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J. S. Bach.
MONDAY POPULAR CONCERTS, birds, enough to justify the early confidence that spring is
coming—the musical and social spring and summer, coinciding ST. JAMES'S HALL,
with the fall and winter of the natural year. Signs and
beginnings there are, with notes of preparation, warranting ON MONDAY EVENING, NOVEMBER 24, 1862.
assurance that we shall have as much and as good music LAST APPEARANCE BUT TWO
during the coming winter, as we had last year, to say the OF
least—possibly more and better. We needed it then ; it
was so necessary to all peace, and rest, and sanity of mind; HERR JOACHIM.
so impossible to endure the never ceasing strain and pressure
upon every faculty and every sensibility, caused by the PROGRAMME.
consciousness of the fiery trial, the new birth-throes (let us PART. I. GRAND SEPTET, in E flat, Op. 20, for Violin, Viola, Clari
believe), through which our country is passing, without onet, Horn, Bassoon, Violoncello, aud Doublc Bass
some such diversion, some such harmonizing, tranquillizing, ... (by desire) ... .. Beethoven. MM, Joachim, H. Webb, Lazarus, c. Harper, Hutchins, c. Severn, and Piatti.
hope and joy reviving angel influence as music. We need SONG, “Ave Maria."
.. Cherubini. ** (Clarionet obbligato, Mr. Lazarus.) **
it still more now, that we are grown 80 weary of the proMiss Roden.
tracted struggle, while the call is clearer than ever to flinch NEW SONG, with Violoncello obbligato, Signor Piatti ... ... Piatti. . . not short of the one only glorious conclusion ; now while
the cry goes up with intensor agony: Will the night soon Mr. Lindsay Stone .. ... Beethoven,
pass ? For health of mind and spirits, to make us feel that
we are still ourselves, we must have recreation,-none 60 PART II. BONATA, in B flat, for Pianoforte and Violin ... ... ... Dussek.
pure, so fit, 80 sweetly restorative as music. The want, Mr. Lindsay Sloper and Herr Joachim. SONG, “Cease your funning."...
then, remains unchanged; the means of satisfying it never ... ... ... (Beggar's Opera.)
yet taxed anybody very heavily, and a thousand costlier PRELUDE, LOURE, MINUETTS, AND GAVOTTE, in E major, for Violin alone
luxuries are not yet discarded. ... ....
Therefore it is pretty - (Repeated by desire.)
certain we shall have it. Herr Joachim. SONG, “Oh! moon of night."... . .
To begin with our own city, what beginnings are there? * Mr. Santiev. "
. A. Manns. "
What signs ? Such as have already risen on the field of QUARTET, in E Ant, Op. 71, No. 3, for two Violins, Viola, and Violoncello
vision are the following - small ones, perhaps, but yet MM. Joachim, L. "Ries, P. Webb, and Pintü Haydn.
significant and full of promise. We call it significant, in Conductor - MR. BENEDICT.
the first place, that we have a beginning, with the purpose To commence at Eight o'clock precisely.
of an indefinite continuation, of classical organ concerts,
representing one important side of musical culture and Sofa Stalls, 5s. ; Balcony, 35.; Admission, 1s.
enjoyment which has been too long strangely unprovided Tickets to be had at ' Messrs. CHAPPELL & CO'S., 50 New Bond Street.
for among us. Year after year we have been urging our
clever organists to do this thing; it is so cheaply done; it TO CORRESPONDENTS.
serves to keep the organist in practice in the true organ A PROFESSOR OF MUSIC AT OXFORD should send his name and music, such as finds little chance in ordinary church service, address before we can publish his letter.
and in rapport with the lover's of such music; while it A. D. X.-Mercadante is alive and living in Naples. We thought gives the public, however small at first, easy and frequent everybody knew that he was a composer of music.
opportunity to hear, and know, and feel what real organ
music is, and how inestimable the treasure bequeathed to NOTICE 8.
the world by such a spirit as Sebastian Bach, if half the To ADVERTISERS.-Advertisers are in formed, that for the future pains were taken to know him that are spent upon the
the Advertising Agency of THE MUSICAL WORLD is established empty triumphs of modern virtuosity. This want our at the Magazine of MESSRS. DUNCAN DAVISON & Co., 244, I
ISON & Co.,, 244, young countryman, Mr. John K. Paine, has undertaken in a Regent Street, corner of Little Argyll Street (First Floor). Advertisements can be received as late as Three o‘Clock P.M., on
a modest, simple manner to supply in some degree. His Fridays—but no later. Payment on delivery.
two concerts at the West Church, in aid of the Sanitary TERUS Two lines and under ... ... ... 2s, 6d. Commission (one last Saturday and one to-day), are, we are
ERAIS ( Every additional 10 words ... .. 6d. happy to say, but the commencement of a series of organ To PUBLISHERS AND COMPOSERS - All Music for Review in THE concerts, which he will give at stated times, to such listeners
Musical WORLD must henceforth be forwarded to the Editor, as care enough about it to pay the very small price, and i care of Messrs. Duncan DAVISON & Co., 244, Regent Street. A List of every Piece sent for Review uill appear on the Saturday I alive in himself, and of keeping Art and the interest therein
| with a view, not so much of gain, as of keeping the artist following in THE MUSICAL WORLD. To CONCERT GIVERS.-No Benefit-Concert, or Musical Perform
alive in such public as it may command. This is the motive ance, except of general interest, unless previously Advertised, can
for which the best artists in the German cities give concerts; be reported in THE MUSICAL WORLD.
it is seldom that they hope to make money by them.
On Saturday evening, next week, Mr. Julius Eichberg will give a soirée at Chickering's, which will have many
features to interest the lovers of the best in music. Besides LONDON: SATURDAY, NOVEMBER 22, 1862.
his own admirable violinism in the Chaconne of Bacho, and smaller pieces, he will, with Mr. Paine's assistance, present
one of Bach's sonata-duos for violin and piano,-for the first To the Editor of the Musical WORLD.
time, we fancy, in our concert rooms. Also his own conARE there any signs of a musical season to cheer and certo for four violins, which has made a mark before. There A comfort us through war and party strife ? A few will also be part-singing by the “ Orpheus," and songs by scattering ones, at least; some cheerful twitterings of early 'good solo talent, for still further fresh variety. Next in the
The Musical world.
field will probably be the Mendelssohn Quintet Club, who Philharmonic orchestra has summoned Mr. Theodore Thomas are preparing to open their annual supply of good things to its conductorship, and will soon again divide attention quintets, quartets, trios, sonatas, &c.-on the 12th instant. with the parent Philharmonic on the other side. In New It is their fourteenth season! Among the new works in York they have opera-and German opera too-which looks practice are a quartet by Schumann and another of the like a settled thing, an institution, where such things are 80-called posthumous quartets of Beethoven; also some heard as Mozart's Seraglio and Zauberflöte, Weber's Der modern varieties, attempts by young composers, &c., will | Freyschütz, and many a good thing which we only hear mingle in their programmes and pique curiosity, if nothing about in these parts :-not to speak of the various crumbling more. Mr. Carl Zerrahn informs us that he is in no doubt kaleidoscope combinations of Italian Opera, chiefly shaken about renewing his Philharmonic orchestra concerts, and at together out of the same old bits of glass by sharp Jew an earlier day than usual, perhaps before the present month managers, and now and then a peep or two at it peripatetically runs out. His materials for an orchestra will be at least as vouchsafed here in Boston and the larger towns about us. good (essentially the same) as last year, perhaps with some Then there is the “Liederkranz," under the direction of increase of force. We shall not be suffered to forget or Mr. Paur, announcing four concerts made up of some rare mise the inspiration of Beethoven's symphonies-outlive selections; such as: finale from Mendelssohn's Lorely; them who ever can as long as there shall be any chance Gade's Comala; the “Mignon-Requiem" and the Manfred to hear them ? Mr. Zerrahn has imported a large and (melo-drama, solo and chorus) of Schumann; the Lobgesang various supply of new orchestral works, overtures, arrange- of Mendelssohn; eight-part choruses by Palestrina and ments, dance music, &c., of which he will doubtless give us Lotti; Gloria from Beethoven's great mass in D; and a taste both in the Philharmonic evening concerts, and in | Credo from the mass written by Liszt for the Convent at the afternoon concerts of the Orchestral Union, which are Gran. Truly a tempting feast in these dry times! Of sure to follow when the first lead off. As for oratorio and the plans of the Harmonic, the Mendelssohn, and other large bacred choral music, we hear of no special movements ; | sacred choral societies, we are not informed. They probably but the old Handel and Haydn Society still lives, to which will not be idle. Then there will be the interesting prowe owe all that we know hereabouts of the Messiah, and gramme of Messrs. Mason and Thomas's Chamber concerts, Samson, and Judas Maccabæus, and Israel in Egypt, and which will commence again next month, and doubtless give Jephtha, and the Creation, and Elijah, &c., and doubtless rich feasts of Beethoven, Schumann, Schubert, Chopin, &c., they have something good in store for us. But we need not confined to the commonest well-known selections from also one or more new choral societies upon a smaller scale, their works. At least such we take to be the spirit of their and somewhat different principle, to cultivate acquaintance enterprise. . (and diffuse it as they may have means and opportunity) In Philadelphia, too, there will probably be no falling off ; with such works as the cantatas, masses, “Passions," &c., of though we are not yet informed of the intentions of the Sebastian Bach; and with the works of Palestrina and other Oratorio and Musical Fund Societies of that “ City of old Italian and Flemish masters. Such things will spring Brotherly Love." Meanwhile it is certain that the popular, up in time; they depend on individual enthusiasm and in part classical “rehearsals” of the Germania Orchestra, enterprise; the fit materials may not as yet be numerous, under Carl Sentz, will be resumed on the 22nd of this but enough so for a small beginning which may grow. month. Perhaps they (that is, their audiences) have
We shall have semi-private, social concerts, too, given to reached the point where they may assay a whole symphony, whole rooms full of friends and guests, by such societies as instead of only now and then a scherzo or andante as in past the “Orpheus," the “Mozart Club," &c., which rank among years. Mr. Wolfsohn's classical Soirées will come round the most pleasant and profitable of our musical occasions. again, offering such attractions as Mozart's quintet for And it will be strange if out of all this movement there do piano with wind instruments; his trio for piano, violin and not spring many occasional, individual good things in the clarinet; Beethoven's trio with clarinet; some of Schumann's concert line, such as were among the finest grain of last compositions for piano and clarinet; a septet by Hummel, year's reaping. (For instance, Mr. Lang's production of &c. Other classical Soirées are announced by Messrs. the Walpurgis Night of Mendelssohn; Mr. Dresel's piano- | Jarvis and Cross. forte soirées, &c.")
Such are the results of a hasty look-out over the chief New York unfolds of course a richer programme. Her points of the field. The report is by no means complete, large German population, and abundant supply of good but there is enough to show that there will be a “musical musicians, make more and larger undertakings in the higher season." Whether it will be marked by real musical fields of music a necessity. Yet always, until very lately, progress, whether the standards of true art will be borne in symphony, oratorio and classical quartet performances farther forward, remains to be seen. Boston has borne the palm. But New Nork has a per
J. S. Dwight. manent orchestral society, on a much ampler scale than ours, which has to be regathered every winter by the individual DVERY age has its special characteristic. That which concert giver. Her noble “ Philharmonic" has already had more particularly distinguishes our own is the tendency its first public rehearsal (concerts to follow in course); and to go a-head, to make use of a Yankee term. We live in the bill was good :-Beethoven's 4th symphony, an overture precipitate times. To hurry onward in a headlong course is (Christmas Drean) by Ferdinand Hiller, Mendelssohn's the endeavour of all classes in every art and every profession. violin concerto, &c.--Nor is this the only chance for great To outstrip his fellows in the great race of life is more than orchestral music; Mr. Carl Anschuetz, with his German ever the aim and object of adventurous and impetuous man. Opera orchestra, is giving Sunday evening concerts, intend. The very elements seem to conspire with his necessities and ing to bring out all the nine symphonies of Beethoven in discovery to keep pace with his aspirations. The electric course, besides a great variety of overtures and other works telegraph and steam would almost appear providential by older and newer masters, both classical and still debatable. concessions to his thirst for knowledge and his eagerness to In Brooklyn, which is but the other lobe of New York, the communicate it. The epithet "fast," a modern coinage,
expresses with sufficient felicity the power which more than pace as must have astonished and dismayed the accustomed any directs and sways his desires and operations. Shakspere ears of the habituées. No doubt, could Signor Arditi have himself-or Ulysses for him in Troilus and Cressida~no heard the piece, played according to his indication of the mean authority, seems to counsel this struggle for pre- tempo, he would have been no less astonished and dismayed cedence and advances passing shrewd reasons in support of than the habituées. it. The lines are not unworthy citation as pertinent to the We believe conductors—Italian conductors—are led away Bubject :
in their anxiety to please, or, rather, “hit” the public, who “Take thou the instant way;
like to be stirred up even at the expense of correctness and For honour travels in a strait so narrow,
legitimacy of effect. When the overture to Don Giovanni Where one but goes abreast; keep then the path;
almost invariably passes without a hand of applause and For emulation hath a thousand sons That one by one pursue. If you give way,
the overture to Zampa seldom escapes an encore, some Or turn aside from the direct forthright,
excuse may be pleaded on behalf of, to say the least of it, Like to an enter'd tide they all rush by
such inattention, or such want of respect for the music. And leave you hindermost'; and there you lie,
The public, which sanctions these "fast" displays, has to Like to a gallant horse fall'n in first rank,
blame itself. Vehement applause and encores are temptaFor pavement to the abject rear, o'er-run: And trampled on."
tions too strong for ordinary conductors. But there is limitation to all things and haste is as likely to defeat accomplishment as delay. The express train may be too fast as well as the modern dandy, or “swell," and the
MADLLE. PATTI IN PARIS. fable of the hare and the tortoise becomes applicable to the commonest employments of existence. In this rapid whirl
(From a correspondent.) . . . . . of contention for antecedence, in volving an utter disregard
THE Parisians, with the best possible grace, have accepted of time, much mischief is done. Everything is hurried and
T a new “reputation faite à Londres " the third within nothing produced is good. , Houses and operas are run the last fifteen years. Just as they welcomed Mad. Alboni. up in an incredible short space to the manifest injury of in 1847. aud sig. Tamberlik. three years since they have tenants and audiences. Nevertheless tenants and audi. |
welcomed Mdlle. Adelina Patti, who, on Sunday (the 16th ences are soon taught to respect that order of things which l inst
mgs Watch | inst.), at the Opéra Italien, made her first appearance in the gives them variety if not excellence, and in the end the "M
“Metropolis of Civilisation and the Arts." That the highpublic becomes like the Giaour in Vathek, who, when the class Parisian audience (such as that which patronises the children were being thrown into his cavern, kept still crying Théâtre Ventadour.) is one of the most courteous as well out “more, more."
as one of the most critical, one of the most readily moved as There are, indeed, some things in which the quality well as one of the most suspicious and apprehensive of being denominated “ fastness" is entirely to be deprecated and in
“ taken in," and thought “ bête," it is scarcely necessary to which the general public, by encouragement, exercises a
say at this period. They have very little faith in American, powerful influence. The excessive acceleration of the tempo in less in English-made celebrities : but, as one touch of music by orchestral conductors is one of those emphatic signs nature makes the world akin." so a single touch of genuine of the times and constitutes the greatest possible injury to expression, a single brief revelation of true artistic instinct the piece being played. So widely has the innovation spread or acquirement, is enough to disarm them and enlist their that we hear complaints from many quarters made about sympathies at once. the most notable conductors. A few days since our own Paris
The brilliant triumph—for it was nothing less-achieved correspondent protested strongly against the time in which
on Sunday, and confirmed last night (Thursday), by Malle. the finale to the second act of Lucia was taken by Signor Adelina Patti, in the part of Amina, is a remarkable case Bonetti at the Théâtre-Italien, and one or two of the metro- in point. In no former instance that I can remember were politan musical journals urged the same objections. So fast the Parisian connoisseurs more on the alert, more suspicious, was the finale taken, it was said, as completely to render many more insensible to the voice of rumour speaking in praise of of the fiddle passages inaudible, perhaps impossible to play. I one to whom (as to Jenny Lind), the baptism of the French Now, no one doubts that Signor Bonetti is a clever and Capital was yet wanting. To read their papers--- daily, experienced chief of the orchestra ; therefore “these sudden weekly, fortnightly, and monthly-it was easy to perceive starts of his fright us the more.” But, to show that Signor that à failure, or at the least à succès de souffrance, was Bonetti is not a solitary example, we might point to two reckoned on as certain. At the most pre-supposing the chefs-d'orchestre even more renowned than himself, who are most favorable issue-& sort of “ Piccolomini réussie," & occasionally led away by their impetuosity or their eager- « Cabel Italaniasée et perfectionnée," was regarded as possible. ness to produce brilliant effects into very strange departures The “ Bohémienne"-as Malle. Patti was christened, by from the expressed signs of the composers. It is not often the devoted « tail” of certain cantratrices hitherto unable we have to find fault with Mr. Costa's conducting at the (as the “ Bohémienne" has been able) to raise the enthuItalian Opera; but even he, accomplished and expert master siasm of the somewhat apathetic frequenters of a great lyric of the bâton as he undoubtedly is, sometimes lays himself theatre on the banks of the Thames, and to signalise whom open to serious criticism-an instance of which occurred last | by name would interest none of your readers except those season at the Royal Italian Opera in the performance of the who have already guessed them—the "Bohémienre "was to overture to Masaniello, which was taken at such railroad pay a heavy penalty in face of an audience more polite and speed as almost entirely to defeat the executive prowess of more ac
nive prowess of more accomplished than any other audience in the world, perhaps the finest band in Europe. At Her Majesty's for the silly raptures of “Perfidious Albion," on which, if Theatre--as if to establish a rivalry in the “fast” school she plumed herself she would immediately be apprised of Signor Arditi, an admirable and long-tried general of an her error. instrumental force, took so well-known and well-measured a
Then came an audience strange,. piece as the finale to the first act of the Barbiere at such a
And took me from my error .." '.
would doubtless be her exclamation of despair on the day indistinguishable clamor proclaimed the excitement the succeeding her debut. As the fog and smoke of London new reputation "faite a l'Anglaise" had created. The had, on a certain May-morning, proclaimed her famous who second act was the scene of a still greater triumph. The was previously obscure, 80 would the sunshine and clear former cold and ascetic audience were now besides themselves atmosphere of Paris, on a certain November morning, pro- with enthusiasm. The dramatic and intense finale, draclaim her obscure who was previously famous. The clubs matically and intensely portrayed, brought down the curtain and “circles" (including the Jockey club, and the Duc de amid applause that must have made the heart of the young Grammont Caderousse, yesterday acquitted, by an enlight- singer glad, as it plainly made her dark eyes glisten. ened jury at Marseilles, of the voluntary homicide of an Three more recalls ensued, the devoted “Elvino” (Gardoni) Englishman, who chose & pistol and was killed with a gallantly leading on his “ Amina" on each occasion. It is sword); the journals, (including the Moniteur Universal, scarcely requisite for me to say that the last act the descent and the France non-universelle, with Signor Fiorentino, who, from the mill, and the “ Ah non credea," and the “Ah non we are happy to say, has recovered from a paralytic stroke), giunge"—was the culminating point, the Finis coronat opus. the cafès, the boulevards, &c., &c., were evidently of this Again thrice recalled, overwhelmed with plaudits, and opinion. “La Patti fera, Mr. Dillon of The Sport fiasco :" oppressed with magnificent bouquets (one might have and this, while the members of the orchestra and the artists, imagined that summer had come back to witness the (those to whom the success or the failure of the new comer “solemnity"-Spring consigned by Autumn to the care was a matter of personal indifference,) were rubbing their of Winter), the “ Amina ” of the evening retired, to sleep, hands with malicious satisfaction, after the experience of a no doubt, upon a bed of roses. She came, she saw, she rehearsal, in itself the prophecy of triumph.
conquered; they came, they saw, they yielded—not recreant, Well, the night came-the (to our young débutante, whose | but serviteurs dévoués. Thus Adelina Patti has received English, and American, and German, and Belgian laurels the baptism of Paris—which, moreover, has pronounced her were about to be snatched from her girlish brow by the a great actress. Enough for the present.
C. L. unrelenting hand of Parisian dilettantisme) memorable night | P.S.--I may add that Mario will make his first appearance of the 16th November, 1862. The house was thronged by at the Opera, as “Raoul,” not as “Masaniello." The an audience whose excitement before the drop scene was Muette has been postponed, owing to an accident at the feverish and noisy, but who, no sooner were allowed a rehearsal (on Saturday, the 15th), which nearly cost Malle. glimpse of the stage than they became mute as mice-silent Emma Livry (“Fenella") her life. Her clothes caught as stones, rigid as the board of Inquisition, or the inscrutable | fire at the lamps, and she was so severely burnt, that even Council of Ten. Nevertheless, the “ Lisa" of the evening now apprehensions are entertained of her recovery. One (Malle. Danieli, not as one of your correspondents has word of Cosi fan tutte. The singing of Alboni, as created her, “a barytone") was applauded and caressed“ Dorabella," was absolute perfection. More anon. Meanjust as a coquet, who, in her heart, looks up to one man, while I send you the Revue et Gazette Musical. will, to vex him, bestow her favours on another, ever so much his inferior. At length, with elastic step, and artless
Molle. MARIE FLORIANI'S CONCERT.-Among the artists already innocence of mien, “ Amina" tripped before the lamps. engaged by this lady for her grand concert, are Mr. Benedict, Piatti, Not a hand, not a voice, bade her welcome, not a bit of Fortuna, Engel, and Herr Reichardt. encouragement, however trifling, made her feel that she MAYENCE.- As a prelude to the Schiller Festival, Handel's oratorio was in presence of an assembly of ladies and gentlemen to Judas Maccabæus was performed, under the direction of Herr Riehl, in whom she had never given cause of offence, and whom she land of a large number of the members of that from Wiesbaden, under
the theatre. The chorus was composed of the Singvorein of this city was about to make her best efforts to please. “Un accueil | Herr Hagen. The execution of the work was only partially successful, vraiment glacial," said a critic (a Frenchman), whose mind although the choruses, thanks to the fresh voices of the singers, went had already been made up, to an amateur (an Englishman), had already been mode un to an amateur lon Englishman) | well; but we cannot say we were contented either with the tempo,
which, in many instances, was taken too quick, or with the mode of who, with the “phlegme” attributed to his countrymen, looked
conducting adopted by Herr Riehl. The way in which the different on with cool indifference, and merely replied “ Ecoutons." numbers were taken np was frequently deficient in precision; it is true
However disconcerted by such a cavalier reception, the that there was no want of light and shade, but the latter were too young singer, apparently unconcerned, began her recitative.
strongly contrasted, and had a parrot-like effect. The orchestra was
weak and did not always follow the conductor; the accompaniment of A phrase or two sufficed to melt the ice in which the
the recitative was hardly ever precise. Whence IIerr Riehl derived affectedly stern but really generous public had, with ill the right of employing two different tempi in the chorus, No. 21. assumed cynicism, embedded themselves. The “Come per G major, 3: “Dringt ein in die Feinde" is for us an enigma. After me sereno”, speedily followed ; and here a “son filé" (as beginning in the allegro, which he took nearly as a presto, he suddenly, only in the present day Mulle. Patti can perform this
in the middle portion in D major: " That thy pow'r, oh, Jehovah, all
nations may know !" went off into an andante ; then, at the semiparticular feat) scattered all prejudice to the wind, and quavers of the violins in G major, returned to an allegro; next, intro
Brava ! brava! bravissima!" rang through the house. duced the andante, and continued, alternating in this fashion, to the At the end of the slow movement the triumph of the new conclusion--nay, he even had the first eight bars of the postlude for comer was a fait accompli.
the orchestra played allegro, and the last eight andante! With regard
to the solo parts, the best given was that of Judas Maccabæus, sung by I shall not intrude upon the readers of The Musical
Herr Zottmayer, from the Frankfort theatre; the basg singer was World my criticism of an Amina, with the manifold beauties deficient in right conception and correct rendering, especially of the of which they are so well acquainted. It is enough for recitative; he sung, for instance, in No. 8, “ Hinport sei Maccabæus me to state, that the cabaletta was as successful as the
(forte) euer Fürst !" (piano), and, at the end : “And lead us on to
victory” which is wrongly translated, “ Segen"" blessing" being subandante ; and that after the duet with Elvino, which brings
stituted for “ Sieg" • victory”) indulged in a very sentiinental piano. down the curtain upon Act I, Malle. Patti was led on by The two Israelitish women (sopranos one and two), also, were not equal Sig. Gardoni, and hailed with reiterated acclamations, which to their work. They were out of time in the last duet: “ Nein would not subside until she came forward again and again.
niemal beugter wir das įKnie," most consistently from beginning to
end. The best executed piece in the entire performance was the final In the “ foyer," between the first and second acts, all
chorus:“ Hör' uns, o Herr, der Gnade Gott," of the first part.musical and critical Paris congregated ; and a Babel of Niederrheinische Musik-Zeitung.
HER MAJESTY'S THEATRE.
writers which were equally calculated to display Mrs. John Macfarren's The "International Exhibition season" came to a close on qualities as a pianist. Among these was a Caprice de Concert of her
own composition upon the national air of threefold popularity, which Saturday week with a varied entertainment, consisting of Lucia di
is severally claimed by the English, as, “ My lodging is on the cold Lammermoor and a selection from Don Pasquale, Mademoiselle
ground,” by the Scotch, as “ I lo'e na' a laddie but ane," and by the Titiens, who has rarely sung more admirably, played both Lucia Irish, as “ Believe me if all those endearing young cbarms;" the caprice and Norina, delighting the audience as much in the comic as in is eminently brilliant and effective, employing to advantage all the the serious character. At the end of Don Pasquale she introduced modern resources of the instrument, and drawing forth all the beauties (in place of the usual finale) a brilliant valse, the composition of of the theme on which it is founded. It is rare, if not an entirely new Signor Arditi, entitled "L'Ardita"-a wonderful piece of execution, thing, for a lady to appear as a dictactic lecturer; and the clear and which brought down the curtain amid unanimous and hearty emphatic delivery, the unaffected manner and the tone of thorough plaudits. Signor Giuglini was Edgardo in the first opera and earnestness of Mrs John Macfarren, showed her fully equal to the Ernesto in the second ; the other chief characters being variously
arduous task she had undertaken, awoke the warmest sympathies of intrusted to Signors Ubaldi, Badiali, and Bossi—the last of whom, her numerous audience, and elicited their cordial applause. Her
playing of the entire selection was worthy of the character as a pianist a very young man, attempted the part of Don Pasquale. There
which she has already gained-remarkable for clearness and brilliancy was a full attendance...
of touch, and discrimination of the distinct individualities of the different
composers. The instrumental selection was diversified by Miss Eliza MONDAY POPULAR CONCERTS.
Hughes' graceful singing of a Canzonet of Haydn, the song of - Ah, A mere transcript of the programme, with the names of the per-why do we love," from Don Quixote, and one of the Old English Ditties formers, and a statement of the fact that St. James's Hall was, as usual,
that St. James's Hall was, as usual. I which prove, in the words of the lecturer, that our national music is crowded in every part, would ordinarily suffice for a record of these more extensive and more various in character than that of any other concerts. As Herr Joachim is 80 soon to leave us for the resumption country. The entertainment never flagged in interest, and was in of his official duties at Hanover, the commencement of the Monday every respect such a one as a lady could give, and such a one as would Popular Concerts some weeks earlier than usual is a real boon to the be infinitely more attractive at the hands of a lady than from any other London public, who, never slow to recognise talent, show most unmis.) person who could deliver it; it is certain to please wherever it is heard, takeably their appreciation of the great Hungarian violinist. It would and we anticipate that this will be in all places to which such a per: be hardly possible for any capital in Europe to bring together at formance is available, one concert four professors of higher eminence than those who were heard on Monday last, for with Herr Joachim were associated Mr. ORGAN-MUSIC AND ORGAN PLAYING AT BOSTON (AMERIOA).-Mr.J.K, Charles Hallé (than whom there are few pianists of greater ability), Mr. Paine's first concert for the Sanitary Commission took place at the Sims Reeves (who stands alone amongst tenors), and Mr. Benedict(whose West Church (Rev. Dr. Bartol's). There was a good assemblage of reputation as a composer is only equalled by his skill and exquisite earnest listeners. Musically it was an occasion of great and unique in. taste as accompanyist). Moreover, it was Mr. Benedict's first appear- | terest, and altogether a success. The most effective pieces were those ance since his return from the Continent, where we trust he will have in which the full organ was employed, especially the two toccatas by recruited his powers after his long and arduous labours of the past Bach. For these the instrument lent itself more heartily and positively musical campaign. Six pieces comprised the entire scheme. T'he than to the choral variation and the sonata-trio, in which the softer magnificent quintet in G minor of Mozart (allowed by all musicians to stops employed had a certain unsatisfactory dullness and monotony of be one of the finest inspirations of the composer) went to perfection; sound, a lack of that clear, pronounced individuality which goes with indeed, it could hardly be otherwise, with Herr Joachim for leader, sweetness in most of the excellent organs by the same makers. In the and the co-operation of such artists as Messrs. Louis Ries, Webb, Hann, variation, to be sure, the choral melody sang itself upon a reed oboe) and Signor Piatti-all worthy associates of their chief. That the stop of marked quality, which stood off in good contrast against the applause was commensurate with the beauty of the work and the flowing figurative accompaniment; yet the voices mingling intertwined excellence of the performance will be readily conceded. For the eighth in this were dull; no fault of the organist's, whose rendering is always time Mr. Sims Reeves sang that exquisite circlet of love songs, the clear and accurate, keeping the individuality of the parts distinct, and Lieder Kreis of Beethoven, as perhaps no other artist can sing it. binding all together in an artistic complex whole. It was a little unWeber's imaginative and romantic sonata in D minor, introduced for the fortunate that the trio-sonata began immediately after, with a selection second time by Mr. Charles Hallé, well deserved the hearty reception of stops, different indeed, and doubtless the right ones, but yet of so it met with. Again Herr Joachim selected Bach for a display of his essentially the same quality of tone, that the ear was not roused to seize powers, taking the prelude and fugue in A minor for his solo. The hold of the movement with the fresh appetite of contrast. No one, violin fugues of the old Leipsic master bear such a strong family like however, could fail to become interested in the work as it went on. It ness to each other that the motto, "ex uno disce omnes," may be fairly is a beautiful imaginative composition, in E minor, for two manuals and applied to them, and if they do not strike any sympathetic chords in the pedals, each performing the part of one person in the trio. Its the soul of the hearer, must always command admiration for the artist three movements, the first and last quick, the middle one an andante who has the courage to attack such difficulties, and not only vanquish and a lovely one, conform closely enough to the developed Sonata form but cause a demand for their repetition. A new song of Bluinenthal's, of a more modern day. It is one of six such strio) sonatas by Bach, · The Message," was similarly honoured, thanks to the admirable and they are full of the fine poetry, as well as of the euphony and manner in which it was sung by Mr. Reeves, who seems just now in cunning art of music, in which the inspired old master contrapuntist finer voice than ever. Beethoven's trio in G major for pianoforte, violin, stands unrivalled. But the toccatas, in D minor and in F, leaped out and violoncello, brought the sixth concert of the season to a satisfactory with real spring and vigor, salient and solid in their strongly moulded termination. Our readers should bear in mind that Herr Joachim can limbs and muscles ; for the full organ is truly telling, rich and brilliant. only make two more appearances.
What glorious disportings of a free, strong, wholesome fancy those toccatas are! How quaint, full of honest sense and humor! Union of
play and earnest - and how much more rewarding then the forced, A MORNING AT THE PIANOFORTE.
sophisticated feats of modern virtuosity, fantasias, and what not! And This is the naine of a new entertainment which Mrs. John Macfarren vet Bach always is himself; in the fugue he had mastered the vital gave with complete success, at St. James' Hall for the first time on principle and secret of all form in art, just as philosophers have traced Thursday last. Numerous as are the illustrated lectures which are | the spiral through all growth in nature. Fugue had becomc second now before the public, it is no little merit in the one under notice that | nature with him, the readiest, spontaneous method of his whole musical it enters upon a field hitherto untrodden, and it is still more worthy of activity; not an acquired artificial system, a thing of learned pedantry, praise that this new ground is essayed with admirable effect. The but a live instinct of genius, of the rare soul of music in hin. And 30 purport of the entertainment was to enhance the interest of a morning in these free toccatas, these fanciful and flighty touches as it were of cap: spent at the pianoforte, by some personal account of composerg, from tivating themes, ideas, to be played with freely, rather than worked out whose works selections were made for performance, including charac- with exhaustive contrapuntal treatment, he still relapses now and then teristic anecdotes and comments on the specialities of their music; and involuntarily into the fugue habit: for fugue with him is just as free thus to break down, in some degree, the barrier of strangership which as fancy; and each fancy all the more charming that it takes perfect stands between the uninitiated amateur and the musician whose form. These pieces were adunirably played by Mr. Paine; the prewritings he cannot wholly enjoy, while he has no clue to the author's cision, Auency, connected sequence of each part in the harmony, and aim in their production. Conspicuous in the course of the lecture were especially the rapid pedal passages, being fair specimens of what organe some remarks upon Weber, Handel, Haydn, Mendelssohn, Beethoven, playing is in Germany, the land of Bach. We could not help thinking and Thalberg; and the very various styles of these composers were it a defect in the programme, that it did not include at least one regular still further contrasted by the choice of some pieces by less known l organ fugue by Bach; such as the grand ones he has played in former