saal P UZZ

Who but Mozart could have composed the admirable quartet, «Sento, ---- cos! FAN TUTTE.

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

elegy · Un aura amorosa,' sighed forth by Ferrando; and the finale of Mozart's Così fan Tutte, at the Italian Opera :

the first act, which act is at present cut into two? If the score of We ought not to scruple telling the truth in the case of great men, Cosi fan Tutte were not in every library, and in every hand; if, in his especially when they are dead, and we no longer run the chance of Biography of Mozart, Count Oulibicheff had not given a completo killing them with grief. It is, we are aware, the contrary method analysis of it, we should dwell longer than we do on the immense merit which is generally pursued; the living are tortured and the dead left of the work, which is one of the highest order. However, as we unmolested, unless by persons who indulge in spiritualism, and find promised to speak the truth, the whole truth, we must admit that, amusement in conjuring up those who believed themselves buried in Mozart's genius was not adapted for buffo writing, and that, indepeng an everlasting sleep. Who knows? Perhaps, the best way to judge dently of his error in accepting a stupid book, he committed the Mozart would be to consult him, and, by causing his intellect to speak fault of venturing on a style of composition for which he was in to do without intellect one's self.* Alas! We are bound to confess this no way suited. Everything striking and remarkable in the music is a method unavailable for us. We do not possess the rare privilege of springs from tender, passionate, and melancholy inspiration; the rest mediumisation-charming word, the grace and elegance of which seem is scarcely worth mentioning, and the most common-place Italian comto come from the other world! Since, therefore, we are dependent on poser would have endowed, the work with more tranknesss and galego our own resources, we will speak for ourselves, and, even though the though he could not have equalled the continuous excellence and spirit of Mozart revolt at what we say, frankly assert that the great richness of the orchestration. For instance, there is in Cosi fan Tutte, composer was guilty of a capital fault in accepting so detestable a la certain part; that of a soubrette, who first disguises herself as a libretto as Cosi fan Tutte. If, as we have been assured, this odious sub- doctor, to save the lives of the masquerading lovers, supposed to be ject was presented to him by Da Ponte, who had previously given him poisoned, and then dresses up as a notary to bring the two marriage Le Nozze di Figaro and Don Giovanni, there were attenuating circum-contracts, Well; Mozart, the severe Mozart, has not hit upon a single, stances in the case; we know the mental obligations of the composer comic note, a single touch of humour, for these two scenes; he has and the author; perhaps Mozart only accepted against his will: but he given, Despina,' the soubrette, nothing more than two short, ains, was severely punished for what he did, and the punishment is renewed without the slightest value, and which merely increase the amount of every tiine a fresh attempt is made to revive the book and the music the rubbish, scattered in various places and marked by Time witat on the stage. " ictu r e an, ow, its own arms and seal. 19:1611.

lunghi yw . 000 & "'" Cosi fan tutte was performed, for the first time, at Vienna, on the “The execution of Cosi fan Tutte did not, certainly, do injustice to the 16th January, 1790, and, it appears, met with but very moderate music. Mesdames Frezzolini and Alboni sang with all their talenti success." Mozart had always plenty of genius, but not always plenty the parts of Fiordiligi' and. Dorabella; Malle. Marie Batty dismi of money ; his affairs were in a bad state, and his pecuniary difficulties tinguished herself by sly shrewdness, and artisticij perfection, in the: increasing. The work recovered itself a trifle in England, and, for &

unthankful part of Despina;' M. Naudin infused as much soul as yoiço time, enjoyed a certain vogué, In Germany, as in France, it was ll in the delicious air, : Un Aura, which he was called upon to repeat; tolerated, but never liked. Its first production among us dates as far

while Bartolini and Zucchini, likewise ir sustained their respective back as February, 1809, when it was played hy the Italian company

characters extremely well. But it was in vain the artists exerted, adeon: In the month of November, 1820, it was I themselves; they could not succeed in dissipating the feeling of revived at the Théâtre Louvois, Garcia and his wife, Naldi and his ennui and discomfort which, during the third act, spread from one daughter (subsequently Mad. de Sparre), Madlle. Cinti and Pelligrini; cast it among them, and yet, despite this assembly of talented artists, e parre), Madlle, Cinti, and Pelligrini, person to anothor... When the subject of a story is distasteful, good

airs in an opera meet the same fate as witty repartees in a, comedy the revival met with a most melancholy fate, luse melancholy, how they fall to the ground, and no one can pick them, up, again, Our ever, than the catastrophe, which, under the form of a marmite || morals allow that a lover, or a husband, may be unfaithful and get i autoclave, carried away the skull of the unfortunate Naldi, after seven | forgiven; but females of the stamp of Fiordiligi. and, Dorabeliai or 'eight performances. ninh

are only fit to be turned out of doors; withouty dishonquring ourselves For forty-two years, Cost fan Tutte has slumbered in the gloom of I we cannot accord them an amnesty w Dj

. 191112934 oblivion. In fact, it was necessary to send to London for the orchestral l 'It' it

! istiusui 3S1/10 411 ? Jutta IIS349 parts, and the book that wretched book, the cause of all the evil! |

111,7grie - 11

m ! lirali ut bosta u Bois It is by perceiving the immense injury that such a rhapsody has | quropa, I VERDT AT ST. PETERSBURG. insert to go inflicted on the music of Mozart that we can estimate the service Translated froin a letter addressed to the Revue et Gazelle! Musicale) rendered to Rossini's music by Beaumarchais Barbier de Séville. How 30th Octobet cilth November), 1862. The first performance of the could the poor great man, who had written immortal chefs-d'ouvre, orieta composed expresslo for our Italian Opera House by. Verdi, took aņow himself to be blinded by a tissue of absurdities, unworthy of the place last night. lowest booth? -Cosi fan Tutte ! that means

The libretto is founded on a five-act drama, ir prose

they all do so! And and verse by Don Angelo Saavedra, Duke of Rivas, which what is it that all women, without an, exception, dą? officers, Ferrando and Guglielmo, are on the point of marrying two with great success, and which soon made the roun

Two young represented, for the first time, at Madrid, on the 22nd March, 1835,4 young ladies, Dorabella and Fiordiligi, of whose charms and fidelity hathor evidently are his inspiration from the grand romantic dramas, they speak in terms of high praise, Don Alfonso, a sceptical and 1 of which the French public were then 10T passionately fonds par sarcastic old philosopher, persists in asserting that faithful women do, I ticularly from those of Victor Hugo. not exist, and bets the young men 100 sequins that their adored ones walks at each step, side by side with the Burlesque. 11 The work has

In this piece, the Perrible il via

**** the he a DAT17

auunches walks, at each step, side by side with the burlesque. order to leave the place; scarcely have they turned their backs before 1

been adapted for the Italian stage by Piave, who has had to shorten two horrible strangers, Turks or Wallachiany, decked out in monstrous

and alter it considerably. Even as it is, and although reduced to

font aóts, it is still too long, and the habits of our public wil eers moustachios, appear and declare their love. To finish the matter tainly render cutting necessary. u The original title, La Forza de quickly out of hand, they feign to have swallowed some poison or Destinor is tetained, and the scene laid in Spain. Don"Alvares, son other, and come to expire at the feet of their inhuman fair ones. The of the viceroy of Perú has been despatched to Seville to obtain the inhuman fair ones hereupon are touched, the one a little sooner than the other, and both are agreeable to fly with their admiters, when the

pardon of his relations, whó labour undër an aocusation of highs two officers return, and the stratagem is disclosed. Fiordiligi and

| treason for having endeavoured to reconquer their independence for

has seppDonal Leonora dé Vergas, the daughter of the Marquis de Dorabella, in the utmost confusion, blush up to the whites of their eyes; but they are really too eonsiderato , why should they put them

Calatrava; he loves her, and is beloved in return.!. At the rising of

the curtain the woung lady, having granted him selves out of the way with two lovers who are such simpletons as theirsi aust

a rendezvous, o are? Ferrando and Guglielmo, no longer doubting that levery woman is an abominable traitress, can hit upon nothing better than to marry mentisAt the night of the old man Don Alvares hasvarmed himsel

sword in his hand, appears menacingly on the threshold of the apart Fiordiligi and Dorabella, who, after all, are neither better nor worse Bith a pistola buton hearing the cry cofiterror uttered by Leonen, 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

nings away the fatal weapon which rebounds from the ground. ke

ses aff and the ball strikes the Marquis in the hearts v the sende with pieces of incomparable, beauty; a score which is equal to his best works, in numerous fragments, at least, if not on its entirety.

his act, Leonora, who does not understand the accident of which her

O on ta reparety. | father was the victim, and believes her lover guilty of the old man's * antonitetit dhe ins ide

death, has fled from the Château de Vargos, and from Don Carlos The original of the latter part of this sentence runs thus : * et, en faisant het brother, who has sworn to revenge his father's death upon hex and pafler u goto esprit de l'es passer goiimbne" The lat upon the worů | her seducer.boliit ei fi 1T HANDS ent to , 1080p “esprit" cannot be rendered in English. ATRAVALATURI Dantas

* Disguised as a cavalier to escape ther brother's sparnus Lauro

1 200 llam eu toute coach 11977 A MI BEI LUL115) bod ISTIA

NOVEMBER 29, 1862.j.


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knocks at the door of the monastery of Nuestra Senora de los Angeles, by Mad. Barbot and Tamberlik. The second act is divided into two and begs from the father prior the privilege of ending her days in lableaux or scenes. We noticed on the first (the interior of a "posada") an adjacent hermitage, which has been pointed out to her by a monk, a sort of warlike brindisi : “E bella la quorra," súng with much spirit and which is situated in the midst of precipitous rocks. Her demand by Mad. Nantier-Didier, the refrain being repeated by the chorus; is granted, and the whole of the community swear to preserve her and then a recital, in the form of a ballad, by Don Carlos, given with secret. In the third act, Don Alvares has become a captain of great taste by Graziani ; the two artists were applauded. In the second Spanish grenadier's campaigning in Italy. Plunged in melancholy scene, Leonora's cavatina, alternating with the matins sung in the reverie, he hears not far from him the clashing' of swords, and flies to monastery, did not, despite of a fine phrase : - Pieta di me signore," the help of an officer attacked by bandits. He puts the latter to flight, produce much effect. In the duet which follows with the Father and brings back in safety the grateful officer, who is no other than von Superior, the violins, muted, accompany in a most felicitous manner, Carlos de Vargas. After exchanging fictitious names, the preserver Mad. Barbot, who sang the last couplet : “ Eterno iddio," with deep and the preserved' gwear mutually eternal friendship, and leave feeling. In the subsequent number, sung, as a dialogue with the together, to take part in an engagement about to be fought with the chorus of monks, by the Father Şuperior (Angelini), the strain is kept Austrians. These i n 17494758 11 TENA Y D 7h!

up by the violing, interrupted,' from time to time, by the outbursts of *Soon afterwards, Don Alvares, mortally wounded, is brought back the orchestra, which, formulated in bold chromatic scales, imparts great upon a litter. - - Don Carlos will not quit" his new friend, who entrusts breadth and majesty to the finale. to his honoura Bealed paeket, asking him 'to swear he will burn it The third act commences with 'an air in which Tamberlik was in case he should die. A doubt has crossed the mind of Don Carlos warmly applauded; the melody is sustained by a clarionet solo, admion receiving the packet, to which a locket is attached. To clear up rably executed by Cavallini, and deserving a greater amount of notice this doubt, he opens the locket, and in it finds his sister's portrait. "At than it received. The air of Graziani, after he has recognised Don present, certain of not being mistaken, he gives Don Alvares, who has Alvaros in the captain of grenadiers, is terminated by an explosion of escaped death, the time to recover." He then says who he really is, l joy well expressed by the music, and excellently brought out by the and, despite the protestations of innocence made by Don Alvares, artist's fine voice. In the scene of the camp, a pretty chansonnetta, sung obliges him to draw his sword. In this duel again, destiny does its | with much brio by Mad. Nantier-Didier, was called for again. Although, office, and Leonora's brother falls mortally wounded. Don Alvares delivered with a great deal of spirit by Debassini, a buffo air of the flies in affright. In the fourth act, five years have elapsed. Don Alvares Brother Porter made no impression. Nor did the audience receive has come to bury his grief in the monastery of Nuestra Senora de los | very warmly a “ Rataplan," sung by Mad. Nantier-Didier, the refrain Angeles, where he is revered for his holiness. On the other hand, being repeated by a chorus of soldiers, although it was given with great Don Carlos has not perished from his wound. Still following up his precision. Tamberlik and Graziani infused great energy into the plan of vengeance, he, in his turn, knocks at the door of the monastery, challenge which terminates the act, and which ends in Don Carlos to seek out his father's murderer, whose retreat he has succeeded in falling dangerously wounded by his adversary. The stretta, expressing discovering.' HUI -6, 6-1* X T

the regret of Don Alvares and his complaint against 'destiny, is very Here we have a very fine scene, which you may remember having fine. witnessed at the Porte-St. Martin, in 1836. It occurred in a dramia, I. 1. In the fourth act, we have a buffo scene of the Brother Porter, disentitled Don Tuan de Marana, by Alexandre Dumas, and was no doubt tributing soup to the indigent. Debassini displayed in it all his talent borrowed by the celebrated dramatist from the Spanish author. ,,!! as an excellent actor, and all his dash as a no less good singer;, we may

In Vain does Don Carlog overwhelm'hís enemy with insults; in vain mention, also, the very remarkable duet which follows between Debasdoes Don Alvares, now Father Raphael, manifest, on the other hand, | sini and Angelini." This piece is certainly one of the best handled increased'humility; the force' of destiny has not yet fulfilled its task. numbers in the score. The contrast between the yoices is turned to An insult more terrible than all the rest, and offered by Don Carlos no less advantage by the composer in the challenge duet, between Don in the paroxysm of his fary, at length'arouses in Don Alvares all his | Alvares and Don Carlos, which is followed by the final catastrophe. instincts as á nobleman and a soldier. In his turn, he seizes, with 'rage, Tamberlik' rendered with consummate talent all the gradations of the sword brought to him by his adversary, and leaves the sacred feeling through which he is made to pass by the outrages of Don precincts of the monastery to engage in another combat. This takes Carlos, while Graziani' was not inferior to him in the contest, where place at the very foot of the hermitage inhabited by Leonora, and Don his magnificent organ did him such good service. It is a fine morceau. Carlos is stabbed to death before the eyes of his sister, who has run The second scene of this act contains nothing but an air for Leonora. up on hearing the noise. Bat he will not die without having accom- The artists, who, as you have seen, were the élite of the company, plished a portion of his vengeance. At the instant Leonora bends 'were, as a rule, called on after each of their airs. Verdi was led on the down to assist him, he recognises her, and, collecting all his strength, stage by them every time, and, at the fall of the curtain, had to appear plunges his, dagger in her breast, i At this horrid spectacle Don repeatedly again, being then more warmly applauded than during the Alyares feels his reason deserting him. He rushes distractedly to the course of the work, when a certain opposition was manifested against summit of the rocks overhanging the hermitage, and precipitates the recalls. 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 repre- . Despite 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 ; 80 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 aots, 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 Wágner,

"640: 111 760111 have omitted the first, which altogether weakens the highly dramatic.

codiluwi 'onding : R Do effect of the second; the final catastrophe would have gained considerably by such a course. Lastly, the Songs of the Pilgrims, the

BRIGHTON.-M. Edouard de Paris' annual concert took place at the Chaunts of the Monks, and their processions, take up too much room in

Pavilion, in presence of a crowded audience. Most of the performers the work itself, and too much time in the business of the stage. For

were established favourites. Malle. Parepa sang as charmingly as ever,' religious ceremonies to make an impression in a theatre, they should

and was loudly encored in «Scenes that are brightest," from Maritana, be soberly employed. 199sil allt sem mollit ho,

Mdme. Rudersdorff, who sang with her usual "care and skill, was The subject of La Forza del Destino was, doubtlegs, a seductive one

encored in She wore a wreath of roses." Herr Reichardt, in whose" for the maestro: whose talent is particularly partial to violent sitnations, style there is an earnestness which never fails to impress, was encored. to which it is indebted for various great successes. We do not pretend,

| in a very sweet cradle song entitled " Good night," for which 'he after having heard it only once, to pronounce a decided judgment on

substituted 4 Thou art so near and yet so far," both his own composianiopera of such a length. But there is one thing that struck us at

|tions Mrs G. Vining better known to Brighton as Miss Castleton, onpe: in the whole course of the work, there is not a trió, a quartet, or a very pleasing actress' at our theatre some few years ago_made her a concerted piece. The entire opera is a succession of eavatinas, duets

first appearance as a singer on this occasion, giving “I mio figlio," and choruses, ont trop

? !

h app

from Le Prophète, and l'Addio” of Schubert. Herr Kinni, the bass, An introduction of a few bars takes the place of an overture and

sang an air from La Traviata, and the barcarole, “Sulla poppa." Mr. precedes the rising of the curtain. The first act is filled up by a 1 Aplom.mas played a curray,

. Alledumu . Aptommas played admirably on the harp; and M. de Paris performed cavatina of Leonora, which is continued as a duet on the arrival of Don

with his accustomed skill, -Brighton Heralih

we pia


i . Alvares, and terminates in a well accentuated stretta. It was well sung

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our own Correspondents). ICET Nov 27.



| 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 feuilletonistons

Jules Janin, withholds as yet his criticism, promising it for next bilm The brilliant success of Adelina Patti at the Italian Opera and the Monday. I am very sure he will avoid the blunders of his prede-ui unhandsome reception of Mario at the Imperial Opera are the most cessors, and show, that though he makes no pretence to be a profound itel, pro niinent and engrossing subjects of conversation in musical circles 1 or universal scholar, he, has a better grounding in the literature and san. here. But as both will find in your columns a fitter historian than I | history of countries not yet French, than the major part of his go! could be, my 'pen shall more suitably busy itself with other topics, brethren.

indicado a

las agre ably to the Horatian precept, Sumite materiam vestris voi qui : Henri Vieuxtemps is to give a concert at the Salle Herzt on the rox scribitis æquam, &c. 7:11pt

; II.
l e gishi
3rd of December. Der einges the first shok

ibra? First of all you will be glad to learn that poor Emma Livry, who : M. Victorien Sardon, the à la mode for the nónce, has just read a new gol was so severely burnt on the stage of the Imperial Opera, is pronounced play to the actors of the Vandeville, the title of which is to be Lart. by her medical attendants to be out of danger. Her face and bust have, Diables Noirs. M. Sardon is evidently determined to take advantage 1 st. happily sustained no damage from the flames, which, bý her 'swift and of his popularity so long as it lasts-mstrike the iron while hot, as 7 wild running when she found herself on fire, were directed to the we say and brilliant as yet have been the sparksternitted from the las back part of her person, to which her injuries were almost entirely I glowing forge of his genius. It were a pity, however, that this young and confined. When will dancers be induced to adopt a certain method of author should turn himself into a wholesale play manufaeturers - Ho t avoiding the frightful perils to which' they are nightly 'exposed, by should tell these " Diables Noirs" of managers, with their proflued uit. steeping their clothing in some one of the numerous anti-inflammable inoney, to get behind him, and let him give leisure and breath to his i solutions which chemistry offers? The narrow escape of an artist so genius, become great for more than a day, and grow richi at his leisure. 1 buc highly prized as Mdlle. Livry, it is to be hoped, will produce that The Variété has put forth a novelty called Nos Petites Faiblesscko Itsdyk! result which so many minor victims have not sufficed to bring about. turns on the small superstitions which still survive among us, though. 9.**

At the Italian Opera the Lombardi - is being rehearsed for the off perhaps more among the French than the English-tand whicb tarn on se. nights of Molles Patti. M. Naudin and Malle. Guerra will assume lucky days, spilt saltz piebald horses, dreams, omens, and what not a th- principal parts. Lallah Roukh and the Dame Blanche are still There is a great deal of absurdity and broad fun in this trifte, which iloi playing at the Opera Comique, and no change may be expected till the has the advantage moreover of being acted to perfection 7 'i sluje jizix » new opera is produced which M. Vaucorbeil has composed to the Henri Vieuxtemps,will play at his own concert. jasan Bi C.LK mizar “ libretto" of M. Sardon, and which was read the other day to the company

opernia Birgisso n et aidoll bid Pike P. under the title of Bataille d' Amour. The Théatre Lyrique, which for some

Up LC12439x3-dis dara garing spintime past has been engaged in a review of all its achievements during

PROVINCIAL AT LIZBIRDS ou sensibus the last few years, has just revived the Enlèvement du Serait, but with small bonor to the music of Mozart. Of the former east, Bataille 1.

The Morning Journal of Glasgow, date the 21st inst. has a long. only remains; Michoti is replaced by Edmond Cabel, à debutant of

| report of the concert at the City Hall, given by the Land Tour Party d IT promise., The Theatre Lyriqúe will go on with this until the repro. duction of M. Gounod's Fausi, in which Mdmie: Carvalho is to make | Last evening, an entertainment purveyed by our spirited local 715 her first appearance. This is all that is worth telling of in the musical entrepreneur, Mr. Muir Wood, was given in the City Hall, at which the way, save that M, Pasdeloup's Popular Classical Concerty, at the artists were of rare talent, and some of them at the very top of the Cirque Imperiale, are at the same pitch of extraordinary success as tree." To prove this it will suffice to mention Mad. Gassier and ever, and that such success is fully earned by the continued efforts | Madlle. Marie Cruvelli, Madame Arabella Goddard, M. Sainion and of the worthy director to render thein - all that they shoula Signof Bottesini. - The programme was good and varied: - Madame be as regards programme and executants. I perceive, by the way, Gassier's selections were adapted to display her besti capabilities sb ta: that sonje strictures passed by me on a certain feature of one of Malle. Cruvelli in an air from the Favorita exhibited an atnount of ste M. Pasdeloup's programme, has raised him up a wară, if not very | dramatic force that called down no stinted meed of applause. Thas been discreet defender in the Revue et. Gazette Musicale. What I found di tenor was Mr. Swift, who was in good voice, sang well, and was much olak fault with was that a quarteti lof Haydn should be played by a multi- applauded. The instrumental feature of the evening Was Mozart's ab br plicity of the four stringed instruments, instead of by one of each; as Sonata in B Hat for pianoforte and violin, executed in a manner thatod br. intended by the composer. I am answered by the staternent dat M. could not be surpassed by Madame Arabella Goddard and M. Sainton. Isabea Pasdeloup did not invent this mode of misrepresenting a great man's. The last movement, especially deliciously melodions allegrious wast : work. I never said M. Pasdeloup had invented anything, not even al performance to be remembered by all who had the privilege of death i these · Popular Concerts," for which he is reaping 160 much credit. T 1 | hearing it Madame Goddard singly displayed her wonderful genius digni*. said it was bombastic (which is not the same thing as a Charlatanesque, for the piano in a sonata by Woelf, introducing Mozart's cait-Lite letadosle though I am willing to apply that word to it or its equivalent English, us cherish," and, in ,Handel's immortal - Harmonious Blackspuithova *** quackish). I said also it was. “eminently French, meaning that I The latter was rendered with a skill and appreciation beyond compare anormal had observed that nation prone to creating effects and sensations by Signor Bottesini made his first appearance in Glasgow for several sub means not always compatible with taste and a reverence for the works years, and exhibited that mastery over his instrument whieh long ago of masters in their integrity. I am told in answer to this that my placed him at the head of all practitioners is ???

21923 criticism is "excessively English,!' which I take as a compliment, and - The Glasgow Herald, speaking of the same concert, writes: feel that coals are heaped upon my head, live coals, by so Christian-like What can te sav of'Madame Goddard's playing ' If we had heard

Loods and meek a retaliation. And when the advocate of M. Pasdeloup proceeds to remark that by so doing two are playing at the same gaine,, I Her reception was às flattering as it was deserved! Mozart's Sonata

DI.. Pasdeloup | Ariel sing under the influence of Prospero's wand, we might then tell som

e and each is as, truthful and witty as the other, I am disarmied of the bitter retort at the end of my pen, and/space so amiable and courteous

el for piano and violini" was perfection itself, and the fine rendering of all an adversary. Moreover, promptly to do something equally Christian

| Beethoven's Sonata appassionata drew forth an encore, which she like and mansuetudinous, I readily acknowledge that sweeping national

acknowledged by playing the “* Harmonious Blacksmith," which almosti Letre O??!! 972

" 1 procured another.

LUSEL reprobations such as that ill-temperedly indulged-in by me, and good.1.1

sistemu pullarT jo geodes temperedly reproved by the writer in the Revue et Gazette, are vulgar, *

On the following day the same party sped to Edinburgh and beneath a man of taste and discrimination, such as I have a pred gave two concer

gave two concerts in the Music Hall, morning and evening, wluehst tension to be-thought. Are you satisfied, Pasdeloup, and, thy, most the Scotsman deséribes with an eloquent and eulogistio pes. We lamb-like defender? If so, let me say as my last wordt it was wrong, cannot cite the article in extenso, but make the following extracts: very wrong, to give Haydn more fiddles than he asked for living, or The first part was composed of a selection from Beethoven; the would desire dead. ir H e

lliwatt ID INTO!

second was miscellaneone. The instrumental pieces were by far tha oda Henri Vieuxtemps is in Paris subsoil. 5343371 0 01191)

y most attractineur Mdmeq Goddard's first solo, Beethoven's Andante in There has been a new drama at the Odeón called Le Doyen de Saint | F, was a model of graceful and expressive playing, every phrase being Patrick, which takes for its subject the loves of Dean Swift, or rather, 1 rendered with an intelligence which showed how thoroughly she appre. A the very free version of them contained in Dr. de Wailly's semi-'1 ciated the sentiment of the musio i she was engaged in interpreting biographical romance Stellal let Vanessa: That it should be a tissue of Equally great, though in a totally different style, was her performance absurdities is only what was to be expected from the manner in which of Lizi's fantasia on themes from Rigoletto. In this especially was her 1 *** English subjects are treated on all occasions by. French dramatists. clear and brilliant execution most conspicuously exhibited." Such is the But we might have expected from some of the critics, who pass for combined firmness and delicacy of her touch that, while the more being moderately well-instructed, a better knowledge of the character impassioned passagés were given with a power but rarely possessed by a and position of Swift than hias been shown in their notices of the piece, I players of the gentler sex, every note of the pianissimo runs, even when which, while affeeting to go to the original sources of history, go no 1 most rapid and complicated, fell distinctly on the ear. Her only other

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performance on this occasion was in Beethoven's grand sonata for piáno Bottesini's playing seems more wonderful every time he appears. He
and violin, in G, op. 30, terminating the first part of the programme, ' s more than mere wonder-maker-he is a genuine artist, whose taste
in which she was assisted by M. Sainton. Both artistes did ample and feeling are worthy of all admiration. His Duo Concertante, played
justice to this noble composition, M. Sainton's solo was also played in with M. Sainton, was perhaps his finest display, but the fantasias on
masterly style. Signor Bottesini contributed two solos, the one on airs Sonnambula and Lucia airs-especially the latter-were delightful.
from Sonnambula, the other the well-wom * Carnaval." . In both he dis- 1 A notice of a concert given by the same party at Newcastle-upon-
played that marvellous mastery over his instrument for which he is the mus

181 Tyne, must stand over till next week. Meanwhile we beg to
renowned. Mome. Gassier's most successful effort was in an air from
Verdi's Macbeth. Malle. Cruvelli possesses a good voice. Mr. Swift

in acknowledge the receipt of our correspondent's letter. 7

. sang “The Savoyard" and The Stoten Kiss' (Beethoven) very expres-. From the Windsor Royal Standard of Saturday we take they sively... Herr Hermanns reminded us of Herr Fotmes. In the evening following particulars of the performance of The Creation, given by, the programme was even more attractive. Madanre Arabella Goddard the Windsor and Eton Choral Society, at the Town Hall, on gave Woeli's • Ne plus ultra Sonata'and a fantasia by Ascher on Wallace's Thursday, which we are compelled to present in a very condensed Lurline. In the former, the variations to Life let us eherish' were form :played with a brilliancy and finish that were irréproachable. * Ascher's 1. arrangement tasks the powers of the executant very highly, bütévery diffi

.." The first concert of the season of the Windsor and Eton Choral culty was surmounted with an ease that precluded any idea of effort. One

Society was given in the Town Hall, on Thursday evening, when of the gems of the concert was Mozart's Sonata in B flat, for pianoforte

Haydn's Création was performed. The cast was as follows:-Miss E! and violin, à composition abounding from first to last in beauties of the

Wilkinson, Gabriel; Mr. Whiffin, Uriel; and Mr. Lambert, Raphtet. highesti order.'. Nothing could be more thoroughly satisfactory than

The choruses were sustained by the whole body of the vocalists and the manner in which it was played by Mdmé. Goddard and M. Sainton.

instrumentalists, the leaders being Messrs. Day, Rendle, and Shroeder. It wag listened to with breathless attention, and was received with a 1;

The whole of the performance was ably conducted by Dr Elver. burst of applause not more hearty than merited.

This is Mr. Lambert commenced with the recitative In the begivning.

M. Sainton's solo (violing on Scottish airs calls for special mention, not only for the

gentleman's abilities and his powerful voice are so well known that i exquisite style in which it was played, but also for the highly effective

comment would be superfluous. The pieces he excelled in 'were the way in which it is written. The airs introduced are: Wha'll be king

air 'Rolling in foaming billows,' the recit. Straight opening her fertile but Charlie,' · Auld Robin Gray,' and Duncan Gray,' the second of

womb, and the recit. and air Now heav'n. in fullest glory.' Miss which, given with an expression hardly less than vocal, stirred up the

Wilkinson was very expressive in the soprano parts. She snng With audience to enthusiasm. The solo bf Signor Bottesini on airs from

verdure clad' with care and good effect, as she did also On mighty Lucia was faultless. Of the vocal music the most effective morceaux,

pens. The dyets. By thee with bliss' and · Graceful consort were were the Scene Characterisque by Mdme, Gassier, the duet from Guillaume

Texquisitely given, by Miss Wilkinson and Mr. Lambert. It was im ! '

1 possible to speak of the merits of such a large chorus in a small room, me like a soldier fall,' by Mr. Swift. The encores were frecvent but in 1 and that room the worst adapted for concerts that could be found. We !!! every dase most prudently declined." "I!!..ditt.: 1.

may believe, had they been placed in a fitter arena, their performances) d rive il 10TH O N

A un llit i would have been highly satisfactory... As it was, they were far too l ong The Evening Courant (in a long and very interesting notice of numerous. Their singing was deafening. I ne b i bili ne ! the same concert) makes the following remarks on the instrumental ou pa bersirile t here to 31:11] ut PIL,913???! performances ; m,

) silent. Fu il 110 1101/ cotta benis van A VIT : TIT Heles costume stunde 18113 Bua ', - " The instrumental section of the party as far the most satisfactor LIVERPOOL.—The Foreigners' Ball, given recently at St. George's !!! first demands ou attention. ( The music contributed by such a triad of

Hall, was one of the most brilliant affairs of the kind ever remembered in players as Mrs. Davison (née Goddard). M. Sainton, and Signot Bottesini, L

Liverpool. The first part of the entertainment--for "entertainment**!!! could afford no room for adverse criticism. No'lady performer on the

in it was rather than “Ball" proper was devoted to a concert, the prou-! pianoforte stands higher with the public of Britain thani Miss Goddard grammo, of which will satisfy the reader as to its excellence :- * and desetvedly so both as recin her remarkable per a la Terzetto . L'usatojardir". (Semiramide), Madlle. Titiens, Madame w jer and the wood work she has a n indihotincha the cel

Lemaire, and Signor Bossi ; Rossini. Bolero L'Espagnol," Mad. 1 Indeed, of addi pianists, we doubt whether there be any 'who has done |

Lemairer Aria Non piú andrai" (Nozzee di Figaro), Signor Bossi ; ft! more to popularise the works of the great masters-both by giving 1

une Mozart., New Valze L'Ardita ?! (thitd time), Mdlle. Titiens ott 1 a fresh charm to those which were most familiarly known, and by

Arditi Canzone "Chi ini dira !! (Marta), Sigrior Bossi ; Flotow. bringing froin the treasure-house of the past many interesting, but

de Duett-"Trema o yil,!' Malle. Titiens' and Mad. Lemaire'; Arditi. .!!} neglected, compositions. The first part of yesterday morning's concert |

Bio Conductor-Signor Arditi. All the artistes gave their services gra" 11 was devoted to Beethoven's muse, and for the pianoforte were chosen 'a |

tuitously. Of course, Dialle. Titiens was the lionne of the evening ; charming Andante, and a Sonata with the violini. Both were deliciously I ad

Khathe vidlin Roth no camino I and the cynosure of all eyes. Of her singing a local journal 'thugznes rendered with that Jens fingering and finished exorntion which speaks :-“ Malle. Titiens was in splendid voice and sang with a earefulario.'

in the evening the hassictness and finish whieh proved the true artiste and true lady. Though hole characterise Migg Goddara't paving

! giving her services, she seemned if possible more anxious than usual to 11 pieces were å Sonata by Woela and Mozart's Sopata Baat

. pianoforte and yiolin Woeld's Sonata; called Ne plus ultra, a nawe

please hec audience and do justice to the music confided to her, and winį ,

it 'is no wonder that she was eminently successful in both respects on: which was provocative of Dussek's Plus utra-is little more than the familiar air, Life let us cherish, with variations. These are very

She was deservedly, encored in Arditi's: trek Waltz, which she gave":111: ingenious and pretty and played to perfection, as they were, they met 1

with', a clearness and correctness of intonation every way inost 1:34! with genétal acceptance. Variations such as these, and such as those

remarkable. Her noble voice told with admirable effeet in the 'Terzetton];?. a of Mozart on his air in A, and those of Mendelssohn (for the violoncello) |

from Semiramide, and in the duet by Arditi, which she sang in con="/7: ; on an air in D, are quite different from the so-called variations which

1 junction with Mad. Leniaire." But the good people of the town or tır. abound in the present day. The former really vary the air; the latter,

city, which is it? would not be behindhand in 'generosity.' The h116 such as those of Thalberg, merely give the plain air, with other things at

Mayor, Mr. Stoess, and others presented Malle. Titieng with a superb laului the same time, which is a much inferior style of composition, and not

bracelet, Mad. Lemaire with a splendid bouquet, and the gentlenien 13: nearly sovieffective. Having provided a substantial Banquet at both 1 with handsome breast-pins.hanie, Riteit bila orilly ?!!! B181)!!

concerts for lovers (of good music, Miss Goddard added a dessert to L. RELGATE. - The Annual Concert of the Mechanic's Tostitution recently itiline í each in the shape of Liszt's fantasia upon the quartet in Rigoletto, and one by Ascher on airs from Lurline. Both were faultlessly rendered, I kind. The concerted music including Mozart's Symphony in G minor, i test:

e quartet in Kigoletto, and given was exceedingly well attended. The performance was of the best ins? but the latter. afforded the more marvellous exhibition of fairy-fingered Beethoven's overture to Prometheus, Mendelssohn's Symphony in Art delicacy of touch and rapid execution. The basy repose of manner 1 minor, and Rossini's overture tò La Gazza Ladra.. was played by 18th which Miss Goddard maintains through all her performances might be amateurs, assisted by Mr. Lazarus, charionet; Mr. Reynolds, contra iinitated with advantage by many. 12th

in 99 1 Phill basso; Mr. Günther, pianoforte. The whole of the above were ?" Mr. Sainton is so well known, and so much admired here, that eulo10- | effectively given and evidently afforded pleasure to the audience. Miss it go,

. effective gium is unneeded. He met with a most hearty reception, and worthily


Poole was treme did he repay, their greeting by playing in a style so pure, finished, and Mr. Lazarus playeã in tivo duets, and one solo, and was as usual, deil

Poole was extremely successful in four or five of her English songs.ibi. expressive, that fault we have none to find on the forenoon he gave a perfect.


The London Quartet Glee Union sang some of Hatton's u uw beautiful movement by Beethoven and in the evening a fantasia of his

tasia of his part songe, Martin's glée, "Haşte ye soft gales," and the old catchjourbe own on Scotch airs, very nicely written and capitally played... Signor | i Would you know my 'Celia's charms," exceedingly, wellu - Thoncus ont

, concert was very successful, and the Reigate people inay think themi, We

rd only played the Andante and he first movement, the execution of which, nevertheless, is one of her most wonderful orers de force,

"! 80 well performed.

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MONDAY POPULAR CONCERTS. Bibliothek, Vol. IV. p. 1163;*, according to Forkela it was I foris ,


derived from C. Ph. Em. Bach (died 1788) i ande: Johann 1 ST. JAMES'S HALL, un Friedt. Agricolo (died 1774), Sebastian Bach's papil. These

To nhuis Mis I is locd two might certainly have heard the fact from the old man L... ON MONDAY EVENING, DECEMBER 1, 1862. 11 himself, although the story was not published till 1954, 17 ,? b). 4: LAST APPEARANCE BUT ONE (11,99 four years after his deceasey and thirty-sever after the it will 107 of the D e t "? event recorded.'' The second authority is F. W:Marpurg, con l

o s ve! BAOFEN1979 fin 990 d in Legenden einiger Musikheilgen Căln am Rhein, 1786, que s} .MEDIR R T @ A I IIMO P page 292. Marpurg, likewisey absures his readers that he havin74: 1 Westie

inyol 100% se had the story of the contest from Sebastian -Bach's Own Lii s in PROGRAMME. 1 si u sláve birbti į lips; but since the event about seventy years had elapsed. W ILT PART. I,

O 399 QUARTET, In B Hat, for two Vlollos, Viols, and Violoncello 14 Molique.,


Marpurg dresses the story up more than the others, but

Lilagrees with the account given by Mitzler, an the man tact, !' BONG; The Lark ****.. we w M. Joachim, L. Ries, 1. Webb, and Platci.si norite u namely, that Márchand accepted the challenge to a contest

..." o t hate mids Babiks. Dito lapsi in preluding and fugueing ion a given themes but did not ROMANCE, 19 F major, Op. 60, for Violiè solo, with Pianoforte av ostic appear on the day appointed, because, instead of foudoing,

Accompaniment Ed il: sup oyo Haw" Herr Foachim.is, This colletong & , to be secretly and precipitatelyı quitted Dresden, o!)-90T.. 1 NEW SONG,4 A weary: lat is thine titili cho... . 69.916. A. Macfarten. Herr Fürstenau adds nothing new storitho nanecdote A3 Bon VARIATIONS SERIEUSES in the more porno porta abas ob o u besoembarea (f(page: 924), ar unimportant Terrort made by j'HTTPSOE (First time at the Monday Popular Concerts.y quit a cu Fetis, ini: his Article&usJ., S. Bach!". Biographiesa des Le Seu n jau1030mb olisi Bert Papered us $oncly olderov£1 IdMusiciana I.-tand, poto" LL. PART II.

Ad printed by mistakarmpage CIF GRAND OTTET, to dlat, Op. 20, Tor Tour violins.com Violama 10 ls vol 189), the error being that out ofos Field-Marshal Klemag," mu shi and two Violoncellos ST HT 1 1.10 17%. Mendelssohn. w int whose house: Bachis said to have played, the Belgian O i Joachim. L. Riehl Cartodas Wacom Mob. Hanbí. palautet and Piattesavant makes "Count Marshal, ni he soughly Bf_beats to - }? SONG, “ In my wild mountain-valley" (Dily of Killarneyslo. Benedict. Il 1, have quoted the epilogue Ito'ithe i story given by Fetao, and " SONG, "The Farbwo17“ (Viqloncelto obbligato, Sig. Plátti) .... Plaul.

1979 ( which is ito the following effectstz" Their German biogratu 199 9 1 w Mr. Santiey. 11,32119 " dont ils pbers)/ who know Marchand only by the name he made y* QUINTET, JO E flat, Op. 445 for Pianofortev two Violins, Vlola, IA Jagtout himself.s take allpleasure in. dwelling on the fame which to and Violoncello

vuce(First time at the Monday Popular concerts.js.paymenty to Bach gained on this pedasion;t, in feality, howeyerdwo can 7764 aux 77 MM. Pauer, Joachim, L, Ries, H. Webbe and Plattı. s.

T a ilook upon the idea of plaeingAthe French organist spot an tai si tu 1 Conductor's MR. BENEDICTG 61418d9199l equality with the great German musician only asian lesult n

t oletten " rine'T" hto the latter. je Marchand may,' possibly have playeda some2. (

To, commence at Fight oClooki preciselyou can do it what I brilliantlys but his compositions are wretched. I In 11 bullied il TOTT TETT T or Toy ut mi (90) bul them we find only the most common ideast weak, slovenly, os lo buon j (Bota Stella):66.) Baloony, 38,3/Admissipp. LEG 910M sol and incorrect harmony is and A total ignoranee of the fugued igroh se i ling? ErTlokets to be had st", 101199 sta99149792

pod style.di Marchand was so much inferior ita Bachathat, despite 10 hu Messrs. OHAPPELL & CO'S. 50 Nov Bond Street. El his hasty, Alight, it is notb ceftain that he was conseiors of di S h

al his own nonsentity and understood the peril of his critical ugleius loure 1197 h NOTICE'S. I GOTT O Elinboliposition.buta legismonien out ,1sibijb019dell-smo - 01! To ADVERTISERS... Advertisers are informed that for the future - As we are all laware, JS. Bach senti the I Kyrie 3d and Jus the Advertising Agency of The MUSICAL WORLD is established Gloria ' of his dB minor, Masso to the Electorps Friedrich

sr at the Magazing of MessR$a DUNCAN DAVISON & Co.1 244. La gustu le had been known to the 'Electoral Court ki w Regent : Street corner of Little Argyll; Street (First Floor), Lein

s a mad since 1717.; sfori while he was still in Leipsie iar the 12th For Advertisements can be received as late as Thrga q?Glock ROM, OR | May. 17271 when Friedrich August Lo Mas in that sitgi the Ī Fridays -but no later; Payment on deliveryo:):19-91duob slot convictates executed before the Elector's residence in spel's a Hi Terms filwa lines and under abildo owls.6d

999 housely after eight- O'clock/ a Music (Dramas per Mutica) Yill tingin Euéry additional 10, words, an oude good91964,

1 919 Lubý Bachji which the latterl bimself bonducted. Further. jai To POBLISHERS AND COMPOBERA-AUL Music for Repicui in The

HF more, in Dresden; on the 14th Septemberg: 173ks to three P:09MUSICAL WORLD must henceforth be, forwarded to the Editor, S i care of Messrs..PUNCAN, DAVISON & CO244; Regent Street.

244: Recent Street o'clock in the afternoon, nBach/played in therSophienkirche, de A List of every Piece sent for Review will appear on the Saturday before the entire chapel, in suchta manner; Mtbit exery one

See was cota pelled to admire his playing.' In reference to this, in

or 091

od jentacijbane e Į TO CONCERT GIVERS No Benefit-Concert, or Musical Performfithe following Verses' appeared in the Chiriosovi Sadienica

a nce, except of general interest, unless previously Advertised, can (Furstenau, p. 223) Om& odtiadueV. 1191 10 2594 51 9197 Susi s

og Eintangenchmer Bach kann zwar das Ohr ergötzenstevita e reported in The MUSICAL WORLD. LI NIIN TYTTY 7 70 YONISIO BD? nabara(Tot acium

21 2 2Lui squWenn er in Sträuchern hin durch Holie Felsen táufft. I vd oily M TIN DON A WIN INTII AU 09:19 1 W Low 01Allein der Baphinuss man gewiss weit höher schätzer 07 gilt 72 103:41 Ohm Musicali colorld.siisjal w Der mit so hurtger Hand, so wunderbarlich greiptabiegusi 70366 3610innen ICNO e Von*

l o 100') ont ia Mary sagt dass wenn Orpheus,die Laute sonst goschlagene Downed Is LONDON OSATURDAY, NOVEMBER 29, (1862. tl din Hab' alle Thiere er in Wäldern zu sich bracht is

Gewiss, man muss diess mehr von unserni Bache sagen, 91

Weil er sobald er spielt, ja alles staunend macht. ,! Antivala hodiny, TOHANN SEBASTIAN BACH went to Dresden for uw smaadoune w tzwaldim. At diluba the first time, in 1717. There occurred. so it is said. 1 , * See a very interesting article in the Niederrheinische Musik-Zuing, 4111: here, occurred, 802 LA said, in

3 Moriz Furstenau's Worko Zurgeschichte der Minikrind ides i Thaters en sur the oft-related musical contest, out of which he issued Hope zu Dresden (Materials you the History of Music and the Theatre ma v yictorious over the French organist and harpsichard player, the Court of Dresden). Second Volume:q Radii KnatzeDresden 1869. si Joan Louis Marchand. The first account of this contest | 384 pp. 8vo. "Ons i st es detenug 254198 bestia 101 Saivų st

is contained in Dr: L. Christoph Mitzier's Musikalische 1 7 * A pleasant Brook, when running through bashes and over high speed,

in THE M

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