NOVEMBER 22, 1862.] METZLER & CO'S. LIST OF NEW AND POPULAR WORKS FOR THE PIANOFORTE. 6000 233 4 4 0 THE ALEXANDRE HARMONIUMS AT CHAPPELL'S, 50 NEW BOND ST. ALEXANDRE & SON Have taken out a new Patent for the Drawing-Room 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 Toqua difficulty in other Harmoniums. To each of the New Models an additional 80 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. THE NEW CHURCH HARMONIUM, WITH TWO ROWS OF KEYS. These Instruments are a perfect substitute for the Organ; the upper key30 board has a Venetian Swell, and acts as a Soft or Choir Organ, on which a 4 0 perfect diminuendo and crescendo can be produced; and the lower keyboard 8.0 answers the purpose of a Full Organ. The tone of these Instruments more 3 0 closely resembles that of an Organ than any Harmonium yet produced, being 30 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. 8 0 CITI 1. Eight Stops (three and-a half rows of vibrators), Rosewood Case Castles in the Air. Scotch Melody Fantaisie ASCHER. Farewell, but whenever Transcription (Semiramide) Transcription No. THE DRAWING-ROOM MODEL IS MADE IN THREE VARIETIES : 1. Three Stops, Percussion Action, additional Blower, add in Rosewood Case Guineas. 25 ... ... Enchanted Grotto Vesper Dewdrops Fairy Nocturne 4 0 2. Eight Stops 3. Sixteen Stops ditto ditto ditto ditto 25 (the best Harmonium that can be made)..... 60 ... THALBERG. Transcribed 2 6 1 0 Der Neugierige Do. Do. From "L'Art du Chant." As played by the Composer at his Concerts. MESSRS. CHAPPELL have an enormous Stock of the FIVE-GUINEA AND SIX-GUINEA HARMONIUMS, COMPASS, FOUR OCTAVES; 37, 38 & 35 GREAT MARLBOROUGH STREET, W. of the Harmonium at the Royal Academy of Music, &c., &c., together with AND PIANOFORTE AND HARMONIUM WAREROOMS AT No. 16. full descriptive Lists (Illustrated) may be procured on application to CHAPPELL & CO., 49 & 50 NEW BOND STREET. RXIJOLY G Published under the immediate superintendence of the Composer 10 HLWT EXTRACT FROM PREFACE. A great number of Studies for the Pianoforte already exist, solely intended to form the mechanism of the fingers. 876 "In writing a series of short characteristic pieces, I have aimed at a totally different object "I wish to habituate both Students and Amateurs to execute a piece with the expression, grace, elegance, or energy required by the peculiar character of the composition; more particularly have I endeavoured to awaken in them a feeling for Musical Rhythm, and a desire for the most exact and complete interpretation of the Author's intentions. THE EDITION CONSISTS OF FIFTEEN BOOKS, PRICE SIX SHILLINGS, EACH LA T ASHDOWN AND PARRY, 18 HANOVER SQUARE. M. THALBERGS MAX WOCE FOR ORCHESTRA EXHIBITION OVERTURE is now ready, for full orchestra. Price 12s. NEW COMPOSITIONS 03 S1 Stance. By SIGNOR IGNOR GARDONI'S NEW SONG, "Pourquoi." THALBERC'S BALLADEM SI of the Nobility during the present Season, with immense success. Price 2s. 6d. SIMS AN ORIGINAL COMPOSITION FOR THE PIANO. ANIUOPPRICE 48. ongart Meganes IMS REEVES "An exquisite Romance, which no imitator, however ingenious, could have written as quaint, as fascinating, and at the same time as Thalbergian as The Times, anything of the kind that has been produced for years." 102 33 W TA THALBERG'S ART OF SINGING, 511 success. Encored on every M° lique) TZ ALSOTH A NEW SONG," She may smile on Sung Mr. Fists Reaves with unprecedented occasion. Price 38.00 119 quien te BOOSEY & SONS, Holles Street talk to cislite da TOZART'S DON JUAN. 98. BOOSEY ww dot New Series. Price 38. each. When No. 13. Serenade from "Il Barbiere." wet 14. Duet from Zauberflöte." This splendid Edition, the best and cheapest ever published, of Mozart's great- 16. Barcarole from "Giani di Calais," "TOI JOSEPH GODDARD'S PHILOSOPHY OF MUSIC. 16. "La ci darem," and trio, Don Juan."ot rack alay ed 18. Romance from "Otello." иона утяти " Among the hitherto unknown compositions were some selection The Creation," and УЛІМАЯ ИОТЛІМАН-дановят ант YMME bas AH COMPLETE. A Totai? envoy !. loty oloa) OTMAR svi Boosey's SHILLING Editions, boy Printed by HENDERSON, RAIT, and FENTON, at No. 13, Winsley Street, Oxford Street, in the Parish of Marylebone, in the County of Middlesex. THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT SUBSCRIPTION-Stamped for Postage-20s. PER ANNUM Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28, Holles Street, Cavendish Sq. London, W. VOL. 40-No. 48. SATURDAY, NOVEMBER 29, 1862. NGLISH OPERA ASSOCIATION (LIMITED).and every information may be obtained at the Company's Office, 69, Regent Street, and at all the principal musicsellers in town and country. MARTIN CAWOOD, Secretary. ST; December 3rd.-ERIN-GO-BRAGH. "Cead Mille Falthae."-MOORE'S WEL ELSH NATIONAL MELODIES.-Mr. JOHN THOMAS (Pencerdd Gwalia) begs to inform the Public, in answer to numerous inquiries, that the Concerts of mixed National Music now being given at St. James's Hall are in no way connected with his Concerts of Welsh National Melodies, which met with so much success during last season, and of which a performance will be given at St. James's Hall, on Thursday evening, December 18th, in aid of the Lancashire Distressed Operatives. 109, Great Portland Street, 26th November, 1862. 4d. Unstamped. PRICE 15d. Stamped. SALE OF VERY RARE OLD VIOLINS TH IN MR. CHAPMAN'S GREAT ROOM, On 6th December, 1862. See Particulars in the "North British Advertiser." THE GRUEISEN TESTIMONIAL.-The Committee ADLLE. GEORGI will Sing at ST. JAMES' HALL, INSTRUCTIONS ON THE GUITAR, GERMAN MA 2nd December. SINGING, are given by an eminent Professor of Music, at present settled in London, attending Pupils at their own Residences. For Cards of Address and Terms, apply to Messrs. Boosey and Sons, Holles Street, Oxford Street. SHDOWN & PARRY (successors to Wessel & Co.) beg to inform the Profession that they forward Parcels on Sale upon receipt of MADEMOISELLE PAREPPA, in compliance with purposes, may be had, the terms of a prior engagement, has left London for a Provincial Tour. She will resume her engagement at Covent Garden on the 1st January, 1863. 60 Hunter Street, Brunswick Square. 24th Nov., 1862. MRS SIX SOIREES MUSICALES for the PRACTICE OF VOCAL MUSIC in classes. The second will take place at her residence, on Thursday evening, December 3rd. For terms, apply to Mrs. J. Holman Andrews, 50 Bedford Square, W.C. MRS. JOHN MACFARREN will give her New Entertainment, "A MORNING AT THE PIANOFORTE," written by G. A. Macfarren, for the third time at St. James's Hall, on Thursday next, 3rd December, at Three o'clock precisely. Mrs. John Macfarren, assisted by Miss Eliza Hughes, vocalist, will illustrate the lecture with specimens of Handel, Haydn, Beethoven, Weber, Mendelssohn, Thalberg, &c., &c. Tickets and programmes at Chappell's. THE DRECHSLER-HAMILTON FAMILY. TH. Sister Artists, Misses BERTHA and EMMY D. HAMILTON (Solo Violinists), their brother, Master CARL (Solo Violoncellist), and their father, Mr. A. HAMILTON (Viola and Pianoforte), have arrived from the Continent, and beg to intimate that during their residence in this country they are open to engagements for Concerts. Communications to be addressed to Messrs. Chappell & Co., 50, New Bond Street, or to Mesar. Hamilton and Müller, 116, George Street, Edinburgh. post-free, on application. London: 18 Hanover Square. PRIZE MEDAL FOR PRATTEN'S PERFECTED FLUTES, WITH THE OLD SYSTEM OF FINGERING.-BOOSEY & SONS PRIZE MEDAL FOR BOOSEY & SONS' MILITARY BAND INSTRUMENTS, CORNETS, &c.-BOOSEY & SONS have much pleasure in announcing that these instruments have received the Prize Medal of the International Exhibition. An Illustrated Catalogue may be obtained upon application to the manufacturers, BoosEY & SONS, 24, Holles Street, W. 8. "But as for his people", (Israel in Egypt), (Coronation Anthem). From the censer" (Samson). T London: DUNGAN DAVIDSON, & Co. 244, Regent Street, W. THE AIRS, BALLADS, FANTASIAS, QUADRILLES, WALTZES, &c. IN THE OPERETTA OFESS "ONCE TOO OFTEN." 0 4:6 "Oh! Glorious Age of Chivalry." Duet. For Soprano and Contralto. The ChateaJolly Boys.ng by Herr FORMES of Pompernik." Buffa. Sung by Herr FORMES In my "Once too often, or No?" Quartet for Soprano, Centralto, Tenor, and Bass FANTASIAS, QUADRILLES AND WALTZES. Brinley Richards' Fantasia, on "Once too often" "Fontainbleau Quadrille," by Strauss, (Handsomely Illustrated in Colours) "La Belle Blanche Waltz," ditto ... London: DUNCAN DAVISON & CO. 244 Regent Street, W. 2. 6 NEW AND REVISED EDITION. GET 40 DZ 15131 Price 12%. ZO ZADANIA THE VOICE AND SINGING The formation and Cultivation of the Voice for Singing). vt to brezob HOUBY ADOLFO FERRARI to пosebsty afz12 hahreneur bút le 295 ani vlas ila beniste7 924 otpoort has garnar orqaz odTurniq The great and deserved success of this second edition, carefully revised, and enriched with a number of additional exercises, revised, and enriched with brought it, in no long time, to which greatly increase its value.lustrated News Jonge da 851 CM) London: DUNCAN DAVISON & Co., 244, Regent Street, W. "The Message." otsitomry doid New Song by BLUMENTHAL,baer ed izum Sung with great success at the Monday Popular Concerts, by ada lisa, sorg dat at Ar tai pieauton kup dead hente e adw MR. SIMS REEVES. BA Jmbive THE POETRY BY MISS ADELAIDE PROCTERÍ The * 986 46 th tl trom 2 Price 30 moito 950:719qX9 88 „kuÏT answot quit spook, I had a message to send her, nors-ul to sureng But I had my task to finish, And she had gone to rest?sqm (öll sysq bas 101 To rest in the far bright Heaven Oh! so far away from here! It was vain to speak to my darling, BONE STEINS, IN For I knew she could not hear. 1450 3 0 40 40 "Friendship." (Freundschaft.) Quartet for 2 Tenors and 2 Basses. The Lord's Prayer for Soprano, Alto, Tenor, and Bass, with Organ ad lib..... Violin or Violineello in lleu of Clarinet, each "Neart o thee," with Violincello obbligato ... "The Fishermaiden." (Das Fischermädchen) 69 And lay it down at her feet, biwioł esired doidw I placed it, one summer evening, tum total vit 197 On a little white cloud's breastmiloi dan sit y qu But it faded in golden splendour, And died in the crimson westiol yine sud „smit sma I gave it the lark next morning, Sow bus omnis And I watched int and weary, (781 998q) brodə and soars if ploil# sắt n0 •of groped Jusõna And it fluttered to earth no more. But its pinions grew I cried, in my passionate longing, bevolume mid ods Mga Hole Who will carry my love the message My heart desires to setid?s to moist to pincibis art or 3.0 3 0 40 4 0 4 0 1 0 Royal Wedding March. Composed for the marriage of the Princess Royal 915 London: DUNCAN DAVISON & CO. 244 Regent Street, W. Just published, price 3s. MLLE. ADELINA PATTI'S NEW And I heard it float farther and farther, has beed zid♪ Has pass'd through the golden gates adt ai fequique And I know that at last my message on yi789 80 69 73 chał not wantq So my heart is no longer restless, stroy ait of goldenAnd I am content to wait to Jud ; sted goM bra abysl ss & Co. 244 Regent Street, We ord LONDON: DUNCAN DAVISON & CO. WALTZ, "DI GIOJA INSOLITA." Sung with distinguished success by Mlle. ADELINA PATTI, in the operas of "Il Barbiere di Seviglia," "Don Pasquale," &c. &c. The Words by LORENZO MONTERASI, the Music by MAURICE STRAKOSCH, London: DUNCAN DAVISON & Co. 244 Regent Street, W. 21 New Song by J. P. KNIGHT.BALAJEROS 2) tel bas & HO) THE POETRY BY HARRIET POWER. nolaulɔ They are in each breeze. to orpuln sit add to no voice of sadness1101 vit tot ganaquiq T VI.0 Merry hearts chase every sorrow ssd re-vi -us зpodile (From the gloomy dark to-day, EW SONGS BY W. VINCENT WALLACE babam And some preélous Hopes decaye NOVEMBER 29, 1862.] THE MUSICAL WORLD.T H01 202уHOH? ZOITIGA (92174я OKA WE 12 "SINFONIA PROJCA V IHT DIDI(Continued from Page 741) 755 Who does not recollect, also, out of the C minor Symphony, No. V., the transition from the scherzo to the grand Finale in C major, that gem of all instances of preparation? We have The scherzo, on the other hand, affords one of the most remark-here a series of 132 bars sempre pianissimo, ten and eighty of which able instances of the unaccented style of execution, devoid of any (pizzicato) belong to the repetition of the scherzo, and 42 (beginof very the preparation, properly speaking, for the Finale, the crescendo of which does not commence till eight bars before the C major. Here, as also to some extent in the scherzo of the Eroica, there is, among other things, a touch of playful sarcasm and humour conveyed by the sempre piano. The whole of this long series is totally free from any accent, any light and shade; the more uniformly it is played, the more surely does it effect its purpose. gradation of light andccented style long periods in continuous ning with the kettledrum introduced in and the bass in a flat) to piano. The sempre pianissimo and staccato are retained, in the first place, for ninety-one bars, then for twenty-eight, and, in the repetition, for ninety-four more! That the marked minims here (pages 128, et segg.): : Not an part, W way to a note, must dare to play a prominent coquet with the hearer; we have nothing must be rendered with only a slight emphasis, which immediately what has already been said concerning the sfz in the piano, self- reader remember the tenor), until the soulless goings-on with the sinks, in the very same bar, to an almost inaudible piano, is, after to do with the tones of flesh and blood; we sarcastid ghosts of tones, which hop about and why the archly evident. All tendency bass, marked pp, sinks beneath the dread gloom of to the crescendo in these long periods, up A flat of the to the last bar before the fortissimo, must kept under complota night in marked pp., sinks, b This, as experience often proves, is most difficult in the middle is no longer any melody or harpassage of twenty-eight bars after the passage descending towards mony, but simply rhythm, produced by the quiet sounds of the 9, through the gradations of the E flat major triad, in the f (page length, the first violins venture to resound once again, but, kettledrum, the sole faint pulsation of all that is left of life. At 184 and page 156), especially when the second violins begin with the figure:"Heaven knows, sempre piano, for they are still far too frightened to be louder; they are trying to gain a view of things around, but it is not till after twenty-seven bars of timorous climbing that they take courage, and, in the last eight bars, greet, from their high position, loudly and more loudly the streaming light, which bursts forth at the C major, common time. which hurries forward, almost irresistibly, to the crescendo, and yet the latter must not commence even when the figure is taken up by the first violin, as well as by the trumpets and horns at the same time, but only four bars before the fortissimo of the dominant chord (page 137). On the whole, these extended periods, in piano, and without accent, belong to the system of preparing an astounding effect, also first employed by Beethoven, on a grand and, therefore, originally, striking scale. This system of preparation excites the attention of the hearer in an extraordinary fashion; but it is the task of genius not to disappoint. expectation (nascetur ridiculus, mus"), but, all at once, to cause the light, whose brilliancy fills both eye and soul, and extorts an outcry of admiration, to stream in upon the mysterious darkness of the softly whirring and buzzing tones. In the first movement of the frown and cited from the end of the development, the 18-20 bars pp, come under this head, and even the long pianissimo in the scherzo is, after all, nothing more nor less than a preparation for the entrance of the fortissimo. Even as early as in the Symphony, No. I. in C major, Beethoven employed, in the trio of the Minuet, a continuous piano for forty bars; but, in that instance, more in simple opposition to the forte, as Haydn and Mozart, also, have done. The motives, too, of the trio in question, cannot posibly be played by the wind instruments with a total absence of accent, although the figures of the violins must be so played. In system of preparation is already Symphoident in the Finale, pages No. II. in D major, the 143 and 144 (Simrock's Score), and especially after the Double Feronata, page 150 to page 153, in the thirty-four bars, the conclusion of which is : pp But the genius of the master is exhibited still more plainly in preparing for the return of the principal theme in the second part of the first allegro of the B flat major Symphony, No. IV. These fifty-six bars sempre pianissimo (pages 38-45) without any accentuation or gradation of expression, with their enharmonic mutation, the beautifully simple modulation to B flat major, and the mysterious roll of the kettledrums, excite the mind in a wonderful manner, while the crescendo, twelve bars long, which follows the silent expectation thus produced, gradually works it up more and more, until, at the entrance of the theme, joyfully drawing breath, it finds relief, and satisfaction, & VOZIVA ZAJZJU :200204 * From the Niederrheinische Musik-Zeitung. T Finally, many passages, also, in the A major Symphony, No. VII., belong to this category, as well in the first movement vivace, § time, as in the allegretto, time, and then the whole repetition of the scherzo, in F major, eighty-two bars, pianissimo, altogether devoid of light and shade, the previous sharp accent at the commencement and 1 in the middle being entirely dropt-floating past like a recollection, a shadow. use. With regard to the accentuation, we have now to speak only of those cases in which, though, it is true, dynamic as well, its principal effect is rhythmical Hare, too, the sforzando sign is of The sf either strengthens which is of greater importance the ordinary accentuation of the accented part of the bar, serves to create a rhythm opposed to the predominant rhythm, partly by the assistance of syncopated notes, and partly without thend. The object of the composer is not always an alteration of the rhythm, where the accent is placed upon the subordinate part of the bar this kind of accentuation is often only a means of expression, as we have already seen in many examples taken from the Eroica. For instance in the passage, page 13 |