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A LETTER FROM MENDELSSOHN.

do it conscientiously. To my home comforts is to be reckoned that I

am reading Goethe's Italian Journey for the first time; and I must Rome, November 8, 1830.

confess that I am greatly delighted that he arrived in Rome the same To-day I ought to write about my first eight days in Rome, how I day as I did ;-that like me he first went to the Quirinal and there have arranged it to live, what my prospects for the winter are, and how heard the Requiem ; that in Florence and Bologna he also was full of this divine spot works upon me; but this will be rather difficult. It impatience; and here he became also 80 calm in spirit-or solid, as seems to me that I am changed since I came hither; and if formerly he calls it; for that all that he describes has also been precisely my I made efforts to repress my impatience and my haste to move onwardown experience, and that is very pleasant. But he speaks at length and push forward with ever increasing speed, or concluded that this of a large picture by Titian in the Vatican), and is of opinion that was merely a habit, I now see clearly that the real cause was but the the intention of it is not to be made out; that it contains merely lively wish to reach this gaol. And now I have reached it; and my figures beautifully grouped. Now I imagine that I have found a very mind has become calm, joyous, yet earnest to a degree that I cannot deep meaning in it, and believe that whoever finds higher beauty in describe. What it is that has so affected me is also something which Titian is always in the right, for he was of the divine quality. I cannot exactly explain ; for the awful Coliseum, the pleasant Vatican, If he had no opportunity here in the Vatican, like Raphael, to show the mild spring air, all share it, as well as the friendly people, my his powers in all their breadth, still I shall never forget his three comfortable chamber, and everything. But I am changed; I feel pictures in Venice, to which belongs in character this in the Vatican, myself well and happy to a degree long since unknown, and have such where I was to-day for the first time. a delight in and impulse to work, that I expect to accomplish far more If we could come into the world in the perfection of all our faculties, here than I had purposed; for I am already deep in my task. If everything would smile upon us full of life and joy, as the pictures in God only bestows the continuance of this happiness, I look forward to the Vatican upon the visitor; the “ School at Athens," the · Disputa," a most beautiful and productive winter. .

the “ Peter," which stand there before us as if created by the mere Imagine a small two-windowed house in the Spanish Square, No. 5, | thought of the artist; and then the entrance under the parti-colored that has the warm sun all day long, and a room up one flight in which vaultings, where on the one side we look out upon the Square and Rome, a good Vienna grand pianoforte stands. On the table lie several and blue Alban mountains, while above us are figures from the Old Testaportraits-Palestrina, Allegri, &c.; a Latin psalm book-out of which ment, and a thousand various angel forms and arabesques of fruits and

Non Nobis" is to be set to music. Well, now, I reside here. The flowers; and then only do we pass up into the gallery! But you Capitol was too far away, and I was afraid of the cold air, against which must become famous, dear Hensel, for your copy of the Transfiguration here I have no need for anxiety, when I stand at my window of a is magnificent! That joyous awe which seizes me, when I first behold morning and look upon the Square, and see everything so sharply an immortal work, the fundamental impression and idea of it-these defined in the sunshine against the blue sky. My landlord was once did not come to me to-day, but when I saw your picture. The first a captain in the French service; the girl has the noblest contralto impression to-day gave me only what I knew already through you; and voice that I know; above me lives a captain in the Russian army, not until long observation and study did I succeed in finding anything with whom I talk politics—in short my locality is good. When I come new in it. On the other hand, the : Madonna di Foligno" appeared to in the morning into the room and the sun shines so brightly upon my me in all the splendor of her lovliness. I have had a happy morning in breakfast (you see I am spoiled for a poet) I am filled with infinite the midst of all this magnificence; I have not yet visited the sculptures; comfort; for it is already late in the Autumn, and who with us can think the first impression of them remains for another day. of having warm weather, clear sky, grapes, and flowers? After break Morning of the 9th. So every morning brings me new expectations, fast I begin work, and play, sing, and compose until about noon. Then and every day fulfils them. The sun has at this moment again all this huge, boundless Rome lies before me as if purposely for my | lighted up my breakfast, and now I will again to my work. By the enjoyment. I take up my work very leisurely, choosing some new first opportunity I will send you, dear Fanny, the Vienna compositions, object of world-wide renown daily-to-day taking my walk among the and what else is finished, and to you, Rebecca, my drawing book. It, howruins of the old city, to-morrow to the Borghese gallery, another time ever, does not now quite satisfy me, and I shall see here much of the to the Capitol, St. Peters, or the Vatican. This makes every day sketches of the landscape painters, so as if possible to acquire a new style ; memorable, and, as I have time enough, I carry off every impression I tried to form one for myself, but, no! To-day I intend to go to the clearer and stronger. When at work of mornings I dislike to stop, Lateran and ruins of old Rome; in the evening I go to a friendly and would gladly keep on writing; but I say to myself, "you must, English family whose acquaintance I have made here. But I pray though, see the Vatican;" and when I am once there I hate to leave you send me many letters of introduction; I have great desire to it. So every one of my occupations gives me the purest delight, and become acquainted with a monstrous mass of people, particularly one enjoyment crowds another. While Venice with her past looked to Italians. And so I live on happy and jolly, and think of you all in me like a tombstone-her modern palaces going to ruin, and her con- every happy moment. Be happy and rejoice with me in the times tinual memorials of the magnificence of yore soon making me sad and which seen opening to me. Farewell all !

FELIX M, B. melancholy- Rome's past seems to me like history ; her monuments elevate, making one earnest yet joyous; and it is a pleasant thought, that man can produce that from which after the lapse of a thousand years he can still draw profit and pleasure. When now I have fully

Molle. Parti.—A contemporary says—“We are informed that this impressed such a picture upon my nemory—and daily a new one distinguished vocalist will be unable, after the present tour, to appear

it is usually already twilight and the day at an end. Then I hunt up in the British provinces again for the next three years, having made. acquaintances and friends; we exchange notes upon what we have engagements extending over that period for London and some of the done that is what we have here enjoyed, and get along delightfully. | leading continental cities, which we have reason to believe will be as Evenings I have spent mostly with the Bendemanns and Hubners, follows:-Paris, during November and December, 1862, and January, where the German artists assemble; I go, too, sometimes to Schadow's. ) 1863 ; Vienna, February, March, and April, 1863; London, May, June, A most valuable acquaintance for me is the Abbé Santini, who has one and July, 1863; Vienna, September and October, 1863, where Meyerof the most complete of libraries for old Italian music, and who gladly beer's Dinorah is to be produced for the first time, the eminent composer lends and gives me everything-for he is good nature itself. Or having selected Madlle. Patti for the occasion. For the season of evenings Ahlborn, or I, accompany him home-because it causes scandal if November, December, 1863, and January, 1863, the little lady returns an Abbé is seen alone in the street after dark. That such fellows as Ahlborn to Paris; and in February, March, and April, 1864, makes her debût at and I must serve as duennas to a sixty-year-old priest, is piquant Naples in a new opera written expressly for her by Verdi, who will most enough! The Duchess of

the gave me a list of old music, probably select Victor Hugo's famous story, Esmeralda for the subject, of which she wished to obtain copies if possible. Santini possesses it a character admirably suited to the dramatic specialties of Madlle. Patti. all, and I am very much obliged to him for allowing it to be copied. ) During the summer season of 1864 she is again to form one of the comfor I at once look it all through and make myself familiar with it. I pany at the Royal Italian Opera, Covent Garden, and in the September I pray you to send me for him, as a testimony of my gratitude, the and October following will appear at Madrid, concluding this remarkable six Cantatas of Seb. Bach, edited by Marx, and published by Simrock, series of engagements in Piris, during the months of November and or some of the organ pieces. I should prefer cantatas; he already | December, 1864, and January, 1865. Considerable interest is taken by has the Magnificat, the Motets, and some other things. He has numerous admirers in London in reference to Madlle. Patti's debut at translated the “ Sing to the Lord a new Song," and he intends to the Italian Opera, Paris, on the 10th of November next, as Amina in produce it in Naples; for which he should be rewarded. As to the La Sonnambula, so much so that we hear of arrangements being in proPope's choir, which I have heard now three times (in the Quirinal, on gress for an excursion by train and steamer, at a five-guinea fare there Lonte Cavallo, twice, and once in San Carlo), I shall write fully on and back, to include a ticket of admission to the opera on the particular that topic to Zelter. I anticipate great pleasure with Bunsen; we shall night, aud allowing five days in Paris. We are inclined to think that have much to say to each other, and I am inclined to think that he few vocalists of the present day are likely to win greater favor from a has work for me; this I will do gladly and as well as possible, if I can | Parisian public than the highly gifted Adelina Patti."

THE SATURDAY REVIEW ON MUSIC.*

had treated him with great favour." He was Inspector-General of Singing,

receiving, besides his rights of authorship, a salary of 7000f.; and a few months The last number of the Saturday Review contains rather a curious article before the brilliant success of Guillaume Tell the Civil List had signed an entitled "Musical Biography.” As the writer evidently takes an interest in agreement with him by which he engaged to compose for the French stage two musical matters, it is a pity that he did not make himself acquainted with the great works. I was anxious that the new Government should exercise towards facts of the question treated by him before publishing his conclusions thereupon. him the same consideration, and that in return he should supply us with these He sets out by stating that musical biographies never possess much literary masterpieces. We conversed together without reserve. I was struck with his merit, and he instances Dr. Burney's celebrated work, which, thouglı called a active, varied disposition, open to every subject-gay without vulgarity, and “ History of Music,” is, in fact, little more than a collection of biographical inclined to jest without bitterness. He left me after half an hour of pleasant sketches of musicians and singers. He then explains this assumed badness of intercourse, which, however, led to nothing, for I soon after ceased to hold all musical biographies (an assumption which appears in the main to be true, office. I remained alone with my wife, who had been interested by M. Rossini though we shall be able to point out some important exceptions to the rule) by and his conversation. My daughter Henriette was brought into the room further assuming that they are generally written by musicians; and he accounts little child who had just begun to walk and prattle. My wife went to the for the literary and general incapacity of musicians by assuming, finally, that piano and played some passages from the works of the composer who had just the study of their art occupies so much of their time that they have no leisure left us—from Tancredi amongst others. We were alone." I remained thus for any other pursuit. Lest any doubt should exist in the mind of the reader for I know not how long, forgetting all external associations, gazing on my as to whether musicians are really the incapable persons which he represents daughter, who attempted to run, perfectly tranquil and absorbed in the presence them to be, he states, on his own anthority, that when Mendelssohn was in of these objects of iny affections. Thirty years have passed over, and yet it London it was generally remarked what a very superior sort of man he was for seems like yesterday. I do not agree with Dante when he saysa musician.

“Nessun maggior dolore We admit that there are very few good musical biographies. Nevertheless,

Che ricordarsi del tempo felipe we have a very valuable life of Mozart, by Otto Jahn; two highly-interesting

Nella miseria." works on the same subject, in very different styles, by Oulibicheff and Mr. I think, on the contrary, that the reflection of a light upon the place it no Holmes; and several musical biographies by Stendahl, one of the most longer illuminates is a precious enjoyment; and when Heaven and time have brilliant writers of modern times. Stendahl's Life of Haydn is a transla- allayed the ardent rising of the soul against misfortune it turns calmly to the tion from the Italian, adorned and improved ; so also is his Life of past and finds a pleasure in contemplating the advantages and blessings which Rossini, which has the further disadvantage of being, in many places, untrue; / it has lost." but in a merely literary point of view both Stendahl's musical biographies are executed to perfection. Burney's great work is, on the whole, somewhat of a

MONDAY POPULAR CONCERTS. bore, and we are quite willing to give it up to the Saturday Review as a bad job. But Dr. Burney was not much of a musician; and, if the literary world St. James's Hall was on Monday night crowded to the very doors, will not have him as an author, the musical world will certainly not accept him on the occasion of the third Concert of this prematurely inaugurated as a composer. Even if the History of music be looked upon as a typical season. When we have to speak of entertainments such as the Monday book, Dr. Burney cannot be regarded as a typical musician; nor is it true that Popular Concerts, admission to which is now always sought with the majority of musical histories and biographies are written by musicians at avidity, though the opening of the season may be * early," it can all. Of the three biographers of Mozart--German, Russian, and English-| scarcely be said to be premature." The old landmarks formerly neither was ever a professional musician. Stendahl, again, appears to have. denoting with rigid accuracy the prescribed limits within which music been quite ignorant of music; and M. Schälcher, the biographer of Handel, was publicly tolerated, are in course of gradual removal, and this tells us that he does not know one note from another. Mr. Chorley, the eventful year of 1862 has well nigh effected their total dispersion. It author of several works on musical subjects, is not so communicative as M. is, of course, for the special behoof of foreign and provincial visitors Schælcher ; but it is tolerably evident, from some observations of his, recently that the great inusical clock of the London season thus anticipates its published in the Athenaeum, on an unpublished score of Mendelssohn, that he usual public performance. So we presume, that to the wide-spread, also understands nothing of music as an art.

extra-Londinian fame of the “ Popular Concerts," must be attributed Where are the musicians who have written musical biographies; and why, if the remarkably full attendance of Monday night; but if the majority musical biographies are faulty or deficient in interest, are musicians to be of those present were Exhibition visitors, the steadfast and earnest blamed ? As to the assumption that musicians possess no literary faculty, or

faith in public taste, displayed even in the concoction of the programmes, tffat, possessing it, they have not the leisure to cultivate it, we will simply must have had the effect of a veritable loadstone, and have attracted remark that Mozart's, Beethoven's, and Weber's published letters prove to the only those who are as true as steel in their admiration of the lofty contrary. So do Weber's musical criticisms; so do the tolerably well-known manifestations of the highest art. We are justified in our assumption tales written by Hoffmann, who was a musician and successful composer before by the singularly marked discrimination evinced by the audience, eager he made his appearance as an author of books; so does the very clever work to listen and eager to applaud, in their reception of each component on the Opera by Wagner, however wrong the theories enunciated therein may part of the well-constructed programme. be; so do Wagner's admirable libretti; so, in a small way, do the musical Scarcely could a concert have been more impressively announced sketches of Berlioz, Halévy, and Adolphe Adam ; so does the Italian libretto, than by the few mysterious bars of adagio which usher in the first allegro of almost improvised by Donizetti on the subject of La Sonnette de Nuit, and the Mendelssohn's Quartet in E flat. This, the twelfth opus of the gifted scene added by him to the libretto of the Lucia. Such a petty feat as the successor of Beethoven, was written when its composer had scarcely coinposition of a libretto is as nothing compared to the composition of the | counted as many happy summers; and to this effusion from a child's music of an opera; but, as the question raised is whether or not musicians ever untried brain, greybeards are now glad to listen, intent to draw from exhibit talent out of their own sphere, and especially in that of literature, we | its melodious accents intellectual profit as well as sensuous delight. quote a few instances, at random, of composers who, having something to say Of all musicians, as it seems to us, Mendelssohn preeminently shares in written speech as well as in music, knew how to say it. We have purposely with his nobler compeer, Beethoven, that wondrous faculty which laid no stress on the value of the recently-published letters of Mendelssohn, reaches, perhaps, its highest developinent in Raphael's “ San Sisto," of because the writer in the Saturday Review admits Mendelssohn's right to be suggesting beneath external forms of absolute beauty the presence of regarded as a man of some intellect. Why does he suppose him to have been thoughts and feelings that “lie too deep for words." That a mere boy, an exception in that respect among musicians ? What sort of impression does such as Mendelssohn, when he wrote this fascinating quartet, should he think Weber made upon English society? What sort of opinion does he be able to excite the mind and affect the heart, as well as gratify the imagine that the very numerons friends of Meyerbeer, Auber, and Rossini ear, is a much more remarkable phenomenon than the purely musical entertain of those composers' mental qualifications?

aptitude which displayed itself at so early an age in Hummel and M. Guizot does not usually pass for a light-minded, frivolous man. No one Mozart. In the ethereal second movement (** canzonet"), Mendelssohn can suspect him of melomania. Let us see what he thought of Rossini, whom seems to have vaguely imagined the first germs of the exquisite he saw once, for half an hour, more than thirty years ago. He describes the fairy music, afterwards wrought into perfect shape in his Midsummer scenc as if it were an affair of yesterday, and with deep feeling, such as no Night's Dream ; even the quaint and fanciful drone of the violoncello other recollection set down in his Memoirs seems to have awakened. “When, in this movement, reminds the hearer of a similar use of the ophieleide after the lapse of long years," he says, “ we collect our reminiscences, we are in the later and more elaborate effort. The whole work was played astonished at the associations which operate in the memory, and which we took to perfection by Herr Joachim, Herr L. Ries, Mr. Webb, and Signor no note of while facts were in progress of accomplishment. At the same period, if Piatti, the equality of tone, no less than the accuracy of the pernot on the very day, when these tumults occurred in the streets of Paris, relative to formers being alike remarkable in the staccato passages of the canzonet, the Pantheon, and of which I retain such a disagreeable impression, M, Lenormant and in the broad, richly harmonised melody of the andante. brought M. Rossini to breakfast with me. He had sustained some an

| Mr. C. Halle should be complimented for his choice of Beethoven's from the Revolution of 1830, which I wished to make him forget. Charles X. sonata in F, Op.54, it being not only difficult, but on account, perhaps, of

the absence of a slow movement, comparatively ungrateful. It was given From the Illustrated Times. *

for the first time at these concerts, but Mr. Halle has proved in each

1 some annoyances

of his series of Beethoven's recitals” how thoroughly he can enter | THE OVERTURE TO "DON GIOVANNI."_"In a recent number of the into its spirit. The never-flagging animation and brilliancy of the Athenæum," writes a Correspondent, “was an extract from Genast's allegretto is particularly well adapted to exhibit his delicate and Memoirs,' giving what purported to be a true account of the origin of unerring mechanism. From the melodious minuet-like opening of the Don Juan overture. In a late number of the Gartenlaube a short the sonata to its abrupt conclusion, indeed, Mr. Halle was rewarded article appeared throwing doubt on this version, which, indeed, conwith the deepest and most appreciative attention. In Hummel's Septet tained in itself several improbabilities very difficult to reconcile. The the pianist was aided by Mr. Pratten, fute, Mr. Baret, oboe, and Mr. C. next number of the same journal has a communication signed · L. S.,' Harper, horn, together with Mr. Webb, Signor Piatti, and Mr. Severn, which the editor gives as authentic. It is as follows :- In the summer viola, violoncello, and double bass. More efficient executants could and autumn of 1787 Mozart was living with the Dusseks, with whom scarcely be found in Europe, nor could the performance have been better. he was upon friendly terms, at their charming residence, Petramke, In the trio of the scherzo the phrases of melody for the horn were situate upon a gentle eleration not far from the Augezder Gate. Three splendidly given by Mr. C. Harper, and to the effect he produced, no days before the one fixed for the performance of Don Juan, Mozart was less than to the pleasing character of the movement, must the enthu-playing nine-pins in the garden with some acquaintances with great siastic “encore " be attributed.

zeal, quite forgetting that the overture was not yet composed. Dussek, About Herr Joachim's performance of John Sebastian Bach's Prelude now thoroughly uneasy, took him aside, and represented to him that it and Fugue in C major we must hesitate to speak lest we be accused of was the highest time to think of the composition of the overture if the a desire to exhaust our limited stock of encomiastic epithets. The performance on the appointed day were not to be made impossible. Fugue with its bold and wonderful complications seems undestined for Mozart admitted that Dussek was in the right, and begged him to go human fingers; to Herr Joachim, the Napoleon of the fiddle, how- with him into his room. “I will play you," he said, " three overtures ever, the word " impossible" is unknown. It requires not only rare which I have ready in my head; I will write out which ever of them dexterity and rarer brain to execute and remember, but absolute genius pleases you the best.” He at once wrote out in score that one which thus to animate a contrapuntal study into a noble, exciting, and Dussek chose, and the copyists had no little trouble to copy out the parts triumphant exhibition. .

by the proper time. This information is said to have been verbally The concert could not have closed more effectively than with Haydn's communicated by Madame Dussek, the singer. The opera, if it be true, irresistible trio in G Major (No. 5), played in a spirit of kindred may thus have been completed on the 28th of October, as is stated in geniality by MM. Halle, Joachim, and Piatti. Of the vocalists we Mozart's Journal. According to this account, the overture would have need not say much. Both Miss Lascelles and Mr. Haigh have superb been written three days before the performance, for that took place on voices. The lady sang “In questa tomba oscura" (Beethoven), and the 4th of November, 1787. Madame Dussek's communication clears “ Lily Lye" (Macfarren); the gentleman “Good night, beloved" Mozart of the imprudence of having ventured to allow the overture to be (Balfe), and “ The Nightingalej" (Henry Smart). In the accompani- played prima vista, without any rehearsal, at the first performance of the ments Mr. Lindsay Sloper manifested his customary tact and skill. opera. "A."-We cannot resist adding, in comment on the above, an Telegraph.

expression of our long-entertained belief that the story of the Don Juan overture has been, in any and all its forms, one of those tales made to excite wonderment after the fact. Herr Genast's version, at all events,

carries its own extravagance on the face of it. Fancy a group of semiCOURT OF BANKRUPTCY,

sober South Germans sitting, watching through the night-hours in mute

admiration, while the master improvised his work! The above remarks (Before Mr. Commissioner FONBLANQUE.)

will serve as answer and acknowledgment of obligation to another IN RE O'ROURKE, OTHERWISE FALCONER.

correspondent, signing himself “ W. 8. F.," who, with reference to the

Don Juan overture and Herr Genast's tale, has recalled the known This was an application under an old insolvency case. The insolvent story told by Beyle, on the authority of Schlichtgroll.--Athendum. *was an actor at, and the manager of, the Lyceum Theatre, under the BURY.The reappearance of Miss Hawes before the Bury musical name of Falconer. He obtained his final order from the Insolvent public under her married name of Mrs. Merest, writes the Bury and Court in June, 1859. This was an applicatiou on behalf of Mr. Telbin, Norwich Post apropos of Mr. Nunn's Concert, which took place on the scene painter, for an order rescinding the final order made by the 30th ult.,-gathered a large audience in the Athenæum Concert Room. learned Commissioner, on the ground that the insolvent had since his Mrs. Merest brought with her Mr. Lazarus, the well known clarionet insolvency acquired a large amount of property as manager of the player, and his daughter, whose talents both as accompanyist and solo Lyceum Theatre, in consequence of the great amount of approbation peformer on the piano, are entitled to no mean praise. The chief bestowed by the public upon the performance of the drama Peep o' Day. | attraction was, of course, the lady, whose fame won by her talents in the It was stated that Mr. Telbin had by his ability largely contributed to metropolis and other parts of the kingdom, was endeared to many prethe insolvent's former successes, and that a transformation scene of his sent by social ties, and to all by regard for a name so long connected had, as appeared by the schedule, been sold by the insolvent for 2001. with this town and neighbourhood. It was, therefore, with great Mr. Keene appeared in support of the application; Mr. Sargood and pleasure that the audience found themselves able to give a warm welMr. Reed contra. Mr. Keene stated that “the application was made come, not only to the Mrs. Merest whom they knew so well, but also under the provisions of the 5th aud 6th of Victoria, cap. 116, which, in to the Miss Hawes whose splendid contralto voice they had so often the case of an insolvent petitioner, allowed his creditors the right of listened to before. In the first part of the programme, “ He was proceeding under the directions of the Court against subsequently | despised" was purely and pathetically rendered by Mrs. Merest. The acquired property. The Court was aware that under the recent depth of tone and feeling which this demands, would almost make us statute, the Bankruptcy Act of 1861, the powers of the Insolvent believe that it was written for her, as well as Mendelssohn's " ( rest in Debtors' Court were vested in the Court of Bankruptcy, and he the Lord !" which followed. Haydn's “She never told her love," must concluded, therefore, that the Commissioner had jurisdiction to have charmed all lovers of classical music. Mrs. Merest's delicate make the order. The affidavits made by the applicant went to show | accompaniment gave almost as much pleasure as the rich tones of her that, in consequence of the intellect and talent displayed by the insol- | voice, which the transposition to a lower key than that of Haydn fully vent in his capacity of manager and author, he had realised 20,0001.; developed. These remarks apply also to the air from Méhul's Joseph, that his wife performed as principal old lady' at the Princess's to her own ballad, “I'll speak of thee,” (rapturously encored), and to Theatre under the name of Mrs. Weston,' and that Mr. O'Rourke I heard thy fate without a tear.” In the duets, “When we two had received a large sum of money on her behalf. The insolvent had, parted," and I would that my love,” Mrs. Merest was assisted by moreover, a house at Fulhain, and his professional earnings had been Miss Lazarus. Mr. Lazarus delighted his audience with airs from I 80 great that he had been able to purchase an unexpired term of years Purilani, and a “Song without words" of his own composing. The in Drury Lane Theatre, and he had received further sums of money for concert closed with Czerny's Galop de Concert, by Miss Lazarus. In the performance of his plays at Liverpool and elsewhere."

conclusion, we may congratulate Mrs. Merest upon her reappearance Mr. Sargood contended, that " with respect to this particular appli before a Bury audience, and the musical public upon the return of 80 cation the Court had no jurisdiction. The 12th section of the Protection well tried and well trusted a vocalist. Act directed that such application should be made to the Commissioner MR. AND MRS. GERMAN Reed's ENTERTAINMENT. — The Gallery of who heard the case, or, in the event of his death or removal, to the Illustration closes on the 12th of November, and though, to meet the Commissioner who should succeed him. As to property the Court had requirements of the Great Exhibition year, the season has been clearly no jurisdiction. The motion was a speculative one, arising out unusually long, its success has been great, large audiences still testifyof the imaginary great success of a piece at the Lyceum Theatre. The ing to the merits of the Entertainment. In the Family Legend, 12th section distinctly pointed out who should have jurisdiction in an Mr. Reed has introduced the attraction of dramatic effect without application of this kind. The insolvency was before Mr. Coinmissioner sacrificing the characteristic features which essentially belong to this Murphy, and the 12th section said such an application must be made to class of amusement. Mr. John Parry's Musical “ Narrative of a Colleen his successor. Mr. Nicholls was that successor. His Honour was Bawn," is, in its way quite incomparable, whether as regards its conneither Mr. Commissioner Murphy nor his successor." Case adjourned. 'ception or its execution.

Advertisements.

ROBERT COCKS & CO.'S

HANDEL IN 1718-1728.

NEW YORK.—The members of the Arion have presented the Leider. FOUNDATION OF THE OPERA IN LONDON.

tafel of Buffalo, whose guests they were at the time of their late excur.

sion to Niagara Falls, with a handsome silver cup Mad. Charton(Continued from Page 669).

Demeur, and Signor Mazzolini, the tenor, arrived this week. Also Mr.

Ullmann, with Mad. Cordier. Miss Carlotta Patti made her debut as Before we turn to the description of separate works, we will derote a few

Amina in La Sonnambula. The house was crowded, and everybody words in general to that great musical power, the strongest during the execution

seemed more than satisfied with the singing of the young lady; but. of a work, but the soonest forgotten, and in its nature the most difficult one to

judging from this first appearance, it is more than likely that her career depict; we mean the singer.

as a dramatic singer will not be long, New York Musical Review. And here we treat exclusively of the Italians, or the Italianized English and Germans. This is no reproach to the Germans; else it were a reproach to study among strangers an art which we do not possess at home. In the art of song, the Italian school is the only one that can be regarded as a polished one. Fortunately, in this art, simplicity has more weight than variety; for the foundation of all true singing is the production of a pure tone, which, like virtue, is to be found only on one straight and narrow path, amid many false roads. The appropriation of the Italian method, intelligently studied, can only result in good. But, closer viewed, in the kingdom of this great and undivided Italian art of song, as embodied in varied periods and artists, there reigns a great variety, | L IST O F N E W M U SIC. as the changing mode of different composers proves to us. A glance at this will therefore be quite in accordance with the plan of our historical description which has somethiug else to occupy it, however, then the golden pathways of THE BURLINGTON ALBUM (ROBERT Cooks & Co.'s) particular singers, and ill contents itself with common worn out phrases for 1863, of Pianoforte, Vocal, and Dance Music, containlng new Compositions about the “great school of Italian song." Handel's life stood in the midst of

by W. Vincent Wallace, Brinley Richards, G. F. West, A. Wright, Faust,

Leduc, C. Johnson, Miss M. Lindsay, Anne Fricker. Beautifully illustrated, the finest and most admirable that the art of song has ever displayed; and the

and handsomely bound, gilt edges, 158. best of all was exercised in familiar intercourse with his works. His life differs from that of others, in thus enabling us to examine this side of art impartially

THE SLEEP OF JOY. Song Music by W. VINCENT also. In Handel's time we can perceive four epochs in the art of song.

Wallace. Poetry by J. E. CARPENTER, 28. 6d. The finest perfection of the first we find in the last ten years of the seven THE SLEEP OF SORROW. Song. Music by W. teenth century. Its principal interpreters were Pistocchi and Steffani, whose

VINCENT WALLACE. Poetry by J. E. CARPENTER. 28. 6d. characteristics were intelligent refinement of execution, principally directed to NEWEST MUSIO.-W. Vincent Wallace." Maggie chainber music, an union of contrapuntal and inelodic art, and an embodiment

Lauder," transcribed for piano, 38. ; " Victoire," Mazurka, 3s. ; “Une Fleur of singer and composer in one person. From the composer's point of view we de Pologne," Mazurka, 38; and the "Old 100th Psalm," transcribed, 4s. should give the preference to Steffani, while, as singing teacher, the greatest praise is due to Pistocchi. Both Carissimi and Stradella belonged, at an

BRINLEY RICHARDS' ALBERT EDWARD earlier period, to this school, and they were also equally composers and singers.

MARCH, for Piano. 38. The second change was in opposition to the first epoch. Dramatic song was BRINLEY RICHARDS.-The DREAM of a WAN. especially cultivated, and theatrical action employed to the utmost. This DERER. Romance for Piano, 25. 6d. change commenced in 1690, and was in full flower when Handel was in Italy, | BRINLEY RICHARD'S POOR MARY, Arranged for and on his arrival in England, in 1710. This was Scarlatti's school. Keiser's

four voices, new words by George Linley ; sung at the Welsh Festivals, and music also required and created the same school of singers, although less per at Liverpool, and at St. James's Hall on the 30th inst, price 2 pence. The fect. The composer and singer were now distinct, or only remained united same as a Song, 28. 6d. where the national talent was two-fold, as in the case of Mattheson in Hamburg. BRINLEY RICHARDS.-WARBLINGS at DAWN. The niost celebrated in this class of singers was the Chevalier Nicolini.

Romance for the Piano, 3s. Victoria Tesi also belonged to it. The great requirements were fiery acitvity, pre-eminence of happy natural gifts over purely musical schooling, and, in

BRINLEY BICHARDS.-The MEN of HARLECH, for consequence, a neglect of pure song in favor of the drama. These were the

Piano, Solo, 38.; ditto, duet, 3s. singers of whom Handel was in the habit of saying, "Tolerable voices, but good BRINLEY RICHARDS. The MOUNTAINEER'S actors." Nevertheless they filled the position of theatrical singers much better LAY. 28. 6d. than the refined masters of song who had preceded them. The third epoch was the result of the two former ones, uniting what was

| G. F. WEST'S WITH VERDURE CLAD (Haydn), excellent in both, with an inclination towards the first. And in this epoch

for piano, 3s. rang truly golden song. The singers preserved the individuality that had been G. F. WEST'S SEE THE CONQUERING HERO attained in the previous period; but, giving themselves seriously up to musical COMES (Handel), 3s. studies again, partly at the cost of the drama, with the help of fine natural G. F. WEST'S HALLELUJAH CHORUS (Handel), gifts they attained a degree of perfection such as had not yet been reached,

for piano, 3s. and will remain a model for all times. These were the singers for Handel's music, and his declared favorites. Further remarks on them are

G. F. WEST'S LAUDATE DOMINUM (Mozart), for unnecessary, for we shall yet be obliged to cover many pages with the perform

piano, 3s. ances and follies of Signors Senesino and Carestini, Mr. Beard, Signors G. F. WEST'S ADELAIDE (Beethoven), for Piano, 3s. Cuzzoni, Erasi, Strada and Francesina, with Mrs. Cibber, and many others.

The last change that had any influence on the artistic life of Handel, with G. F. WEST'S NON PIU di FIORI (Mozart), for Piano, its forced liveliness and defective musical finish, became degraded in many ways 35. towards the second, but was mostly distinguished by a great exaggeration of G. F. WEST'S GEMS from the GREAT MASTERS, the means of expression, and a one-sided deviation from the moderate “ golden

48 Nos., each 3s. Contents may be had gratis and post free. These masterly mcan." The singer's independence became audacious eccentricity, and the and highly popular arrangements are indispensable to every pianoforte. minister of art became the composer's tyrant. And of these, who drew the multitude after them, and were almighty in Italy and Germany, we shall also

London : ROBERT COCKS and Co., New Burlington-street: and 4, Hanover-square, hear enough hereafter. Faustina was the first, and Farinelli the most renowned w., Publishers to the Queen and the Emperor Napoleon III. and of all Musicselleri, among them. What is to be said of the poets will also come more fitly afterwards, as it

MR. AUGUSTUS GREVILLE'S NEW BALLAD. was only at a later period that they became of importance, when placed in opposition to the singers.

HEN FIRST THEY MET. Price 2s. 6d. As (To be Continued.)

sung by all the leading vocalists. Words and Music commend this ballad as one of the most elegant and refined compcsitions of the day.

JEWELL & Co., 104 Great Russell Street, British Museum.

MARIE D'ANNETTA'S NEW DANCE MUSIC

ST. PETERSBURG.The new prima donna, Mdme. Barbot who succeeded Mdlle. Lagrua, has made a great hit as Leonora in the Trovatore. In the new opera of Verdi, La Forza del destino, the following artists will appear :-Mdme. Barbot, Mdme. Nantier-Didieé, Signors Angelini, Debassini, Graziani, Marini, Meo and Tamberlick. Rossini's Comte Ory is announced.

Characteristically Illustrated.
" What Next Quadrilles" (Robin's Last), with cornet accompaniment
* The Spirit Rapping Polka," dedicated to all spirit-rappers' mediums
" 'The Llewellyn Waltz," dedicated to Mr. Backwell, B.M. 3rd R. W.M.

London; DUNCAN Davison & Co., 244 Regent Street, W.

Published this day.
A NEW EDITION OF THE PIANOFORTE

STUDIES

BY

STEPHEN HELLER,

Thoroughly Revised and partly Re-written.

Published under the immediate superintendence of the Composer.

EXTRACT FROM PREFACE. " A great number of Studies for the Pianoforte already exist, solely intended to form the mechanism of the fingers. "In writing a series of short characteristic pieces, I have aimed at a totally different object. . .

“I wish to habituate both Students and Amateurs to execute a piece with the expression, grace, elegance, or energy required by the peculiar character of the composition ; more particularly have I endeavoured to awaken in them a feeling for Musical Rhythm, and a desire for the most exact and complete interpretation of the Author's intentions.

“STEPHEN HELLER.”

THE EDITION CONSISTS OF FIFTEEN BOOKS, PRICE SIX SHILLINGS BAOH.

LONDON:
ASHDOWN AND PARRY, 18 HANOVER SQUARE.

e Concerts

M. THALBERG'S

TOR ORCHESTRA.-MEYERBEER'S GRAND
T EXHIBITION OVERTURE is now ready, for full orchestra. Price 125.

Also AUBER'S GRAND EXHIBITION MARCH, for Orchestra. Price 7s. 6d. NEW COMPOSITIONSA

· BOOSEY & Sons, Holles Street. AS PERFORMED AT HIS CONCERTS IN LONDON.

SIGNOR GARDONI'S NEW SONG, “ Pourquoi."

D Romance. By SIGNOR MURATORI." Supg by Stosor G
THALBERG'S BALLADE,

of the Nobility during the present Season, with immense success. Price 25. 6d.

BOOSEY & Sons, Holles Street.
AN ORIGINAL COMPOSITION FOR THE PIANO.
PRICE 48.

SIMS REEVES' NEW SONG, “She may smile on "An exquisite Romance, which no imitator, however ingenious,

D mapy." By HOWARD GLOVER. Sung by Mr. Sims REEVES with unprecedented

? | success. - Encored on every occasion. Price 3s. could have written as quaint, as fascinating, and at the same time as Thalbergian as anything of the kind that has been produced for years."

BOOSEY & Soxs, Holles Street. - The T'imes.

MOZART'S DON JUAN. 98. Boosey & Sons' THALBERG'S ART OF SINGING,

New Edition, complete, for Voice and Pianoforte, with English and Italian words. The whole of the Recitatives and Notes of the Author's Instrumentation.

Price 9s. In cloth (400 pages).
APPLIED TO THE PIANO.

This splendid Edition, the best and cheapest ever published, of Mozart's great
New Series. Price 38. each,

work, should be in the hands of every professor of music. Also Figaro, 98. Zauberflöte, 5s.

i ,
No. 13. Serenade from “Il Barbiere."

BOOBEY & Sons, Holles Street.
14. Duet from “ Zauberflöte.”
15. Barcarole from “ Giani di Calais."

TOSEPH GODDARD'S PHILOSOPHY OF MUSIC.

Price 78. 6d. (To Subscribers, 5s.), 16. "La ci darem,” and trio, “Don Juan.”

Booser & Sons, Holles Street. ' . 17. Serenade by Grétry.

13. Romance from “ Otello.” “ Among the hitherto unknown compositions were some selections from the Art of Singing applied to the Piano,' Transcriptions' of Operatic Melodies, arranged in M. Thalberg's ornate and elaborate

. COMPLETE. . . manner, invaluable to Pianists who believe that the instrument of their choice can, under skilful management, emulate the violin itself in the

:.: Boogev's SHILLING Editions. delivery of cantabile passages.- The Times.

BOOSET & Sons, Hollos Streoin

“ The Creation," and "The Messiah,"

BOOSEY AND SONS, HOLLOS STRRET.

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