COSÌ FAN TUTTE. Eshar Who but Mozart could have composed the admirable quartet, Sento, oh Dio!' the pathetic air: Smania implacabile: the air sung by The Revue et Gazette Musicale gives the following account of Guglielmo, and the joyous trio which interrupts it; the ravishing Mozart's Così fan Tutte, at the Italian Opera: "We ought not to scruple telling the truth in the case of great men, especially when they are dead, and we no longer run the chance of killing them with grief. It is, we are aware, the contrary method which is generally pursued; the living are tortured and the dead left unmolested, unless by persons who indulge in spiritualism, and find amusement in conjuring up those who believed themselves buried in an everlasting sleep. Who knows? Perhaps the best way to judge Mozart would be to consult him, and, by causing his intellect to speak, to do without intellect one's self.* Alas! We are bound to confess this is a method unavailable for us. We do not possess the rare privilege of mediumisation charming word, the grace and elegance of which seem to come from the other world! Since, therefore, we are dependent on our own resources, we will speak for ourselves, and, even though the spirit of Mozart revolt at what we say, frankly assert that the great composer was guilty of a capital fault in accepting so detestable a libretto as Cosi fan Tutte. If, as we have been assured, this odious subject was presented to him by Da Ponte, who had previously given him Le Nozze di Figaro and Don Giovanni, there were attenuating circumstances in the case; we know the mental obligations of the composer and the author; perhaps Mozart only accepted against his will; but he was severely punished for what he did, and the punishment is renewed every time a fresh attempt is made to revive the book and the music on the stage. Cosi Fan Tutte was performed, for the first time, at Vienna, on the 16th January, 1790, and, it appears, met with but very moderate success. Mozart had always plenty of genius, but not always plenty of money; his affairs were in a bad state, and his pecuniary difficulties increasing. The work recovered itself a trifle in England, and, for a time, enjoyed a certain vogue. In Germany, as in France, it was tolerated, but never liked. Its first production among us dates as far back as February, 1809, when it was played by the Italian company domiciled at the Odéon. In the month of November, 1820, it was revived at the Théâtre Louvois. Garcia and his wife, Naldi and his daughter (subsequently Mad. de Sparre), Madlle. Cinti, and Pelligrini, cast it among them, and yet, despite this assembly of talented artists, the revival met with a most melancholy fate, less melancholy, how ever, than the catastrophe, which, under the form of a marmite autoclave, carried away the skull of the unfortunate Naldi, after seven or eight performances. For forty-two years, Così fan Tutte has slumbered in the gloom of oblivion. In fact, it was necessary to send to London for the orchestral parts, and the book-that wretched book, the cause of all the evil! it is by perceiving the immense injury that such a rhapsody has inflicted on the music of Mozart that we can estimate the service rendered to to Rossini's music, by Beaumarchais Barbier de Schiller or written immortal chefs-d'œuvre, absurdities unworthy of the man, could the allow himself to be blinded by a I elegy Un aura amorosa,' sighed forth by Ferrando; and the finale of the first act, which act is at present cut into two? If the score of Cosi fan Tutte were not in every library, and in every hand; if, in his Biography of Mozart, Count Oulibicheff had not given a complete analysis of it, we should dwell longer than we do on the immense merit of the work, which is one of the highest order. However, as we promised to speak the truth, the whole truth, we must admit that Mozart's genius was not adapted for buffo writing, and that, independently of his error in accepting a stupid book, he committed the fault of venturing on a style of composition for which he was in no way suited. Everything striking and remarkable in the music springs from tender, passionate, and melancholy inspiration; the rest is scarcely worth mentioning, and the most common-place Italian composer would have endowed the work with more franknesss and gaiety, though he could not have equalled the continuous excellence and richness of the orchestration. For instance, there is in Cosi fan Tutte, a certain part; that of a soubrette, who first disguises herself as a doctor, to save the lives of the masquerading lovers, supposed to be poisoned, and then dresses up as a notary to bring the two marriagecontracts. Well; Mozart, the severe Mozart, has not hit upon a single comic note, a single touch of humour, for these two scenes; he has given Despina, the soubrette, nothing more than two short airs, without the slightest value, and which merely increase the amount of the rubbish, scattered in various places, and marked by Time with its own arms and seal.astesnogi sďt 2 199 20 vioi, smon gád The execution of Così fan Tutte did not, certainly, do injustice to the music. Mesdames Frezzolini and Alboni sang with all their talent the parts of Fiordiligi and Dorabella; Malle. Marie Battu dis tinguished herself by sly shrewdness, and artistic perfection, in the unthankful part of Despina;' M. Naudin infused as much soul as voice in the delicious air, Un Aura, which he was called upon to repeat; while Bartolini and Zucchini, likewise sustained their respective characters extremely well. But it was in vain the artists exerted themselves; they could not succeed in dissipating the feeling of ennui and discomfort which, during the third act, spread from one person to another. When the subject of a story is distasteful, goods airs in an opera meet the same fate as witty repartees in a comedy; they fall to the ground, and no one can pick them up again. Our morals allow that 13 of the stamp of Fiordiligi and, Dor that a lover, or a husband, may be unfaithful and yet forgiven; Dorabella are only fit to be turned out of doors; without dishonouring ourselves we cannot accord them an amnestys of prolecnom st for. I v batidului smo od 1 do PAUL SMITH nd I dirsh of baddata, et eolsƆ NOZA VERDI AT ST. PETERSBURG. used to qu 30th October (11th November), 1962. The first per by (Translated from a letter addressed to the Revue et Gazelle Musicale.) opera composed expressly for our Italian Opera House by Verdi, took place last night. The libretto is founded on a five-act drama, in prose represented, for the first time; at Madrid, on the 22nd March, 1835, author evidently drew his inspiration from the grand romantic dramas, with great success, and which soon made the round of Spain. The of which the French public were then so passionately fond, particularly from those of Victor Hugo. In this piece, the Terrible walks, at each step, side by side with the Burlesque. The work has been adapted for the Italian stage by Piave, who has had to shorten four acts, it is still too long, and the habits of our public will cer and alter it considerably. Even as it is, and although reduced to tainly render cutting necessary. The original title, La Foret den Destino, is retained, and the scene laid in Spain. Don Alvares, san of the viceroy of Peru, has been despatched to Seville to obtain the pardon of his relations, who labour under an accusation of high treason for having endeavoured to reconquer their independence. He Calatrava; he loves her, and is beloved in return. At the rising of has seen Dona Leonora de Vergas, the daughter of the Marquis de the curtain, the young lady, having granted hith a rendezvous, has word in his hand, appears menacingly on the threshold of the apart just consented to follow him, when the Marquis, with this drawn ment.At the sight of the old man Don Alvares has armed himself flings away the fatal weapon; which rebounds from the ground le with a pistol, but, on hearing the cry of terror uttered by Lebners, goes off, and the ball strikes the Marquis in the heart. In the second s act, Leonora, who does not understand the accident of which her father was the victim, and believes her lover guilty of the old man's death, has fled from the Château de Vargos, and from Don Carlos,ne her brother, who has sworn to revenge his father's death upon her and her seducer.buited ed nistas eft to niet si sos Disguised as a cavalier to escape hers brother's pursuit, Leonora goue (low enw il pitate betontuous flow a ni betnamızət bax, se zavi ༈:;« lowest booth? Cost Jan means: they all do so! And and verse, by Don Angelo Saavedra, Duke of Rivas, Thich Tr what is it that all officers, Ferrando anden, without Guglielmo, are on the pound of Two young young ladies, Dorabella and Fiordiligi, of whose charms and fidelity point marrying two they speak in terms of high praise. Don Alfonso, a sceptical and sarcastic old philosopher, persists in asserting that faithful women do not exist, and bets the young men 100 sequins that their adored ones will yield most easily. The two officers pretend they have received an order to leave the place; scarcely have they furned their backs before two horrible strangers, Turks or Wallachians, decked out in monstrous moustachios, appear "and" quickly out of hand, they feign declare their love, To finish the matter have swallowed some poison or other, and come to expire at the feet of their inhuman fair ones. inhuman fair ones hereupon are touched, the one a little sooner than the other, and both are agreeable to fly with their admifers, when the two officers return, and the stratagem is disclosed. Fiordiligi and Dorabella, in the utmost confusion, blush up to the whites of their eyes; but they are really too considerate: why should they put themselves out of the way with two lovers who are such simpletons as theirs are? Ferrando and Guglielmo, no longer doubting that every woman an abominable traitress, can hit upon nothing better than to marry Fiordiligi and Dorabella, who, after all, are neither better nor worse than the rest of their sex. A fine conclusion, worthy of the exordium! "On this story, Mozart has written a score which he has interspersed with pieces of incomparable beauty; a score which is equal to his best works, in numerous fragments, at least, if not on its entirety. is knocks at the door of the monastery of Nuestra Senora de los Angeles, and begs from the father prior the privilege of ending her days in an adjacent hermitage, which has been pointed out to her by a monk, and which is situated in the midst of precipitous rocks. Her demand is granted, and the whole of the community swear to preserve her secret. In the third act, Don Alvares has become a captain of Spanish grenadiers campaigning in Italy. Plunged in melancholy reverie, he hears not far from him the clashing of swords, and flies to the help of an officer attacked by bandits. He puts the latter to flight, and brings back in safety the grateful officer, who is no other than Don Carlos de Vargas. After exchanging fictitious names, the preserver and the preserved swear mutually eternal friendship, and leave together, to take part in an engagement about to be fought with the Austrians. Dochitati vlogo Soon afterwards, Don Alvares, mortally wounded, is brought back upon a litter. Don Carlos will not quit his new friend, who entrusts to his honour a sealed packet, asking him to swear he will burn it in case he should die. A doubt has crossed the mind of Don Carlos on receiving the packet, to which a locket is attached. To clear up this doubt, he opens the locket, and in it finds his sister's portrait. At present, certain of not being mistaken, he gives Don Alvares, who has escaped death, the time to recover. He then says who he really is, and, despite the protestations of innocence made by Don Alvares, obliges him to draw his sword. In this duel again, destiny does its office, and Leonora's brother falls mortally wounded. Don Alvares flies in affright. In the fourth act, five years have elapsed. Don Alvares has come to bury his grief in the monastery of Nuestra Senora de los Angeles, where he is revered for his holiness. On the other hand, Don Carlos has not perished from his wound. Still following up his plan of vengeance, he, in his turn, knocks at the door of the monastery, to seek out his father's murderer, whose retreat he has succeeded in discovering. not befitt 757 by Mad. Barbot and Tamberlik. The second act is divided into two tableaux or scenes. We noticed on the first (the interior of a "posada") a sort of warlike brindisi: E bella la querra," sung with much spirit by Mad. Nantier-Didier, the refrain being repeated by the chorus; and then a recital, in the form of a ballad, by Don Carlos, given with great taste by Graziani; the two artists were applauded. In the second scene, Leonora's cavatina, alternating with the matins sung in the monastery, did not, despite of a fine phrase: "Pieta di me signore," produce much effect. In the duet which follows with the Father Superior, the violins, muted, accompany in a most felicitous manner, Mad. Barbot, who sang the last couplet: "Eterno iddio," with deep feeling. In the subsequent number, sung, as a dialogue with the chorus of monks, by the Father Superior (Angelini), the strain is kept up by the violins, interrupted, from time to time, by the outbursts of the orchestra, which, formulated in bold chromatic scales, imparts great breadth and majesty to the finale." The third act commences with an air in which Tamberlik was warmly applauded; the melody is sustained by a clarionet solo, admirably executed by Cavallini, and deserving a greater amount of notice than it received. The air of Graziani, after he has recognised Don Alvaros in the captain of grenadiers, is terminated by an explosion of joy well expressed by the music, and excellently brought out by the artist's fine voice. In the scene of the camp, a pretty chansonnetta, sung with much brio by Mad. Nantier-Didier, was called for again. Although delivered with a great deal of spirit by Debassini, a buffo air of the Brother Porter made no impression. Nor did the audience receive very warmly a " Rataplan," sung by Mad. Nantier-Didier, the refrain being repeated by a chorus of soldiers, although it was given with great precision. Tamberlik and Graziani infused great energy into the challenge which terminates the act, and which ends in Don Carlos falling dangerously wounded by his adversary. The stretta, expressing the regret of Don Alvares and his complaint against destiny, is very fine. 1.In the fourth act, we have a buffo scene of the Brother Porter, distributing soup to the indigent. Debassini displayed in it all his talent as an excellent actor, and all his dash as a no less good singer; we may mention, also, the very remarkable duet which follows between Debassini and Angelini. This piece is certainly one of the best handled numbers in the score. The contrast between the voices is turned to no less advantage by the composer in the challenge duet, between Don Alvares and Don Carlos, which is followed by the final catastrophe. Tamberlik rendered with consummate talent all the gradations of feeling through which he is made to pass by the outrages of Don his magnificent organ did him such good service. It is a fine morceau. The second scene of this act contains nothing but an air for Leonora. The artists, who, as you have seen, were the élite of the company, were, as a rule, called on after each of their airs. Verdi was led on the stage by them every time, and, at the fall of the curtain, had to appear repeatedly again, being then more warmly applauded than during the course of the work, when a certain opposition was manifested against the recalls. **** Here we have a very fine scene, which you may remember having witnessed at the Porte-St. Martin, in 1836. It occurred in a drama, entitled Don Juan de Marana, by Alexandre Dumas, and was no doubt borrowed by the celebrated dramatist from the Spanish author. "In vain does Don Carlos overwhelm his enemy with insults; in vain does Don Alvares, now Father Raphael, manifest, on the other hand, increased humility; the force of destiny has not yet fulfilled its task. An insult more terrible than all the rest, and offered by Don Carlos in the paroxysm of his fary, at length arouses in Don Alvares all his instincts as a nobleman and a soldier. In his turn, he seizes, with rage, the sword brought to him by his adversary, and leaves the sacred precincts of foot of the hermitage inhabited by Leonora, and Don | Carlos is stabbed to death before the eyes of his sister, who has run up on hearing the noise. But he will not die without having accomplished a portion of his vengeance. At the instant Leonora bends down to assist him, he recognises her, and, collecting all his strength, plunges his dagger in her breast, At this horrid spectacle Don Alvares feels his reason deserting him. He rushes distractedly to the summit of the rocks overhanging the hermitage, and precipitates himself down the abyss. He has done all in his power to turn aside You know how luxuriously things are done by the management of this series of misfortunes, but everything has been compelled to yield the Imperial Theatre, which was not untrue to its custom on the to the force of destiny. We have said that, from time to time, comic present occasion. The "getting-up" and costumes are splendid; the scenes are introduced to relieve the sombre and mournful situations. scenery magnificent. The audience noticed especially the scene repreDespite of this, we think that the element of sadness is too predomi-senting in the second act the exterior of the monastery of Nuestra Senora nant. It also struck us that the passion of Don Alvares for Leonora de los Angeles, by moonlight; that representing, in the third act, the is not sufficiently developed. Except in the first act, the heroine Spanish camp, and, above all, that, in the fourth act, of the interior of the appears only at rare, intervals, and then to fly from her lover; so that monastery chapel, with a very fine sunlight effect, The tempest which hatred, the thirst for vengeance, and the fury occasioned by it, are the accompanies the last scene, the wind, the rain, and the lightning, do sole sentiments for three acts, brought to bear upon the spectator. honor to the talents of the machinist and scenic artist, MM. Roller. One duel follows another to the detriment of all the author should and Wagner. S.D. have omitted the first, which altogether weakens the highly dramatic effect of the second; the final catastrophe would have gained considerably by such a course. Lastly, the Songs of the Pilgrims, the Chaunts of the Monks, and their processions, take up too much room in the work itself, and too much time in the business of the stage. For religious ceremonies to make an impression in a theatre, they should be soberly employed. "upl place at the the monastery to engage in another combat. This takes Carlos, while Graziani was not inferior to him in the contest, where The subject of La Forza del Destino was, doubtless, a seductive one for the maestro, whose talent is particularly partial to violent situations, to which it is indebted for various great successes. We do not pretend, after having heard it only once, to pronounce a decided judgment on an opera of such a length. But there is one thing that struck us at once in the whole course of the work, there is not a trio, a quartet, or a concerted piece. The entire opera is a succession of eavatinas, duets and choruses, b ཕོ་མེད་དེའི་ རྩ An introduction of a few bars takes the place of an overture and precedes the rising of the curtain. The first act is filled up by a cavatina of Leonora, which is continued as a duet on the arrival of Don Alvares, and terminates in a well accentuated stretta. It was well sung BRIGHTON. M. Edouard de Paris' annual concert took place at the Pavilion, in presence of a crowded audience. Most of the performers and was loudly encored in "Scenes that are brightest," from Maritana. were established favourites. Mdlle. Parepa sang as charmingly as ever, Mdme. Rudersdorff, who sang with her usual care and skill, was encored in She wore a wreath of roses." Herr Reichardt, in whose style there is an earnestness which never fails to impress, was encored in a very sweet cradle song entitled" Good night," for which he substituted Thou art so near and yet so far," both his own compositions. Mrs. G. Vining better known' to Brighton as Miss Castleton, a very pleasing actress at our theatre some few years ago-made her first appearance as a singer on this occasion, giving "Il mio figlio," from Le Prophète, and l'Addio" of Schubert. Herr Kinni, the bass, sang an air from La Traviata, and the barcarole, "Sulla poppa." Mr. Aptommas played admirably on the harp; and M. de Paris performed with his accustomed skill,-Brighton Herald. The brilliant success of Adelina Patti at the Italian Opera and the unhandsome reception of Mario at the Imperial Opera are the most prominent and engrossing subjects of conversation in musical circles here. But as both will find in your columns a fitter historian than I could be, my pen shall more suitably busy itself with other topics, agreably to the Horatian precept, Sumite materiam vestris voi qui scribitis aquam, &c. First of all you will be glad to learn that poor Emma Livry, who was so severely burnt on the stage of the Imperial Opera, is pronounced by her medical attendants to be out of danger. Her face and bust have happily sustained no damage from the flames, which, by her swift and wild running when she found herself on fire, were directed to the back part of her person, to which her injuries were almost entirely confined. When will dancers be induced to adopt a certain method of avoiding the frightful perils to which they are nightly exposed, by steeping their clothing in some one of the numerous anti-inflammable solutions which chemistry offers? The narrow escape of an artist so highly prized as Mdlle. Livry, it is to be hoped, will produce that result which so many minor victims have not sufficed to bring about. At the Italian Opera the Lombardi is being rehearsed for the off nights of Malle. Patti. M. Naudin and Mdlle. Guerra will assume th principal parts.. Lallah Roukh and the Dame Blanche are still playing at the Opera Comique, and no change may be expected till the new opera is produced which M. Vaucorbeil has composed to the "libretto" of M. Sardon, and which was read the other day to the company under the title of Bataille d' Amour. The Théatre Lyrique, which for some time past has been engaged in a review of all its achievements during the last few years, has just revived the Enlèvement du Serail, but with small honor to the music of Mozart. Of the former east, Bataille only remains; Michot is replaced by Edmond Cabel, a debutant of promise. The Theatre Lyrique will go on with this until the reproduction of M. Gounod's Faust, in which Mdme. Carvalho is to make her first appearance. This is all that is worth telling of in the musical way, save that M, Pasdeloup's Popular Classical Concerts, at the Cirque Imperiale, are at the same pitch of extraordinary success as ever, and that such success is fully earned by the continued efforts of the worthy director to render them all that they should be as regards programme and executants. I perceive, by the way, that some strictures passed by me on a certain feature of one of M. Pasdeloup's programme, has raised him up a warm, if not very discreet defender, in the Revue et Gazette Musicale. What I found fault with was that a quartet of Haydn should be played by a multiplicity of the four stringed instruments, instead of by one of each, as intended by the composer. I am answered by the statement that M. Pasdeloup did not invent this mode of misrepresenting a great man's work. I never said M. Pasdeloup had invented anything, not even these "Popular Concerts," for which he is reaping so much credit. I said it was bombastic (which is not the same thing as "Charlatanesque," though I am willing to apply that word to it or its equivalent English, quackish). I said also it was eminently French," meaning that I had observed that nation prone to creating effects and sensations by means not always compatible with taste and a reverence for the works of masters in their integrity. I am told in answer to this that my criticism is "excessively English," which I take as a compliment, and feel that coals are heaped upon my head, live coals, by so Christian-like and meek a retaliation. And when the advocate of M. Pasdeloup proceeds to remark that by so doing two are playing at the same game, and each is as truthful and witty as the other, I am disarmed of the bitter retort at the end of my pen, and spare so amiable and courteous an adversary. Moreover, promptly to do something equally Christian like and mansuetudinous, I readily acknowledge that sweeping national reprobations such as that ill-temperedly indulged in by me, and goodtemperedly reproved by the writer in the Revue et Gazette, are vulgar, and beneath a man of taste and discrimination, such as I have a pre tension to be thought. Are you satisfied, Pasdeloup, and thy most lamb-like defender? If so, let me say as my last word it was wrong, very wrong, to give Haydn more fiddles than he asked for living, or would desire dead. ioiqare Henri Vieux temps is in Paris. .... There has been a new drama at the Odeon called Le Doyen de Saint Patrick, which takes for its subject the loves of Dean Swift, or rather, the very free version of them contained in M. de Wailly's semibiographical romance Stella et Vanessa. That it should be a tissue of absurdities is only what was to be expected from the manner in which English subjects are treated on all occasions by French dramatists. But we might have expected from some of the critics, who pass for being moderately well-instructed, a better knowledge of the character and position of Swift than has been shown in their notices of the piece, which, while affecting to go to the original sources of history, go no I further than M. de Wailly's novel, which they pillage of false facts, and at the same time treat de haut en bas. The veteran feuilletonist, r Jules Janin, withholds as yet his criticism, promising it for next Monday. I am very sure he will avoid the blunders of his predecessors, and show, that though he makes no pretence to be a profound or universal scholar, he has a better grounding in the literature and history of countries not yet French, than the major part of his brethren. Henri Vieuxtemps is to give a concert at the Salle Herz, on the 3rd of December. M. Victorien Sardon, the à la mode for the nonce, has just read a new play to the actors of the Vandeville, the title of which is to be Les Diables Noirs. M. Sardon is evidently determined to take advantage of his popularity so long as it lasts-strike the iron while hot, as we say and brilliant as yet have been the sparks emitted from the glowing forge of his genius. It were a pity, however, that this young author should turn himself into a wholesale play manufacturer. He should tell these Diables Noirs" of managers, with their proffered money, to get behind him, and let him give leisure and breath to his genius, become great for more than a day, and grow rich at his leisure. The Variété has put forth a novelty called Nos Petites Faiblessesno Italy turns on the small superstitions which still survive among us, though · perhaps more among the French than the English and which turn on lucky days, spilt salt, piebald horses, dreams, omens, and what not. There is a great deal of absurdity and broad fun in this trifle, which has the advantage moreover of being acted to perfection, it cle Henri Vieuxtemps will play at his own concert. 99 a. C.L.K. The Morning Journal of Glasgow, date the 21st inst., has a long report of the concert at the City Hall, given by the Land Tour Party on the 20th, from which we e extract the following: Last evening, an entertainment purveyed by our spirited local entrepreneur, Mr. Muir Wood, was given in the City Hall, at which the artists were of rare talent, and some of them at the very top of the tree." To prove this it will suffice to mention Mad. Gassier and Madlle. Marie Cruvelli, Madame Arabella Goddard, M. Sainton and Signor Bottesini The programme was good and varied. Madame Gassier's selections were adapted to display her best capabilities? Mdlle. Cruvelli in an air from the Favorita exhibited an amount of naa dramatic force that called down no stinted meed of applause. The tenor was Mr. Swift, who was in good voice, sang well, and was much applauded. The instrumental feature of the evening was Mozart's Sonata in B flat for pianoforte and violin, executed in a manner that could not be surpassed by Madame Arabella Goddard and M. Sainton. The last movement, especially-a deliciously melodious allegro was ial performance to be remembered by all who had the privilege of lan hearing it. Madame Goddard singly displayed her wonderful genius for the piano in a sonata by Woelf, introducing Mozart's air- Life let us cherish," and in Handel's immortal Harmonious Blacksmith" The latter was rendered with a skill and appreciation beyond compare, Signor Bottesini made his first appearance in Glasgow for several years, and exhibited that mastery over his instrument which long ago placed him at the head of all practitioners. What can we say of Madame Goddard's playing? If we had heard The Glasgow Herald, speaking of the same concert, writes Ariel sing under the influence of Prospero's wand, we might then tell Her reception was as flattering as it was deserved. Mozart's Sonata for piano and violin was perfection itself, and the fine rendering of Beethoven's Sonata appassionata drew forth an encore, which she acknowledged by playing the "Harmonious Blacksmith," which almost procured another." TA On the following day the same party sped to Edinburgh, and gave two concerts in the Music Hall, morning and evening, which cannot cite the article in extenso, but make the following extracts:-the Scotsman describes with an eloquent and eulogistic pen. We "The first part was composed of a selection from Beethoven; the second was miscellaneous. The instrumental pieces were by far the most attractive. Mdme Goddard's first solo, Beethoven's Andante in F, was a model of graceful and expressive playing, every phrase being rendered with an intelligence which showed how thoroughly she appreciated the sentiment of the music she was engaged in interpreting. Equally great, though in a totally different style, was her performance of Lizi's fantasia on themes from Rigoletto. In this especially was her clear and brilliant execution most conspicuously exhibited. Such is the combined firmness and delicacy of her touch that, while the more impassioned passages were given with a power but rarely possessed by players of the gentler sex, every note of the pianissimo runs, even when most rapid and complicated, fell distinctly on the ear. Her only other performance on this occasion was in Beethoven's grand sonata for piano and violin, in G, op. 30, terminating the first part of the programme, laying την seems more i wonderful every time he appears. He Bottesini's playing s more than mere of all admiration. His Duo Concertante, played, in which she was assisted by M. Sainton. Both artistes did ample and feeling are worth er-maker-he is a genuine artist, whose taste with M. Sainton, was perhaps his finest display, but the fantasias on From the Windsor Royal Standard of Saturday we "The first concert of the season of the Windsor and Eton Choral justice to this noble composition. M. Sainton's solo was also played in Society was given in the Town Hall, on Thursday evening, when Haydn's Creation was performed. The cast was as follows:-Miss E. Wilkinson, Gabriel; Mr. Whiffin, Uriel; and Mr. Lambert, Raphael The choruses were sustained by the whole body of the vocalists and instrumentalists, the leaders being Messrs. Day, Rendle, and Shroeder. The whole of the performance was ably conducted by Dr. Elvey. Mr. Lambert commenced with the recitative In the beginning. This gentleman's abilities and his powerful voice are so well known that comment would be superfluous. The pieces he excelled in were the Straight womb, and the recit. and air Now heav'n in fullest glory Miss Wilkinson was very expressive in the soprano parts. She sang With verdure clad with care and good effect, as she did also On mighty pens. The duets By thee with bliss' and Graceful consort' were exquisitely given, by Miss Wilkinson and Mr. Lambert. It was impossible to speak of the merits of such a large chorus in a small room, letand that room the worst adapted for concerts that could be found. We believe, had they been placed in a fitter arena, their performances would have been highly satisfactory. As it was, they were far too h numerous. Their singing was deafening.quobert B mult om datiwasia) 30 KUPNICIOZygone boo #gini ilf The Evening Courant (in a long and very interesting notice of the same concert) makes the following remarks on the instrumental performances 4 which was prove of Dussek's Plus ultra ** O LIVERPOOL-The Foreigners' Ball, given recently at St. George's 1611 "The instrumental section of the party, as by far the most satisfactory, first demands our attention. The music contributed by such a triad of players as Mrs. Davison (née Goddard). M. Sainton, and Signor Bottesini, could afford no room for adverse criticism. No lady performer on the pianoforte stands higher with the public of Britain than Miss Goddard, and deservedly so, both as regards her remarkable powers as a player and the good work she has done in promoting a taste for classical music. Indeed, of all pianists, we doubt whether there be any who has done more to popularise the works of the great masters-both by giving a fresh charm to those which were most familiarly known, and by bringing from the treasure-house of the past many interesting, but neglected, compositions The first part of yesterday morning's concert was devoted to Beethoven's music, and for the pianoforte were chosen a charming Andante, and a Sonata with the violin. Both were deliciously rendered, with that clear fingering and finished execution, which characterise Miss Goddard's playing. In the evening, the classical pieces were a Sonata by Woelf, and Mozart's Sonata in B flat, for pianoforte and Woelf's Sonata, called Ne plus ultra, a name little more than the familiar air, Life let us cherish,' ons. These are very ingenious and pretty and played to perfection, as they were, they with general acceptance. Variations such as these, and such as thost of Mozart on his air in A, and those of Mendelssohn (for the violoncello) an air in D, are quite different from the so-called variations which abound in the present day. The former really vary the air; the latter, such as those of merely give the with other things at nearly so effective. Having provided a substantial Banquet at both REIGATE. The Annual Concert of Concert of the Mechanic's Institution recently concerts for lovers of good music, Miss Goddard added a dessert to each in the shape of Liszt's fantasia upon the quartet in Rigoletto, and given was exceedingly well attended. The performance was of the bestor one by Ascher on airs from Lurline. Both were faultlessly rendered, kind. The concerted music including Mozart's Symphony in G minor, but the latter, afforded the more marvellous exhibition of fairy-fingered Beethoven's overture to Prometheus, Mendelssohn's Symphony in A delicacy of touch and rapid execution. The easy repose of manner minor, and Rossini's overture to La Gazza Ladra was played by which Miss Goddard maintains through all her performances might be amateurs, assisted by Mr. Lazarus, chrionet; Mr. Reynolds, contraimitated with advantage by many. Fozode derde sorogilletni de datu basso Mr. Gunther, pianoforte. The whole of the above were Mr. Sainton is so well known, and so much admired here, that eulo-effectively given and evidently afforded pleasure to the audience. Miss gium is unneeded. He met with a most hearty reception, and worthily Poole was extremely successful in four or five of her English songs. did he repay their greeting by playing in a style so pure, finished, and Mr. Lazarus played in two duets, and one solo, and was as usual, expressive, that fault we have none to find. In the forenoon he gave a perfect. The London Quartet Glee Union sang some of Hatton's beautiful movement by Beethoven, and in the evening a fantasia of his part songs, Martin's glée, "Haste ye soft gales," and the old catch,or own on Scotch airs, very nicely written and capitally played. Signor "Would you know my Celia's charms," exceedingly well Thon concert was very successful, and the Reigate people may think them fr selves fortunate in having the opportunity of listening to such music so well performed. on the same time a much inferior style bosition, a of not We believe Miss Goddard only played the Andante and the variations, omitting the first movement, the execution of which, nevertheless, is one of her most wonderful "ours de force. MONDAY POPULAR CONCERTS, Bibliothek, Vol. IV. p. 163; according to Forkel it was BONG, "The Lark," ESTE UITION Accompaniment ... Molique. در derived from C. Ph. Em. Bach (died 1788) and Johann Friedr. Agricolo (died 1774), Sebastian Bach's pupil. These two might certainly have heard the fact from the old, man himself, although the story was not published till 1754, four years after this deceasey and thirty-seven after the event recorded. The second authority is F. W. Marpurg, Pin Legenden einiger Musikheilgen, Cöln am Rhein, 1786, page 292. Marpurg, likewise, assures his readers that, he Jhad the story of the contest from Sebastian › Bach's own lips; but since the event about seventy years had elapsed. Marpurg dresses the story up more than the others, but agrees with the account given by Mitzler in the main fact, namely, that Marchand accepted the challenge to a contest &in preluding and fugueing on a given theme, but did not appear on the day appointed, because, instead of so doing, be secretly and precipitately quitted Dresdenne!)-mwoT Herr Fürstenau adds nothing new to the anecdote. As of heroensures (page: 124) an unimportant error made by PFétis in his Article. J. S. Bach" (Biographie des Musiciena I.and not "IL" as printed by mistake page 189), the error being that out of Field-Marshal Fleming," in whose house Bach is said to have played, the Belgian savant makes a "Count Marshal, he ought, at least to have quoted the epilogue to the story given by Fétis, and which is to the following effect." The German biogramphers) who know Marchand only by the name he made himself, take pleasure in dwelling on the fame which Bach gained on this occasion;in reality, however, we can look upon the idea of placing the French organist on an 6. 7 QUARTET, in B flat, for two Violins, Viola, and Violoncello Schumann. rumpetani sur le 1 Conductor MR. BENEDICT & Luandaloo equality with the great German musician only as an jésult to the latter.Marchand may, possibly, have played somewhat brilliantly, but his compositions are wretched. [ In basthems we find only the most common ideas weak, slovenly, and incorrect harmony; and a total ignorance of the fugued style Marchand was so much inferior to Bach, that, despite his hasty flight, it is not certain that he was conscious of his own non-entity, and understood the peril of his critical position/burta leomodiert et astotomediaM-17:00 As we are all aware, J. S. Bach sent the Kyrie and Gloria" of his dB minor Masso tos the Elector Friedrich August Ido He had been known to the Electoral Court since 1717.; for while he was still in Leipsic on the 12th May, 1727, when Friedrich August I was in that city; the 10 Convictores executed before the Elector's residence in Apel's by Bach, which the latter! himself bonducted. Further916 houses after weight-b'clock at Music (Dramas per Musica) more, in Dresden, on the 14th September, 1731, at three o'clock in the afternoon, Bach played in the Sophienkirche, before the entire chapel, in such a manner, that every one Tewas compelled to admire his playing." In reference to this, the following verses appeared in the Curioso Sudanica оп du berely of mutanteayed a tolles TO CONCERT GIVERS No Benefit-Concert, or Musical Penform ance, except of general interest, unless previously Advertised, can (Furstenau, p. 223) silt dua teli to 8-51 be reported in THE MUSICAL WORLD. |