HER MAJESTY'S THEATRE. The "International Exhibition season" came to a close on Saturday week with a varied entertainment, consisting of Lucia di Lammermoor and a selection from Don Pasquale, Mademoiselle Titiens, who has rarely eung more admirably, played both Lucia and Norina, delighting the audience as much in the comic as in the serious character. At the end of Don Pasquale she introduced (in place of the usual finale) a brilliant raise, the composition of Signor Arditi, entitled "L'Arrlita''—a wonderful piece of execution, which brought down the curtain amid unanimous and hearty plaudits. Signor Giuglini was Edgardo in the first opera and Ernesto in the second ; the other chief characters being variously intrusted to Signors Ubaldi, Badiali, and Bossi—the last of whom, a very young man, attempted the part of Don Pasquale. There was a full attendance.

MONDAY POPULAR CONCERTS. A mere transcript of the programme, with the names of the performers, and a statement of the fact that St. James's Hall was, as usual, crowded jn every part, would ordinarily suffice for a record of these concerts. As Herr Joachim is so soon to leave us for the resumption of his official duties at Hanover, the commencement of the Monday Popular Concerts some weeks earlier than usual is a real boon to the London public, who, never slow to recognise talent, show most unuiistakeably their appreciation of the great Hungarian violinist. It would be hardly possible for any capital in Europe to bring together at one concert four professors of higher eminence than those who were heard on Monday last, for with Herr Joachim were associated Mr. Charles Halle' (than whom there are few pianists of greater ability), Mr. Sims Iteeves (who stands alone amongst tenors), and Mr. Benedict (whose reputation as a composer is only equalled by his skill and exquisite taste as accompanyist). Moreover, it was Mr. Benedict's first appearance since his return from the Continent, where we trust he will have recruited his powers after his long and arduous labours of the past musical campaign. Six pieces comprised the entire scheme. The magnificent quintet in G minor of Mozart (allowed by all musicians to be one of the finest inspirations of the composer) went to perfection; indeed, it could hardly be otherwise, with Herr Joachim for leader, and the co-operation of such artists as Messrs. Louis llies, Webb, Hann, and Signor Piatti—all worthy associates of their chief. That the applause was commensurate with the beauty of the work and the excellence of the performance will be readily conceded. For the eighth time Mr. Sims Reeves sang that exquisite circlet of love songs, the Lieder Kreis of Beethoven, as perhaps no other artist can sing it. Weber's imaginative and romantic sonata in D minor, introduced for the second time by Mr. Charles Halle, well deserved the hearty reception it met with. Again Herr Joachim selected Bach for a display of hia powers, taking the prelude and fugue in A minor for his solo. The violin fugues of the old Leipsic master bear such a strong family likeness to each other that the motto, "ex uno disee omnee," may be fairly applied to them, and if they do not strike any sympathetic chords in the soul of the hearer, must always command admiration for the artist who lias the courage to attack such difficulties, and not only vanquish but cause a demand for their repetition. A new song of Bluinenthal's, "The Message," was similarly honoured, thanks to the admirable manner in which it was sung by Mr. Iteeves, who seems just now in finer voice than ever. Beethoven's trio in G major for pianoforte, violin, and violoncello, brought the sixth concert of the season to a satisfactory termination. Our readers should bear in mind that Herr Joachim can only make two more appearances.

A MORNING AT THE PIANOFORTE. This is the name of a new entertainment which Mrs. John Macfarren gave with complete success, at St. James' Hall for the first time on Thursday last. Numerous as are the illustrated lectures which are now before the public, it is no little merit in the one under notice that it enters upon a field hitherto untrodden, and it is still more worthy of praise that this new ground is essayed with admirable effect. The purport of the entertainment was to enhance the interest of a morning spent at the pianoforte, by some personal account of composers, from whose works selections were made for performance, including characteristic anecdotes and comments on the specialities of their music; and thus to break down, in some degree, the barrier of strangership which btanda between the uninitiated amateur and the musician whose writings he cannot wholly enjoy, while he lias no clue to the author's aim in their production. Conspicuous in the course of the lecture were some remarks upon Weber, Handel, Haydn, Mendelssohn, Beethoven, and Thalberg; and the very various styles of these composers were still further contrasted by the choice of some pieces by less known

writers which were equally calculated to display Mrs. John Macfarren'a qualities as a pianist. Among these was a Caprice de Concert of her own composition upon the national air of threefold popularity, which is severally claimed by the English, as, " My lodging is on the cold ground," by the Scotch, as " I lo'e na* a laddie but ane," and by the Irish, as " Believe me if all those endearing young charms;" the caprice is eminently brilliant and effective, employing to advantage all the modern resources of the instrument, and drawing forth all the beauties of the theme on which it is founded. It is rare, if not an entirely new thing, for a lady to appear as a dictactic lecturer; and the clear and emphatic delivery, the unaffected maimer and the tone of thorough earnestness of Mrs John Macfarren, Bhowed her fully equal to the arduous task she had undertaken, awoke the warmest sympathies of her numerous audience, and elicited their cordial appliuse. Her playing of the entire selection was worthy of the character as a pianist which she has already gained—remarkable for clearness and brilliancy of touch, and discrimination of the distinct individualities of the different composers. The instrumental selection was diversified by Miss Elia Hughes'graceful singing of a Canzonet of Haydn, the song of "Aa, why do we love," from Don Quixote, and one of the Old English Ditties which prove, in the words of the lecturer, that our national music is more extensive and more various in character than that of any other country. The entertainment never flagged in interest, and was in every respect such a one as a lady could give, and such a one as would be infinitely more attractive at the hands of a lady than from any other person who could deliver it; it is certain to please wherever it is heard, and we anticipate that this will be in all places to which such a performance is available.

Okoax-mcsic Xsd Obqan Playing At Bostoji (america).—Mr.J.K, Paine's first concert for the Sanitary Commission took place at the West Church (Rev. Dr. Bartol's). There was a good assemblage of earnest listeners. Musically it was an occasion of great and unique interest, and altogether a success. The most effective pieces were those in which the full organ was employed, especially the two toccatas b-< Bach. For these the instrument lent itself more heartily and positively than to the choral variation and the sonata-trio, in which the softer stops employed had a certain unsatisfactory dullness and monotony oi sound, a lack of that clear, pronounced individuality which goes with sweetness in most of the excellent organs by the same makers. In the variation, to be sure, the choral melody sang itself upon a reed.(oboe) stop of marked quality, which stood off in good contrast against the flowing figurative accompaniment; yet the voices mingling intertwined in this were dull; no fault of the organist's, whose rendering is always clear and accurate, keeping the individuality of the parts distinct, and binding all together in an artistic complex whole. It was a little unfortunate that the trio-sonata began immediately after, with a selection of stops, different indeed, and doubtless the right ones, but yet of w essentially the same quality of tone, that the ear was not roused to seize hold of the movement with the fresh appetite of contrast. No one, however, could fail to become interested in the work as it went on. It is a beautiful imaginative composition, in E minor, for two manuals and the pedals, each performing the part of one person in the trio. Its three movements, the first and last quick, the middle one an andaaU and a lovely one, conform closely enough to the developed Sonata form of a more modern day. It is one of six such [trio] sonatas by Bach, and they are full of the fine poetryj as well as of the euphony and cunning art of music, in which the inspired old master contrapuntist stands unrivalled. But the toccatai, in D minor and in F, leaped out with real spring and vigor, salient and solid in their strongly moulded limbs and muscles; for the full orgfcu is truly telling, rich and brilliant. 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, sophisticated feats of modern virtuosity, fantasias, and what not! And yet Bach always is himself; in the fugue he had mastered the vital principle and secret of all form in art , just as philosophers have traced the spiral through all growth in nature. Fugue had become second nature with him, the readiest, spontaneous method of his whole musical activity; not an acquired artificial system, a thing of learned pedantry, but a live instinct of genius, of the rare soul of music in him. And so in these free toccatai, these fanciful and flighty toucket as it were of aftivating themes, ideas, to be played with freely, rather than worked out with exhaustive contrapuntal treatment, he still relapses now ami then involuntarily into the fugue habit: for fugue with him is jnst as free as fancy; and each fancy all the more charming that it takes perfect form. These pieces were admirably played by Mr. Paine; the precision, fluency, connected sequence of each part in the harmony, aad especially the rapid pedal passages, being fair specimens of whit organplaying is in Germany, the land of Bach. Wo could not help thinking it a defect in the programme, that it did not include at least one regular organ fugue by Bach; such as the grand ones he has played in farmer

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10J. Introduction

11. Rondo,11 I'm a model page." Contralto

12. Trio, " Welcome, welcome." Contralto and two ]

13. Grand Scena, " 0 rank thou hast thy shackles." Soprano 13a. Air from Scena, " Now, 'tis not a vision. Soprano

14. Duet,11 As in a dream I wander." Soprano and Tenor

15. Finale, " We are glad to see" (Complete)

•15a. Part Song, " Corin for Cleora dying'' „


18. Introduction and Air," I have brought my daughter." Bat 17. Ballad, MThose withered flowers." Soprano...

'18. ThMV " To th# leeTet." Rnnntnn ■


21a. 29. 23.

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Duo, " To the secret." Soprano and Tenor

Ballad," Lovely, loving, and beloved." Bass

Ballad (Transposed)

Scstetto, '• In mystery shrouded" Soprano, Contralto, Tenor, and three

Basses j ... ... 4 0

Recit. and Air, '* Kight, love, is creeping." Tenor 2 8

Air (Transposed) 2 8

Duet, " Hear me, I must speak." Soprano and Tenor 3 It

Finale, "All to the ball" 5 8

Separate Voeal Parts are published.


Favourite Airs from Wallace's Opera, Zore'« Triumph, arranged by W.

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

Flute Accompaniment to each Book

Berger (Francesco), Fantasia

Glover (Charles W.,) " Night, love. Is creeping" ...

———^— Gems of the Opera

Osborne (G. A.), Fantasia

Richards (B.), '* Those withered flowers"

. Fantasia

Schulthes (Wilhelm), Romanesca

— Intermezzo

Trekell H. Theodore), Fantasia

. 11 Lovely, loving, and beloved"

• "Night, love, is creeping"

adrille, " Love's Triumph," arranged by C. Cootc (Illustrated) alse, ditto ditto tIllustrated) Galop, ditto ditto (illustrated) The Page Polka, ditto ditto flllustratcd) for Military Band, by C. Godfrey, Benr

Other Arrangements in the Press.


... 15 0

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PRIZE MEDAL FOR BOOSEY & SONS' MILITARY BAND INSTRUMENTS, CORNETS, *c—Booset * Soxs hare cues pleasure in announcing that these instruments have received the Prize Medal of tia International Exhibition. An Illustrated Catalogue may be obtained upon epplicauoa to the manufacturers, Booset A Sons, 24, Holmes Street, W.

MOZART'S JUPITER SYMPHONY for Pianoforte, by HUMMEL. Price 2s. full size.

Boosst A Soxs, Holmes Street.

T<HE CECILIAN PITCH PIPE (a new invention), for

I the waistcoat pocket, is superior to all others, being much more powerful" tone than any other at present in use—the pitch does not vary, whether sounded Plata or Forte—is easily repaired, or the pitch altered if required.

Price (any note), 2s. 8d. Post-free.

Boosst A Cmx«, 24 Holmes Street, W.

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BOOSEY'S FIFTY SHORT VOLUNTARIES FOR THE HARMONIUM, arranged by Nordmann from the works of Hard". Mozart, Marcello, Beethoven, Handel, Bach, Hasse, Neumann, GlUck, Siroll, unw. Wolf, Caldara, Clamps, Bassanl, Ac. Price M. 6d. in cloth.

Booset and Boss, Hollos Street.

E SERIOUS SEVEN AIRS (Nos. 1 to 7) with all

the Variations for the Violin. Price Is. Also, for Violin and Piano, a, Sd. Booesr and Bona, HoUea Street,

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From "L'Art du Chant." As played by the Composer at his Concerts.


Part I. Instrumental: Part II. Vocal.

May be had on application.



In every variety at the lowest Cash prices.

! . in ■ • 'rr—:—v*. . ■■ » .;'J ■ •



In great variety from 55 guineas.

I'» ■ • j ' '. - .'.List's Ac. on application.







Hare taken out a new Patent for the Drawing-Boom Harmonium, which effects the greatest improvement they have ever made in the Instrument. The Drawing-Room Models will be found of a softer, purer, and in all respects more agreeable tone than any other instruments. They have a perfect and easy means of producing a diminuendo or crescendo on any one note or more; the bass can be perfectly subdued, without even the use of the Expression Stop, the great difficulty in other Harmoniums. To each of the New Models an additional blower is attached at the back, so that the wind can be supplied by a second person, and still under the new Patent the performer can play with perfect expression.



These Instruments are a perfect substitute for the Organ; the upper keyboard has a Venetian Swell, and acts as a Soft or Choir Organ, on Which a perfect diminuendo and crescendo can be produced; and the lower keyboard answers the purpose of a Full Organ. The tone of these Instruments more closely resembles that of an Organ than any Harmonium yet produced, being rich and pure in quality. The construction is of a simple character, and not likely to be affected by damp, rendering them peculiarly suited to Churches. An additional blower is attached to each Instrument

No. Guineas.

1. Eight Stops (three and-a half rows of vibrators), Rosewood Case ... 45

2. Twenty-two Stops (six rows of vibrators), Rosewood Case ... ... 70

3. Twenty-two Stops (eight rows of vibrators), Rosewood Case, 2J

• Octaves of Pedals 85

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"A great number of Studies for the Pianoforte already exist, solely intended to form, the mechanism of the fingers, i AJ,:-. -7'J "In writing a series of short characteristic pieces, I have aimed at a totally different objec

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"I 'wish to habituate both Students and Amateurs to execute a piece 'with the the peculiar character of the compositiou; mure particularly have I endeavoured to - awaken in them a feeling for Musical Bfcythm, and a desire for the most exact and complete interpretation of the Author's hit

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"An exquisite Romance, which no imitator, however ingenious, could have written—as quaint, as fascinating, and at the bamc time as Thalbergian as anything of the kind that has been produced for years." — The Timet.

*" ■ [



JVfto Seriei. Price 3j. each. JJ
No. 13. Serenade from " II Barbiere."
14. Duet from " Zauberflijte."
16. Barcarole from " Giani di Calais."

16. "Lacidarem," and trio, "Don Juan." i .<iv »<t»

17. Serenade by Gr6try.

13. Romance from "Otello."

"Among the hitherto unknown compositions were some selections from the 'Art of Singing applied to the. Piano,' 'Transcriptions' of Operatic Melodies, arranged in M. Thalberg's ornate and elaborate manner, invaluable to Pianists who believe that the instrument of their choice can, under skilful management, emulate the violin itself in the delivery otcantabik passages.— The Tone).



_T EXHIBITION OVERTIME is now ready, for full orchestra. Price m. Mto Aobkb's GKAND EXHIBITION MARCH, for Orchestra. Trice Ys. 6<L

Booset * 9oxs, Holies Street.


/ Romance. By Sigxob MtmATOM. Song by Sigxob Gabdoxi at the 0— the Nobility during the present Season, with Immense sncccss. Price 2s. (


OIMS REEVES' NEW SONG, "She may smile o

O many." By Howard Gloteb. Sung by Mr. Sins Rkktk* with unpre

success. Encored on every occasion. Price 3s.

Boosbt & Sons, Holies Street.

MOZART'S DON JUAN. Os. Boosey A Sons' New Edition, complete, for Voice and Pianoforte, with English and Italian words. The whole of the Recitatives and Notes of the Author's Instrumentation.

Trice 9s. In eloth (»00 pajres).
This splendid Edition, the best and i

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Printed by Hiwomisox, Rarr, and Fbwtox, at No. 13, Wlnsley Street, Oiford Street, in the Parish of Marylebone, In tlie County of Middlesex.
Published by Jons Hooter, at Uw Office of Boosir 4 8ok», -jo Holies Street.—Saturday, Xottmtur 31, Ml.

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