For Various Instruments, 1s. Bd. Each.

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Danish National Hymn
Transcription .

King of Italy's March

Do. . .
Chappell's Popnlar Violin Tutor.

Chappell's Popular Drum and Flle Tutor Chant du Patriot

Morceau de Salon
3 0 Chappell's Popular Flute Tutor."

Chappell's Popular Pianoforte Tutor. Sunshine .

Valse de Salon .
Chappell's Popular Cornet Tutor.

Chappell's Popular Clarionet Tutar.

Chappell's Popular English Concertina Chappell's Popular Harmonium Tutor La Chasse de Compiegne



Chappell's Popular Singing Tutor. Rosalie the Prairie flower .


Chappell's Popular German Concertina Chappell's Popular Harmony Tutor. Oscar Mazurka


Chappell's Popular Seraphina-Angelica
Chappell's Popular Guitar Tutor.

Jessic the Flower of Dumblane


Chappell's Favourite Airs in “Larlino,' Castles in the Air. Scotch Melody. Fantaisie

Chappell's Favourite Airs in the “Lily
. 30
of Killarney."

and " Victorine."

Chappell's Edition of Verdi's “ Un Ballo Chappell's 100 Irish Airs.

in Maschera."

Chappell's 100 Scotch Airs.

Chappell's Edition of Mozart's "Don | Chappell's 100 Christy Minstrel Melodies. Espoir du Cæur


Giovanni," easily arranged in a com Chappell's Favourite Airs in "Il TroraVirginska

Mazurka Elégante

plete form. .

tore," and “ La Traviata."

Chappell's Edition of Rossini's “Stabat Chappell's 100 Dances (principally D'AL. Marche des Amazones

Mater," do.

bert's.) Second Violin and Buss Part

Chappeli's 100 Dances (Second Series). I to Ditto.

Chappell's Favourite Airs in the “Queen Chappell's 100 Operatic Airs.

Topaze," and in the "Rose of Castille." Chappell's 100 Popular Songs. Charlie is my darling


3 0 Chappell's 100 Sacred Songs, Anthems, Chappell's 100 Hornpipes, Reels, Jigs, Der Freyschutz .

Fantaisie brillante

4 0

Psalms, and Hymns.

Chappell's Favourite Airs in “Robin Chappell's Eighteen Airs, with Easy Farewell but whenever


3 0
. Hood.".

Giorno d'orrore


3 01 Lass o' Gowrie Transcription .

FLUTE. Meeting of the Waters


Chappell's Edition of Verdi's “ Un Ballo | Chappell's Favourite Airs in “ Robin
in Maschera."


Chappell's 100 Dances (Second Series). Chappell's Favourite Airs in “Lurline"

Chappell's Favourite Airs in the " Queen and « Victorine." Auld Lang Syne ...

Transcription .

2 6 Topaze," and in the " Rose of Castille." Chappell's Favourite Airs in “Il Trova. Comin' thro' the Rye

2 61 Chappell's 100 Sacred Songs, Anthems, tore" and "La Traviata." Jock o' Hazeldean .

Psalms, and Hymns.

Chappell's 100 Dances (principally D'Al-
Chappell's 100 Irish Airs.

bert's). March of the Cameron men..


2 6
Chappell's 100 Scotch Airs.

Chappell's 100 Operatic Airs.
Roy's wife . .


2 6 Chappell's 100 Christy Minstrel Melodies. Chappell's 100 Popular Songs. Scots wha hae .

2 6


Chappell's 100 Sacred Songs, Anthems, Chappell's 100 Irish Melodies. Blue eyed Nelly .


Psalms, and Hymns.
Transcription .

Chappell's 100 Christy Minstrel Melodies

Chappell's 100 Scotch Melodies.
Cruiskeen Lawn
Gentle Annio

4 0


Chappell's Favourite Airs in the “Lily | Chappell's Favourite Airs in “Robin Carnaval de Venise :

of Killarney."


Chappell's Airs from “Un Ballo 'in Chappell's Favourite Airs in " Lurline" Enchanted Grotto ..

Fairy Nocturno
4 0 Maschera."

and “ Victorine," Vesper Dewdrops ,

Caprice :

20 | Chappell's 100 Dances (Second Series). Chappell's 100 Operatic Airs.

Chappell's Airs from the “ Amberwitch." Chappell's 100 Dances (principally D'Al-
Chappell's Edition of Verdi's “Un Ballo bert's).
in Maschera."

Chappell's 100 Irish Airs.
Chappell's Favourite Airs in the “ Queen Chappell's 100 Scotch Airs.

Topaze," and in the “Rose of Castille. Chappell's 100 Christy Minstrel Melodies.

Chappell's 100 Sacred Songs, Anthems, Chappell's Twenty-five Duets for two Part I. Instrumental: Part II. Vocal.

Psalms, and Hymns.

May be had on application.


Chappell's 100 Sacred Songs, Anthems, Chappell's 100 Operatic Melodies. PRIZE MEDAL.

Psalms, and Hymns.

Chappell's 100 Dances (principally D'Al.

Chappell's Favourite Airs in « Robin bert's.) ALEXANDRE'S HARMONIUMS, Hood."

Chappell's 100 Irish Airs.

Chappell's Favourite Airs in “Lurline," | Chappell's 100 Scotch Airs.
In every variety at the lowest Cash prices.

and “ Victorine."

Chappell's 100 Christy Minstrel Melodies.


Chappell's 100 Operatic Melodies, Songs, Chappell's Popular Songs. In 7 Books
Dances, &c.



HARMONIUM. In great variety from 55 guineas.

Chappell's 100 Dances.

Chappell's 50 Sacred Melodies. List's &c. on application.

Chappell's Popular Songs, Guitar Ac. | Chappell's 50 Secular Melodies.

companiments, 2 Books.



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Care should be taken to Order CHAPPELLS Cheap Works, as they

alone contain D'ALBERT'S and other popular Copyright Songs.




Printed by HANDERSON, RAIT, and FENTON, at No. 13, Winsley Street, Oxford Street, in the Parish of Marylebone, in the County of Middlesex.

Publisbed by Jour Boons, at the Omou of Boonen & SONA, 28 Holles Street - Saturday, November 1, 1862.


SUBSCRIPTION-Stamped for Postage-208. PER ANNUM Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28, Holles Street, Cavendish Sq. London, W.

VOL. 40-No. 45.


PRICE J4d. Unstamped.


5d. Stamped.

MDLLE. LOUISA VAN NOORDEN'S CONCERT, ORGANIST and TRAVELLING CHOIRMASTER 1 St. James's Hall, Thursday 13th, commence at Eight. Mr. Sims Reeves,

WANTED to instruct a Choral Union about to be formed.-References from Malle. Florence Lancia, Miss Leffler, Malle. Giorgi, Sig. Fortuna, Mr. Lawler ; Clergymen and Musicians as to character and ability to train choirs will be required. Piano, Mr. Van Noorden and pupil; Violin, Herr Pellitzer; Violoncello, Herr Lidel; Salary, £70 per annum, and travelling expenses, which may be increased by private Conductors, Messrs. Charles Salaman, Frank Mori, and Fiori. Tickets, ls., 25., 38., teaching.- Address, Preceptor, Post Office, Redcar. 88., and 10s. 6d. May be had at the principal Musicsellers, Austin's, 28, Piccadilly, and of Malle. L. Van Noorden, 115, Great Russell Street, Bedford Square.


1 a thoroughly competent person to superintend a Pianoforte Factory in Germany

Apply to Messrs. Ewer and Co. 87 Regent Street. 1 1863.-The following is the proposed SCHEME for 1863:-At St. James's Hall, Four Orchestral Concerts, on Wednesday evenings, January 28, March 25, April 22, and May 27. Conversazione, June 24. Orchestral Trials of New Compositions, February 25 and November 4. At the Marylebone Institution, Choral ASHDOWN & PARRY (successors to Wessel & Co.) Practice, 25 meetings, commencing January 6, and ending December 22. Annual

beg to inform the Profession that they forward Parccls on Sale upon receipt of General Meeting of the Society, February 4. Conductor of the Orchestra, Mr. references in town. Returns to be made at Midsuminer and Christmas. ALFRED MELLON; director of the Choral Practice, Mr. Henry Smart. Members' Their Catalogues, which contain a great variety of Music calculated for teaching tickets for 1863 will be ready for delivery at Messrs. Cramer and Co's, 201, Regent purposes, may be had, post-free, on application. Street, on or after December 1, 1862. Reserved seats not retained by the 26th instant will be forfeited. Information relative to the admission of new memb:rs may be

London: 18 Hanover Square. obtained of Messrs. Cramer and Co.; or of the Honorary Secretary.

CHARLES SALAMAN, Honorary Secretary, St. James's Hall. 36, Baker Street, Portman Square.



have much pleasure in announcing that these instruments have received the Prize THE ENGLISH GLEE AND OPERA UNION.

Medal of the International Exhibition. An Ilustrated Catalogue may be obtained Madame BEXYETT GILBERT, Miss Eliza TRAVERS, Madame LATRA LESLIE; upon application to the manufacturers, BOOSEY & Sons, 24, Holles Street, W. Mr. STANLEY MAYO, and Mr. ABRAX THOMAS. Conductor, Dr. BENNETT GILBERT. For tertas, apply to Mr. STANLEY Mayo, Sec., 116 Camberwell, New Road, S.


[ BAND INSTRUMENTS, CORNETS, &c.-Boosey & Sons liave much

pleasure in announcing that these instruments have received the Prize Medal of the V Application for Shares should be made forthwith. Forms and prospectuses,

International Exhibition. An Illustrated Catalogue may be obtained upon application and every information may be obtained at the Company's Office, 69, Regent Street,

to the manufacturers, BoOSEY & Soxs, 24, Holles Street, W. and at all the principal musicsellers in town and country.



the waistcoat pocket, is superior to all others, being much more powerful in

tone than any other at present in use the pitch does not vary, whether sounded Piano MR. AND MADAME R. SIDNEY PRATTEN or Forte-is easily repaired, or the pitch altered if required.

I have resumed their teaching on the above instruments for the winter season Price (any note), 2s. 6d. Post-free. 38 Welbeck Street, Cavendish Square, W., where may be had all their publications.

BOOSEY & CHING, 24 Holles Street, W.

M OLLE. GEORGI begs to announce her return from

TOZART'S JUPITER SYMPHONY for Pianoforte, the Continent. All communications to be addressed to the care of Messrs. Doncas Davison & Co., Foreign Music Warehouse, 244 Regent Street, W.

by HUMMEL. Price 2s. full size.


NEW SCOTCH FANTASIAS, BY A. CUNIO. in classes. The first will take place at her residence, on Thursday evening, November 20th. For terms, apply to Mrs. J. Holman Andrews, 50 Bedford Square, W.C. " THE REGALIA” Fantasia, introducing “ The Lass

1 of Humbleside," " Thy cheek is of the rose's hue," and Lady Nairne's

“ Regalia." Price 4s. MTR. HANDEL GEAR, Professor of Singing, begs to

Second Edition. I acquaint his pupils and friends that he has returned to town, and has removed to No. 7 Inverness Place, Bayswater, W.

“ (TRATHEARN,” Fantasia for the Pianofortc from

D Lady Nairne's celebrated Songs “ The Rowan tree" and "Wha is this

comin.'" Price 4s. HERR REICHARDT begs to announce that he will

Just published by the same Author, I return to town for the season on November 15. Communications regarding engagements for Operas, Oratorios, Concerts, &c. &c. to be addressed to Thurloe

DANZA DEL LE DRI A D I." Cottage, Thurloe Square, South Kensington.

Price 4s.

PATERSON & Sons, 27, George Street, Edinburgh, and 152, Buchanan Strect, Glasgow DR. MONK'S MUSIC SCHOOL, YORK. Dr. Monk,

London : BOOSEY & Soxs.
Organist, and Choir- Master of York Minster, has a vacancy for an Articled
Pupil, to be prepared for the musical profession.

S . MR. AUGUSTUS GREVILLE'S NEW BALLAD). Se VORK CATHEDRAL. Wanted for this Choir, a Bass! WHEN FIRST THEY MET. Price-2s. 6. As?" (not Baritone) Voice. A thoroughly qualified and efficient singer will receive

VV sung by all the leading vocalists. Words and Music coumieud'thuis ballad a £85 a year. Applications-stating age, and enclosing testimonials-may be addressed

| one of the most elegant and refinod compositions of the day. to Ds, Monk. :

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

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Price 12s. THE VOICE AND SINGING (The formation and Cultivation of the Voice for Singing).


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D BRINLEY RICHARDS' “ Leopold " (Mazurka) ... ,
BRINLEY RICHARDS' “Ethel" (Romance) ... ...
BRINLEY RICHARDS' " Once too often" (Fantasia)

. .

49. BRIXLEY RICHARDS' " The Harp of Wales" (Sung r. L. THOMAS) BRINLEY RICHARDS' “ The Blind Man and Summ

"The Blind Man and Summer" (Sung by M18S PALMER) BKINLEY RICHARDS' “ The Sulioto War Song" (Sung by MR. SANTLEY) ... 35.

London : DUNCAN Davisox & Co., 244 Regent Street, W.


Specially arranged for tho

With Pedal Obligato, by

tt ENRY S M A R T.
London : Duncan Davison & Co. 244 Regent Street, W.

" The great and deserved success of this work has brought it, in no long time, to a second edition, carefully revised, and enriched with a number of additional exercises, which greatly increase its value.

"Since its first publication this book has met with general acceptance, and is now used as a vade-mecum by many of the most eminent and intelligent vocal instructor both in the metropolis and the provinces. We say vocal instructors, because it is only to instructors that works of this class can be of material use. Singing is not an art which can be learned by solitary study with the help of books, and those who are selftaught (as It is called) are always badly taught. But a good treatise, in which the principles and rules of the art, founded on reason and experience, are clearly expressed, is of infinite value, first to instructors, in assisting them to adopt a rational and efficient method of teaching, and next to pupils themselves, in constantly reminding them of, and enabling them to profit by, the lessons of their master. In both these ways Signor Ferrari's work has been found pre-eminently useful.-Illustrated News.



COMPOSED BY HOWARD GLOVER. Performed with the greatest success at the Theatre Royal, Drury Lane.

"Oh! Glorious Age of Chivalry." Duet. For Soprano and Contralto " The Solemn Words his Lips hare spoken." Grand Air. For Soprano ... " The Love you're slighted still is true." Ballad. Sung by Mlle. JENNY BAUR "Stratagem is Woman's Power." Ballad. Sung by Miss Eva IIEYWOOD... " Love is a gentle Thing." Ballad. Sung by Miss Emma HeYWOOD " A young an iartless Maiden," Romance. Sung by Herr REICHARDT * There's Truth in Woman still." Romance. Sung by Herr REICHARDT "The Monks were jolly Boys." Ballad. Sung by Herr FORMES ... "In my Chateau of Pompernik." Aria Buffa. Sung by Ilerr FORMES

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The Voice of Dreams.
The Music by J. P. Knight'

Price 36.
Who has not in a happy dream
Sweet converse held with distant friends:
And felt the grief which ever blends
With memories of that passing gleam?
And when the morrow's sun hath set,
And moonbeams lie upon the hill,
Do we not hope the voices still
Of last night's dream may haunt as yet ?

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Sleep and the Past.

MEYERBEER. THE FOLLOWING COMPOSITIONS (Copyrights), I by this eminent Composer, are published by DUNCAN DAVISON & Co.:-*

VOCAL. “ Friendship." (Freundschaft.) Quartet for 2 Tenors and 2 Basses ... ... 4 “ The merry hunters." (Die Lustigen Jägersleut.) Chorus for Tenors and

Basses ... " To thee, dear land, I sing" (à la Patrie), for 2 Tenors, 2 Basses, and Chorus " God save the Queen," 2 Tenors and 2 Basses, with Piano ad lib. The Lord's Prayer for Soprano, Alto, Tenor, and Bass, with Organ ad lib.... " This house to love is holy." Serenade for 8 Voices (without accompaniment) “ Aspiration," for Bass, Solo, and Chorus of 3 Sopranos, 2 Tenors, and 1 Bass “ Here on the mountain," with Clarinet obbligato

1 or Violíncello in lieu of "Clarinet, each
“ Near to thec," with Violincello obbligato...
“ The Fishermaiden." (Das Fischermädchen)

Royal Wedding March. Composed for the marriage of the Princess Royal
of England with Prince Frederick William of Prussia
Ditto, as a duet

London : DUNCAN DAVISON & Co. 244 Regent Street, W.

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Just published, price 35. MLLE. ADELINA PATTI'S NEW WALTZ,

U “DI GIOJA INSOLITA." Sung with distinguished success by Mlle. ADELINA PATTI, in the operas of " Il Barbiere di Seviglia," “ Don Pasquale," &c. &c. The Words by LORENZO MONTERASI, the Music by MAURICE STRAKOSCH.

London: Duncan Davison & Co. 244 Rogent Street, W.

The Music by J. P. Knight.

Price 38.
Let life be bright, why cloud it o'er

With shadows of a coming woe?
It may be thou wilt ne'er deplore

That grief, those tears may never flow.
It may be that the sun hath set

Which o'er thy path shed golden light:
But sunset's glow is lingering yet
With chastened beams, still life is bright.

Just published, price 3s. with a Portrait. MUTLLE. ADELINA PATTI'S NEW BALLAD. M "THE OLD HOUSE BY TILE LINDENS." The Poetry by LONGFELLOW. Sung with the greatest success by Mlle. ADELINA PATTI, for whom it was expressly composed by HOWARD GLOVER.

Loudon : DUNCAN Davison & Co. 244 Regent Street, W.

London: DUNCAN DAVISON & Co. 244 Regent Street, W

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Stephen Heller's Pianoforte Studies—thoroughly revised, partly re-written, and produced under the immediate superintendence of the composer." (Ashdown & Parry.)

Graceful and vigorous in turn, highly finished, and thoroughly original, as are the larger number of M. Stephen Heller's compositions, it is probable that his Etudes (“Studies") are destined to achieve the widest and most lasting popularity of any of them. These combine in a very eminent degree the useful with the beautiful; while, in every instance, they reveal, not only genuine qualities of workmanship, but serious thought and a mind that soars above

and at times into a kind of " sequential” baldness, as, for example: common-place. Their purely æsthetic merits, however, have been very unanimously admitted, by the world of musicians and cultivated amateurs, as well as their admirable adaptibility, not merely to impart those subtle requisites the acquisition and spontaneous application of which alone can give to the performer a legitimate style and natural expression, but also to form the mechanism of the fingers. To the first desideratum M. Stephen Heller, in his brief, unassuming, and thoroughly sensible preface to the first set (25 Etudes pour former au sentiment du Rhythme et á l'expression), frankly lays claim ; indeed, he specifies it as the immediate object towards the facilitation of which he has dedicated -all of which in the conventional sense of critical philology) are his labor. The last, on the other hand, he has—though perhaps more or less convertible terms. These are, however, but spots upon unconsciously and without premeditation-simultaneously and the Service. (We were about to write “Sun.") .with no less entire success accomplished. The publication of a complete edition of the Etudes is therefore likely to be hailed with universal satisfaction-alike by professors and teachers, who are “Speak Gently." Written by GEORGE WASHINGTON LONGFORD. able to put them to such excellent uses, and by amateurs, who “The Praise of a Country Life." Words by Sir Henry WOTTON. Music by Jrs. pursue the study of music mainly for the delight and recreation it

Mounsy BARTHOLOMEW. (Joseph Williams.) affords them.

We wish all our composers of the “ sterner sex" would contrive Messrs. Ashdown and Parry-to whom this spirited undertaking to write with such genuine musical feeling as the authoress of th63 is due, and the interests as well as honorable reputation of whose songs. Mrs. Bartholomew is not only an enthusiast, but a more firm it is calculated to benefit-have divided the “Studies" into | than ordinarily practised adept. “The praise of a country Life" fifteen numbers. Nos. 1, 2, 3, comprise the 25 Etudes, Op. 47 is thoroughly English, worthy, indeed, the quaint stanzas of “oll" (Pour former au sentiments du Rhythme et à l'expression"); ("old," of course) Sir Henry Wotton, which, by the way, miglit Nos. 4, 5, 6, the 30 Etudes Melodiques, Op. 46; Nos. 7, 8, the be studied to advantage by more than twenty“ lyric poets ” who 25 Etudes, Op. 45—(" Introduction to the Art of Phrasing'): supply our composers with words—aye, words. We cannot resist Nos. 9, 10, 11, the 24 Etudes, Op. 16 (" The Art of Phrasing" quoting Sir Henry :through all the keys) ; Nos. 12, 13, 14, 15, the 24 Nouvelles Etudes,

“ Mistaken mortals ! did you know Op. 90. We presume that this new arrangement as to order is

Where joy, heartsease, and comforts grow, made with reference to the comparative difficulties presented by

You'd scorn proud towers the several books of studies, and has been sanctioned by M. Stephen

And seek them in these bowers, Heller himself; otherwise it may be imagined that Op. 47 would

Where winds sometimes our words perhaps may shake, scarcely have taken precedence of Op. 46, of Op. 45, or Op. 16

But blustering care could never tempest make, (the earliest of the five sets) have come after all three. In any

Nor murmurs e'er come nigh us, order, nevertheless, so rich a compilation would be welcome.

Save of fountains that glide by us. For the present we shall offer no further observations, inasmuch

“ Here's no fantastic masque or dance, as we intend, week after week, to present an illustration or two,

But of our kids that frisk and prance ; with such remarks as may be suggested, from each of the books

Nor wars are seen, in succession.

Unless upon the green
(To be continued.)

Two harmless lambs are butting one another-
Which done, both bleating run, each to his mother ;

And wounds are never found, “ An Evening Service," "consisting of “Magnificat," and “Nunc Dimittis," with

Save what the ploughshare gives the ground. accompaniment for the organ. J. H. FROBISHER. (Halifax, Frobisher; London, Novello & Co.)

" Go! let the diving negro seek As organist of his parish church (Halifax) Mr. Frobisher has a

For gems hid in some forlorn creek; right to boast some proficiency in sacred harmony, and in this

• We all pearls scorn, “Evening Service” he fairly vindicates his claim. There is very

Save what the dewy morn much to commend in both “Magnificat” and “Nunc Dimittis,"

Congeals upon each little spire of grass,

Which careless shepherds beat down as they pass; our preference being for the latter, because it is more melodious than

And gold ne'er here appears, its companion, and because church music without melody is no

Save what the yellow barvest bears." more to be esteemed than secular music of any class marked by the same deficiency. Now and then, in his anxiety to obtain fuil “Speak gently” (also to very good lines-bravo ! Mr. Longford) harmony, by a fair balance of parts, Mr. Frobisher falls into weak-would be even better, but for the effect of " fifths" between B, A nesses, as, for example :

(voice) and E, D (bass), in bars 1, 2, line 3, page 1 (“. The good"), and the confused " tonality” in a progression at the end of line 1, next page ("' voice is kind"). Both are easy, however, to put to rights, and we have little doubt, Mrs. Bartholomew-being conscientious, no less than clever—will be put to rights.

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ENGLISH OPERA AT SADLERS' WELLS.-A short season will commenco at this theatre this evening with Il Trovatore, the principal artistes engaged being Madame Tonnelier, prima donna ; Miss Emma Heywood, contralto; Mr. Henry Haigh, tenor; Mr. Rosenthal, baritone; and Mr. J. H. Tully, conductor.


Le Nozze di Figaro, otherwise Figaro's IIochzeit, was given on the

17th inst., for the purpose of introducing a new Susanne in the (From our own Correspondent.)

person of Mad. Beringer. She must produce a greater impression in

future characters if she would be engaged as a permanent member An evening or two ago we had Fidelio, with Mad. Köster in the of the company, which I do not much tancy she will be, for at present part of the heroine for the last time but one, previous to her she is little better than a mere amateur. At any rate, she requires retirement. Mad. Köster will be much regretted by a great number two or three years' training in the country before she will be fitted to of opera-goers, but, alas! all their regret will be in vain. Even sup appear before a Berlin audience. Her singing was devoid of aught posing Mad. Köster were to continue a member of the company, she resembling dash or style; her voice, too weak for a large house; and cannot " go backwards like a crab" to the days of her youth, and her acting awkward and meaningless in the extreme. Beaumarchais Time would not que je sache-spare her voice for the sake of pleasing himself would have failed to recognise the gay, sprightly, pelillante the worthy burghers, their wives and families resident upon the banks Susanne as impersonated by Mad. Peringer. There must be a fearful of the Spree. As the German poet observes in the song: “Scheiden dearth of good singers in Germany, or the management of the Royal thut weh." And yet there is no help for it. We must all take our Berlin Opera House is singularly oblivious of its duties towards the leave-for a longer or shorter journey, a more or less protracted public in introducing to their notice so many incapables as it has period--some day or other. Your respected contemporary, the Neue iately brought forward, to withdraw immediately afterwards, if better Berliner Musik-Zeitung, refers to Mad. Köster's approaching farewell in artists are to be procured. Malle. Lucca was the page, Cherubin, a the following terms :-"We can scarcely refrain from giving way to part she plays with charming naïveté. She was much applauded the most sorrowful feelings, when we reflect that Mad. Köster, at throughout, and encored in her romance in B flat major. The other present the last female representative of the classical operá, is about to characters were thus cast : Herr Salomon, Count Almaviva; Herr part from us for ever. After the stars' which we have seen flit Bost, Bartholo; Herr Woworsky, Basilio; Herr Basse, Antonio; before us during the last few months, we are compelled to call the | and Mdlle. Mik, the Countess Almaviva. Among the other operas loss a truly irreparable one. At all times the number of good female | promised was Le Prophéte, but on account of the onslaught made singers has been limited, but never was the prospect of replacing on the singers by hoarseness and bronchitis to which I have already vocal celebrities so mournful as at present. The latest musical works referred, we had Guillaume Tell instead. Herr Ferenczy again appeared for the stage have helped to lower the art of singing, and, instead of as Arnold, and confirmed the good impression he had previously noble vocalisin, we have, on the one hand, empty declamatory pathos produced. without invention, or musical charin, properly so-called, and on Mad. Harriers-Wippern has completely recovered, and will shortly the other, voices fatigued by the employment of the most glaring | recommence her professional duties. On the other hand, Mdlle. Lucca effect, and a practice of wild screeching on the highest notes. For is so indisposed that it is feared she will not be able to sing for some tiine. this reason, if for no other, the position of a fair operatic vocalist at At Kroll's Theatre the business is very good. The Operatic troupe our Royal Opera House is one of incalculable difficulty, for the reper of the Friedrich-Wilhelmstadt Theatre are still performing there. I tory is of the most comprehensive description. In it modern workshear that the manager, Herr Engel, has secured the services of Mdlle. in every style, the chefs-d'ouvre of Aleyerbeer, the productions of | Trebelli for a night at least, at her approaching visit to Berlin. She Wagner, Auber, Rossini, Bellini, Donizetti and Verdi have the place will, most probably, sing at a concert got up expressly for her. they deserve, but the very essence of the repertory still consists of I told you, a few weeks since, that the members of the Singacademie the works of Mozart, Gluck, Beethoven, and Weber, and the first were about to give a performance of F. E. Wilsing's setting of the thing a fair dramatic singer has to do in Berlin is to know how to 129th Psalm (" De Profundis"). They have now fulfilled their intenanimate the various personages in the above operas. The more, tion in a highly satisfactory manner. The performance was under however, the style of singing of the present day departs from what is the direction of Professor Grell. That it was perfect, or that there was required by these operas, the less prospect is there of finding any | not here and there certain shortcomings, especially on the part of the one to replace Mad. Köster, who may be regarded as the last band, is something I will not attempt to deny, but that such should singer who has known how to preserve in spotless entirety the have been the case is not surprising, when we remember the work is pertraditions of a better time, now passed, as a priestess of the most haps one of the most difficult to be found in the whole range of sacred beautiful and purest religion. On this account -apart from the fact music. The choruses on the whole went extremely well, especially that every artist who leaves us, after having sacrificed to us his or her the part in E minor. Among the audience, which was most numerous, prime, has the fullest right to our gratitude and our sympathy-our and comprised the majority of the musical notabilities in Berlin, feelings at losing Mad. Köster are especially sorrowful; it seems to was Meyerbeer himselt, who followed the work most attentively, us as though we beheld the figures of l'idelio,' • Donna Anna,' score in hand, and, at the conclusion, expressed himself highly • Iphigenia,' Armida,' and the * Countess Almaviva," with their gratified. The Singacademie has, without a doubt, inaugurated the faces mournfully veiled and the question trembling on their pale lips :- season most successfully • Who now will find the greatest source of delight in regarding us The members of the Königliche Kapelle began their winter camas the goal of her artistic efforts ? What we could not help valuing paign with a Symphony-Soirée. The room was crowded in every much more than aught else in Mad. Köster, wasmas is always the part. The programme comprised a Suite in D (with three trumpets) case with really great female artists--her constant progress, her | by Sebastian Bach; Beethoven's Symphony in C major; the overture industry, which is never contented with itself, but which is constantly I to Euryanthe ; and, though last not least, Mendelssohn's Symphony in seeking for new materials for study, and, consequently, attains to A minor. A new vocal association, under the title of the Neuer perfection.”

Berliner Sängerbund, has been formed from the fusion of Erk's Män. The next opera on the list was Meyerbeer's Feldlager in Schlesien. | nergesang-Verein, the “Melodia" and the “ Orpheon." Its object The house was, I need scarcely say, crammed to the very roof. I is to give concerts for charitable purposes. I wish it every success. During the course of the performance Malle. Lucca was taken so! Joseph Fischer, who, from 1810 to 1818 was a celebrated member seriously ill that, though she went through her part somehow or other, I of the Royal Opera House, has just died at Mannheim, aged 82. He she was compelled to omit all her songs in the third act. Following was a basso like his father, Ludwig Fischer, a meinber of the Berlin the Feldlager came Méhul's Joseph, tolerably given by Herr Formes, company froin the year 1788. Joseph Fischer was at one time a great (Simeon); Herr Krüger (Joseph); Herr Frickel (Jacob); and favorite, but fell into disgrace on account of his overweening pride as Malle. Mik (Joseph); and after Joseph came—a fine gpecimen of an artist, and, in consequence, left Berlin in 1818. He was accounted autumn weather, damp, uncomfortable and changing. As a natural in his day the best Don Juan and Figaro on the stage, but was consequence, “there also was," to adopt the language of the city, “al continually getting into trouble through his contempt for all the great fluctuation in voices, their owners moving off steadilyhome, 1 laws and regulations of the theatre. In Stuttgart he lost his engagefor the purpose of taking sudorifics and going to bed. Tallow for ment for this reason. On one occasion he was so violent that Count greasing the nose was in good demand, and tolerably firm, until | Brihl, the Intendant of the Royal Opera House here, and a very kind, exposed to the action of fire, when it of course melted. Several good-natured gentlemen, stationed a non-commissioned officer and fine cases of bronchitis were offered to the attention of the medical | three men behind the scenes, to carry Fischer off to the prison men, but were not so speedily disposed of, by the latter, as the attached to the theatre--for the Royal singers and actors are, as I patients wished. Rheumatism was very lively, and coughs rose to a | have before informed you, subject, if needs be, to military punishment distressing pitch.” Indeed the weather had such an effect on the in case the refractory singer did not moderate his conduct. From personnel of the Opera House that the entire programme of the week | Berlin Fischer proceeded to Italy, where he was highly successful. had to be changed, save and except as regards the opera of Oberon, which | For some time he was manager of the theatre at Palermo. He then returned its place in the bills despite of every adverse circumstance Mad. / returned to Mannheim, where he had made his first appearance on Köster was the Rezia, and went through the part with great success. | the stage, in 1801. Some twenty years ago, when he was already The other characters were well sustained by Malle. Mik, Herren, sixty years old, he still delighted connoisseurs by the beauty of his Woworsky and Kranse.

voice, and the fiery vigor of his style.

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