8. d. 1. SIX GERMAN VOLKSLIEDER, transcribed

7. LE REVOIR (ROMANCE) is a popular and brilliant style price, each

8. L'ESPOIR (Ditto) 2. CHANSON À BOIRE ...









The following quotations show the high estimation in which HERR GOLLMICK's compositions are held by the leading Musical Critics. MUSICAL WORLD.

LADY'S NEWSPAPER. “As a composer of light and elegant music for the drawing-room, the author of "Among the many gallant composers who devote their ideas to the service of the these pieces holds a distinguished rank among contemporary musicians. Herr ladies, Herr Gollmick stands foremost. His pre-eminence may be attributed to Gollmick is a good pianist, and writes with a thorough knowledge of the instru the forcible character of his compositions, which although within the reach of ment. He is never common-place, and even in his least ambitious efforts there is average pianists have attractions for musicians of a larger growth.' Although always an evident feeling of refinement, which shows itself in various ways, and light, the pieces before us may be really termed 'good' as that word is understood while it often leads him into a graceful distribution of his ideas, prevents him from in musical dialect. For instance, in no modern musique di bravura have we met falling into the vulgar path, which so many composers of morceaux de salon find it with anything to compare to the Europa' for happy melody, brilliancy, and finish. hard, if not impossible, to avoid. None of the pieces before us are difficult; yet all There is a perfect unity and decided individuality about it, bearing evidence of of them are showy and effective, and while each has its individual character, cach | true genius in the author. The · Valse Styrierne' is remarkably graceful, with a contains some pretty and striking thought, some novel passage, and some nice pleasant touch of melancholy, characteristic of Styrian music. Equal praise must instance of harmony which betrays the musician of taste.

be awarded to the Marche Héroique, a bold and spontaneous theme followed by a " Belisario' is a brilliant piece for four hands, consisting of a short introduction, delicious trio, belonging to that class of music of which Lindpaintner's 'Standard a theme with three variations, and a vigorous march for coda. The second Beirer,' and Gung'ls Krieger's List are famous specimens. Easily acquired, but variation, in D flat, is particularly effective. Whether the two themes are from not easily forgotton, are Herr Gollmick's compositions. Their melodies strike the Donizetti's Belisario we are unable to say, not being familiarly acquainted with fancy, while many passages are so beautifully wrought as to win instant and that opera. Their origin is not indicated in the title of the duct. They are both | unqualificd admiration.

MORNING ADVERTISER. “Minerva' is a dashing and energetic waltz, in the key of E flat, also for two

We were glad, the other day, to have an opportunity of hearing a young Gerperformers. The first subject is rhythmical and well adapted for dancing, although the pioce is rather a danse de concert, like Weber's Invitation á la valec,

man composer (Gollmick) play over several of his compositions ; for he interpreted

his own creations with a spirit and grace that gave full effect to them. Our than anything else. The second subject, in D flat, consists simply of a scale of

musical readers will be acquainted with the galop de concert, entitled 'Europa, three and four octaves, alternately, introduced with excellent effect. An episode, beginning in G flat, and modulating back to the original key, is graceful and pretty.

which has had a wide reputation. "The Farewell' is a very pleasing andante, in the style of a song without

We attended M. Gollmick's performance, because we were glad of an oppor

tunity of extending a reputation already cousiderable, and because we believe he is words, with a short introduction and a brilliant coda. For connoisseurs, this

gifted with a genuine invention and power. In all his productions there is much morceau, which is in the key of E major, is likely to bave more attractions than the others.

true melody, and he has the rare gift of invention. The manufacture of music, “Europa' is an animated galop in E flat, with a florid and effective episode in

like the manufacture of Sheffield plate, can be carried on by artisans, but the

artist alone invests with new life and interest the old sounds or forms. This the subdominant, easy to play and agreeable to listen to. "So far as what is termed character' is concerned, the 'Chanson à Boire' (also

young German seems to us gifted with a genuine capacity for composition, and in

all his pieces there is freedom and fanciful expression, in E flat) has more chance of enlisting the popular ear, and acquiring general

In a piece entitled Gage d'Amitié,' brilliancy and joyousness run through favour, than any of its companions. The second motive, in A flat, is charming

it, mingled with a tenderness that makes it worthy of its name. 'La Grande and well developed. The whole is easy an 1 fiuent, and admirably suited to players of moderate capacity, who prefer sometbing new and fresh to the eternal

Marche Héroïque,' has a great deal of processional grandeur in it. This is an

orchestral composition, and therefore is not heard to full advantage in its mero irs with variations, under which the shelves of music-publishers have been groaning for the last quarter of a century.

arrangement for the pianoforte. Still there is fully perceptible the long resounding

tread, and the lofty and elevating ideas that should predominate in such a piece, "Altogether we may compliment Herr Gollmick on these pieces, which, with

1 Le Revoir'is a more tender piece, but without a taint of the mere seu timental, out any appearance of pretence, are graceful and pleasant-as good things of their

it being a characteristic of M. Gollmick that he is healthy and sound, and seems not to kind, indeed, as need be sought for."

have any morbidity or affectation in him. In the 'Valse Styrienne' there is a gieat CRITIC.

deal of character, and the music sounds fresh and unhacknied. "HERR ADOLPH GOLLMICK, a composer of considerable celebrity, and still “We have been solicitous to draw attention to M. Gollnick, and his compomore considerable talent, is a resident in London, highly esteemed in musical sitions, because, whatever has the quality of originality and purevess deserves it; circles for his graceful style of piauism. The specimens of his compositions, and we believe that the musical composer is as much entitled to distinct notico, the first that we have seen, give us at once a favourable idea of his powers, and

varded by discreet admiration, as the author who appears in entitle bim to the consideration of our musical readers. The characteristics of letter-press !" Herr Gollmick's compositions are-fascinating melodies, an easy, brilliaut, and

LIVERPOOL MAIL. graceful style of writing, offering a variety of effects, and not presenting any great "Herr Gollmick is, we fancy, & very promising composer. His Chanson à difficulties. In no modern music bave we met with such a happy and spontaneous

Boire' is lively and original, full of true bacchanal spirit yet free from coarseness idea as the theme of the Europa Galop.' It is of that pleasantly-exciting kind that

aud common-place; while he has not attempted to prove his theoretical knowone listens to over and over again withont tiring. The Marche téroique' is bold and

lodge of his art by making his 'Chanson'almost impossible to be played, except vigorous, with a charming mitivo for its principal subjoct. It is rather less effective

by a Lizst or a Thalborg. We shall look for further compositions from Herr than the Europa, and may be more adapted for the orchestra than the piano, not

Gollmick with iuterost." withstanding which it will doubtless be played by all who admire really tuneful misic. “The Vasle Styrienne' will in a short time form part of every lady's répertoire

ELIZA COOK'S JOURNAL. for the piano, or we are no judges of the taste of our fair countrywomen. The most "Chanson à Boire,' by Go'lmick. This is a very sweet morcrau for the pianobewitching valse is this 'štyrienne.' Indeed, if this morceau were indorsed by forto. The melody is beautifully led all through, it carrying fancy, feeling, and Bellini's name, we should compliment the composer on his happy inspiration. The fingers all along with it." Ethiopian Caprice' is a fantasia in tbe modern style, on the well-known melo ly of « Europa Galop,' by Gollmick, is a stering and spirited composition. Some of

Mary Blane.' of this piece we can speak in terms of commendation, and can re- the movements are excellent, and, like most of this talented composer's works, commend it to players who have a tolerably goo i command of the piano, and can the Europa Galop blends sound practice with harmonious construction. The execute bravura passages without stumbling. Our readers will observe, from our

combination of smoothness and power in it inust satisfy musician and dancer remarks, that M. Gollmick's compositions are specially adapted for drawing-room once." performance, on account of the attractive melodies and finished and brilliant "The Marche Héroïque' is an admirable composition. It affords capital practice passages which pervade thom, unaccompanied by the awkward difficulties which for those who wish to acquire a fine octave hand, and should be given to all earnest tyros and uneducated musicians throw into their mu-ic."


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BELGIAN MUSICIANS OF THE VARIOUS EPOCHS. i and brought it to a state of perfection; it comes so naturally to (From Le Guide Musicale.)

them, that both men and women sing in measure without having THE musical history of Belgium abounds in glorious recollec

learnt to do so, and with much grace and melody. Those who

unite art with nature are so distinguished for singing, instrutions, in which it is surpassed by that of no other country. A short

mental playing, and composition, that they are eagerly sought chronological sketch will be sufficient to convince our readers of

after, and to be found at the courts of all Christian Princes." the fact, and to prove that Belgium was incontestably the cradle

The composers born in Belgium who rendered their native of modern music, and that her artists, scattered throughout

country famous in the sixteenth century were Nicholas Gombert, Europe, served as models to those nations who have since become

maitre de chapelle of the Emperor Charles V.; Jacques Arkadelt, her masters. The troubadours, or poet-musicians, born in Belgium, were

singer at the Pontifical Chapel, Rome; Benoit Ducis, who not a whit inferior to those of Provence. The noted songs of

settled eventually in Germany; Jean Richafort; Jacques Clé

ment, born in Brabant, and who, in his turn, became maitre de Henri II., Duc de Brabant, who died in 1260; those of Gilbert

chapelle of Charles V.; Adrien Willaert, maitre de chapelle de Berneville, born at Courtrai, and still living in 1272; of Regnier of Quaregnon; of Gautier of Soignies; of Jean de la

at the church of St. Mark, Venice, who founded in that city

a school that was subsequently celebrated throughout Italy; Fontaine, born at Tournay, and of a host of others, exist to sub

Cyprien Bore, born at Malines in 1516, maitre de chapelle of the stantiate our assertion.

Duke of Farnese; Thomas Crequillon, born in the neighbourhood Jean le Chartreux, who lived in the fourteenth century and first saw the light at Namur, composed a treatise upon music, the more

of Ghent, about 1505, who was also maitre de chapelle of Charles

V.; Gérard Dussaulx, born at Turnhout; Claude Lejeune, born precious because it makes us acquainted with the state of

at Valenciennes in 1528; Severin Cornet, born at Valenciennes musical knowledge at that period.

and master of the singing boys of the cathedral of Antwerp ; In the first half of the following century, Guillaume Dufay,

Corneille Verdonck, born at Turnhout in 1561, who also settled born at Chimay, in the province of Hainault, composed several motets and French songs for three voices. In these works we

at Antwerp ; and Orland Lassus, better known at present as find the greatest harmonic purity, and regular imitations, the

Roland de Lattre, born at Mons, in 1520, who was one of the most ancient with which we are acquainted.

greatest composers and most fertile geniuses of whom Belgium

can boast. In the second half of the same century, three men of superior

Philippe de Mons, who, after Roland de Lattre, his fellowtalent, Hobrecht, Okeghem, and Le Teinturier, took the lead in

townsman, enjoyed the greatest reputation of any musician of musical matters. Jacques Hobrecht was music-master at the

his age, was maitre de chapelle of the Emperors Maximilian II. Cathedral of Utrecht, about 1465; Jacques Okeghem, born in the

and Rudolph II.; Jean Pierre Swelinck, born at Deventer, province of Hainault, flourished about the same time, and was first chaplain to Louis XI., King of France; while Jean Tinctor,

about 1540, was the first organist of his age and founder of the whose real name was Le Teinturier, was born at Nivelles, in

celebrated organ school of Germany ; Jaques de Wert, mattre de

chapelle of Philippe II., was born at Ypres, about 1520 ; Claude Brabant, and was still living in 1495. He founded the most ancient regular school of music in Italy, and was the author of

Goudimel, believed by several authors to have been a Fleming,

founded at Rome, in the sixteenth century, the famous school of the first musical dictionary ever published. Josquin Desprez who, also, was born in the province of Hain

music which produced so many celebrated artists, and, among

others, Palestrina. He was one of the Calvinists killed at Lyons, ault, and was a pupil of Okeghem, enjoyed such great celebrity,

the 24th August, 1572, and thrown into the Rhone. that Italy, Germany, and France disputed with each other the

All these celebrated Belgians prepared Italy, Germany, and honour of being his native country, a glory which has been indis

France to profit subsequently by the fruits of their labours and putably proved to belong to Belgium. This great musician went

studies. to Rome, and it was there that he gave his genius full play, and thence extended his reputation all over Europe. He afterwards

Burney, in his General History of Music, printed at London in

1776, says that, in the sixteenth century, the most famous comvisited the French court, where he obtained the appointment of

posers were Belgians, who spread themselves all over Europe, first singer of Louis XII. After his death, a bust of him was placed in the church of St. Gudula, at Brussels, and an inscrip

as the Italians, imitating their example, did at a subsequent

period. He adds that it was the Belgians who taught all other tion consecrated to his memory. Louis Compère, Guillaume Crespel, and Pierre Delarue, all

nations the art of music. three Belgian musicians, joined Josquin in extending and con

La Borde, a French writer, says that, before the time of

François I., music scarcely existed in France, and we know that solidating the reputation of the school of their native land.

the first orchestra introduced among our neighbours, during the In the fifteenth century the Belgian artists still continued

reign of that monarch, was composed entirely of Belgians. their glorious career, by instructing foreign musicians, and maintaining an incontestable superiority over other nations—a supe

Thus music was yet in its infancy among the French, when it had

already obtained a high degree of glory in Belgium; and such riority to which even the Italians did homage, as we see by the

was the reputation of our school that the brothers Susato, following passage from the works of the celebrated Guichardin,

Italians, resided first at Louvain, and afterwards at Antwerp, who expresses himself in these terms:

where they founded establishments destined exclusively to en“The Flemish* are the true masters of music, and have restored

grave and print Belgian works of music.

The political events which took place about the middle of the * This denomination was, at that epoch, applied to all Belgians sixteenth century, insensibly brought about the destruction of the generally.

| schools of music in our country. The rising of the nation against


Philip II. gave birth to an obstinate struggle, which was pro- | the latter who was born in 1751, and died in 1819, composed longed for eighty years. It was succeeded by the wars in Ger- sacred music, and, among other works, a Libera, which is still many, especially the Thirty Years' War, which obliged most of sung. the continental powers to take measures for the safety of their If we now come to the present age, we find among the most dominions. At a latr period, the Low Countries were invaded celebrated Belgian musicians : Jean Englebert Pauwels, who by Louis XIV., and, shortly afterwards, came the War of Suc- was born at Brussels in 1768, and died in 1804. He contributed cession. These continual contests annihilated the flourishing more than any person of his time to the development of musical school of Belgian music, and obliged our musicians, formerly so art among us, both by his own works and as orchestral conductor, sought after abroad, to remain in their own country, where the since he carried execution to a degree of perfection previously inhabitants, overwhelmed by all the evils attendant upon war, i unknown in Belgium, and also as a performer of the first class could no longer furnish them with the resources they had en- upon the violin. joyed in more tranquil and, consequently, happier times.

Mees, of Brussels, who died at Warsaw in 1820. He sprang The taste for art was extinguished among us during these from the lowest ranks, but became a very brilliant singer. hundred and fifty years of political commotion, and Italy and I Ansiaux, of Huy, who died in 1826, and whom Grétry envied Germany, refusing the tribute they had paid for ages, seized, in for his splendid Te Deum, performed several times at the Parisian their turn, the musical sceptre, and have retained it ever Concerts Spirituels.

Angelet, of Ghent, who was born in 1797, and died in 1829, One peculiarity connected with the musical history of our a composer of the highest promise. country and the first period of our troubles, must not be passed | Charles Warot, of Antwerp, whe died at Brussels in 1836, a over in silence. The insurrection against Philip II. gave rise to composer and violinist. Flemish songs, which have been preserved to the present day. | Jules Godefroid, of Namur, who was born in 1811; and died They are contained in the Geuzenboekje, of which the late learned in 1840; composer and harpist. J.F. Willems had a copy. They are distinguished for their energetic | De Volder, of Antwerp, who was born in 1769, and died, at and biting versification, as well as the influence they exerted Brussels, in 1841, organ-builder and composer. over men's minds. The tyranny of the Duke of Alba, the pro- Jean François Tiby, of Louvain, who was born in 1772, and scriptions of the Council of Blood, the execution of the Counts died in 1844; he was M. de Beriot's first master. of Egmont and Horn, are, each in turn, held up in them to the Soetaert, of Oostkerke, a young composer of the greatest execration of the people. These songs inspired our forefathers promise, cut off in the flower of his age, in 1845. with the love of country and the horror for blood, and may be Charles Lis, of Brussels, who died in 1845. He was the author considered as the Marseillaises of the time.

of Portrait Charmant, once so popular. The sixteenth century gave birth, also, to the Netherlandish Alexandre Artot, of Brussels, who died in 1845, aged thirty; national song, Guillaume de Nassau, composed by Philippe de a violinist of the first class. Marnix.

| Auguste Gaussoin, of Brussels, who died in 1846; musician In the seventeenth century we find Gaugeric de Ghersem, and writer. and Dumont of Liege, the latter being considered by some bio Jean Ancot, of Bruges, who died in 1848; professor of the graphers, and among others by Choron and Fayolle, as the first violin and piano. musician who employed thorough bass.

Van Campenhout, of Brussels, who died in 1848; singer and In the second half of the eighteenth century our compatriots author of La Brabançonne. were once more able to take their place in the first ranks.

Corneille Vanderplancken, of Brussels, violinist; Duguet, of Gossec, who was born at Vergnies, a village of Hainault, in Liege, composer and organist; Roucourt, of Brussels, professor 1734, and died at Passy in 1829, rendered himself celebrated by of singing, and one of the founders of the Conservatory; and the composition of several operas, among which are Philémon | Prume, of Stavelot, violinist; all four died in 1849. et Baucis, Les Pécheurs, Toinon et Toinette, and the choruses of Martin J. Mengal, of Ghent, composer, and director of the Racine's tragedy of Athalie, for which he rewrote the music. Conservatory; he died in 1851.

Lastly, Grétry, who was born at Liege in 1741, and died at Henchenne, of Liege, flautist, and Charles Liéven Hanssens, Paris in 1813, was one of the most brilliant and fertile composers of Ghent, composer and orchestral conductor, both of whom died Belgium ever produced. His works are sufficiently known to in 1852. render it unneccessary for us to recall them to our readers' Baron de Lannoy, of Brussels, composer, who died at Vienna, minds. A statue has been erected to him in his native town, in 1853. and France, his adopted country, still eagerly pays the most Egide Aerts, of Boom, flautist; Demunck, violoncellist;' satisfactory homage to his memory by playing several of his | Charles Artot, kettledrummer, of Brussels; and Gildemyn, of operas.

Bruges, organist and composer ; the first died in 1853, and the To this brilliant list we will add : Gresnick, of Liege, who was other three in 1854. born in 1752, and died, at Paris, in 1799. He composed the We have now arrived at our living composers, the list of whom music of more than twenty operas, most of which, says M. Fétis, is neither less long nor less brilliant than the preceding. display taste and a certain melancholy grace.

Messrs. Fétis and Denefve, of Mons; Grisar, Eykens, and the Pierre van Maldere, who was born, at Brussels, in 1724, and Brothers Gregoir, of Antwerp; Charles Louis Hanssens, Louis died in 1768, composer and violinist, whose symphonios, written Ermel, Limnander, and Gevaert, of Ghent; De Peellaert and before those of Haydn, enjoyed a high reputation.

Busschop, of Bruges ; H. J. Mees, Snel, and Zerezo, of Brussels ; Boutmy, of Brussels, court organist of the King of Portugal, Soubre, Ad. Samuel, Bovery, and Wanson, of Liege; and the at Lisbon.

Brothers De Burbure, of Termonde. Staes, of Brussels, who was born in 1748, and died in 1809, Lastly, at what epoch was there ever such a galaxy of instruleaving behind him several highly esteemed works.

mentalists in Belgium as at present-some already celebrated, Pierre Verheyen, of Ghent, who was born in 1750, and died and others possessed of real talent ? Our only embarrassment in 1819, composer of sacred music.

arises from the profusion of names. We will, however, cite a Vanderhagen, of Antwerp, who was born in 1753, and died, at few, at the risk of forgetting others not less worthy of being Paris, in 1822, a clarinettist and composer.

mentioned : Messrs. De Bériot, Vieuxtemps, Lambert Massart, Othon Vandenbroeck, of Ypres, who was born in 1759, and Léonard, Haumann, Wéry, Meerts, Amédée Dubois, the Brothers died, at Paris, in 1832; cornist and composer.

Terby, Tingry, and Robberechts, for the violin ; Servais, MonPieltain, of Liege, who was born in 1754, and died in 1834 ; a tigny, and Warot, for the violoncello; Godefroid, for the harp; violinist of the greatest merit.

Mad. Pleyel, Messrs. De Fiennes, Mesmaeckers, Dupont, Solvay, Munzberger, of Brussels, who was born in 1769, and died, at and Lucien Vieuxtemps, for the piano ; Blaes, Wuille, Lambelée Paris, in 1844; violoncellist.

and Franck, for the clarionet; Demeur and Reichert for the The brothers Eugène and Lambert Godecharle, of Brussels ; Aute; B. Fauconier, César Franck, and Lemmens for the organ;

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De Glymes, Masset, Goossens, Cornelis, Wicart, Carman, Zelger, and Mad. Cabel, for singing.

TWO OPINIONS. We see, therefore, that, in a musical point of view, as in so

(From the Spectator.) many others, the national genius has not degenerated, and we have good cause for being proud of the name of Belgians.

It is felt on all bands that the present conductor, Herr Wagner, gives a certain newness of character even to the orchestral works

which are most familiar to us. This was strikingly exemplified in the GERMAN THEATRES.

ease of the overture to Der Freischütz, which, though always heard

with pleasure, has long since ceased to create any remarkable sensation. HERR VON KUSTNER, for many years the manager of the Now, however, a feeling of freshness was infused into it to which we Theatres Royal, Berlin, has just published a book, Faschen und had long been strangers ; the audience were animated and excited by Handbuch der Theaterstatistik, from which we learn a great many it as of old, and the sudden burst of applause which accompanied the interesting details concerning theatre statistics in Germany. | final chord showed how much this had been the case. A stronger testi. The following list of the receipts and expenditure of thirty-two mony to the skill of the conductor could not have been given, and the of the principal theatres (thirteen Theatres Royal or Hoftheater, effect is easily accounted for. The completeness with which the perand nineteen Stadtheater) will not be without interest for many

formers are "held in hand” by the conductor has always been a marked of our readers :

feature in German orchestra-playing. Under his bâton, the largest band Receipts. Expenditure.

is as casily swayed, as flexible, as readily accelerated, retarded, or Thalers. Thalers.

hushed to the softest whisper, as the performers of a chamber quartet The Imperial Theatres of Vienna ... 256,666 456,666

under the impulse of their leader. Wagner has already obtained this The Theatre Royal of Berlin

220,000 360,000

control over his band; a fact willingly admitted by the ablest of its Dresden 90,000 140,000

members : and in this Freischütz overture, which is a series of striking Munich 92,800 172,000

passages from the opera put together with marvellous felicity, Wagner Hanover 50,000 123,000

gives every passage the same dramatic reading which it has in the opera Stuttgart 31,000 102,857

itself. In directing the performance of Beethoven's Choral SymphonyKarlsruhe 28,500 85,714

the biggest of all his works-Wagner's ability was equally conspicuous. Darmstadt 17,000 76,000

There was not much novelty of reading, for the work had been careCassel 28,000 88,007

fully studied by Costa, but there was greater softness and delicacy, Mannheim ... 34,500 56,850

and consequently greater variety and contrast, than we ever heard before Weimar 12,000 56,000

in this symphony. A specimen of the new conductor's quality as a Schwerin 21,870 67,520

composer was given by the production of some fragments from his opera, Brunswick ... 28,000 80,000

Lohengrin, now celebrated in Germany. It was not, however, a fair Dessau

8,500 40,000

specimen ; and we doubt whether it is possible to give a fair specimen The Stadttheater of Leipsic

72,000 72,000

in a concert room. Wagner is essentially a dramatic composer-his The Vereinte Theater of Hamburgh*

200,000 200,000

music is for the stage, and positively demands the stage. What we The Stadttheater of Frankfort

85,700 93,147

heard was different from what we had been led to expect: it was neither Wiesbaden ... 17,100 38,850

obscure nor extravagant; it was broad, clear, and simple; conventional Breslau

in its forms, and by no means new in its melodies; but in richness and ... ...

80,000 80,000
Königsberg ...
65,000 65,000

variety of orchestral colouring it resembled the music of Berlioz. En
Cologne, Bonn*
60,000 60,000

somme, Wagner's character as a chef-d'orchestre is settled ; as a com-
30,000 31,000

poser it is still sub judice.
Düsseldorf, Elberfeld 20,000 20,000
Magdeburg ...
40,000 40,000

(From the Athenæum.)

36,000 36,004
20,000 25,710

PHILHARMONIC SOCIETY.-The Second Concert, comprising the
Nürnberg* ...
18,300 18,302

overture to Der Freischütz and Beethoven's Choral Symphony, had Würzburg ..


possibly been arranged so as to give Herr Wagner full opportunity of .

82,500 88,006

displaying himself as a romantic conductor. It was to be perceived Pesth (German)* ... 96,600 96,600

that the new comer's predilections lean towards music alla fantasia, Prague ... 100,000 108,660

from his handling of the bâton during the overture—which was encoredStettin* ... . 45,000 45,000

and the Symphony; and his reading may be credited with a certain

coarse and overstrained enthusiasm. To impress this on the orchestra, From this we see that, in round numbers, the receipts of the

that precision to which tbe band (with all its imperfections) had been above theatres amounted to about 2,003,500 thalers, and the

wrought during later years, has been already sacrificed. A case of expenditure to 3,060,000 thalers, that is to say, that the receipts more discreditable scrambling through well-known music-period and were not 65 per cent. on the expenses. In this list, no account place considered-is not in our recollection. The accompaniment, too, is taken of free lighting, free rent, free wardrobe, etc., granted to Mendelssohn's Violin Concerto, played by Mr. Blagrove, was by Government or the municipal authorities of the various positively bad, in spite of the affectation of care given by the with towns. The six theatres marked with a star, and whose drawal of the ripieni instruments from the solos. În the dashing disreceipts and expenditure are given as equal, are in an almost respect, however, with which this masterpiece of music was treated, continual state of bankruptcy.

Herr Wagner was self-consistent. He has, as a critic (unless we mistake) “finished up ” Mendelssohn, having described him as a man " who,

having nothing to say, said it elegantly." As a transcendental con. ROYAL ITALIAN OPERA.-The second opera to be produced ductor-having nothing to do with such music-he did that nothing this season will be Fidelio, in which Mälle. Jenny Ney will

with due bustle and pretension. make her first appearance. The cast will be strengthened by

Besides appearing as conductor and critic on Monday evening, Herr Madle. Marai, Signor Tamberlik, Herr Formes, etc.

Wagner also produced himself as a composer. Some fragments from

his last, and, we think, his best opera, were performed. On these we ROYAL OPERA, DRURY LANE.-It appears certain now, that the conductor for the ensuing season, which commences on Easter

must dwell for a moment. The selection from Lohengrin consisted ofMonday, will be Mr. W. M. Balfe, the highly popular English

1st. An instrumental introduction, 'musically describing the Saint

Graal, brought to this earth by á miraculous escort of angels ;composer. The on dit about engagements with Persiani and

2nd. The bridal procession, when Lohengrin weds Alice of Brabant ;Tamburini has yet to be confirmed.

3rd. The entr'acte to the third act (specified in our notice of the proPARISIAN MUSICAL MEMS -- We learn from the Athenaeum,

|duction of the opera at Weimar, Athen. No. 1194), and an epithala. that M. Biletta, the composer of White Magic, is engaged on a mium. So far as we can recollect, these are about the only movements work for the Grand-Opéra of Paris; and that Herr Adolphe (belonging to Lohengrin, which is a long opera) in which there is even Schimon, who passed some seasons in London as a professor and a pretext of melody,-as melody was understood before it was "emanciaccompanist, is at work for the Théâtre-Lyrique.

pated” by these men of the future, and its existence asserted to be independent of form, rhythm, or beauty.* In No. 1 the idea, if idea

PARIS. it be, recalls a phrase used by Weber in Euryanthe, and another by Haléry, in his Guido. This is dressed out by a division of the violins,

(From our own Correspondent.) and the employment of them at the altissimo notes of the scale, so as

as Still the same lack of news in the musical world of Paris. to produce an impression of singularity rather than sublimity. Thus also, M. Félicien David and in his Attila) Signor Verdi have

Everything is postponed until the Exhibition month, and the described drawn effects by the orchestra ; thus M. Jullien bas, more

public are fed upon somewhat stale fare, while the managers are than once, fitted out a sunrise, for one of his descriptive Quad

busy in preparing that which is to tickle the palates of those who rilles, previously to the bursting out, in all their glory, of

pay, and to fill the pockets of those who receive. In addition to the orb of day and of the conductor's luminous smile. Employing a

the numerous list of novelties which I transmitted to you last like principle, it would not be difficult to paint a night-picture or a

week, M. Gevaert, a Belgian composer, who obtained a fair descent of Proserpine into the lower regions, for any maestro who had share of success with Georgette and Le Billet de Marguerite, has courage to use the deepest notes of united viola and violoncelli for one | written an opera entitled Le Revenant, which is accepted by the hundred bars ;-but (as the Irish lady asked concerning the Torso) | Opéra-Comique, and will be immediately put into rehearsal. "where are the features ?” The name of the Saint Graal and the At the Porte-St.-Martin, M. Magnet, author of the successful angels, vearly as good as “the mobled queen" in Hamlet, and the play of Le Conte de Lavernie, has dramatised another of his length of such an unrelieved piece of monotony apparently impressed a novels, La Belle Gabrielle, in which M. Fechter, late of the part of the audience with the idea that the introduction was celestial | Vaudeville, and who gained so great a reputation by his acting and new, and they applauded it accordingly. No. 2, to our thinking, in La Dame aux Camélias, will make his début at this theatre. which merited better favour, pleased less. In this wedding music, a At the Gymnase, Le Demi-Monde continues its successful certain dignity is to be recognised; though no tone of festivity, no

course. The Emperor has made M. Alexandre Dumas (fils) a bridul tone. Herr Wagner has, nevertheless, tried as hard for musical

present of two very large and valuable diamond studs, in return climax as though he was one of the wicked effect-makers on whose destruction he is bent-and to obtain it, he has used his voices as arbi

for the pleasure their Majesties had derived from the perform

of M. Dumas' new play. trarily as the most conventional copyist of the Rossinian crescendo. On what principle of dramatic truth are all the female singers kept still

M. Ponsard, the well-known dramatic author, has been elected so long, when a bride is in the case, merely that they may bring up the

a member of the Academy; but it seems fated there shall always cortège with a few bars at last-a sort of "trot for the avenue ?»*And

be a vacant chair. The very day after his election, intelligence yet, somehow, the climax comes to nothing The magic cauldron bub. was received of the death of M. Charles Lecratelle, the historian, bles, but does not boil. The effect, to attain which the writer has who had been a member of the Academy for nearly half a censtooped so low (trying him by his own canous), never arrives. In this tury, having been elected in the year 1811. M. Emile Augier music again, Herr Wagner's acute fancies of scoring give the ear niore will now have another opportunity (the seventh or eighth) of pain than pleasure. No. 3, the entra'cte is (as we have heretofore trying his chance. said) the best page in the opera-but the Epithalamium, as an accom There is still the same doubt and uncertainty as to Mdlle. plished musician remarked to us, is as petty and pretty a tune of short Rachel and her final departure from the Théâtre-Français. phrases, as if M. Adam had flung it off for the opera-wedding of some Meanwhile the war between the great tragedian and the Minister Trianon Jocrisse with some Toinette of Marly. Dr. Liszt or Herr

of State is carried on with unabated vigour. Malle. Rachel, in Wagner would be sadly puzzled to prove the propriety or truth of such

conjunction with many celebrated artistes, was desirous of giving a piece of common-place at nuptials so sublime, told by a poet so

a benefit for the Jewish charities of Paris, the performances to mystical in his meanings. It is true, that the episodical strophe

consist of one act of Athalie, one act of Esther, and Le Misansung by eight ladies “while the sumptuous robes of Lohengrin and Alice are taken off by their attendants,"

thrope with Rachel as Célimène. The Minister refused his

is symphonized by certain pizzicati,—and these may possibly represent the withdrawal

sanction, and the performance could not take place. Madeof the diamond pins; but as a whole, the chorus is small to silliness

moiselle Rachel in her turn refused to figure in the proone which, had it been presented at the Philharmonic Concert as an

gramme of a charitable performance, called Le Concert des extract from some old-new opera by Ricci or Coppola, could hardly

Anges, in which Mad. Viardot, Mad.Cabel, and many other have been allowed to pass. Herr Wagner, however, in his common

artists of celebrity took part, and persisted in her refusal notplaces “stands by his order.” Those who have abused the melodious withstanding that her presence was requested by a most exalted school of musical thinkers have always recurred to rhythm and melody authority. It is a pity the matter cannot be amicably arranged, whenever they could--and in this recurrence have often taken refuge in but of this at present there seems to be little hope. frivolity or dryness. Except, in short, for the stir which has been made Among other novelties announced for the Exhibition is one

tter, and the empiricism with which the music was recom. | which excites great interest and expectation. The King of Sarmended in the programme, these specimens of “composition for the dinia's dramatic company, who are renowned in their art at future” would hardly have been worth a line of analysis for Turin, will give twelve representations of Italian tragedy any intrinsic novelty or merit they possess. Compared with outlines so lean and with colours so exaggerated, what a treasury

and comedy during the month of May. Signora Adelaide Ristori,

who is ambidexter, a female Garrick, equally good in tragedy of rich, distinct, and various motivi seemed to be the Choral

and comedy, is the most famous member of this troupe. The Symphony! There are thoughts, indeed !-there are melodies ! -and it is because the first are so vigorous and the second are

others are Rossi, Gattinelli, Belloti, Tesseo, Boccomini, and some so hauntingly sweet that the Symphony is accepted;-and not because

of less repute. Among the plays to be performed are, the Mirra of the novelties of form contained in it, since these are not happy,

of Alfieri, Francesca di Rimini of Silvio Pellico, and the Locanand not because of its evidence of purpose, since it is manifest, from the

diera of Goldoni. It is the first visit of the Italian dramatic printed analysis of the composer's meaning (written by Herr Wagner in

company to Paris, and I doubt not that actors, só celebrated, 1846, and translated, and circulated on Monday evening), that there is and plays so renowned, will be welcomed as they deserve. no amount of solemn bombast or of sentimental nonsense which may not La Promise of M. Clapisson (“ of the Institute") has just be imputed to poor Beethoven on the occasion by the initiated, who can been produced in Brussels, where (although M. Clapisson is a see in the clouds “whales or ouzels," as their distempered fancy pleasetb. Belgian) its success has been the reverse of encouraging. * That we may not be accused of caricaturing, when our purpose is

Before composing operas, M. Clapisson wrote charming to offer a fair picture, let us refer those who have any curiosity to ex.

romanzas and nocturnes, replete with taste, as well as amine further to two separate Opera Airs (as they are called) from the

choruses of novel and piquant description. If to this series now in publication by Messrs. Ewer :-one, No. 4, “ Die Todes

facility for composing melodies he had been able to add that of ahnung," from Tannhaüser ; the other, No. 5, “Athmest du nicht

instrumentation, the lyric stage would have afforded him a mit mir, from Lohengrin. We have heard the former spoken of prosperous career. Urged by his friends to aim at something throughout “Young Germany" (Dr. Liszt has written of it) as some beyond a drawing-room reputation, and to raise his ambition to thing equal to the best of Schubert's Lieder,--that is, to schubert's operatic success, M. Clapisson became a dramatic composer. “Ave Maria,” “Ständchen,” “Ungeduld." The pass at which tole The general expectation was not fulfilled, not that M. Clapisson rance and partizanship can arrivo can hardly be more instructively showed himself wanting in means of execution, but scenic intested thun by verifying such a comparison.

spiration altogether failed him ; such was the defect of his first

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