music for Review in The

quem concita dicunt MUSICAL WORLD must henceforth be forwarded to the Editor,

Flumina Threiciâ detinuisse lyra.' care of Messrs. DUNCAN DAVISON & Co., 244, Regent Street. Was there no singer at the Berlin Opera-house capable of A List of every Piece sent for Review will appear on the Saturday sustaining the part as well-nay better? If such be really following in THE MUSICAL WORLD.

the case, the establishment, “Royal" as it is named, must TO CONCERT GIVERS.-No Benefit-Concert, or Musical Perform

be in a bad plight, and can hardly be set up with fairness ance, except of general interest, unless previously Advertised, can

as the model of excellence the local press so loudly and be reported in THE MUSICAL WORLD.

unanimously proclaims it. Mad. Köster was Eurydice-
" quam Orpheus revocavit ab Orco"-to give a quotation
to the lady as well as the gentleman--" and acquitted
herself”-according to the same correspondent—"in such a

manner as to enlist the sympathies and obtain the applanse LONDON: SATURDAY, NOVEMBER 1, 1862. of the whole audience:” The part of Amor_“ Veneris alma

progenies"-fell to the singer now most in vogue on the QUR Berlin correspondent has already written concerning U the hundredth anniversary of the production of Gluck's

• Maria Theresa,

mental piece, or between any two of the movements, so that those who wish to hear the

collo, an interval of FIVE MINUTES will be allowed.

And of the principal Musicsellers.

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28. 6d.

| Every additional 10 w

The Musical World.

banks of the Spree-to Malle. Lucca. At the conclusion of by producing a continuous series of “ Colleen Bawns" and the performance, a grand scenic decoration exhibited the bust“ Sieges of Lucknow," under the most attractive circumof Gluck, surrounded by the characters his music has im- stances—which we do not believe for one moment we can mortalised. Altogether, everyone seems to have been scarcely promise him or his theatre any large amount of pleased, whether in front of the stage or behind the eurtain ; support. The truth is, we have already too many theatres and the fact of the day being thus kept proves that the good for the number and excellence of our actors, and, as far as Berliners have more reverence for classical music than their the immediate interests of the drama are concerned, it would kingthat drill-sergeant in royal robes-for constitutional be far better to demolish half a dozen theatres than to erect right. In honour of what national composer shall we ever one. There never was a time when tragedy and comedy constitute a ceremony of the kind in England ?

were so feebly represented in this country, and, consequently, we are inclined to think that, however excellent and

desirable in itself, Mr. Boucicault's proposition might be MR. DION BOUCICAULT'S proposition to build a new referred to a more suitable juncture. If sufficient talent M theatre, he himself advancing the large sum of £5000, | does not exist to enable Mr. Boucicault to carry out his has been liberally responded to, and is reported as likely plan, it is no fault of his. He should, nevertheless, have to answer his highest expectations.

08. His arguments in

His arguments in patience and wait. ' support of the necessity of a new theatre are hardly to be controverted. No doubt, in this advanced age of improvement, superior mechanical contrivance has not been made W E learn from the Niederrheinische Musik-Zeitung that available, nor the public convenience sufficiently consulted. w the measures taken to introduce a uniform change of All places of amusement, in fact, have been constructed pitch into the theatres and concert orchestras of Germany, without reference to economy or utility. We have Mr. did not, as was originally reported, emanate from the Boucicault's word for it and his authority is of the highest Intendant of the Imperial Theatre in Vienna, but from the value-that all our metropolitan theatres are constructed Imperial minister, Herr von Schmerling, who ordered a upon wrong principles, and that the entrances and modes circular to be addressed to all the large theatres in the of exit are faulty to a degree. In the case of one of the south and west. This circular was despatched through temples of the drama, we know that the arrangement of diplomatic channels. In the case of the Frankfort Theatre, the private boxes is suggestive of a maze rather than a for instance, it was forwarded by Herr von Braun, "Austrian regular building having in especial view free and easy consul in the Free City of Frankfort,” who was, moreover, access and departure. That modern architects would requested to take charge of the answer given by the amend all this under proper supervision we may reasonably management. The circular contains a detailed list of infer; and, therefore, so far a new theatre resolves itself into reasons showing the pressing necessity for lowering the an object of requirement. But Mr. Boucicault goes farther. pitch, Cologne being particularly mentioned as the first Not only is improvement called for imperatively in the town which has adopted the normal Paris standard. It is, construction of the building, but economy may be largely moreover, hinted in the circular, that hopes are entertained applied to the stage machinery and to the gas apparatus. that, ultimately, even Berlin will consent to it. The A saving indeed of something like 50 per cent may be Austrian Minister has placed the matter in the hands of effected in the substitution of machinery for men, and by a Herr E. Devrient, at Carlsruhe. That gentleman has peculiar regulation and provision of the lighting of which written to apprise the Frankfort manager of the fact, and Mr. Boucicault, it appears, knows the secret. Of course further stated his resolve to invite all the musical conthis is a great inducement for those desirous of embarking ductors to meet him in conference, ad hoc, at Heidelberg. in the speculation, and no doubt has had its effect on the The precise day of meeting remains to be fixed. Meansubscription list. The matter of economy in rent and while, we trust Herr von Schmerling may be able to carry value of property is also laid down at length in Mr. Bou-out his plan; in matters where the interests of music are at cicault's document, but does not, we confess, strike us as so stake being quite as willing as the Niederrheinische Musik. clear or self-evident. On the whole, however, Mr. Bouci. Zeitung itself to be “Grossdeutsch." cault's proposition is feasible and satisfactory. That London theatres are not what they should be every body must allow, and that a theatre built on new and proper principles

To the Editor of the Musical WORLD. of art would be a “glory and an ornament" to the dramatic profession, if not to the metropolis, we may presume. We

Sir, In the musical columns of the last issue of the therefore wish well to the new undertaking, and heartily Athenæum, I find the subjoined :hope it may prosper.

"The republication of Beethoven's entire works by MM. Breitkopf and We have only one fear. When the new theatre is com- | Hartel,-involving, as it does, close examination of manuscripts, proofs, and pleted, what is to be done with it? Will Mr. Dion all such memorials and directions as exist, -may lead to the destruction of Boucicault-allowing him to be installed as a matter of more than one crudity dear to the transcendentalists, who have made Beethright in

oven's crudities, especially in his posthumous Quartetts, their starting-point. the management - resuscitate the Shaksperian It must have been long a surprise to all who know what freaks haste, overcare, drama ? Will he turn his attention to elegant comedy, ill-deciphered writing play with print, that the voice of Common-Sense has naturalise French melo-drama, or abide by his own “sensa been so sparingly permitted a hearing in defence of Genius, when the latter tion" pieces? In any case, except the last, from what

appears to have uttered nonsense. Beethoven's arrogant answer, Well, then,

I permit it!' to some pedant who objected to an ungrammatical sequence in a source is he' to procure his actors ? Will Messrs. Buck

composition of his, has done no common mischief in the world of half-thinkers, stone, Webster, Falconer, and other lessees and proprietors, who have thenceforward (and not without show of plausibility) justified everycede to him their leading artists in compliment to the re thing set down for Beethoven as being his own matured and final utterance. formation building, or will he have to import his company

So M. Berlioz-once on a time--wasted good ingenuity in admiring the two

cancelled bars in the Scherzo of the C minor Symphony. Every one of such from the provinces ? If Mr. Boucicault has originated

mistakes set to rights (for which process are required clear-sightedness, patience, his theatric speculation solely to advance his own interests, sagacity, and self-renunciation, far more difficult to exercise than blind idolatry) is good service done to the memory of a great man, and to the powers of

Letters to the Editor. healthy admiration cherished by those who receive the same." Who are the "transcendentalists' that admire wrong

"ALTHO' I’M BUT A VERY LITTLE LAD." notes? Who is “Common Sense,” with a “voice in defence I SIR,-In answer to " A Subscriber's" enquiry as to the Publisher of of genius," and yet unable to convince ? Who are the

* Altho' I'm but a very little lad," I was looking over some old music “half-thinkers," that "justify everything ?”

the other day and came upon the song. It was published by Longman Who are the

and Broderip, 26, Cheapside, and 18, Haymarket. Yours, &c., "clear-sighted,” “ patient,” “ sagacious,” and “self-renoun

ANOTHER SUBSCRIBED cing," that have " set to rights," and “done good service to the powers of healthy admiration, cherished by those who

.. PARIS. receive the same?” The key to these mysteries is preserved

(From an occasional Correspondent.) in the sanctum sanctorum of the musical Athenaeum. The

PARIS, Oct. 30th. transcendentalists that admire wrong notes, the half-thinkers

I have scant news for you this week, and nothing “special." It 15 that justify (where there is nothing to adjudge), are those | Masaniello

all but arranged that Mario is to make his debut in Lo Muette de Portici

(Masaniello), and M. Massol-the favorite baritone at Her Majesty's who happen to differ from " Common Sense "_" Common Theatre in 1851, when he played the father in the Prodigo, with Sense" being, of course, the Athenonum. “ Common Sense" | much effect, and (as I need hardly remind you), at the Royal Italian

Opera in 1849—as Pietro. Athenaeum) has always been severe upon the "crudities" in

In the Comte Ory M. Faure has come Beethoven's last works, and pointed with frequent vagueness Rossini has composed a new air for him. Máme. Vandenheuvel.

descended” to take the part of Raimbaud, but I do not hear that to those places where the deaf composer appears to have Duprez will be the Countess: Malle. de Taisy the page ; and At. .uttered nonsense." Amateurs and musicians, who might Cazaux the governor. I dare assert your readers are not particularly otherwise have groped about for ever in inextricable darkness,

familiar with the two last named artists. are doubtless grateful to “Common Sense" (Athenaeum) for the

Sig. Gardoni is engaged to replace Mario at the Italiens, and is

announced for Count Almaviva in the Barbiere. The new tenor, OT, patient clear-sightedness (or clear-sighted patience) and self

-808meu patience, and self- | more properly, tenorino, Signor Cantoni, has appeared once renouncing sagacity (or sagacious self-renunciation), that | Sonnambula (Amina Mille. Marie Battu), but with no extraordinary have "get to rights" difficulties and fortified it powers of success. The Trovatore, with Mesdames Penco and Albom, 80 healthy admiration;" but because they are grateful that is

Naudin and Bartolini, has been more successful. Mdme. Frezzolini

will appear shortly as Gilda in Rigoletto, with Gardoni, Signor Delle no reason why they should be charged with a blind admira Sedie and Alboni as Maddalena. Have I any more news? Yes! Or tion for wrong notes.

dit-Malle. Trebelli is to be married in the spring to Signor Alessandro Seriously, this Aourish of the Athenæum is but an empty

Bettini, the tenor. The talented fiancée is at this moment at Berlin, flourish.' Thé Athenaeum has fought against a shadow, and

winning new laurels. The sad news has arrived here from Naples

that Mercadante has entirely lost his sight, and solaces himselt by claims a victory. That the correction of wrong notes, and | dictating instrumental overtures. other errors of the press, can have no influence whatever, in guiding opinion about the later works of Beethoven, is the Adelina Patti--(an untranslatable " canard"):-"Ce qui peut nous “matured and final utterance" of

donner une idée de l'engoument britannique pour la Patti, c'est que AN ENGLISH MUSICIAN.

les jeunes gens de Londres ont organisé un train spécial, y compris le Shipton under Winchley, Oct. 21.

bateau à vapeur, pour le 10 novembre, jour où la célèbre artiste dont débuter au Theatre-Italien de Paris. Le voyage coûtera cinq livres,

aller et retour, avec un stalle d'Opera-Italien et cinq jours d'arrêt dans Sig. SCHIRA has been nominated, by His Majesty the King of Italy, la capitale."-LEON ESCDUIER (Art Musical). Chevalier of the order dei Santi Maurizio e Lazaro.

DEVONPORT,—The second concert for the fund of the New Hospital TESTIMONIAL TO MR. G. B. ALLEN OF ARMAGH. The friends and took place in the Mechanic's Institute. The hall was filled. The proadmirers of Mr. G. B. Allen wishing to present him with some proof gramme comprised a recital of some works of Beethoven, and a of their regard and esteem on his quitting Arinagh for London, have miscellaneous selection. The artists were Mad. Gassier, Mad. Arrabella decided upon presenting him with a testimonial to his excellence Goddard, Malle. Marie Cruvelli, Herr Hermanns, Mr. Swift, M. Sainton, as a musician and composer and his high qualifications as a teacher. Sig, Bottesini, and Mr. Land. The gem of the evening, was Beethoven's A subscription has been set on foot for the purpose, and a committee

vne purpose, and a committee sonata in G (Op. 30) by Mad. Goddard and M. Sainton. There is the formed to receive contributions and decide upon the most desirable same contrasted gentleness and power which won for Mad. Goddard 80 form of testimonial. A sum almost sufficient for the purpose has been many plaudits and such wide-spread fame years ago ; and those who then already collected. Mr. Allen expects to leave Ireland the first or | admired are the inore warmly enthusiastic pow, because they cannot fall second week in November.

to recognize the beauties that charmed them when she first came among MADAME TONNELIER.The Brighton Gazette of Oct. 30th in speaking us. M. Sainton, quietly appreciative and perfect in undemonstrative of the performances of Mad, Tonnelier, the new prima donna at Mr. execution, was equally happy in his mastery over the violin and in the Kuhe's Pianoforte Recital, says :- Madame Tonnelier, a lady whom good opinion of his audience. The sonata, charmingly delivered, was we never remember to have heard before in Brighton, was the vocalist: loudly but unavailingly encored. Mad. Gassier's valse from Gounod s her voice is very extensive and her roulades and shakes are given with Faust was a clever and brilliant performance. Signor Bottesini's first a finish which shows she has practised in a good' school. In her first selection was his own fantasia on the Sonnambula. So apparently mindsong, Robert toi que j'aime,' there was a little harshness in her forte culous were some of his passages that, after hearing them, few would notes, but her soft notes were delicious. She did not display the same have been astonished had the Signor played his next piece--the harshness in Qui la voce;' it was a highly finished piece of vocalisation. | Carnival of Venice-upon a cross-bow. Herr Hermanns sang two wer: The lady quite enchanted her hearers, and was rapturously encored. man songs, and in Martini's" Vadasi via di qua," with Mr. Swift and

CROYDON.-Madame de Vaucheran gave a concert in the Public Hall another. Mad. Goddard's second solo was Liszt's Rigoletto_one on Monday evening. The Vocalists were Miss Elam, Miss Grace of the most brilliant and difficult of modern fantasias. Mr. Swifts Delafield, Mad. J. Heine, Mr. Seymour Smith, Mr. Viotti Cooper :- | best effort was in a duet from Verdi's Attila, with Mad. Gassier. instrumentalists: Pianoforte, Mad. de Vaucheran; Violin, M. J. Heine: | M. Sainton's delivery of Beethoven's Romance in F. remains to be Piccolo, Mr. A. J. Phipps; Harp. Mad. James Dryden. Conductors, noted. The success of this concert was in some measure due to the Messrs. George Lake, aud S. Austen Pearce, M.B., Oxon. Mad. de ability displayed by Mr. Land as conductor. Vaucheran played Kullak's Ines Arpèges, Ascher's Sans Souci (galop,) | EXETER HALL.--The national choral society gave a performance of and several duets, including two for piano and violin with Mr. J. Heine, Elijah on Wednesday evening, with the usual strong force of singers the extremely clever blind violinist. Many of the vocal pieces appeared and the usual inadequate instrumental supplement. Malle. Florence to afford much gratification, Miss Elam winning an encore in “Coming

nning an encore in “Coming | Lancia sang the soprana part for first time, and made a decided “hit," through the Rye," and Mr. Viotti Cooper receiving immense applause l indicating in this more emphatically than in the Creation that she 18 for his expressive delivery, in Italian, of " Adelaida." Mr." Viotti | destined to take high standing in the sacred concert room. dr. Cooper introduced Mad. Vaucheran's new patriotic song, " Rome or Santley gang the music of Elijah magnificently, Malle. Elvira Behrens death for my own loved Italy," which was heartily cheered by the and Mr. Wilbye Cooper doing good serviee in the contralto and tenor Garibaldians present. The concert altogether gave evident satisfaction. | music.

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