but the Monday visitors to St. James's Hall- thorough eclectics-are - resumed his post as accompanist, and played the pianoforte part in ready to appreciate sterling music in any and every shape; while Herr | Beethoven's Romance to perfection, Pauer, himself an “ecclectic" in the truest sense, played them with This evening the director advertises an extra performance in aid such spirit and intelligence that the meaning of the composer, recon- of the Lancashire Relief Fund, at which all the artists will play and dite in more than one passage, was clearly and emphatically revealed. sing gratuitously. The last Monday Popular Concert of the Autumn To the same excellent and widely sympathizing professor we were Series," and the last appearance of Herr Joachim (until the summer indebted for Robert Schumann's quintet in E Mat (Op. 44) for piano. of 1863), is announced for Monday. forte and stringed instruments, with which the concert terminated. Not satisfied with introducing this quintet, and with undertaking the pianoforte part himself (in conjunction with the quartet players named

SACRED HARMONIC SOCIETY. above), Herr Pauer offers an elaborate apology for Schumann in the This great institution, the first of its class in the world-having programme. - The English,” he informs us, “have adopted Men commenced operations, the London winter musical season may be said delssohn, but in Germany an equal rank is accorded to Schumann. It to have virtually set in. A more brilliant performance than that which inay arise from affection for Mendelssolin that the English deny took place on Friday night (the 21st inst.) in Exeter-hall under the Schumann's claims, fearing that the recognition of them may interfere direction of Mr. Costa could not possibly have "inaugurated" a new with the justly deserved reputation of their favorite ; but, be this as it series of concerts. There was a densely crowded audience, whose eager may, a comparison should not be instituted between them.” After love of music or at least of sacred music-triumphed over all the which Herr Pauer immediately proceeds to institute a comparison (the personal inconveniences attached to a few hours' sojourn in this least first, we believe, that ever was instituted), and in that comparison comfortable, though not least spacious of our public assembly rooms, satisfactorily shows why Schumann does not and cannot attain the Never was an entertainment of the sort more keenly relished. same popularity as Mendelssohn. Among other things he tells us that The programme was certainly one of uncommon interest, comprising “Schumann, apart from his not having the natural gifts of Men- three masterpieces from diffierent pens, which resemble each other in delssohn, was unable by the use of his talents or his manners to make nothing whatever beyond their abstract musical excellence. These himself popular;" that “if he did not treat popular opinion with were Haydn's first and best Mass, in B flat-through a mistaken sense contempt, he would not consult it;" that “he never had the means of of propriety still denominated in the programmes “ Service"-Menforming for himself a clear idea of what was due to the public," &c., delssohn's “Lauda Sion” wedded to the English version of Mr. winding up with an aphorism, which will hardly cause the mouths Bartholomew, but which might be sung to the Latin text with a of amateurs, not hitherto deeply versed in Schumann's music, to little danger as Mozart's “ Requiem," or Rossini's “Stabat Mater (and “ water:"_

to the evident advantage of the composer, whose music would thus

be provided with its proper medium of expression); and Beethoven's "That which sounds right and interesting in a small study, with a sympathizing only oratorio, Christus am Oelberge-again to an English version, from friend to turn over the leaves, may sound dreary, uninteresting, and even tiresome to an indifferent audience."

the pen of Mr. Bartholomew (a decided improvement on the now judi.

ciously abandoned Engedi, in which the entire meaning of the comNow, all audiences are primâ facie " indifferent," until they are made position was perverted). None of these works were unknown to the acquainted with the merits of a work; and what “may sound dreary, natrons of the Sacred Harmonic Society ; but the idea of combining them uninteresting, and tiresome," will be untempting under any circum- | in a single evening's programme was both new and happy. The stances. Happily, Herr Pauer is a more able (if not more zealous) Mass in B flat is conceived in that happy vein peculiar to the master, champion with his fingers than with his pen; and the best means he

est means he | whose musical illustrations of the Catholic ceremonial are for the can employ to render Schumann's music popular is not to write about greater part as vigorous, consoling, and distinct from “the lugubrious" it but to play it.

as even his quartets and symphonies. Haydn could not easily be grave, The feature of the concert was the magnificent Ottetto of Men

much less desponding; and thus his cheerful and confiding naturedelssohn, performed by Herr Joachim and his coadjutors (MM, Ries, as genial in its devotional aspirations as it was sincere in its artistic Carrodus, Watson, H. Webb, Hann, Paque, and Piatti), with a vigor faith, impressed itself no less vividly upon his contributions to the and brilliancy not to be surpassed. Each movernent showed how Church than upon those intended for the chamber or the orchestra. thoroughly the work had been prepared. The most delicate points A more agreeable and effective contrast to the mass could hardly had been studied with such uniform carefulness that the nicest shades have been found than in the “Lauda Sion" of Mendelssohnof contrast were preserved, every tint in the gorgeously varied “tone composed for the festival of Corpus Christi, and first performed at the picture" being as sharply and as well defined as the masses of Eglise de St. Martin, Liége, just three months before the production orchestral colouring were imposingly and conspicuously prominent. I of Elijah in England (at the Birmingham Festival of 1846). Or this The entire work was listened to with eager attention, and applauded fresh, melodious, and spontaneous hymn we have frequently spoken at with enthusiasm. The performance of the Ottelto this season has been length. It is winning its way into universal popularity more slowly one of the genuine triumphs of the Monday Popular Concerts. As but not less surely, than other works from the same hand, which, if the termination of Herr Joachim's engagement approaches the public of a character more grand and imposing, are by no means more appear to regard him with more and more enthusiasm ; aud indeed,

instinct with original genius. Indeed, no composition more livingly his playing has reached a degree of perfection for which we are wholly reveals the clear intellect, well stored mind, and earnest spirit of at a loss to seek for a precedent. No matter what the music upon Mendelssohn than this comparatively unambitious “Lauda Sion," which he is engaged he shines without a peer, incomparably the first which from one end to the other is a model of graceful beauty. On artist of his day. On dionday, for example, with Beethoven's graceful the Mount of Olives what can be said or written that has not been and unpretending Romance, he as completely entranced and captivated said or written over and over again? Composed in 1800, before his audience as with those prodigious displays of executive skill that Beethoven had wholly freed himself from the absorbing influence of have enabled him to give to the solo fugues and preludes of Sebastian his greatest immediate predecessors, it offers repeated instances of that Bach a vitality and a hold upon the popular sympathy of which the influence--at a later period so resolutely shaken off. In the first duet composer himself when he wrote them considerably more than a (for soprano and tenor) there are even occasional glimpses of the (by century ago) could never have dreamed. Herr Joachim was recalled | Beethoven) not too highly prized Creation in the first trio (for soprano with acclamation at the end of the Romance, and, when he had inodestly tenor, and bass) the spirit of Mozart is everywhere apparent-Mozart, bowed and retired, was as rapturously summoned back again. The

it is true, " Beethovenized," as in the first and second symphonies audience, delighted beyond measure, would on no account forego the and some of the early quartet and pianoforte sonatas, but Mozart for pleasure of listening once more to a performance so replete with charm, all that; while in the last chorus (Hallelujah ") we have plainly a and the performer had no chance but to accede.

reference to Handel. Perhaps only in the opening introduction, Miss Banks was happy in both her songs, and sang both charmingly. recitative, and air (for tenor), and the wonderfully dramatic chorus, That of Glinka (the Russian Schubert, rather than the “Russian with solo (tenor), where the angry menaces of Christ's pursuers are Mozart”) is becoming as great a favorite as any opera ballad, while in mingled with the supplications of His disciples, is the independent calibre superior to 99 out of 100; that from the Lily of Killarney is genius of Beethoven emphatically proclaimed. That the oratorio, one of the most genuine bits of sentiment in an opera full of sentiment. notwithstanding its unsettled style, is a chef d'auvre, is nevertheless Mr. Santley, too, was well provided. In the romance of Signor Piatti unanimously admitted. (the composer himself taking the violoncello obbligato) he was as The interest created by such a programme as we have briefly desuccessful as on the occasion of its first introduction, and in that of scribed will be easily understood by musical readers. Happily, too, the Mr. Mactarren-a genial setting of one of the inost poetical passages in execution was, with rare exceptions, first-rate. The Handel Festival Sir Walter Scott's Rokeby-he exhibited those powers of expression to preliminary practices have done a world of good. In force and vigour which, quite as much as to his fine voice and musical acquirement, he ihe chorus of the Sacred Harmonic Society has for many years been is indebted for the high position he enjoys. Mr. Benedict-whom preeminent; but precision and delicacy such as are now exhibited, every frequenter of these concerts is delighted to welcome back again 1 being less readily attained by so large a body of singers, were much too


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frequently missed. On Monday night, however in the final chorus of a very superior style of taste, elegance, and appropriateness; and some
Mendelssohn's " Lauda Sion," for example-we had reason to note the of the tableaux are exceedingly effective. The last scene in the
-vast improvement in this essential particular, and to wish success to the second act, where the bewildered burgomaster, Groot, sees in the
" Triennial Handel Festival," if on that account alone. Most of the princess what he believes to be his own daughter, is especially striking.
choruses, indeed, were admirably given, pot only in Mendelssohn's and is the one portrayed in the Illustration on page 469.
work, but in the Mass of Haydn and the oratorio of Beethoven. Here Mr. Wallace's new opera will doubtless have a long run. But operag
and there an objection might have been raised; but to signalize the are not played 1050 times in fifteen years like the Green Bushes, or 800
points would be fairly hypercritical. The band was as strong and tiines in one single year like Peep o' Day; and it is said that ling
efficient as ever, the short instrumental prelude to the Mount of Olives before the success of Love's Triumph has been exhausted the compus
being one of the most complete and irreproachable performances of will be ready with another work, while Mr. Balfe has one actually
the evening.

The solo vocalists Mesdames Rudersdorff and Laura Baxter, Messrs.
Wilbye Cooper and Lewis Thomas, all practised artists--did excellent

service in every one of the three pieces. Madame Rudersdorff, besides

The Leeds Intelligencer (date Nov. 29) informs us that a persinging extremely well in the soprano solos of the “ Lauda Sion," sang better than we ever heard her sing till now in the more trying music of

formance of The Messiah in aid of the Lancashire operatives was the Mount of Olives, creating a marked impression in the air (with

given on Saturday evening under the auspices of the Leeds Town chorus) « Prize your Redeemer's goodness," which was loudly and

Hall Concert Society, the proceeds being devoted for the benefit of deservedly applauded. Mr. Wilbye Cooper delivered the arduous reci.

the operatives in the cotton districts. The room was filled in every tative and air at the opening of the same oratorio with equal spirit and

part. With a spirit worthy of the occasion Miss Banks, Miss Helena intelligence: and the less arduous tasks assigned to Madame Laura

Walker, Mrs. Lockey, Mr. Wilbye Cooper, and Mr. Winn had Baxter and Mr. Thomas in the course of the evening (there is no con

volunteered their services as principals, and there was a full band trallo part in the Mount of Olives) were accomplished with thorough

and chorus, numbering in all 250 performers, Dr. Spark officiating as efficiency. This programine, as one of the most successfully combined

conductor, Mr. C. E. Willing, organist at the Foundling Hospital, &c., among the miscellaneous selections occasionally in request, deserves to

London, at the organ. The choruses were given with effect, and

“For unto us a child is born," the " Hallelujah," and the grand final be repeated. That it pleased every one present is indisputable.

chorus “ Worthy is the Lamb," were well rendered. Miss Banks sung

the pieces allotted to her with sweetness, and in the air, “I know LOVE'S TRIUMPH.

that iny Redeemer liveth," narrowly escaped an encore. Miss Helena Love's Triumph is advertised to be played three times a week, and

Walker and Mrs. Lockey acquitted themselves remarkably well, the

former singing the recitative, « There were shepherds," and the its success hitherto has increased in some respects at each fresh repre

latter, " He shall feed his flock," with all the pathos and touching sentation. This success will last all the longer now that Miss Louisa

sweetness that could be desired. Mr. Winn sang the bass songs in Pyne has determined not to fatigue her beautiful and proportionately

good style; and Mr. Wilbye Cooper as solo tenor, was loudly delicate voice by singing regularly every night. Four representations,

applauded, especially in the recitative, “ Comfort ye, comfort ye, my with two entirely different characters to sustain in each, are certainly

people," and the air, “Thou didst not leave," both of which were enough for Miss Pyne in one week,

well sung. The band was under the leadership of Mr. Haddock. We The two characters allotted to our celebrated soprano in Love's

understand that the receipts amounted to nearly £100. Trinmph have not, by-the-way, made the impression on the public that

The Kentish Independent informs us that on Tuesday evening a must have been intended by the author. Every one renders justice to Mr. Planché as regards the execution of the libretto in a mere literary

concert was given at the School Room, Rectory Place Chapel,

Woolwich, by the ladies and gentlemen who meet to practice vocal point of view. It is in the conception that he has failed, or rather he

music, under the superintendance of Madame Ernestine Smythe. The has misconceived what the French author, whose story he has borrowed,

audience consisted of the most influential inhabitants of the town. The had conceived clearly enough. This comes of wishing to be original

proceeds were to be sent to Burnley, in Lancashire. The choruses and at the wrong time and in a wrong manner. In MM. Mélesville and

anthems were executed with effect and precision, and the selection from Laya's comedy of Le Portrait Vivant, a young lady and a young lady's

Mozart's 12th Service was creditable to all employed. The solos were, portrait play prominent parts, and every one understands that the portrait and the young lady are quite distinct. In Mr. Planché's

two by Madame Smythe, “O rest in the Lord," from Elijah, and the

“ Morning prayer" from Eli. The latter gained a vehement encore, a adaptation of the said comedy, a young lady and another young lady are so much alike that no one can tell one from the other. They have

compliment justly due to the admirable taste and finished style of the

singer. Mr. Mansfield also sang a tenor air from Elijah, giving promiso the same features, the same voice, and, being represented by Miss

of becoming an accomplished vocalist. The whole proceedings were Louisa Pyne, sing in a style quite peculiar to themselves, and unap

ap directed and conducted by Mr. James Smythe, the talented band master proachable on the part of other young ladies. We do not say that, with an immense deal of attention, it is still impossible to understand

of the Royal Artillery, with great energy, affording an evening of pure

enjoyment, coupled with the satisfaction, to both performers and Mr. Planche's plot; but we do say that, on the whole, it is a very mystifying concoction, and that the third act is a puzzle which it takes

audience, that they were helping a holy, charitable work. After the

conclusion, a vote of thanks was moved by Mr. Richardson, and carried a great deal of trouble to find out. The Burgomaster's daughter comes

by acclamation, to Mr. Smythe, and his lady, for their earnest services, in and goes out. The Princess does the same and comes in. Then the Princess goes out and comes in, and the Burgomaster's daughter

grauitously rendered. The proceeds amounted to above £16. does the same, until the good people who are reading Mr. Planché's libretto, instead of listening to Mr. Wallace's music, do not know what M. SCUDO, who, with all his merits, is often curiously pedantic, makes to make of the affair, and while they are endeavouring to solve the the following remarks in his article ou Auber, and on himself: “If it mystery lose some of the best pieces in the opera. It has been sug- suited us to reply to opponents of no authority, we could easily prove to gested by an intelligent contemporary that the part of Theresa (the them that no artist of merit ever found us insensible to his efforts, and Burgomaster's daughter) might as well be cut out, saving as much of that no one feeis enthusiasm more readily than ourselves for things and the music as it may please Miss Pyne to retain, and transferring it to men worthy of admiration." Of course M. Scudo does not feel the part of the Princess. Somehow or other, the duality of Miss Pyne enthusiasın for what appears to him unworthy of admiration. In short, ought certainly to be done away with.

he admires what he does admire, and all persons who admire what he The manner in which Mr. Wallace's opera is performed and put does not admire are “opponents of no authority."--Barbagriggia. upon the stage reflects the highest credit on all concerned. Of Miss NAPLES.--The San Carlo was re-opened at length on Tuesday last Louisa Pyne's admirable singing we have already spoken, and we with Norma, and the same grand opera was given again on Thursday. believe we have mentioned, what in any case we may here repeat Steffanoni, the prima donna, was applauded to the echo. The tenor was a that Mr. Harrison gains great applause both as a vocalist and as an Sicilian, Signor Sirchia, almost a débutant, for I believe he has not sung actor by his effective assumption of a naturally very slight part, to elsewhere than in Turin. His voice is beautiful, though it requires which he contrives to impart considerable importance. Miss Laura cultivation, and the story which is going about throws an additional Baxter continues to be encored in the tinsel-liku operatic “gem" given interest around him. Formerly an attorney-general in some district to the page a gem which will, nevertheless, be set in all sorts of keys, in Sicily, he refused to execute some orders of the notorious Manisfor all sorts of instruments and voices. Mr. Weiss gives out the bass calchi, and emigrated. After thirty months' study he has appeared on music with becoming effect; and Mr. Corri as the Dutch burgomaster the stage, and the Neapolitans are warm in their adıniration of him. sings vigorously, and inoves about the stage with an agility which Sirohia is engaged for the season. The storm in San Carlo is there. shows that other requisites being forthcoming-he would be well fore abated, and the Neapolitans are gloating over the boccone (tit-bit) suited to play the part of the hero in Herr Wagner's Der Fliegender which has been given them, apparently forgetful of their resolution to Lollündkr. The scenery, costumes, and other accessories are got up in I drive out the Sopraintendente.

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... Beethoven.

· Tbe Musical World..



To ADVERTISERS.--Advertisers are informed, that for the future REGENT STREET AND PICCADILLY.

the Advertising Agency of THE MUSICAL WORLD is established


Regent Street, corner of Little Argyll Street. (First Floor).

Advertisements can be received as late as I hree o'Clock P.m., on Grand Extra Concert

Fridays--but no later. Payment on delivery. ON SATURDAY EVENING, DECEMBER 6, Trova s Two lines and under ... ... ... 2s. 6d.

ka ( Every additional 10 words ... ... 6d. LANCASHIRE RELIEF FUND;


MUSICAL WORLD must henceforth be forwarded to the Edilor, On which occasion the whole of the Artists have volunteered their services.

care of MESSRS. DUNCAN DAVISON & Co., 244, Regent Street. Programme.

A List of every Piece sent for Review will appear on the Saturday

following in THE MUSICAL WORLD. PART I. QUARTET, in C, No. 6, for two Violins, Viola, and Violoncello Mozart

To CONCERT GIVERS.-No Benefit-Concert, or Musical PerformMÁ. Joachim, L. Ries. H. Webb, and Piaiti.

ance, except of general interest, unless previously Advertised, car SONG," Sleep, thou infant angel" ... Miss Banks.

be reported in THE MUSICAL WORLD. RECIT. and ROMANCE,“ The Colleen Bawn" (Lily of Killarney) Benedict.

Mr. Santley.
SONATA, in A flat, Op. 26 (containing the Funeral March), for

Pianoforte Solo
Mr. Charles Halle."

1.—The author of the papers on the Opéra Comique is abroad. PART II.

They may possibly be resumed, although we have some idea that ANDANTE, in F, for Violin Solo, with Pianoforto Accomp. ... Spohr.

the history was brought down to the present day, and therefore Herr Joachim.

virtually terminated. SONGS, “Who is Sylvia ?" “ Hark! hark, the lark" ... ... Schubert.

Miss Banks.
VARIATIONS, in D flat, Op. 83, for Four Hands on the

Pianoforte ...

... ... Mendelssohn...
Mr. Charles Halle and Herr Pauer.

On the 3rd instant, the wife of Mr. CHARLES LONSDALE, of Old SONG, “The Bell-Ringer" ... ... ... ... ... W. V. Wallace. | Bond Street, aged 68.

*** Mr. Santiey.** TRIO, in B flat, for Pianoforte, Violin, and Violincello ... ... Beethoven,

MM. Charles Hallé, Joachim, and Piatti.

Conductor, Mr. BENEDICT.

To Commence at Eight o'clock precisely. The printing and attendance will be done free of expense; the incidental expenses LONDON: SATURDAY, DECEMBER 6, 1862. will be defrayed by Messrs. CHAPPELL & Co. and the gross proceeds of the Concert handed over to the Fund. Donations received by Mr. S. ARTHUR CHAPPELL, 50, New Bond Street. Sofa Stalls, 10s. Bd. and 58. each. Balcony, 36. Admission. ls.

THE Amateur Musical Society is defunct and almost for

11 gotten; but the “Wandering Minstrels" live and are MONDAY POPULAR CONCERTS, / working towards the same end, on, as we are inclined to ST. JAMES'S HALL.

think, more reasonably legitimate grounds. The concerts

of the old society were, after all, but mongrels, the part ON MONDAY EVENING, DECEMBER 8, 1862. allotted to professional players, (and occasionally to proLAST APPEARANCE

fessional singers), without being of any very evident OF

service, robbing them of that unspotted amateur-comHERR JOACHIM

plexion which alone could have engaged the sympathy of IN LONDON,

people not themselves “exhibitors." While the principal

wind instruments were in the hands of paid musicians, AND

eminent in their art, and other professional aid was soli

cited, the performances were not good-or, to speak plainly, PROGRAMME.

they were, in frequent instances, decidedly bad. Although PART. I.

the entire control of the orchestra, both at rehearsals and at QUARTET, in D minor, for two Violins, Viola, and Violoncello Schubert. concerts, was vested in one stick, that stick being denied

MM. Joachim L. Ries, H. Webb, and Piatti. PRIERE ET BARCAROLE (L'Etoile du Nord) ... ...

the irresponsible command of an imperial sceptre,

... Meyerbeer. Madlle. Florence Lancia

things did not always go well-or, to speak plainly, they SONGS, “Stars of the summer night," "I know thou dost

frequently went ill. ... Molique.

The stick, in short, was not in fault, ...

but the system, which-under the successive reigns of SONATA, in A flat, Op. 39, for Pianoforte alone ... ... ... Weber. Mr. Charles Hallé.

Lucas, Negri, Balfe, Osborne, and H. Leslie, all sticks PART II.

more or less illustrious indifferently appeared. The last SARABANDE AND BOURRÉ, in B minor, for Violin alone Bach.

(H. Leslie) was decidedly the most useful, not so much (First time at the Monday Popular Concerts.) Herr Joachim.

because more efficient than his predecessors as because SONG, "The Message" ... ... .. .. "

Mr. Sims Reeves.


endowed with more authority. Nevertheless, let whatever

BI SONG, “The Merry Flower Girl"

stick preside (even Costa, Berlioz, Mellon, Bennett, BeneMadile, Florence Lancia.

dict, or Manns-choose which you may) the constitution was SONATA, in A, Op. 47, dedicated to Kreutzer, for Planoforte and

unsound-illogical, indeed. In the end time must beat Mr. Charles Halle anü Herr Joachim *** Beethoven.

stick, instead of stick beat time; and what could possibly Conductor - MR. BENEDICT.

come of that? Were our Horace at hand, we might cite a To commence at Eight o'clock precisely.

hacknied passage from the Ars Poetica, which would hit the Sofa Stalls, 68.; Balcony, 39.; Admission, is. Tickets to be had of Mr. AUSTIN, at the Hall, 38 Piccadilly; and of

nail right in the midst of the head. N'importe; we have a Moura. CHAPPELL & co., 60 Now Bond stronto. I word to say about the "Wandering Minstrels.".

The Last Concert before Christmas.

love me" ...


Sims Reeves


- Violin

ve Charles Halle

The “Wandering Minstrels” go directly to the point. ture, in two movements-is not only highly creditable to the First, they are “wandering minstrels," inasmuch as they musical talent of its composer, the Hon. Mr. Seymour travel about from town to town, where fancy impels them, like Egerton (who, besides writing music, conducts, and plays their namesakes of old—with this difference, that in place of on several instruments), but has ample claims to be heard craving for alms they dispense them, instead of playing for where no indulgence would be asked for on the plea of its money they play for love-and charity. Next, they are being the work of an amateur. what they would pass for-simply, though not simple, amateurs. They draw exclusively upon their own resources, not seeking for professional backers-up, nor summoning pro

MHE death of James Sheridan Knowles, the celebrated :fessional drums and trumpets. They amuse themselves,

1 dramatist, recorded in this week's obituary, will not delight their friends, and are ready at all times to stretch take the public by surprise. He was in his seventy-ninth out a helping hand in favour of any and every good cause. / year, and had been suffering from chronic rheumatism for Thus, respecting themselves, they are entitled to respect. more than two years. He had borne his long sufferings The professors who were unable, however willing to be of with exemplary patience, and it is gratifying to know that any service to them, as co-executants, in their quasi-public his last moments were unattended with pain.

. periodical performances, can be of infinite use to them as

Sheridan Knowles is entitled to the highest position instructors. We are the last to throw cold water upon any among English dramatic writers of the nineteenth century. scheme which is calculated to bring the noble and wealthy

No one wrote so much-no one so well. Some plays by classes in immediate communication with professional music individual authors may, perhaps, in some respects bear cians. The more they come together, the more. we most comparison with the best of Sheridan Knowles's ; but The

religiously believe, they will learn to esteem each other. But Love Chase, The Hunchback, Virginius, and William Tell , we have certainly a better opinion of the present plan than will outlive the finest productions of modern genius. That of its precursor. Whereas, to listen to one of the concerts Sheridan Knowles should have tu of the Amateur Society-if only on account of its formality, tion to literature was not to be wondered at. His and in some sort pretentious character—was occasionally father was author of the English dictionary which goes by something like what is meant by “an infliction,” to hear a his name, and he was closely connected with the Sheridan performance of the “Wandering Minstrels” is positively an family.. He commenced writing early, but a

family. He commenced writing early, but his youthful enjoyment. Such an enjoyment was vouchsafed to a tolerproductions do not seem to have found any especial favor. ably numerous assembly on Thursday night, when the sub

One of his first plays, if not his very first, Brian Boroimhe, joined programme of instrumental music was performed :- was produced in Dublin, and met with but partial success,

though founded on one of the most stirring incidents of Overture ............... Le Cheval de Bronze................. Auber.

ancient Irish history, the Battle of Clontarf. From Irish Cantata ...... ............... La Carità..................... Rossini. (Cornetti, Messrs. Mitford, Breedon, and Tatham.)

history. Sheridan Knowles passed to Roman, and borrowed Violin Solo ............... Scène de Ballet.................. De Beriot.

therefrom his first-and, according to some authorities, his (Mr. D'Egville.)

best historical drama, Caius Gracchus. Virginius and William Adagio ................ from Symphony, No. 3............ Mendelssohn.

Tell-indebted in no small degree to Macready's powerful Horn Solo ................... Ave Maria ..................... Schubert. (Hon. S. Egerton.)

and original acting—brought the dramatist' into immediate Overture ................... Guillaume Tell.................. Rossini,

notice, and his plays became exceedingly popular. How(Oboe, Mr. Selby. Flute, Capt. Le Patourel.)

ever, it was not until the production of The Hunchback

that the fame of Sheridan Knowles reached its present Overture ..................... Endymion...................... S. Egerton, W.M. height, which was further confirmed by Love and The Love Méditation......... sur le lère Prélude de Bach ......... Gounod.

Chase. The latter drama, indeed, exhibited Sheridan (Piano, Capt. Le Patourel. Violin, Mr. Mendes. Oboe, Mr. Selby.) Valse ..................... Gage d'Amour .................. F. Clay, W.M.

Knowles at his best; and nothing he subsequently wrote Cornet Solo............... La Partenza..... ....... S. Egerton, W.M. could do more than come within the shadow of its triumphant (Mr. Mitford.)

success. He wrote numerously; but none of his plays, we Parade March ...........

........... G. Fitzgerald, W.M. I think. beyond those we have mention Conductor --The Hon. Seymour Egerton.

hand down his name to posterity. The members of the band were “ Wandering Minstrels," The study of the ancient dramatic writers must have the solo players were “ Wandering Minstrels,” and three occupied no small part of Sheridan Knowles's early life. even of the composers were “ Wandering Minstrels.” The His language is quaint and antiquated in the extreme, such performance, moreover, took place at the residence of a as we might find in Webster, Ford, or Decker, and stilted, “ Wandering Minstrel”-Lord Gerald Fitzgerald, who, with as we could rarely discover in one of these dramatists. Of Maecenas-like magnanimity, has built a commodious music-this style—which suited sufficiently with a subject founded room, expressly for the practices, rehearsals, and private on remote times, such as The Beggar of Bethnal Green, concerts of the society of which he is one of the most dis- and the historical plays, but was curiously misplaced in his tinguished members. As the performance was strictly what modernised dramas-he could not divest himself; and it is understood by a soirée d'invitation (of soirée fumante" was must be confessed, however strange and contradictory the the real and still more congenial title, a title, too, substan- diction, it conferred a sort of solidity on his productions. tially borne out, “Messieurs les invités"—there were no ladies— Sheridan Knowles was never flippant. He wrote with indulging in pipes, cigars, and beverages to match, while great earnestness, more from his heart, indeed, than from their harmonious entertainers were zealously going through his head. And this constituted the special charm of his their music) the tongue of criticism is tied. We may, plays. He had the rare talent of embodying the passions nevertheless, venture to say that there was a great deal of forcibly—a talent of which some of our most popular applause; that Gounod's Premeditation" was encored and writers of the present day are utterly destitute--and has repeated; that the violin and horn solos were remarkably given us some of the most affecting scenes ever presented good; and that the new piece called Endymion-an over-) on the stage. His humour, like his phraseology, was quaint


rather than brilliant, and his wit little or none. His know

ROYAL ENGLISH OPERA. ledge of character, however, and his inventive faculty,

Mr. Wallace's new opera has now stood the test of more than a

month's probation. It was brought out at a very critical period. which was considerable, enabled him to depict scenes

On the Monday immediately following the virtual demise of the Inter. amusing as well as new and life-like, of which the most national Exhibition, Miss Louisa Pyne and Mr. Harrison gave their favorable examples may be found in The Lore Chase, one first promised novelty; and Love's Triumph had to stem the torrent of of the most sterling specimens of genuine comedy in the

reaction after months of public excitement. It has bravely faced the

ordeal. Notwithstanding the libretto, which is sadly deficient in what English language. The want of wit in Sheridan Knowles the French term “ péripatetie," the music has slowly and surely made may be best ascertained by comparing the Widow Green in its way. An opinion very generally prevails, indeed, that while the the Love Chase - one of the most lively and humorous work is of unequal merit, Mr. Wallace, in some few pieces of Love': of his delineations—with Lady Wishfort in Congreve's Way

Triumph, has surpassed any of his previous efforts. To that opinion

we cordially assent, believing it substantially vindicated by the rare of the World, the two characters being parallel types. merit of the second finale, and several other portions of the opera Not least among his many excellent qualities was his strict upon which the composer has bestowed such pains as are only devoted regard for morality, and his unvarying endeavors to ad to a labour of love, and in which "love's labour” is, for once in a vance the interests of humanity by sound and pure

way, by no means “ lost."

The performance, which on the first night-thanks in a great practical instruction.

measure to the anxious solicitude of Mr. Alfred Mellon—was uncom. It is well that in losing such a man Literature has monly efficient, has now ripened into the naturest excellence sustained no loss. Sheridan Knowles fulfilled the full time compatible with the resources of the theatre. The principal characters allotted to man on earth, and accomplished his work while

are for the most part admirably sustained. The ungrateful task

allotted to Miss Louisa Pyne-of representing two personages, who at here. Few men can say as much. If the highest moral the most portentous moment of the drama do little better than play qualities should not be separated from rare intellectual powers “ hide and seek" with each other, to the perplexity of the audience, in our estimation of man's greatness, then the monument of

though happily, by no means to the discomfiture of the actress-is Sheridan Knowles should be one of the proudest in the

accomplished to perfection by that consummate artist, whose execution

of the two expressive slow movements which are the chief features kingdom,

in the grand scena of the second act could hardly be surpassed, and who, in the lighter parts of the opera, as well as in those demanding

a thorough mastery of the art of florid vocalisation (for example, MR. SIMS REEVES is to sing at St. James's Hall on Thursday the last finale, where Theresa has to contend in brilliancy with evening next (December 11th), at the Concert of National Melodies, the "magic flute" of Mr. Pratten), is fairly inimitable. Miss Pyne with band of twenty harps, and chorus of 400 voices (members of the | also does her utmost from a dramatic point of view to make the Vocal Association).

spectators believe that Theresa and tho Princess are two distinct

personages--which thanks to Mr. Wallace's careful discrimination, is SIGNOR CIAMPI has left London, after his tour in the provinces with

å less impossible feat than might be imagined. The busy and Malle. Patti, and has gone to Milan to fulfil his engagement at “La intriguing Page finds an extremely clever impersonator in Madame Scala."

Laura Baxter, who-in a musical sense especially-does all that is MOLLE. PATTI made a most brilliant “first appearance" at the

practicable for the part, and whose pert soliloquy, “ I'm a model page," Italian Opera of Paris on the 16th inst., in the part of Amina. We are if we may judge by the reception it invariably obtains, is one of the told by one of the audience on this occasion that the enthusiasm created favourite pieces with the public. Mr. Harrison has seldom been by Mdlle. Patti's singing and acting was almost without bounds. When

more happily fitted than in the personage of the coxcombical Marquis, she came on not a hand welcomed her; but at the end of the first

of which he makes a remarkably neat piece of character-acting. He movement of “Come per me sereno" the house rang with applause.

takes snuff (although too frequently) (3) to admiration, and does full At the end of the first act she was recalled three times. In the highly- justice to the music that falls to his share. Mr. Perren gives the dramatic finale to the second act the appeals and protestations of Amina

songs, and, in short, all the music, of the bewildered lover, Savigny, to Elvino were interrupted at every possible point by marks of appro.

with a refinement of style and warmth of expression that never fail bation, and at the fall of the curtain Malle. Patti was again honoured to gain the sympathies of the audience; Mr. Weiss, in a very with a triple recall. The “ Ah non giunge" was the culminating effect,

unthankful part, shows that a genuine artist, when so minded (and and the house was in a complete uproar when, at the termination of the Mr. Weiss invariably does his best), can“ make something out of work, the new singer reappeared before the curtain for the seventh,

nothing ;" Mr. Ainsley Cook is sufficiently grotesque as a more or eighth, and ninth times.- Illustrated Times.

less superfluous Baron; and Mr. H. Corri- who has made a legitimate

"hit" with the intemperate Dutch Burgomaster, Mynheer Van Groot English Opera COMPANY.-We have heard nothing of the English --not only wins tolerance for one of the most absurd and iredeemable Opera Company lately, except that it has entered the disputation caricatures ever exhibited even on the lyric stage, but actually renders phase, at which all these joint-stock associations for operatic purposes his eccentricities diverting. To the band and chorus unqualified seem destined sooner or later to arrive. The letters of one or more praise is due, the overture and interludes of the one and the delicious of the discontented members have been printed in the MUSICAL part-song of the other (finale, Act II.)—to say nothing of the conWorld, but do not appear to have been called forth by any mis certed pieces in which both are prominently engaged-being all the givings as to the success of the speculation in an artistic point of view. most exacting connoisseur could reasonably demand. - T'imes. There would probably be room enough in London for another English | The Bohemian Girl, which seems to have gained an extra lease of Opera if the second one were to confine itself to the production of light life. thanks to the music not the poetry, was performed on Friday works, and to be carried on generally on a small scale. But we doubt evening, last week, and introduced Miss Anna Hiles, a new soprano, in very much whether an Opera of any kind could be managed by a the character of Arline. It cannot be said that Miss Louisa Pyne and company composed of musicians and singers-in short, by an operatic | Mr. Harrison neglect their best to procure new native talent in every company. Every holder of a certain number of shares would expect department, and if success attend them not it is none of their fault, or, to be accommodated with a first part, and perhaps the only possible at any rate, the fault is none of theirs. Of Miss Sarah Dobson, who was way of satisfying the majority would be by offering the principal brought out early in the season, we expressed ourselves in very favourcharacters to the chief shareholders in rotation. Some plan of this able terms, but deemed it unwise to cast a novice for such a part as kind was tried for a number of years at the Soho and other theatres, Amina, and expressed as much in a special article. We thought, when amateur actors were in the habit of exhibiting themselves. The nevertheless, that Miss Sarah Dobson would prove a useful singer, and largest subscribers took the best parts. Thus a payment of two pounds were somewhat " astonied” when the young lady was set aside. Miss enabled the player to appear as Hamlet. He could come out as Anna Hiles, who is perhaps engaged to fill Miss Dobson's place, has Horatio for half-a-sovereign, as the ghost for a few sixpences, as the been for some ten years before the Liverpool public as a concert singer, grave-digger for a few pence. It is true, the public did not like the and last season gratified the Londoners by singing at Mr. Howard system very much, and, as a rule, did not attend the performances ; Glover's Concert and elsewhere. She made a decided "hit" on her but it is impossible to please every one. In joint-stock associations for first appearance at the Royal English Opera, which we are informedgetting up theatrical representations of any kind, either the pleasure of and should believe-was her first appearance on any stage. We are the public or the vanity of the shareholders must always be sacrificed. not, however, altogether sure that an enthusiatic reception on a first - Illustrated Times,

night is an invariable forerunner of a legitimato success. In Miss Hiles's case we are willing to admit its likelihood, seeing that she has

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