« ElőzőTovább »
Templer und Jüdinn (Ivanhoe), which had not been given for | Rooms, by Mr. Duck. The instrumental performance was reabove a year, Herr Tichatscheck sustained the part of Ivanhoe. lieved by Miss Milner, who sang two ballads and obtained an
MAGDEBURG,-Mozart's Requien was lately performed in the encore in one. The flute solo by Mr. H. Nicholson, that by Johanniskirche, in a highly satisfactory manner.
Mr. Harper on the cornet, Mr. Maycock on the clarionet, and DARMSTADT.-The favourite opera of the Court here, is Mr. Larken on the bassoon gave great satisfaction. Die Zigeunerin (the Bohemian Girl) by Balfe.
MANCHESTER.—Madame Szczepanowska, a resident professor, BRUSSELS.-Mr. Henry Litolf has played with success at on Monday last gave a musical evening to her pupils and friends, the Conservatoire Concert.
at her house, Cornbrook Park. The lady was assisted by Mr. COPENHAGEN.-M. A. Dreyschock has given a series of con- C. A. Seymour, Mr. Guilmette, Master Lockwood, and a young certs, which were most numerously attended.
débutante, a pupil of Mr. Guilmette. Madame Szczepanowska LISBON.-M. Sivory has received from His Majesty the Order and Mr. Seymour played Beethoven's grand sonata in F for of Christ.
pianoforte and violin. Master Lockwood played a harp solo
upon the aria “ Non più mesta." PROVINCIAL.
LIVERPOOL.—The excellence of Mr. E. W. Thomas's band of
sixty performers, at his shilling concerts at the PhilharmonicWORCESTER.—Mr. J. H. D'Egville's Testimonial Concert was hall, during the week, has been most advantageously displayed given at the Music-hall, on Wednesday evening last. In the instru- in the selections from Mendelssohn's Italian symphony, mental portion, Winter's overture to Calypso, and Haydn's No.1 Beethoven's symphony in A, Haydn's Surprise symphony, and Symphony, were allotted to the Philharmonic Band, and two violin the overtures to Leonora, Jessonda, William Tell, Masaniello, and solos to M. Sainton. The principal vocalists were-Mrs. Bull, Mr. Der Frieschütz. In the dance music the effect was not so J. Jones, Mr. Thomas, and Mr. Mason. Messrs. Williams, Topham, striking. The principal solo performers have been Mr. R. and Langdon, of the Cathedral choir, also took part. The choral Blagrove, concertina ; Mr. Lazarus, clarionet; Mr. Hawkes, band was composed of the members of the Harmonic, Philhar- trombone ; Mr. Lidel, violoncello ; Mr. H. Blagrove, violin; monic, and Madrigal Societies. The selection from Händel's | Mr. Jennings, oboe ; and Mr. G. A. W. Phillips, cornet. Mr. Acis and Galatea, commencing with “0, the pleasures of the R. Blagrove, who made his début before a Liverpool audience on plains," was well sung, and much applauded. The choruses Monday night, was very successful on the concertina Miss were all well sustained. The encores were “ Annie Laurie," Ransford sang “ Ocean, thou mighty monster,” and “Bonnie sung as a chorus, and Beethoven's “Vesper Hymn.” M. Sainton's | Prince Charlie,” remarkably well, and was much applauded. violin performance was remarkably fine; he was enthusiastically | WEYMOUTH.—On Thursday evening week, Mr. R. Linter gave applauded, and, at the conclusion of a fantasia on airs from a concert at the Royal Hotel Assembly Rooms for the Relief of Donizetti's La Fille du Regiment," was recalled, and made to the Sick and Wounded Soldiers and Sailors in the East. The repeat the latter part. Mr. Uglow, organist of Cheltenham, vocal portion was sustained by Miss Hughes, whose singing was played a voluntary on the organ. The glees, “ Cold is Cadwallo's much applauded. tongue," and " When winds breathe soft,” were well sung. The concert concluded with the National Anthem, arranged by Dr. G. J. Elvey.
ADOLPHE ADAM AND HIS THEATRE. LEEDS.— The People's Concert on the evening of Saturday
(Translated from L’Europe Artiste.) was again well attended. The vocalists included the party who The theatre of M. Adam, vulgo the Théâtre-Lyrique, presents appeared some time ago-Miss Birch, Miss Lascelles, Mr. A.
with an obstinacy which does it honour, to-day La Reine d'un Pierce, and Mr. Frank Bodda, with Herr Henric Jahns, the
Jour, by M. Adolphe Adam ; to-morrow Le Muletier de Tolède, Hungarian tenor. Mr. Spark was the conductor. The pro
by M. Adolphe Adam ; the day after, La Reine of the day gramme was a good one. Herr Jahns again produced a thrilling
iced a thrilling before ; then, four-and-twenty hours later, Le Muletier, preceded effect. His first song, from the opera A Night in Granada, was
by a short one-act opera, equally by M. Adolphe Adam. That encored, and a native composition substituted. In the second
honourable musician, it has been suggested, might have engraved part Herr Jahns was put down to sing “ The Death of Nelson,”
upon his visiting cards on New Year's Day, the following but not being well “up” in his English an apology was made,
prospectus : and “The Standard Bearer” given instead. The audience, how
Furnisher, patented—without guarantee of musical genius ever, had been expecting Braham's famous song, and were not
to the Third Lyric Theatre. pleased with the change. The concert terminated with the
Makes duets, trios, airs, couplets, concerted pieces, and everyNational Anthem.
thing in his line, all at a reasonable price and within the means GRAVESEND.-On Thursday the 4th inst., Mr. W. A. Leggatt
of every one. gave his first concert at the Literary Institution, on which
Orders executed with the utmost promptitude. occasion he was assisted by Miss Poole, Mrs. R. Limpus, Miss
An opera in three acts delivered within 24 hours. Lizzie Best, Messrs. Fielding, Seymour, and Herr Jonghmans.
An opera in two acts delivered within 12 hours. Mr. R. Limpus was the accompanyist. Altogether, the concert
An opera in one act delivered within six hours. gave the highest satisfaction, and went off most successfully.
The furnisher only requires the time absolutely necessary to The room, which has just been elegantly decorated, presented a
| write down the notes. brilliant appearance, and was crowded to overflowing by the élite of the neighbourhood. Nearly two hundred persons were unable to gain admission.
GREENWICH.-Mr. Morley's concert took place on Thursday KNARESBOROUGH.-On Monday the 1st, two concerts were evening week. A crowded audience assembled. The vocalists given in the National School by Messrs. Strickland, Plowman, were Madame Clara Novello, Mrs. Lockey, Mr. J. L. Hatton, Mr. Hild, Hudson, and Holmes, from the Wilberforce School for the Weiss, and Mr. Sims Reeves. The instrumental performers Blind, York, assisted by Miss Maria Wilson, late a pupil in the were Mr. Brinley Richards and Mr. Richardson. The duet by same institution. At the evening concert several of the glees Madame Clara Novello and Mr. Sims Reeves, “ E il sol dell' and songs were encored.
anima," from Verdi's opera, Rigoletto, was sung to perfection. Ripon.-On Tuesday evening, the 2nd instant, the members of Mr. Reeves created a furore in the new national song, "England the Ripon Amateur Society gave a concert at the public rooms, | and Victory," which he gave with immense point and energy. Low Skellgate. The vocalists were Miss Barwick, and a portion Mr. Richardson played a solo. Mr. J. L. Hatton sang comic of the Cathedral choir. The instrumental performers were under
trumental performers were under songs; Mr. Weiss sang his own “ Village Blacksmith," and Mr. the direction of Mr. J. W. Sparrow. The attendance was Brinley Richards was encored in his brilliant and popular varianumerous.
tions on “Rule Britannia.” The concert wound up with the BATH.-Two concerts for the benefit of the Patriotic Fund national anthem, sung by the whole of the company, Mr. Sims were given on Tuesday morning and evening, at the Assembly Reeves taking the solo verses.
The kernel of the abuse is this :-Professional chorus
singers cannot live with moderate ease and comfort, since In accordance with a new Postal Regulation, it is absolutely they are partially deprived of their means of existence by necessary that all copies of TÀE Musical World, transmitted
the voluntary interposition of amateurs. Now, that amateurs through the post, should be folded so as to expose to view the red should devote their hours of leisure to the pursuit of so stamp.
delightful and innocent an art as music, can only be a source It requested that all letters and papers for the Editor be addressed of satisfaction to its followers and well-wishers; and that
to the Editor of the Musical World, 28, Holles Street ; and all amateurs should found societies, and give performances in
business communications to the Publishers, at the same address. public on their own account, with or without professional CORRESPONDENTS are requested to write on one side of the paper assistance, is equally commendable. But that amateurs only, as writing on both sides necessitates a great deal of trouble
should obtrude themselves in places where professors glean in the printing.
their uncertain livelihood, and offer services gratis to the
detriment of those who would otherwise be hired, and whose To ORGANISTS.—The articles on the new organs, published in the bread depends entirely upon such engagements, is unjust volume for 1854, will be found in the following numbers: 28, and intolerable. The idea of Her Majesty the Queen 30, 32, 33, 34, 36, 37, 38, 42, 45, 47, 49, 51.
“inviting” Mr. Bowley, and half the members of the Sacred
Harmonic Society, to sing for her amusement, unremuneTO CORRESPONDENTS.
rated, at the Palace of Windsor, is simply preposterous. Her GEORGE IV's. STATUE is informed that the article in No. 49, and
Majesty does no such thing, and can do no such thing. If that in No. 51, of last year's volume, were not written by the
the Queen wants a concert of vocal and instrumental music, she same contributor. So that he may still, to use his own words, pays, or intends to pay, for it. The fact is indisputable. Why, "sit in silence," and cher the cud of disappointment. The indeed, should she not? She pays her private band, and style of his complaint smacks strongly of the Minerva Press.
Mr. Anderson, its conductor; she pays M. Sainton, her soloRosa Matilda herself, in her moments of darkest inspiration,
violinist ; she pays Mrs. Anderson, her pianist; and pays never described one of her out-and-out villains in colours of deeper dye than those in which our imaginative correspondent
them all liberally. How then can it be explained that, when has painted the unfortunate gentleman whom he presumes to
Her Majesty is desirous of a choral performance, she should hold the unenviable post of editor of the MusicAL WORLD. May expect to obtain the chorus-singers for nothing? Does any his liver never shrink, and his bile never be less.
officious individual whisper into her Royal ear that there are G. B.-We have no correspondents at the places indicated: but any no such things to be had as professional choristers, and that, information from G. B. will be attended to without “ fee.” The
'he in consequence, the members of the Sacred Harmonic Society announcement that singers are about to sing of course belongs
(gentlemen and ladies in competent circumstances) would feel to the advertisement department; but the record of what, where, and how they have sung, is a matter of news.
ere, honoured in being accorded the distinguished favour of singMUSICA.Our correspondent's news will be welcome: but it is of ing “gratis” for the edification of the Queen and Prince? If
no use to us unless it arrives very much earlier. The facts con not, how does it happen that at the recent choral performtained in his letter have already been recorded, as he may ance in Windsor Castle, so few out of the many professional see by reference to back numbers.
chorus singers, who are almost starving for lack of employA CHORUS SINGER.— Will our correspondent favour us with his
ment, were engaged? Not to say the guinea, which the name and address-in confidence, of course?
Queen would cheerfully give, but the hot supper, which, after C. J. H.-Can any of our readers inform our correspondent of the value of a copy of “ Marcello's Psalms", 4 vols., quarto, Paris,
the performance, was devoured by the representatives of the Carli ; also Ciari's “ Madrigals, Trios, and Duets," in 2 vols.,
Exeter Hall “ 700,” would have been infinitely serviceable to uniform with Marcello's ?
any and all of these unfortunate singers, for whom guineas are scarce, and even suppers not plentiful.
Much the same thing, it may be remembered, occurred THE MUSICAL WORLD. last year at the inauguration of the new Crystal Palace.
No end of amateurs, and, among the rest, the entire “ 700” LONDON, SATURDAY, JANUARY 13TH, 1855.
got places in the orchestra, and enjoyed the sight literally
for “a song "—to the loss and detriment of the poor proThe complaint of “A Professional Chorus-Singer," inserted
fessor, the hungry and emaciated chorus-singer.
| The question of how far amateurs have a natural right, in another part of our impression, lays open a field of discussion which has too long been enclosed and defended by the
and how far they have no right whatever, to come between hedges and hurdles of prejudice. Our correspondent having
the professional artist and his employers, and thereby take made a breach in the hedge, and kicked down the hurdle
the piece of bread out of his mouth-not to eat it, but to with the hoofs of invincible truth, we are at liberty to enter
throw it away, or give it back to the donor- is one of great the field and take a free and unrestricted survey. Our
importance, and cries aloud for settlement. We hold it our “ Chorus-singer” states his case in a plain, straightforward,
bounden duty, as protectors of the rights and immunities of unexaggerated manner, with equal calmness and discretion,
the profession, to give that question speedy and serious con
sideration ; and if the remarks suggested to us by the honest with a careful eschewal of personalities, and with arguments
and not unmanly letter of our correspondent lead to further so simple and clear, that it is impossible to controvert them. His letter is well worth reading; and its circulation, through
communications on the subject, we shall be too happy to
devote so much of our space as we can spare to a matter so the medium of our columns, may possibly lead, sooner or later, to some modification of those hard conditions under
urgent and of such vital interest to a numerous, deserving, which the members of his profession are too often compelled
hard-working, and by no means well paid section of the to wage a painful struggle for a scanty and precarious
musical community. livelihood.
We have received the following angry and not over the exercise of official officiousness, control and fetter him.
M. JULLIEN'S CONCERTS.
The “Mendelssohn Festival" at M. Jullien's Concerts never called to an article in your last number respecting the organ at the
fails to attract the crowd. Whatever the cause-whether a real Royal Panopticon and the music performed on that instrument.
love for the music of the great master, gradually instilled into Fair criticism is not objected to by them, but it is not too much to the public mind, or reverence for a mighty name, of which require that persons indulging in strictures on public institutions should vanity would fain induce the acknowledgment-we cannot say ; take the trouble of acquainting themselves with the facts on which but the fact is incontestable. The music of Mendelssohn not they offer their comments.
only allures multitudes, but creates listeners; and, doubtless, at It is charitable to suppose that the writer of the article referred to these rare entertainments, has not seen the programme of the performances at the Royal Panop.
“Many who come to scoff, remain to”-hear. ticon nor attended there at the hours specified for the organ performances, otherwise he could not have fallen into the gross mistake of
| Good music is in the ascendant, thanks to M. Jullien, who, by stating that he could never, during the day, hear a “shadow of a fugue,
his infusion of the grave with the light in his programme, has prelude, or sonata.” That statement is, to use his own language,
transformed a listless and ignorant crowd into an attentive and “utterly disgraceful,” as any one may satisfy himself who will take the appreciating audience. On Tuesday evening-when the “Mentrouble of looking over the file of the programmes. No day bas delssohn Festival" of the new series was given-never was the elapsed since the opening of the institution on which organ music, assembly more numerous, never more attentive. Though including Händel, J. S. Bach, Mendelssohn, Bröck, Schneider, Hesse, crowded to inconvenience, more especially in the promenade and Krebs, and other composers of the same stamp, has not formed an item gallery, the visitors were decorous and silent, delighted with in the programme. As regards the incidental use of the organ at other the performance, and liberal of their applause. For such music periods, it is palpably absurd to object to it, so long as the legitimate and such playing, they would have undergone a martyrdomuse of the instrument for its highest purposes is not lost sight of. and, indeed, many appeared to suffer little short of it.
Trusting to your sense of justice, that you will insert this letter for The programme was admirable. First came the “ Italian" the information of the public and the benefit of your musical critic,
Symphony (in A major)—the complete work, executed in a brilI remain, Sir,
liant manner by the band, and enthusiastically received, espeYour obedient servant,
cially the last movement—"saltarello"-with its spirited and Royal Panopticon of Science & Art, T. L. BROWN, Secretary.
picturesque allusions to the bustle and humour of the Italian Leicester Square,
carnival." 9th January, 1855.
This was followed by the pianoforte concerto, in G minor-the It appears, then, that one of our charges is unsubstantiated, most popular of all pianoforte concertos, it would seem, with and that the programmes are not altogether so destitute of artists who can play-performed with irresistible effect, and in musical interest as was insinuated. The great organ com- her most exquisite manner by Madame Pleyel, who was reposers, from Sebastian Bach to Krebs (!), have their specified warded with thunders of applause at the end, and had to repeat corner; and when Mr. Best is not firing off canon at the
| the last movement, playing, if possible, even better than
le before. Battle of Alma, or enlivening Aladdin's Lamp with an echo
The graceful and charming overture to The Son and Stranger
T from those strains which the philanthropic Robert Schumann (Heimkehr) succeeded. This was the first time of its perhas devoted to the edification of the infant mind, he may formance by M. Jullien's band, and is not likely to be the last. solace himself and his more initiated hearers with something Though unelaborate and almost unpretending, it betrays the more worthy of his own talent and their appreciation. This, hand of the master, and the fancy of original genius, and is a at any rate, is consoling.
composition of high interest to the cultivated amateur. Miss It is not, however, “palpably absurd” (as Mr. Brown in
Dolby came next with her quiet, natural and thoroughly
charming reading of “The First Violet," a gem of expressive sists), to object to a noble instrument like the Panopticon
ke the panopticon melody-if a flower may be called a “gem.” This was very organ being employed in the illustration of shows and deservedly encored, and was heard in the repetition with intransparencies—an office more congenial to the harmonium, creased pleasure, as could hardly fail to be the result of such or the pert and clamorous cornet-à-pistons, so well beloved of perfect taste and genuine feeling. Miss Dolby, by the way, « gents” and Oxford graduates. On the contrary, it is “ pal. made her first appearance on Tuesday night at M. Jullien's pably absurd” in the manager of the institution to sanction
concerts for some time. She appeared in place of Madame Anna
Thillon, absent from “indisposition.” Miss Dolby has been such a desecration-for it is nothing else. The organ is the
engaged for six nights. most important feature of the Panopticon. It cost a large. The one violin concerto of Mendelssohn has never, we venture sum of money; and how highly its value was estimated, to assert, found so able and genial an interpreter as Herr Ernst. appears from the engagement of one of the most practised So grand a work in the hands of so great and inspired a player, performers in the world to exhibit its quality to the public. could not fail to create a sensation, and it is not too much to say But how can Mr. Best do justice to himself and to the instru. that the concerto was the “special feature” of the evening's ment under his charge, if he is denied unrestricted liberty of performa Gis denied unrestricted liherty of performance. Perhaps on no former occasion has the German
violinist-full of the vigorous intellect and dreamy imagination action? If at one moment he is set down to Bach's pedal
Pedal of his native country-been heard to more conspicuous adfugues or Mendelssohn's sonatas, and at another to do the vantage. Briefly, the performance, like the music, was an work of first fiddle at the pantomime? If the managers of exhibition of genius of the rarest order from first to last. It is the Panopticon (as it is reasonable to suppose) are proud scarcely necessary to add that Herr Ernst was welcomed with of their organ, and desire to make its merits familiar to the acclamations, and applauded with enthusiasm. public, they cannot do better than leave Mr. Best to follow The two concertos were conducted by Mr. Alfred Mellon, to his own convictions. A musician, no less than an organist,
whom M. Jullien has delegated the superintendence of the solos,
" | vocal and instrumental. He could not have consigned them tó he is naturally a better judge of his art, and of what is re-labler hands, as was testified by the delicate and satisfactory quisite under the circumstances that led to his connection manner in which both Madame Pleyel and Herr Ernst were with the Panopticon, than any of those gentlemen who, in accompanied by the orchestra on Tuesday night.
The “Mendelssohn” part of the programme--the first part, Kirkman, founder of the well-known establishment of Kirkman terminated with a vigorous performance of the well-known and Co., pianoforte makers. Wedding March from the Midsummer Night's Dream. In the Mr. Salaman's illustrative performances on the various insecond part, the "Allied Armies' Quadrille," the “Pantomime struments were as artistic as his observations were instructive, Quadrille," the quintet by Festa,“ Das Mädchen am Fenster," and the lecture was thoroughly enjoyed by the audience, played by MM. Duhem, Stenebruggen, Simar, Hughes, and Herr Keenig, the “Moldavian Schottische," the “Atlantic Galop," and M. Lavigne's oboe solo on airs from La Sonnambula, made up the
GRISI AND MARIO AT NEW YORK. instrumental features. Miss Dolby sang the Scotch song, "Over SOME more tittle-tattle about the two great artists, extracted the sea."
from the New York journals, will not prove uninteresting to Herr Kønig's benefit took place last night, when several our readers. The New York Musical World, alluding to their novelties were given, among others, a selection from Rossini's latest performances, says: Stabat Mater and a new valse, with cornet obbligato, composed "Norma and the Barber of Seville have been the operas of the past expressly for the occasion by Herr Koenig. Beethoven's week at the Academy. The attendance has been small, but the enthu. “ Adelaida " was performed by Herr Konig on the cornet. The siasm great. We are always afraid to begin to let on' as regards the house was crammed. The “Beethoven Festival" is announced singing and acting of Grisi and Mario. It is so superlatively fine, that for Tuesday next, when Herr Ernst will play the entire of one is irresistibly drawn off from his standpoint of critical watchful. Beethoven's only concerto for the violin and Mad. Pleyel the ness and transported into the realms of ejaculations and superlatives. pianoforte concerto in O minor. The success of the concerts at In fact, who would wish to criticise, when heart, and eye, and ear, and Covent Garden is quite as great and unvarying as at Drury
intellect are fully and perfectly satisfied, and we feel that we could Lane.
receive no more of pleasure if they could impart it to us ? Thus we felt at the performance of the Barber of Seville, and therefore we are
constrained—to let criticism rest, and say nothing more about the MR. CHARLES SALAMAN'S MUSICAL LECTURE. opera this week.”.
The first lecture “On the ancient keyed-stringed instruments, Our contemporary, although afraid to animadvert upon matwhich preceded and originated the Pianoforte" was delivered by ters“operatic,” is by no means timid in expressing himself on Mr. Charles Salaman, on Tuesday evening last, at the Marylebone other matters :Literary and Scientific Institution, before a crowded audience. “Madame Grisi says that she cannot accustom herself to the ladies' Mr, Salaman hoped that, considering the almost social importance bonnets at the opera. It seems to her just as though people sent their of the Pianoforte aud how little was known respecting its servants to hear her sing instead of coming themselves. We hope that origin, progress, and development, some information upon the tbis hint may not be lost upon the fair Bostonians, whom Grisi is subject might prove of sufficient general interest to merit the now about to visit, but that they may hood themselves well, this cold attention of the public, etc., etc. He then proceeded to show,
weather, and then fully display their symmetrical phrenologies as soon as by reference to well executed diagrams, that certain stringed
stringes they arrive within opera-doors. Grisi herself certainly makes every instruments in general use in the middle ages were reproductions
sacrifice to the proprieties of things. Last Monday night, when the
cold was excessive without doors, and ladies kept on their furs, and of some very ancient Jewish instruments mentioned in Scripture.
en wer ot comfortable without the entire length of their He described the Psaltery or Dulcimer, and the Sackbut, which in
modern surtout-continuations within doors, Grisi was on the stage in form and character much resembled the “Chinor" and“ Nebel" of
bare arms and unprotected shoulders ; and only slipped on a mantilla the ancients, these instruments being played by plectra. As the
for a moment, while ensconced behind the piano with Mario, where science of music began to be generally cultivated, a single instru she was directly exposed to a cold draught of air from the side scenes. ment which could produce combined sounds was found necessary; | Indeed, how Grisi or anybody else can bear the exposure of the stage, this necessity produced the Clavichord, which was a combination and the multitudinous cold currents issuing therefrom, we are at a loss of the strings of the psalter with the keys of the organ. It was to know." the parent of all keyed-stringed instruments. Mr. Salaman í He is even bolder when he writes of Mario and the New York proved its great antiquity by reference to old Italian and English exquisites : writers. Its birth-place was Italy. Mr. Salaman described its | “Mario parts his hair in the middle—therefore our young New mechanism, and presented extremely interesting details re
York gentry are beginning to do the same. Even those who have not specting its use in England and Germany. Mr. Salaman then
the courage to come up to the decided centre of things, are sidling up introduced the Virginals, the favourite instrument of Henry
to it. The seam of division upon the head is gradually creeping up, VIII. and Elizabeth ; and performed upon it “The Carman's and the youthful caputs we see at the opera have less the one-sided Whistle," with variations by the famous William Byrde. The appearance heretofore imparted by wearing most of the hair on one virginal upon which Mr. Salaman performed is most picturesque, side, but begin to get into shape. We trust that the balance and and is a very rare specimen of that venerable instrument. Its equipoise thus secured outside, will be realised also in the interior appearance excited inuch sensation. It was the first time the arrangements." virginals had ever appeared in public. Mr. Salaman performed We cannot imagine the American male physiognomy greatly some most interesting compositions by Byrde, Dr. Bull, improved by this mode of coiffure. Being republicans, however, and Orlando Gibbons, upon a very fine Reicher Harpsichord. we suppose the Yankees are fond of an equal division” in all The applause was great and continuous. The subject of things. Mario may now be said to suit the New-Yorkers to a the virginals gave occasion for many interesting particulars from hair, and his motto should henceforth be " divide et impera"quaint old English and Italian authors relative to music and which being interpreted (loosely) means “divide and wear an manners in the 16th century. The names of some of the very imperial.” If the illustrious tenor has not quite turned the ancient virginal lessons convulsed the audience with laughter. heads of the Americans, he has at all events managed to comb Mr. Salaman then presented the Spinett. Julius Cæsar Scaliger and brush them. traces the Spinett from the ancient Greek and other instruments, which were sounded from beneath by plectra ranged in a certain MARIE CRUVELLI.—"Mdlle. Marie Cruvelli, sister of our illusorder, and to which points of quills were attached. It was a trious cantatrice, made her debut at Francfort, on the 31st of very fashionable instrument in England, and in other countries, December, in the character of Fides in the Prophète. She obetc. The Harpsichord was then introduced, and Mr. Salaman tained the unanimous suffrages of the public, and was recalled played upon Händel's own double harpsichord, kindly lent to three times after the fall of the curtain. “This young artist," him by the Messrs. Broadwood, the air and variations on the says the Francfort Journal, “is gifted with a powerful and “Harmonious Blacksmith.”
| harmonious contralto voice, and possesses an excellent method. In the course of his allusion to the harpsichord-makers, It is not too much to fancy that one day she will be a worthy Mr. Salaman might have added, that the most renowned competitor of her celebrated sister.”-Messager des Théâtres manufacturer of the instrument in this country was Jacobus et des Arts.
BEETHOVEN'S CHORAL SYMPHONY. . abrupt modulations; too frequent and too sudden changes of This great chef-d'ouvre, which was expressly composed by | sages are so unaccountable, that one certainly could not help
time; and, lastly, some very common-place ideas. Some pasBeethoven, with a view to the London Philharmonic Society, thinking Beethoven must have written them in that unhappy was first performed in this country, by the band of that Society, state of melancholy, of discontent with his fate, and of despair, in the Argyle-rooms. Regent-street, on Monday, the 21st of | under which it is known he sometimes labours. The vocal part
was well sustained by Madame Caradori (who earned the most March, 1825. The following somewhat scurvy notice of this
deserved applause), Miss Goodall, Mr. Vaughan, and Mr. grand inspiration, now universally recognised as the noblest and
Phillips. most profound of the nine immortal symphonies, from the pen of a recognised critic, appeared at the time in one of the principal
The same critic, the late Mr. Jerdan-of whom Southey wrote journals; and will now, we think, be read with some curiosity | in a poetical address to his friend Charles Lamb, considerable interest, more surprise, and unmitigated contempt:
Methinks, old friend, thou art not worse bested, “The third Philharmonic Concert, which took place on Monday
Since dullness threw a Jerdan at thy head last, proved an unusually potent attraction, on account of the
was noted for his virulent, senseless, and vituperative attacks new symphony by Beethoven, composed expressly for the Society. upon Lord Byron, during the latter period of his career, Symphonies for an orchestra have ever been considered as the highest species of instrumental composition; and it is with them as with tragedies : the number of either which, through in HUMMEL'S ACCOUNT OF HIS OWN LIFE, trinsic excellence, have stood the test of time, is extremely limited. If hardly any nation can boast of more than about half
BEIŅg applied to by M. Sonnleithner, member of the Society a-dozen poets who have acquired immortal fame by their tragedies, of Friends to Music in Vienna, and editor of the General Biothe poverty in composers of symphonies is still more obvious. Italy, graphy of celebrated Austrian Musicians for some particulars England, and France, though well supplied with good works in | of his artistic career, Hummel, deservedly one of the most almost every other department of the art, have none; and the
eminent of them, drew up the following brief and graphic sketch only country, where such compositions have been pre-eminently cultivated, is Germany. But, even in Germany, there are only
in reply :three individuals (Haydn, Mozart, and Beethoven) whose sym
"Weimar, May 22, 1826. phonies are universally admired, and have hitherto been con- ' “MY DEAR FRIEND.-Excuse my having left your letter so sidered as unsurpassable models. If the Rombergs, Spohr, long unanswered—the reason is, that it arrived here just as I Ries, Fesca, are mentioned, it is only doing justice to their spirit had started off on a journey to Leipsic, Dresden, and Berlin, of emulation, should they be doomed to remain at a considerable whence I have just returned. I now fulfil your wish with the distance from this triumvirate. Whenever, therefore, a genius greatest pleasure, the more especially as it tends to the glory of like Beethoven enriches the art with a new work of this the imperial city, by celebrating the artist-talent that it has description, its first performance is as anxiously looked for as | produced or cultivated, that of a new opera by Mozart or Weber. Still, it cannot be | “I was born November the 14th, 1778, at Presburg. The expected that anything like an analysis of the merits and de particulars of my life, up to a certain period, you may find given merits of a production of this kind should be given in this place, in the Conversations-Lexicon. My father, who was a good musiafter a single hearing. Upon an elaborate composition of such cian, undertook the first development of my talent, which aftervast compass, it is hazardous to pronounce, even generally, a wards, from my seventh to my ninth year, had the advantage of decided opinion. Profound, complicated music, if really good, Mozart's instruction. I then travelled with my father through always improves on intimacy, and a certain degree of familiarity | Germany, Denmark, Holland, England, and Scotland. The enwith it is necessary to a full perception of its beauties. If we couragement I received on all sides, added to my own diligence were to judge, only, by the impression the symphony made on and strong predisposition to music, spurred me forwards; as for the majority of the audience-i.e., the amateurs we should not what concerns the pianoforte, I was left, with Mozart's instruchesitate to say it was a failure ; but their disapprobation may, tion, entirely to myself, and have been, upon that instrument, in some measure, be attributed to its excessive length (about my own preceptor. My first attempts at composition were seventy minutes), to the lateness of the hour, or to the fatigue made about my eleventh or twelfth year, and though they bear occasioned by listening to the seven long pieces in the first act the impression of the taste of their day, and of the childhood of which preceded it. The professional musicians we had an their author, they still show character, regularity, and a disposiopportunity of consulting were unanimous in their judgment, tion for harmony, which is the more remarkable as I had not that it contains some magnificent parts worthy of Beethoven: I then received any instruction in composition. with others, in which, if the expression be allowable, he has run “In my fifteenth year I returned to Vienna, studied counterfar from himself,
point under Albrechtsberger, and enjoyed Salieri's instruction in « The symphony consists of four movements, and is written in vocal composition, more particularly in an æsthetical and philoF; the first, an allegro, most strangely begins on the dominant sophical view of it. During these my studious years, I worked instead of the key note, and continues so for some bars; so that mostly in quiet for my own improvement, seldom publishing the hearer remains all that while in suspense and uncertainty. anything. The three fugues, Op. 7, and the variations, Op. 8, The second movement, a scherzo, somewhat in the style of were what first drew upon me the observation of the connoisseur the ancient gigue, is very long and very little varied: the world. As I had already acquired the first place as a player at few constituent ideas are made the best of by means of modula | Vienna, I was much occupied in teaching. My pupils were so tions, inversions, and imitations. The transition from three- numerous, that for ten years I taught daily from nine to ten fourth to common time, was justly considered one of the most hours; and, in order to improve in composition, I accustomed beautiful parts of the whole. In the last movement, of all the myself to be at my writing desk, both winter and summer, by most ultra, the instruments jointly prepare the vocal part (the four o'clock, as I had no other time left. words of which at least in the German manuscript, are taken “ From 1794 to 1814 I gave up playing in public at Vienna, from Schiller's Ode to Joy) by a recitative. Next, the basses | as many circumstances stood in the way of it, and I had, moregive the melody on which this movement is mainly founded, and over, lost the inclination. I, however, still continued to extemwhich is certainly most charming and original: the other instru-l porise in private circles, among my friends and the more ments take it up successively, till at last the orchestra and the devoted amateurs of the art. During these years, I produced voices join in a most charming ensemble. The principal defects compositions of almost every species, that have had the applause of the composition, besides its most extraordinary length, seem of connoisseurs as well as amateurs, and have gradually estato be a want of regular design, and of uniformity in the parts; ! blished my reputation in foreign countries. In 1803, Joseph ::