Crown Diamonds and the Domino Noir, we cannot help

ENGLISH OPERA ASSOCIATION. thinking that the subjects would be more properly used in

To the Editor of the Musical WORLD, drama than opera. Something more than a plain unvar Sir,-With reference to a letter emanating from Mr. George nished tale was perhaps demanded by the French Grand | Scott dated from 429 Strand, which appeared in your last weekly Opera; but still entanglement and confusion should be number, your readers cannot but perceive some motive of no very eschewed, and the story in all its changes, surprises and friendly character towards the Association. Its object is too plain elaborations should necessitate no labor of the understanding.

notions should nocarcitote na labor of the unrotonding to admit of a doubt. Mr. Scott and Mr. Thomas II. Baylis of the The book of the Huguenots is one of the most improbable

defunct Consols Assurance Office, from whence this letter is dated,

were no doubt with other gentlemen, promoters of the English ever written, but the plot is so lucidly and satisfactorily

y | Opera Association, and at the Annual meeting of the Shareholders evolved and the scenes follow each other in such natural in June last to which Mr. Scott in his letter refers, that gentleman succession, that the mind is never at a loss to follow the was anxious to occupy the post of paid Auditor, but so averse did thread of the narrative. If asked what operas possessed the Members seem from availing themselves of his proffered service, the most perfect librettos, we should point to the Sonnam- that Mr. Addison of the firm of Addison and Lucas of Regent bula, Fidelio, La Gazza Laira and Norma, without

Street, and Mr. George Wood of the firm of Cramer, Beale and

Wood, were unanimously elected Auditors. Hence probably arises hesitation. In the books of these work, there is no com

the desire in the breast of Mr. Scott to pick a quarrel and induce plication, no latent intrigue, no intricacies of incident and

a discussion, and hence also his letter addressed to you. The situation, no problem to be solved. All is simple and easy, names also of the Executive Committee, the election of whom I and the circumstances arise without premeditation or artifice. believe to be perfectly regular (as well as the proceedings generally)

Another necessity in the plot of an opera besides clearness I give you, and as I believe, nothing would satisfy this disappointed of narration and simplicity of construction is that there should individual but a paper war, I decline to engage in it, and leave be a love story of interest. Without this an opera has but

| him to his remedy, if any he has. The General Meeting of the slender chances of success. We may, indeed, instance some

18th June was most harmonious, and the Executive Committee

are Gentlemen of the highest standing and position, and a security of the masterpieces of the lyric drama as almost entirely to the pu

arama as almost entirely to the public that there money will be properly and honorably devoid of love interest-such as Guillaume Tell, Masaniello, applied to its intended use. The names and addresses of the the Prophete, Semiramide, Don Giovanni, the Marriage of Committee and Auditors are as follows: Figaro, &c.; but this again only proves the supremacy of EXECUTIVE COMMITTEE-The Right Honorable the Earl of Westgenius, and its power of surmounting obstacles the most moreland, C.B., 8 South Audley Street; J. H. Arkwright, Esq., insurmountable Agame we may folce for pronted that Hampton Court, Leominster; the Honorable F. H. F. Berkeley, M.P.,

| 1 Victoria Square, Pimlico; Frederic Davison, Esq., 24 Fitzroy Square; an interesting love story is the first requirement of an opera Colonel H. P. Dé Bathe, '12 Great Queen Street, Westminster; the book.

Honorable Seymour G. Egerton, 7 Grosvenor Square; Chandos Wren The libretto to which Mr. Wallace has wedded the latest Hoskyns, Esq., Harewood Ross, Herefordshire; Edward James, Esq., effort of his muse fulfills neither of the above conditions.

Q.C., 24 Upper Wimpole Street; R. B. Oakeley, 67 Kensington

Gardens Square; Alexander H. Ross, Esq., 60 Portland Place. Love's Triumph is not free from perplexity, nor does it

Tree, rom perplexity, nor does it | Auditors-Robert Addison, Esq. (Addison, Hollier and Lucas), 210 involve a tale of the heart calculated to delight and absorb. Regent Street; George Wood, Esq. (Cramer, Beale and Wood), 201 Mr. J. R. Planché has borrowed his subject from a comedy Regent Street. in three acts, by MM. Melesville and Laya, entitled Le I may add, there are already upwards of 2,700 shares subscribed Portrait Vivant, produced about twenty years ago at the for, and many of the most influential men are ready to double Théâtre Français in Paris. As a comedy of intrigue, Le

their subscription in order to have a sufficient amount of money in Portrait Virant is not undeserving of commendation; no

hand, and for contingencies in case they should arise. I am, Sir, your most obedient servant,

WILLIAN Francis Low piece, however, could be less happily suited to the purposes

(Solicilor to the English Opera Association). of lyric treatment. The adapter has not improved the 77 Wimpole Street, Cavendish Square, original by his alterations, and it is somewhat curious to find so expert a writer and so clever a tactician falling into the violent mistake committed in the last act. In the original

MONDAY POPULAR CONCERTS. drama the Princess alone appears, and the portrait of Theresa suffices to elucidate the denouement. In Love's Triumph

To the Editor of the Musical WORLD. Mr. Planché brings Theresa as well as the Princess bodily Dear Editor, -Allow me as usual to put in two words. The on in the last act, and makes the two characters, sustained

experiment of commencing the Monday Popular Concerts a month by one individual, play a game of bo-peep throughout the

earlier than usual has been attended with great success. The last

| two Monday evenings have witnessed extraordinary crowds at St. final scene-very striking and amusing, no doubt, in a bur

James's Hall, where Mr. A. Chappell had announced programmes, lesque or pantomime, but entirely antagonistic to all legiti- which, in the language of the Weissnichtuo'sche Anzeige " were of mate effect in an opera. It was, indeed, surprising, and such internal quality as to set neglect at defiance." The chief must have afforded abundant entertainment to many to attractions at the concert on the 27th ult. were the quartet in E behold Miss Louisa Pyne hiding from herself and watching flat, Op. 12, of Mendelssohn, sonata in F, Beethoven, Op. 54, herself from behind a place of concealment where the profile

and Hummel's septet in D minor. The quartet of Mendelssohn of a skirt was made to stand proxy for her individuality.

emanated from the period of his life which gave the world the

Midsummer Night's Dream music, the Paulus oratorio, and the What admiration must have been excited for so new and

symphony in C minor (his first I believe, though the chronology of unexpected a contrivance! What wonder at the rapid his symphonies is much disputed, and I have not Mr. Benedict's exchange of garments, suggesting curious comparisons be admirable biographical sketch at hand). Many parts of this tween the prima donna and the famous polyphonist in King remarkable quartet exhibit similar proofs of genius to those of Williain Street! Who is Miss Pyne now? Theresa or the the works above alluded to; but the Midsummer Night's Dream is Princess ? Strange that Mr. Planché should have so erred;

most frequently brought to mind. Let the frequenters of the still more--seeing that authors are often blind to their own

Monday Popular Concerts (for to these, and to none other, do I

address my writing) call to mind the episode in G major of the faults—that neither composer nor manager should have

canzonetta, and the unison passage in G minor, and the identity of protested.

creative genius is at once apparent. The finale of this quartet is | a miracle of impetuosity and vigor,

The middle period of Beethoven's art career can hardly be better REIGATE—The following correspondence appeared in The Surrey illustrated than by the performance of his sonata in F (Mr. Standard, of Saturday Oct. 25, relative to the severe criticism on Charles Hallé). Though in two movements only, (which are, as the vocal department of Mr. Thurnam's late concert :here shown, ample for purposes of contrast) the increasing interest that belongs to the works of a more extended scheme does not fail.

To the Editor of the SunREY STANDARD. The staccato subject in octaves, treated in a fugal manner, (and Sir, I have read with surprise and indignation the first of two let the cavillers at the science of music say what they like, the reports of Mr. Thurnam's late concert, inserted in your paper of greatest musicians are never more great than when they are most Tuesday last, which is so unjust towards the singers engaged on that scholarly,) is the most impressive passage to my mind, in the whole occasion, that in fairness to those artistes and to Mr. Thurnam, I sonata. The septet of Hsummel, played by M. M. Hallé, Pratten, cannot allow it to pass unnoticed. As a professional man, I desire to C. Harper, Barret, Webb, Severn, and Piatti, was doubly accep protest strongly against such presumption and positive falsehood as the table, as the work of a master not sufficiently known to English writer of the paragraph was guilty of. The concert gave the greatest audiences, and as an assemblage of some of the most renowned

possible pleasure to all present who were free from prejudice or private

jealousy. Wherever these artistes have appeared of late | players in Europe on their respective instruments. Haydn's

Brighton, and Exeter) the various accounts agree as to the immense beautiful trio in G major concluded this concert, at which the

treat of listening to such music, and I subjoin an extract from the singers were Miss Lascelles and Mr. Haigh. Miss Lascelles sang

Musicul World relative to this talented party :"In questa tomba” (with the erroneous C for the last note) with

“The grand touring party' engaged for the autumn months by Mr. Land, including much emphasis and correct phrasing; also a ballad of Mr. G.

Mad. Gassier, Malle. Marie Cruvelli, Mr. Swift, Herr Herrmanns, Sig. Bottesini. Macfarren's called “Lily Lye.".

M. Sainton, Mad. Arrabella Goddard and Mr. Land himself (as conductor), started

on Thursday afternoon for Southsea, near Portsmouth, where their first concert was On Monday last, the concert commenced with Beethoven's

to take place on the same evening. This day they will be heard at Brighton. A septuor in E flat, played by Messrs. Joachim, Webb, Piatti, company more varied in attraction has rarely been sent out to explore the provinces.' Severn, C. Harper, Hutchins, and Lazarus. This is perhaps the My own opinion is that the concert at Reigate was, on the whole, the most renowned of all Beethoven's chamber compositions; and such grandest and most successful ever given in that neighbourhood, and this it will continue to be, for it contains some of his highest inspira opinion, I have no hesitation in saying, is shared in by all the most competent tion, and his greatest artistic skill: and as a specimen of felicitous / to judge of such matters. This I know from frequent intercourse with treatment of the various instruments employed, it stands unrivalled. very many of those who were present. I am sure the thanks of the Let the “ Adagio” in A flat, and the Scherzo e Trio" (in which Reigate public are especially due to Mr. Thurnam for the late delightlatter the playing of Signor Piatti was beyond praise) stand for

ful musical re-union, and I have very great pleasure in testifying to specimens. Mozart's graceful sonata in B flat (which we must

that gentleman's professional ability, as well as to have the opportunity

of thus publicly recording the high esteem and friendship I entertain particularise in the language of the programme, as No. 8 of Mr.

towards him. In conclusion, I have only to add that the second report Hallé's edition), played by Mr. Charles Hallé, was a great treat,

which appeared in your journal, headed From an Occasional Corresponand none the less so from contrast, as it carne between Beethoven

dent, "represented most accurately public opinion in reference to the and Mendelssohn. The fragments of the posthumous quartet of concert. I rely on your sense of justice for the insertion of this the last-named composer, although, alas ! too brief, are neither letter, as I think that false statements should not be permitted to pass 6 weak” nor “tedious." Let any one hear the Scherzo Leggiero in current without censure and correction. A minor before they pronounce, and then, strong in their honest

I am, &c.,

E. J. R. RUSSELL, conviction, defy the Athenæum. This concert ended with Weber's

(Professor of Music, and Organist of St. Martin's.) beautiful quartet in B flat, a piece which causes much regret that Dorking, Oct. 23rd, 1862. there are so few of his works for the chamber. It would be difficult

Sir, ---As a musical amateur of Reigate, and one who has taken conto find a song more adapted to Miss Banks' perfectly correct sing. Isidore interest in a

ks perfectly correct sing; 1 siderable interest in everything relating to music in this neighbourhood, ing and melodious voice than the “Skylark," of Glinka. It would I beg to express my utter astonishment and disgust at the first report of be very difficult to find a singer more able to do justice to the Mr. Thurnam's late grand concert, which appeared in your journal of Russian composer's transparent and pathetic melody than Miss Tuesday last. Allow me to say the report in question was not only Banks. The young lady's other song at the last concert was Mr. untruthful, but written in a mean and ungenerous tone throughout. Henry Smart's “Dawn, gentle flower.” The magnificent voice In fact it is patent to every one here that the writer of the paragraph and incomparable singing of Mr. Santley were also exhibited on was actuated by a feeling of petty jealousy towards the gentleman to Monday last.

whom we are so much indebted for the grandest musical treat the peoOn the 27th of October, Herr Joachim played Bach's prelude

ple of Reigate have ever enjoyed, as no allusion whatever is made to

Mr. Thurnam, the promoter of the concert, in the very incorrect report and fugue (for violin alone) in C major, and at the last concert, I

to which I allude, and which does not represent the feeling of the the celebrated and unapproachable Chaconne in D minor. That

inhabitants of Reigate. As I have before said, we are greatly indebted the Hungarian violinist-beyond doubt, the greatest performer

to Mr. Thurnam for this splendid concert, and for all that he has done living-should perform these marvellous works with graceful ease

in establishing a taste for good classical music, and I should be glad to might be expected ; that he does, by his sympathetic genius, impress know whether or not there is any chance of that gentleman being able his auditory with the great beauty of melody and the passionate to fulfil a partial promise made to the public some time since relative to expression of Bach's writings (and this even in his most complicated the engagement of Madame Lind Goldschmidt during the present and difficult passages) is a proof that we have now amongst us one season.

I am, &c.,

AN AMATEUR. of the greatest executant artists of any age.

Rcigate, Oct. 22nd, 1862. Dear Editor, Farewell. I have read next Monday's programme through, and there will be much to discourse on. Yours faithfully,


ROYAL ACADEMY OF Music.-A chamber concert by the students took

place at the Institution, Tenterden Street, on Wednesday evening week, We insert this letter of our lively correspondent, without in presence of a large audience. The vocalists included the Misses endorsing his opinions en gros, or quand même. Ed.]

Armytage, Lucy Chapman, Hulbert, McDonald, Emily Patti, Upton,
Thomas, and Mr. Wallace Wells; the instrumentalists, Messrs J. Hill

(violin), H. Harper (violoncello), Misses Brinsmead, Madalena Cronin, MOLLE. TITIENS does not go to the United States---at least not at

Urry, Zimmermann and Mr. T. W. Walstein (pianoforte). In the present.

vocal music Mr. Wallace Wells received the greatest share of applause, MIDLLE PATTI, having terminated her "provincial" wanderinge, has

in a manuscript song by Mr. F. Westlake, entitled " Amanda "; and in passed several days in London, en attendant her departure, to fulfil her the instrumental, Miss Zimmermann and Mr. J. Hill in Beethoven's engagement, at the Paris Italian Opera. She was present at the first

Kreutzer-Sonata, and Miss Brinsmead after Mendelssohn's " seventeen and second performances of Mr. Wallace's new opera.

variation serenades " was recalled with enthusiasm, and it may be added MADAJE TONNELIER, the new prima donna, will appear for six nights,

with justice. This young lady does infinite credit to the teaching of commencing this evening. Saturday, Nov. 8th, in English Opera, at her master Mr. William Dorrell. Sadlers' Wells. She makes her debut as “ Leonora,” in Il Trovatore. HERR Alfred Jael, the pianist, having finished his tour in the

ORGAN APPOINTMENT. - Mr. Edmund Barnes, Professor of music, provinces with Malle. Patti's party, has returned to the continent, School for the Blind, St. John's Wood, to succeed Dr. E. T. Chipp, at Miss GRACE Lindo, the vocalist, is in Paris, where she will remain Holy Trinity Church, Westbourne Terrace, Hyde Park,

I during the season.

Boyal English Opera.

the first night of performance; and the Part-song, “Corin for Cleora dying," introduced into the second finale, an original and

exquisitely-voiced choral composition, and certain to obtain a large A new opera from the pen of one of our most accomplished popularity. All these not only betray the hand of a master but composers. Nr. W. Vincent Wallace, with a libretto by the veteran / indicate a readiness of conception which shows that art and genius playwright, Mr. J. R. Planché, whose name is associated with | are not dissociated in the composer. Oberon, Fortunio, and half a hundred dramatic achievements,

The solos which obtained most favor and which bid fair to could hardly fail to excite unusual interest and curiosity. It was achieve an honorable fame are the song of Henry, “ I'm a model no wonder, therefore, that Covent Garden Theatre was crowded to / page," a sprightly and melodious composition, and perfectly suited excess on Monday night by an eager and expectant audience when to the contralto voice; the scena “Oh! rank! thou hast thy Love's Triumph was performed for the first time. Love's Triumph shackles ;" the ballad of Theresa, “ These withered flow'rs." and is purely a comic opera, almost entirely free from sentimentality. | the air of Adolph, “Night, love, is creeping." But these are not The customary mawkish ballads are consequently spared us, except the only choice things among the single songs. The air of Van in two instances, which we may set down as a conciliation to modern Groot, “I have brought my daughter dear,” will find numerous taste and the exigencies of the publishers. The libretto is not admirers, particularly among musicians, who cannot fail being original; it was suggested by a French three act comedy, entitled struck with its old-fashioned and masterly symphony and accomLe Portrait Vivant, produced at the Théâtre Francais in 1842. paniments; and the song of de Canillac, “Lovely, loving, and Mr. Planché has made great alterations in the construction, and I beloved," is to be praised greatly for its manly sentiment and the has reversed the denouement. The plot of Love's Triumph is briefly | brilliancy of the orchestration. as follows:- Adolph Savigny (Mr. George Perren), son of a

That Mr. Wallace, in his new work, will command the respect lawyer of Strasbourg, has fallen in love with Theresa (Miss Louisa of all musicians, we have no doubt. He has evidently bestowed l’yne), only daughter of Van Groot (Mr. H. Corri), a wealthy the whole strength of his intellect and all his artistic resources burgomaster of Helvoetsluys, and has his love reciprocated. The upon its composition, and deserves, if he does not obtain, trifather, however, insists on her marrying the Count de Canillac (Mr. umphant success. But of that we have no fears. The enthusiastic W. H. Weiss), a needy nobleman attached to the Court of France. reception of the opening night was but a prelude to further Adolph, driven to despair, resolves to seek for death in the wars,

demonstrations. The second and third performances were no less and hastens to a friend of his father's, the Marquis of Pons (Mc uproariously applauded than the first, and the encores and recalls Harrison) at Meudon, and solicits his interest to procure a com as numerous. mission. At a fête given at the Marquis's he meets Malle. Valois, The execution was more than creditable to all concerned. To daughter of the Regent and betrothed to the Duke of Modena the band and conductor in the first place the most unreserved praise (again Miss Louisa Pyne), and is so struck with her likeness to is due. Mr. Mellon, indeed, and his cohort (as usual on a first Theresa that he commits numberless extravagancies and leads the performance) covered themselves with glory. There was not a Princess to fancy he has fallen suddenly in love with her. The mistake from beginning to end. Miss Louisa Pyne played her two Princess is a fiancée ; she is also a woman. Her curiosity is greatly parts with nice discrimination

parts with nice discrimination and sang delightfully. Some will excited; her heart a little. She desires to know the real state of most admire her grand scena, “Oh! rank! thou hast thy shackles;" the case. A portrait of Theresa dropt by Adolph and brought to others the ballad, “ These withered flowers." We admire both her satisfies her she is the loved one. A curious critic might ask both were best—both were sung to perfection. Madame Laura whether, if she did not suspect her own features, might she not | Baxter gave the music of the Page not only with most sweet voice, doubt the attire. Adolph is now attached to the household of the but with point and expression. Mr. Harrison was admirable as the Princess and the plot begins to thicken, the lady beginning to gay and gallant Marquis, making quite a character of the part; indulge seriously in a passion for a man she cannot marry ; the Mr. Weiss made the unimportant part de Canillac important, by his gentleman endeavouring to make amends for his lost sweetheart by fine and powerful singing; and Mr. H. Corri created infinite basking in the smiles of her " other self ;" when Theresa and her merriment by his performance of the Dutchman. Mr. Perren as father arrive and the aspect of affairs is changed. Van Groot gives usual was the lover, and sang the music pleasingly, but failed to the Marquis a second portrait of Theresa, and, as the cunning invest the part with any positive interest. Encores were awarded courtier has ferretted out of the dull Dutchman that Adolph loves to the overture-by the way a most brilliantly scored and dashing Theresa, he resolves to cure the Princess of her passion by showing prelude-to Adolph's song, “Tho' all too poor the painter's art," to her the picture of her rival. The Princess sees the portrait number TIenry's song, “I'm a model page," to the Bacchanalian trio, “For two and is only further confirmed in her suspicions. The Marquis, me if you would garlands twine," to the choral part song, and to however, explains things too fully to be misapprehended. The | Theresa's ballad, "These withered flower's." All the artists were illusion is expelled. The Royal lady wakes from her dream, recalled after each act, and the coinpossr separately. The demonexpends one sigh on her disappointment, promises to put no more stration at the end it would not be easy to describe, and we left the trust in resemblances, vows to love her husband, and make Theresa theatre with a call for “ Alfred Mellon" ringing in our ears. and Adolph happy. Theresa is now apprised of the extraordinary likeness, and consents to appear to Adolph as the Princess; and thus, by a little finesse, learns the true secret of his heart-all is satisfactory, and “Love triumphs." The dialogue is neatly and

HER MAJESTY'S THEATRE. smartly written, and the verses smooth and polished.

There appears to be no regular season now for Italian opera at Her Majesty's As we shall have shortly to review Mr. Wallace's opera in extenso, Theatre. Its venerable doors fly open at eccentric periods, under any colorable we reserve until then all minute criticism, and merely proffer pretext. While adverse winds, however, do not force them to creak upon ther in this place a general notion of its character and merits. And first, 1 linges (an omen of inishap not likely to occur so long as Mademoiselle Titiens we think the composer has allowed no work to issue from his hands and Signor Giuglini are to be heard inside), and while amateurs froin all parts which more incontestably demonstrates his high musical abilities. I are clainorous for admission, this irregularity is of small account. The five Indeed, we are inclined to think that in some few of the numbers performances which took place last week—and included I Trovatore, Lucka, of Love's Triumph Mr. Wallace has surpassed all his former efforts. I Puritani, Lucrezia, and Norma, were instituted by the eager impresunto, Among the especial excellencies of the work we would cite this " in order," as he tells us, to give éclat to the closing of the International finales to the first and second acts; the unaccompanies sestet si In Exhibition.” Probably, in strict truth, it was the “closing of the International mystery shrouded,” voiced with exceeding skill and ingenuity; the

Exhibition” whiclı gave eclat, or at any rate insured success, to these performquartet and chorus, “ Marquis, your arm," a most admirably

ances; but without holding Mr. Mapleson to the letter of the word, we may

fairly, on behalf of our foreign and country visitors thank him for the opporconstructed and developed concerted piece, sparkling like Auber in

tunity thus afforded of viewing the interior of a theatre once the talk and enty the accompaniments, and never flagging in the invention ; the trio,

of all Europe, of hearing two of the most renowned artists of the day, whose for contralto and two basses, “ Welcome! I am all on fire," another talents for the last few years have been almost exclusively exhibited in England, masterly and ingenious pièce d'ensemble, with its highly spirited and of witnessing a short series of operatic performances which, if not altoand exciting bacchanalian coda, “ Fór me if you would garlands gether perfect, were, at least, far inore than respectable, even in the subordinate twine," perhaps the most vehemently applauded of any number on departinents. Signor Arditi had an orchestra of comparatively limited resources

to direct, but the limits were applied to numbers rather than to quality ; Mad. tiful as these are as specimens of the old masters, they might be laid by Michal, Mad. Rudersdorff, Mad. Lemaire, Sig. Palmieri, Herr Forines, Sig. | for a season or two when we have bushels of music of as good a Ballinli-that scorner of the earth's revolutions, upon whom the teeth of tinne quality. What a pity it is, that when public singers have “ got up" would seem to make no impression--with others of less note, but of good two or three things they make a point of forcing them into the ears capacity, filled the secondary parts; while the mise en scène, the chorus and of audience after audience. When a singer has attained to a certain the rest, were much as usual. The attraction did not fail ; and so crowded rank in the profession, applause follows as a matter of course, though were the houses, night after night, that Mr. Mapleson (“ in order to give eclat it is very often that the “ organ" is applauded rather than the comto"---no matter what) announced four additional representations, " positively position, as one is quite at a loss how to account for the choice of many the last," for Monday, Tuesday, Wednesday, and Saturday in the current week, songs we are compelled to hear, unless it be that there is £. g. d. the operas selected being n Trovacore, “the inevitable," Don Giovanni (with consideration behind the scenes to induce its production. A short Mad. Lancia, as Zerlina---her first appearance), I Puritani, and Lucia de time back one lady appropriated to herself “Ocean, thou mighty Lammermoor). Criticism, just now, would, like the performances. be "out of monster." I happened to hear it at three concerts in succession. Mr. season.” This mcre chronicle of what has been going on, and is still going on Sims Reeves gave us “ Pretty Jane," and "Sweetheart, good bye," (the fourth and last performance taking place to-night) at Her Majesty's with the same frequency, and I believe sung “ Adelaida" once or twice. Theatre, may therefore suffice.

Concert givers—whether individuals or a society-ought to make a stand against this ad nauseam mode of proceeding. On many occasions

we are obliged to hear the same things continually repeated. At MONDAY POPULAR CONCERTS.

Exeter Hall, for instance, we go for that purpose, as it is only at such

performances we can hear so great a number of voices combined, Although the instrumental programme of last Monday (fourth con

besides which, a composition is presented of a genus per se. Hundreds cert) did not present any novelty, it was in no way inferior to any of

it was in no way interior to any of l attend there who would shrink from going to hear Belletti, Titiens, its predecessors. The Ottet of Mendelssohn, Spohr's Double Quartet,

Rudersdorff, or Parepa, in their legitimate locality, but as they hear and Huminel's Septet, each of which has in its turn formed a distinctive them beneath the roof of Exeter Hall, they fancy they are cheating feature, could not possibly have been more worthily succeeded than by the Prince of Darkness, for if you asked any individual among your the Septet of Beethoven, in which the stringed instruments are so serious acquaintance," how it was that he went to hear opera singers, ingeniously blended with the wind. Such a performance of this "Oh! it partakes of a religious character," would probably be the masterpiece has rarely been given, and the earnest attention it com

answer. (Echo replies “anser.") Not that variety is the order of manded, the long continued applause which followed, to say nothing of

the day. At the Philharmonic, if we look through the various prothe enthusiastic encore for the scherzo, spoke volumes for an audience

grammes season after season, the directors do not seem to take the whose taste the Monday Popular Concerts have done so much to

interest we might expect in the selection, and the Society does not cultivate. The performers were Messrs. Joachim, Webb, Lazarus, I find itself foremost in the field in searching for musical novelties, as C. Harper, Hutchins (bassoon), C. Severn (double bass), and Piatti.

was the case in olden time. Amateurs imagine that by subscribing The fragments of Mendelssohn's “ posthumous" Quartet were admirably

to the Philharmonic they stamp themselves as connoisseurs of the first played, and created so great an effect that a strong disposition was mani

water, so they take the fare that is provided very good-naturedly. A fested to obtain a repetition of the scherzo—one of those fairy visions so

considerable sprinkling of the elite of the profession--and those who suggestive of the Midsummer Night's Dream, in which Mendelssohn has

wish to be considered among the number --also make their appearcompletely caught the spirit of the most poetical of Shakespere's

ance; not that they can take much interest in what they have plays. Mozart's pianoforte Sonata in B flat, in the hands of Mr. Charles

heard so often, but they come to see, and to be seen. I have charged Hallé, was all that could be wished; while Herr Joachim, who seems

many with this, and each one has grinned an assent. One thing deterinined that his name shall be associated with that of John

is heard at the Philharmonic scarcely heard elsewhere, that is, an Sebastian Bach, played the Chaconne in D minor in such a style as to

overture or symphony played in proper time. In the present nonelectrify his hearers, and to elicit a wnaniinous recall. Mr. Santley,

sensical rage for scrambling over everything as fast as possible, it is who has not been heard at these concerts for some time past, received refreshing to hear a symphony or overture conducted by Dr. Bennett, that warm welcome which an English public so well knows how to Let us hope that the directors will put their shoulders to the wheel, accord to its special favorites. He was encored in Mr. Alfred Mellon's and after their jubilee will exert themselves. If a singer sends « My song from Victorine, In vain though banished from thy heart," and mother 'bids me," or " The last rose of summer" to be inserted in his reading of Mr. Wallace's - Bell ringer” nearly led to the same the programme, that they will send it back. Gallantry is one thing, result. Glinka's charming song, “ The lark," and Mr. Henry Smart's / but the subscribers' inoney is another still more important. new ballad, “ Dawn, gentle flower,” were exactly suited to the style of But " revenons à nos l'ons." The same complaint as to the mea gre Miss Banks, who only requires a more distinct enunciation (too con

quality of the vocal music applies more forcibly to the Monday stantly neglected by singers) to make her one of the most satisfactory,

concerts. I will merely cite the concert last Monday. The instruas she is already one of the most popular, of our vocalists. Mr. Lindsay

mental music was of the first order, I must except the Trio in G, Sloper accompanied with his well known ability. Weber's quartet in

by Haydn, which was of too trifling a character for public performance. B flat brought the concert to a successful close. Next Monday Mr. Joachim and Piatti must have been heartily dad when it was Sims Reves makes his first appearance since the Gloucester Festival. finished.* The rondo formed an early school lesson fifty years ago,

and even in Hallé's hands, did not present a single feature of recom

mendation to the pumerous audience who waited to hear it. The To the Editor. • *

prelude by Bach is a marvellous effort on the violin, though its diffi

culties could only be appreciated by violinists. Several ladies MORE GRUMBLINGS.

exhibited a look of painful enquiry when they heard the profusion SIR,-You have already hinted that the taste of the public is not lof discords that usher in the fugue, and appeared to be of the late sufficiently consulted as to quality of the vocal music at various con

John Cramer's opinion, “ that there was a great deal of mud before certs. I beg to express my disapprobation and that of many besides,

you got to a clean place," but as it was Bach's they bore the violenco at the quality of the music generally presented to us at the Popular

done to their ears with becoming fortitude. The sombre air “In Concerts. Why the term " popular" should have been selected

questa tomba oscura," is very beautiful in the opera,+ with the I cannot imagine, unless the projector was guided by the price of accessories of a disconsolate maiden, and a grave to boot, but presented admission he intended to adopt, as the excellent music to be heard

to an audience at the Popular Concerts, it is ineffective; which the there does not come under the head of " music for the million," as we

songtress must have thought by the small modicum of applause it have a more classical programme than can be found anywhere else,

obtained.' Then, why choose so namby-pamby a song as “Lily Lye," as regards instrumental music. We rarely hear at the old or new

which is only fit to lie on the pianoforte, and never brought into a Philharmonic concerts the beautiful quartets we listen to with so

concert-room. An audience that takes such interest in a quartet of much pleasure at St. James's Hall. Perhaps it is because a full

Mendelssohn and listens with delight to a sonata of Beethoven, does orthestra should remain idle, so the discriminating directors prefer

full, so the discriminating directors prefer not lose its musical appreciation when the vocal music begins, then regaling us with the same overtures and syinphonies over and over why allow the vocal to be in inverse proportion to the instrumental ? again. But unfortunately they betray the same indifference to the Something better than the "Nightin vale" might have been chosen vocal department. I dare say that we shall be treated next season by Mr. Haigh with the usual “Parto ti lascio, addio," and as to “ Che faro senza

The audiences at St. James's IIall are not supposed to be a stray Eurydice, of course the season cannot pass over without that.* Beau

collection of individuals who betake themselves there for the pur* I asked my friend F , who is one of the directors, how it was

* Quito the contrary, we should guess.—En. M. W. that poor * Che farois so hacked; he replied, Mio caro amico, its like potatoes, it must come on the table," adding * Che farémmo, senza che faro?!”

† Pray what opera ?-En.

pose of killing two or three hours; on the contrary they are probably the most musical audiences in London. They go, expecting a feast, and, thanks to Mr. Arthur Chappell, they are not disappointed as far as the instrumental cooks are concerned, but the vocal ones produce some hors d'auvres that ought to be put hors de porte. Hoping that the songs we are to be favored with during the coming season of the " Philharmonics” and “ Populars" may not be those which will cause us to hail with pleasure the last bar,

I am, Sir, your humble servant,


The Music Composed by W. Vincent Wallace.



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To “Martinus SCRIBLERUS."

Overture SIR, -As you still appear sceptical that it is impossible to state a . Introduction and Chorus, “ Hither, hither, hasten all definite rule for the Orchestral Balance of Power, and as my letter

2. Duet, “My poor young friend." Two Tenors

3. Romanza, “Though all too poor. Tenor of the 14th inst. did not sufficiently satisfy you; apologizing for a. Romanza (Transposed) . offering a further explanation, I would state, that in an orchestra, 4. Chorus and Solo, “ Long life to her Highness." Soprano ...

. Ballct, “ Romanesca" that violinist is the best who can produce a strong tone, while on the

6. Trio, " A simple Cymon." Soprano and two 'Tenors contrary, the best performer on a wind-instrument (especially brass) is

7. Quartet and Chorus, “ Mount and away." Soprano, Contralto, and he who plays with a soft tone. As your question now is about thé G

Tenors ... ... ... ... bass trombone player in connection with flutes, oboes, and violins, no

8. Aria, “ Patience! prudence!" Tenor

Air, “Wayward fortune." Bass doubt you refer to the orchestral one. If he would play his double

10. Finale, “Help, help!" ... forte in the same manner as he would when marching out with a

... ... . military band, 100 of the best violin players would not balance the

ACT II. power of sound. This leads to another natural rule for the Orchestral

101. Introduction ...

Rondo, “ I'm a model page." Contralto Balance of Power, namely:-The fewer stringed instruments employed

Trio, “Welcome, welcome." Contralto and two Basses the softer the wind-instruments must play. It would be as pedantic Grand Scena, “O rank thou hast thy shackles." Soprano not to perform an orchestral composition because there happened to be

13a. Air from Scena, “Now, 'tis not a vision. Soprano ...

14. Duet, "As in a dream I wander." Soprano and Tenor
a few short of the actually required number of stringed-instruments, 1 15. Finale, “ We are glad to see" (Complete) ... ...
as it would be absurd to perform a grand orchestral work with only 15a. Part Song, “ Corin for Cleora dying " ... ...
one stringed-intrument at each part, or without the tenor or violoncello.

C. MANDEL, (Prof. of Theory.) 16. Introduction and Air, “ I have brought my daughter." Bass
Kneller Hall, Oct. 30th, 1862.

17. Ballad, “Those withered flowers." Soprano...
18. Duo, “To the secret." Soprano and Tenor ...

19. Ballad, “Lovely, loving, and bcloved." Bass LIVERPOOL.- The Philharmonic Society's tenth subscription concert 19a. Ballad (Transposedl) . was given last evening, and exceedingly well attended." The artists 20. Sestetto, “In inystery shrouded " Soprano, Contralto, Tenor, and three

Basses ... were Madame Gassier, Mademoiselle Marie Cruvelli, Mr. Swift, and

21. Recit. and Air, “Night, love, is creeping." řenor . Herr Joseph Hermanns, vocalists ; solo pianoforte, Madame Arabella

21a. Air (Transposed) ... Goddard ; solo violin, Monsieur Sainton ; and solo contra-basso, Signor 22. Duet, “Hear me, I must spea Soprano and Tenor Bottesini. The programme comprised a good selection of vocal and

23. Finale, "All to the ball"... instrumental music, the instrumental being decidedly the best. Mad.

* Separate Vocal Parts are published. Gassier displayed brilliant execution in Chiaromonte's “ Bohemienne," and a rondo with variations (Vaccaj), accompanied on the pianoforte

PIANOFORTE ARRANGEMENTS. by Mr. Land. Madlle. Cruvelli's most successful effort was “O mio Favourite Airs from Wallace's Opera, Lore's Triumph, arranged by W. H. Fernando,” Mr. Streather's harp obbligato telling with nice effect.

Callcott, in Two Books; Solos 5s., Duets

Flute Accompaniment to each Book ... Herr Hermanns has a resonant bass voice, and the manner in which he


Berger (Francesco), Fantasia ... sang Falstaff's air from the Merry Wives of Windsor (Nicolai) called forth Glover Charles W.,) " Night, love, is creeping" an encore. Mr. Swift's chief display was in an air from Varitana. The

Gems of the Opera choir gave Handel's chorus from Solomon, popularly known as “The

Osborne (G. A.), Fantasia

Richards (B.), "Those withered flowers" Nightingale Chorus," with praiseworthy precision. A four part song

Fantasia by Mendelssohn—"Alone"-was also capitally rendered, and received the Schulthes (Wilhelm), Romanesca

- Intermezzo compliment of a hearty encore. Madame Arabella Goddard's piano

Trekell (J. Theodore), Fantasia forte solos were marked by that splendid execution, delicate touch, and

“Lovely, loving, and beloved attention to light and shade, which have made her a "celebrity.” The

"Night, love, is creeping",
Concertstück of Weber, with orchestral accompaniments, was remarkably Quadrille, “ Love's Triumph," arranged by C. Coote (Illustrated)



(Illustrated) fine; and M. Ascher's fantasia upon themes from Lurline-a superb



(Illustrated) example of manipulation and taste combined. It was rapturously | The Page Polka, ditto


(Illustrated) encored, but instead of repeating it the fair artist gave landel's Har- Grand Selection for Military Band, by C. Godfrey, Senr. ... ... monious Blacksmith. M. Sainton maintained his reputation as an accom

Other Arrangements in the Press. plished executant, both in Ernst's delicious Rondo Papageno and a duo concertante composed by Sig. Bottesini, who of course was double-bass in

ADDISON AND LUCAS, 210 REGENT STREET, W. this duet, as in a marvellously executed solo, (Lucia) which came earlier in the programiue. The band played the overtures to Semiramide


D Poetry by EDMxD FALCONER, Esq. Sung by Miss Anna Whitty opwards of and Fidelio, besides the marchi from Tannhauser, at the end of the concert,

300 nights at the Royal Lyceum Theatre, in the Lakes of Killarney," and nor which was, on the whole, a very brilliant and attractive entertainment. being sung by the same distinguished vocalist every night at the Theatre Royal,

JERSEY-M. Berger's benefit took place on Thursday evening. The Manchester, is published, price 38., by DUNCAN Davison & Co., 244 Regent Street. patronage of the Ladies of Jersey attracted a numerous and fashionable audience, and the house presented a brilliant spectacle. The Opera of MARIE D'ANNETTA'S NEW DANCE MUSIC The Crown Diamonds was well performed, the acting and singing of Miss

Characteristically Illustrated.

" The Lily of the Thames Quadrille" Dyer and Mr. Braham being excellent. In the concert which followed,

" What Next Quadrilles" (Robin's Last), with cornet accompaniment Messrs. Bowler, Weston, Tempest, and Connell took part. Mr. Bow

“The Spirit Rapping Polka," dedicated to all spirit-rappers' mediums ler's song " Thou art so Near, and yet so Far," was one of the best “The Llewellyn Waltz," dedicated to Mr. Backwell, B.M. 3rd R.W.M. displays of vocalisation we have heard throughout the season), and

London: DuncaN Davisox & Co., 244 Regent Street, W. obtained for him rapturous applause. Mr. Draper, a gentleman whose name is familiar to the Jersey musical public, performed two violin

Published this day, pieces, the Andante and Rondlo froin Mendelsohn's Concerto, and De Beriot O NEW SONGS BY BLUMENTHAL, and Osborne's Guillaume Tell, duett for violin and pianoforte-in both of

SUNG BY which he obtained a flattering reception. M. Berger concluded the

SIMS RE E VES. Concert by the performance of a pianoforte solo of his own composition,

| “GOOD MORROW, LOVE, GOOD MORROW." (Poetry by Thomas HeyFood, entitled "Les Echos de Londres,” in which he displayed the most fin

1607.) 38. ished execution and complete mastery of the instrument.-Jersey | “THE MESSAGE." (Poetry by Miss A. Procter.) 35. Independent.

London; Duncan DAFISON & CO., 244 Regent Street, W.

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