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Tempter und Jiidinn (Ivanhoe), which had not been given for above a year, llerr Tichatscheck sustained the part of Ivanhoe.
Maqdeburq.—Mozart's Requie-n was lately performed in tho Johanniskirche, in a highly satisfactory manner.
Darmstadt.—The favourite opera of the Court here, is Die Zigeunerin (the Bohemian Girl) by Balfe.
Brussels.—Sir. Henry Litolf has played with succeas at the Conservatoire Concert.
Copenhagen.—M. A. Dreyschock has given a series of concerts, which were most numerously attended.
Lisbon.—M. Sivory has received from Ilia Majesty the Order of Christ.
Worcester.—Mr. J. H. D'Egville's Testimonial Concert was given at the Music-hall, on Wednesday evening last. In the instrumental portion, Winter's overture to Calypso, and Haydn's No. 1 Symphony, were allotted to thePhilharmonicBand, and two violin solos toM. Sainton. The principal vocalists were—Mrs. Bull, Mr. J. Jones, Mr.Thomas, and Mr.Mason. Messrs.Williams,Topham, and Langdon, of the Cathedral choir, also took part. The choral band was composed of the members of the Harmonic, Philharmonic, and Madrigal Societies. The selection from Hiindcl's Acis and Galatea, commencing with "O, the pleasures of the plains," was well sung, and much applauded. The choruses were all well sustained. The encores were "Annie Laurie," sung as a chorus, and Beethoven's "Vesper Hymn." M. Sainton's violin performance was remarkably fine; he was enthusiastically applauded, and, at the conclusion of a fantasia on airs from Donizetti's La Fille du Regiment" was recalled, and made to repeat the latter part. Mr. Uglow, organist of Cheltenham, played a voluntary on the organ. The glees, " Cold is Cadwallo's tongue," and " When winds breathe soft," were well sung. The concert concluded with the National Anthem, arranged by Dr. Q. J. Elvey.
Leeds.—The People's Concert on the evening of Saturday was again well attended. The vocalists included the party who appeared some time ago—Miss Birch, Miss Lascelles, Mr. A. Pierce, and Mr. Frank Bodda, with Herr Henric Jahns, the Hungarian tenor. Mr. Spark was the conductor. The programme was a good one. Herr Jahns again produced a thrilling effect. His first song, from the opera A Night in Granada, was encored, and a native composition substituted. In the second part Herr Jahns was put down to sing "The Death of Nelson," but not being well "up" in his English an apology was made, and "The Standard Bearer" given instead. The audience, however, had been expecting Braham's famous song, and were not pleased with the change. The concert terminated with the National Anthem.
Gravesend.—On Thursday the 4th inst., Mr. W. A. Leggatt gave his first concert at the Literary Institution, on which occasion he was assisted by Miss Poole, Mrs. B. Limpus, Miss Lizzie Best, Messrs. Fielding, Seymour, and Herr Jonghmans. Mr. R. Limpus was the accompanyist. Altogether, the concert gave the highest satisfaction, and went off most successfully. The room, which has just been elegantly decorated, presented a brilliant appearance, and was crowdea to overflowing by the ilite of the neighbourhood. Nearly two hundred persons were unable to gain admission.
Knahesborouoh.—On Monday the 1st, two concerts were given in the National School by Messra. Strickland, Plowman, Hild, Hudson, and Holmes, from the Wilberforce School for the Blind, York, assisted by Miss Maria Wilson, late a pupil in the same institution. At the evening concert several of the glees and songs were encored.
Bipon.—On Tuesday evening, the 2nd instant, the members of the Bipon Amateur Society gave a concert at the public rooms, Low Skellgate. The vocalists were Miss Barwick, and a portion of the Cathedral choir. The instrumental performers were under the direction of Mr. J. W. Sparrow. The attendance was numerous.
Bath.—Two concerts for the benefit of the Patriotic Fund were given on Tuesday morning and evening, at the Assembly
Booms, by Mr. Duck. The instrumental performance was relieved by Miss Milner, who sang two ballads and obtained an encore in one. The flute solo by Mr. H. Nicholson, that by Mr. Harper on the cornet, Mr. Maycock on tho clarionet, and Mr. Larken on the bassoon gave great satisfaction.
Manchester.—Madame Szczepanowska, a resident professor, on Monday last gave a musical evening to her pupils and friends, at her house, Cornbrook Park. The lady was assisted by Mr. C. A. Seymour, Mr. Guilmette, Master Ijockwood, and a young dibutante, a pupil of Mr. Guilmette. Madame Szczepanowska and Mr. Seymour played Beethoven's grand sonata in F for pianoforte and violin. Master Lockwood played a harp solo upon the aria " Non piu mesta."
Liverpool.—The excellence of Mr. E. W. Thomas's band of sixty performers, at his shilling concerts at the Philharmonichall, during the week, has been most advantageously displayed in the selections from Mendelssohn's Italian symphony, Beethoven's symphony in A, Haydn's Surprise symphony, and the overtures to Leonora,,Jessonda, William Tell, Maxnniello, and Der Frieschiitz. In the dance music the effect was not so striking. The principal solo performers have been Mr. R. Blagrove, concertina; Mr. Lazarus, clarionet; Mr. Hawkes, trombone; Mr. Lidel, violoncello; Mr. H. Blagrove, violin; Mr. Jennings, oboe ; and Mr. G. A. W. Phillips, cornet. Mr. R Blagrove, who made his debut before a Liverpool audience on Monday night, was very successful on the concertina. Miss Hansford sang "Ocean, thou mighty monster," and "Bonnie Prince Charlie," remarkably well, and was much applauded.
Weymouth.—On Thursday evening week, Mr. It. Linter gavo a concert at the Royal Hotel Assembly Rooms for the Relief of the Sick and Wounded Soldiers and Sailors in the East. The vocal portion was sustained by Miss Hughes, whose singing was much applauded.
ADOLPHE ADAM AND HIS THEATRE.
(Translatedfrom L'Europe Artiste.)
The theatre of M. Adam, vulgo the Theatre-Lyrique, presents' with an obstinacy which does it honour, to-day La Heine (Tun Jour, by M. Adolphe Adam; to-morrow Le Muletier de ToUde, by M. Adolphe Adam; the day after, La Heine of the day before; then, four-and-twenty hours later, Le Muletier, preceded by a short one-act opera, equally by M. Adolphe Adam. That honourable musician, it has been suggested, might have engraved upon his visiting cards on New Year's Day, the following prospectus:—
Furnisher, patented—without guarantee of musical genius— to the Third Lyric Theatre.
Makes duets, trios, airs, couplets, concerted pieces, and everything in his line, all at a reasonable price and within the means of every one.
Orders executed with the utmost promptitude.
An opera in three acts delivered within 24 hours.
An opera in two acts delivered within 12 hours.
An opera in one act delivered within six hours.
The furnisher only requires the time absolutely necessary to write down the notes.
Greenwich.—Mr. Morley's concert took place on Thursday evening week. A crowdea audience assembled. The vocalists were Madame Clara Novello, Mrs. Lockey, Mr. J. L. Hatton, Mr. Weiss, and Mr. Sims Reeves. The instrumental performers were Mr. Brinley Richards and Mr. Richardson. The duet by Madame Clara Novello and Mr. Sims Reeves, "E il sol dell' anima," from Verdi's opera, Rigoletto, was sung to perfection. Mr. Reeves created a furore in the new national song, "England and Victory," which he gave with immense point and energy. Mr. Richardson played a solo. Mr. J. L. Hatton sang comic songs; Mr. Weiss sang his own " Village Blacksmith," and Mr. Brinley Richards was encored in his brilliant and popular variations on "Rule Britannia." The concert wound up with the national anthem, sung by the whole of tho company, Mr. Sims Reeves taking the solo verses.
In accordance with a new Postal Regulation, it it absolutely necessary that all copies of The Musical World, transmitted through the post, should be folded so as to expose to view the red ■■tamp.
It requested that all letters and papers for the Editor be addressed to the Editor of the Musical World, 28, Holies Street; and all business communications to the Publishers, at the same address.
Correspondents are requested to write on one side of the paper only, as writing on both sides necessitates a great deal of trouble in the printing.
To Organists.—The articles on the new organs, published in the volume for 1854, will be found in the following numbers: 28, 30, 32, 33, 34,36, 37, 38, 42, 45, 47, 49, 51.
Geoiujk Ivs. Statue is informed that the article in No. 49, and that in No. 51, of last year's volume, were not written by the same contributor. So that he may still, to use his own words, "sit in silence," and chew the cud of disappointment. The style of his complaint smacks strongly of the Minerva Press. Rosa Matilda herself, in her moments of darkest inspiration, never described one of her out-and-out villains in colours of deeper dye than those in which our imaginative correspondent has painted the unfortunate gentleman whom hepresumes to hold the unenviable post of editor of the Musical World. May his liver never shrink, and his bile never be less.
G. B.—We have no correspondents at the places indicated: but any information from G. B. will be attended to without " fee." The announcement that singers are about to sing of course belongs to the advertisetnent department; but the record of what, where, and how they have sung, is a matter of news.
Musica.—Our correspondents news will be welcome; but it is of no use to us unless it arrives very much earlier. The facts contained in his letter have already been recorded, as he may see by reference to back numbers.
A Chorus Singer.—Will our correspondent favour us with his name and address—in confidence, of course t
C. J. H.—Can any of our readers inform our correspondent of the value of a copy of " MarceUo's Psalms", 4 vols., quarto, Paris, Carli; also ClarCs "Madrigals, Trios, and Duets" in 2 vols., uniform with MarceUo's?
THE MUSICAL WORLD.
LONDON, SATURDAY, January 13th, 1855.
The complaint of "A Professional Chorus-Singer," inserted in another part of our impression, lays open a field of discussion which has too long been enclosed and defended by the hedges and hurdles of prejudice. Our correspondent having made a breach in the hedge, and kicked down the hurdle with the hoofs of invincible truth, we are at liberty to enter the field and take a free and unrestricted survey. Our "Chorus-singer" states his case in a plain, straightforward, unexaggerated manner, with equal calmness and discretion, with a careful eschewal of personalities, and with arguments so simple and clear, that it is impossible to controvert them. His letter is well worth reading; and its circulation, through the medium of our columns, may possibly lead, sooner or later, to some modification of those hard conditions under which the members of his profession are too often compelled to wage a painful struggle for a scanty and precarious livelihood.
The kernel of the abuse is this:—Professional chorussingers cannot live with moderate ease and comfort, since they are partially deprived of their means of existence by the voluntary interposition of amateurs. Now, that amateurs should devote their hours of leisure to the pursuit of so delightful and innocent an art as music, can only be a source of satisfaction to its followers and well-wishers; and that amateurs should found societies, and give performances in public on their own account, with or without professional assistance, is equally commendable. But that amateurs should obtrude themselves in places where professors glean their uncertain livelihood, and offer services gratis to the detriment of those who would otherwise be hired, aud whose bread depends entirely upon such engagements, is unjust and intolerable. The idea of Her Majesty the Queen "inviting" Mr. Bowley, and half the members of the Sacred Harmonic Society, to sing for her amusement, unremunerated, at the Palace of Windsor, is simply preposterous. Her Majesty does no such thing, aud can do no such thing. If the Queen wants a concert of vocal and instrumental music, she pays, or intends to pay, for it. The fact is indisputable. Why, indeed, should she not? She pays her private band, and Mr. Anderson, its conductor; she pays M. Sainton, her soloviolinist; she pays Mrs. Anderson, her pianist; and pays them all liberally. How then can it be explained that, when Her Majesty is desirous of a choral performance, she should expect to obtain the chorus-singers for nothing] Does any officious individual whisper into her Royal ear that there are no such things to be had as professional choristers, and that, in consequence, the members of the Sacred Harmonic Society (gentlemen and ladies in competent circumstances) would feel honoured in being accorded the distinguished favour of singing " gratis" for the edification of the Queen and Prince? If not, how does it happen that at the recent choral performance in Windsor Castle, so few out of the many professional chorus singers, who are almost starving for lack of employment, wero engaged? Not to say the guinea, which the Queen would cheerfully give, but the hot supper, which, after the performance, was devoured by the representatives of the Exeter Hall " 700," would have been infinitely serviceable to 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 last year at the inauguration of the new Crystal Palace. No end of amateurs, and, among the rest, the entire "700" got places in the orchestra, and enjoyed the sight literally for "a song"—to the loss and detriment of the poor professor, the hungry and emaciated chorus-singer.
The question of how far amateurs have a natural right, and how far they have no right whatever, to come between the professional artist and his employers, and thereby take the piece of bread out of his mouth—not to eat it, but to throw it away, or give it back to the donor—is oi)e of great importance, and cries aloud for settlement. We hold it our bounden duty, as protectors of the rights and immunities of the profession, to give that question speedy and serious consideration; and if the remarks suggested to us by the honest and not unmanly letter of our correspondent lead to further communications on the subject, we shall be too happy to devote so much of our space as we can spare to a matter so urgent and of such vital interest to a numerous, deserving, hard-working, and by no means well paid section of the musical community.
We have received the following angry and not overcourteous letter from the Secretary of the Panopticon, repudiating the charges contained in our leader of last 'week, relative to the unworthy uses to which Mr. Hill's fine organ is submitted:
To the Editor of the Musical World.
Sib,—The attention of the managers of this institution lias been called to an article in your last number respecting the organ at the Royal Panopticon and the music performed on that instrument.
Fair criticism is not objected to by them, but it is not too much to require that persons indulging in strictures on public institutions should take the trouble of acquainting themselves with the facts on which they offer their comments.
It is charitable to suppose that the writer of the article referred to has not seen the programme of the performances at the Royal Panopticon nor attended there at the hours specified for the organ performances, otherwise he could not have fallen into the gross mistake of stating that he could never, during the day, hear a " shadow of a fugue, prelude, or sonata." That statement is, to use his own language, *' utterly disgraceful," ns any one may satisfy himself who will take the trouble of looking over the file of the programmes. No day has elapsed since the opening of the institution on which organ music, including Handel, J. S. Bach, Mendelssohn, Brock, Schneider, Hesse, Krebs, and other composers of the same stamp, has not formed an item in the programme. As regards the incidental Ujo of the organ at other periods, it is palpably absurd to object to it, so long as the legitimate use of the instrument for its highest purposes is not lost sight of.
Trusting to your sense of justice, that you will insert this letter for the information of the public and the benefit of your musical critic, I remain, Sir,
Your obedient servant, Soyal Panopticon of Science <f Art, T. L. Bbown, Secretary.
9th January, 1855.
It appears, then, that oue of our charges is unsubstantiated, and that the programmes are not altogether so destitute of musical interest as was insinuated, The great organ composers, from Sebastian Bach to Krebs ( !), have their specified corner; and when Mr. Best is not firing off canon at the Battle of Alma, or enlivening Aladdin's Lamp with an echo from those strains which the philanthropic Robert Schumann has devoted to the edification of the infant mind, he may solace himself and his more initiated hearers with something more worthy of his own talent and their appreciation. This, at any rate, is consoling.
It is not, however, "palpably absurd" (as Mr. Brown insists), to object to a noble instrument like the Panopticon organ being employed in the illustration of shows and transparencies—an office more congenial to the harmonium, or the pert and clamorous cornet-a-pistons, so well beloved of "gents" and Oxford graduates. On the contrary, it is "palpably absurd" in the manager of the institution to sanction such a desecration—for it is nothing else. The organ is the most important feature of the Panopticon. It cost a large sum of money; and how highly its value was estimated, appears from the engagement of one of the most practised performers in the world to exhibit its quality to the public. But how can Mr. Best do justice to himself and to tlie instrument under his charge, if he is denied unrestricted liberty of action 1 If at one moment he is set down to Bach's pedal fugues or Mendelssohn's sonatas, and at another to do the work of first fiddle at the pantomime? If the managers of the Panopticon (as it is reasonable to suppose) are proud of their organ, and desire to make its merits familiar to the public, they cannot do better than leave Mr. Best to follow his own convictions. A musician, no less than an organist, he is naturally a better judge of his art, and of what is requisite under the circumstances that led to his connection with the Panopticon, than any of those gentlemen who, in
the exercise of official officiousness, control and fetter him. We are quite sure, at least, that he must be anything but pleased with the manner in which his services are misdirected.
M. JULLIEN'S CONCERTS.
The "Mendelssohn Festival" at M. Jullien's Concerts never fails to attract the crowd. Whatever the cause—whether a real love for the music of the great master, gradually instilled into the public mind, or reverence for a mighty name, of which vanity would fain induce the acknowledgment—we cannot say; but the fact is incontestable. The music of Mendelssohn not only allures multitudes, but creates listeners; and, doubtless, at these rare entertainments,
*' Many who come to scoff, remain to"—hear.
Good music is in the ascendant, thanks to M. Jullien, who, by his infusion of the grave with the light in his programme, has transformed a listless and ignorant crowd into an attentive and appreciating audience. On Tuesday evening—when the "Mendelssohn Festival" of the new series was given—never was the assembly more numerous, never more attentive. Though crowded to inconvenience, more especially in the promenade and gallery, the visitors were decorous and silent, delighted with the performance, and liberal of their applause. For such music and such playing, they would have undergone a martyrdom— and, indeed, many appeared to suffer little snort of it.
The programme was admirable. First came the "Italian" Symphony (in A major)—the complete work, executed in a brilliant manner by the band, and enthusiastically received, especially the last movement—" saltarello"—with its spirited and picturesque allusions to the bustle and humour of the Italian carnival.
This was followed by the pianoforte concerto, in G minor—the most popular of all pianoforte concertos, it would seem, with artists who can play—performed with irresistible effect, and in her most exquisite manner by Madame Pleyel, who was rewarded with thnnders of applause at the end, and had to repeat the last movement, playing, if possible, even better than before.
The graceful and charming overture to The Son and Stranger (Heimkehr) succeeded. This was the first time of its performance by M. Jullien's band, and is not likely to be the last. Though unelaborate and almost unpretending, it betrays the hand of the master, and the fancy of original genius, and is a composition of high interest to the cultivated amateur. Miss Dolby came next with her quiet, natural and thoroughly charming reading of "The First Violet," a gem of expressive melody—if a flower may be called a "gem. This was very deservedly encored, and was heard in the repetition with increased pleasure, as could hardly fail to be the result of such perfect taste and genuine feeling. Miss Dolby, by the way, made her first appearance on Tuesday night at M. Jullien's concerts for some time. She appeared in place of Madame Anna Thillon, absent from "indisposition." Miss Dolby has been engaged for six nights.
The one violin concerto of Mendelssohn has never, we venture to assert, found so able and genial an interpreter as Herr Ernst. So grand a work in the hands of so great and inspired a player, could not fail to create a sensation, and it is not too much to say that the concerto was the "special feature" of the evening's performance. Perhaps on no former occasion has the German violinist—full of the vigorous intellect and dreamy imagination of his native country—been heard to more conspicuous advantage. Briefly, the performance, like the music, was an exhibition of genius of the rarest order from first to last. It is scarcely necessary to add that Herr Ernst was welcomed with acclamations, and applauded with enthusiasm.
The two concertos were conducted by Mr. Alfred Mellon, to whom M. Jullien has delegated the superintendence of the solos, vocal and instrumental. He could not have consigned them to abler hands, as was testified by the delicate and satisfactory manner in which both Madame Pleyel and Herr Ernst were accompanied by the orchestra on Tuesday night.
The "Mendelssohn" part of the programme—the first partterminated with a vigorous performance of the well-known Wedding March from the Midsummer Night's Dream. In the second part, the "Allied Armies' Quadrille," the "Pantomime Quadrille," the quintet by Festa," Das Miidchen am Fenster," played by MM. Duhem, Stenebruggen, Simar, Hughes, and Herr Kecnig, the "Moldavian Schottische," the "Atlantic Galop," and M. Lavigne's oboe solo on airs from La Sonnambula, made up the instrumental features. Miss Dolby sang the Scotch song, "Over the sea."
Herr Koenig's benefit took place last night, when several novelties were given, among others, a selection from Rossini's Stabat Mater and a new raise, with cornet obbligato, oomposed expressly for the occasion by Herr Koenig. Beethoven's "Adelaida " was performed by Herr Koenig on the cornet. The house was crammed. The "Beethoven Festival" is announced for Tuesday next, when Herr Ernst will play the entire of Beethoven's only concerto for the violin and Mad. Pleyel the pianoforte concerto in C minor. The success of the concerts at Covent Garden is quite as great and unvarying as at Drury Lane.
MR. CHARLES SALAMAN'S MUSICAL LECTURE.
The first lecture "On the ancient keyed-stringed instruments, which preceded and originated the Pianoforte" was delivered by Mr. Charles Salaman, on Tuesday evening last, at the Marylebone Literary and Scientific Institution, before a crowded audience. Mr. Salaman hoped that, considering the almost social importance of the Pianoforte and how little was known respecting its origin, progress, and development, some information upon the subject might prove of sufficient general interest to merit the attention of the public, etc., etc. He then proceeded to show, by reference to well executed diagrams, that certain stringed instruments in general use in the middle ages were reproductions of some very ancient Jewish instruments mentioned in Scripture. He described the Psaltery or Dulcimer, and theSackbut, which in form and character much resembled the " Chinor" and" Nebel" of the ancients, these instruments being played by plectra. As the science of music began to be generally cultivated, a single instrument which could produce combined sounds was found necessary; this necessity produced the Clavichord, which was a combination of the strings of the psalter with the keys of the organ. It was the parent of all keyed-stringed instruments. Mr. Salaman proved its great antiquity by reference to old Italian and English writers. Its birth-place was Italy. Mr. Salaman described its mechanism, and presented extremely interesting details respecting its use in England and Germany. Mr. Salaman then introduced the Virginals, the favourite instrument of Henry VIII. and Elizabeth; and performed upon it "The Carman's Whistle," with variations by the famous William Byrde. The virginal upon which Mr. Salaman performed is most picturesque, and is a very rare specimen of that venerable instrument. Its appearance excited much sensation. It was the first time the virginals had ever appeared in public. Mr. Salaman performed some most interesting compositions by Byrde, Dr. Bull, and Orlando Gibbons, upon a very fine Reicher Harpsichord. The applause was great and continuous. The subject of the virginals gave occasion for many interesting particulars from quaint old English and Italian authors relative to music and manners in the 16th century. The names of some of the very ancient virginal lessons convulsed the audience with laughter. Mr. Salaman then presented the Spinett. Julius Caesar Scaliger traces the Spinett from the ancient Greek and other instruments, which were sounded from beneath by plectra ranged in a certain order, and to which points of quills were attached. It was a very fashionable instrument in England, and in other countries, etc. The Harpsichord was then introduced, and Mr. Salaman played upon Handel's own double harpsichord, kindly lent to him by the Messrs. Broadwood, the air and variations on the "Harmonious Blacksmith."
In the course of his allusion to the harpsichord-makers, Mr. Salaman might have added, that the most renowned manufacturer of the instrument in this country was Jacobus
Kirkman, founder of the well-known establishment of Kirkman and Co., pianoforte makers.
Mr. Salaman's illustrative performances on the various instruments were as artistic as his observations were Instructive, and the lecture was thoroughly enjoyed by the audience.
GRISI AND MARIO AT NEW YORK. Some more tittle-tattle about the two great artists, extracted from the New York journals, will notprove uninteresting to our readers. The New York Musical World, alluding to their latest performances, says :—
"Norma and the Barber of Seville have been the operas of the past week at the Academy. The attendance has been small, but the enthusiasm great. We are always afraid to begin to ' let on' as regards the singing and acting of Qrisi and Mario. It is so superlatively fine, that one is irresistibly drawn off from his standpoint of critical watohfulnoss and transported into the realms of ejaculations and superlatives. In fact, who would wish to criticise, when heart, and eye, and car, and intellect are fully and perfectly satisfied, and we feel that we could 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 opera this week."
Our contemporary, although afraid to animadvert upon matters "operatic," is by no means timid in expressing himself on other matters:—
"Madame Grisi says that she cannot accustom herself to the ladies' bonnets at the opera. It seems to her just as though people sent their servants to hear her sing instead of coming themselves. Wo hope that this hint may not be lost upon tlio fair Bostonians, whom Grisi is now about to visit, but that they may hood themselves well, this oold weather, and then fully display their symmetrical phrenologies as soon as they arrive within opera-doors. Grisi herself certainly makes every sacrifice to the proprieties of things. Last Monday night, when the cold was excessive without doors, and ladies kept on their furs, and gentlemen were not comfortable without the entire length of their modern surtout-continuation3 within doors, Grisi was on the stage in bare arms and unprotected shoulders j and only slipped on a mantilla for a moment, while ensconced behind the piano with Mario, where she was directly exposed to a cold draught of air from the side scenes. Indeed, how Qrisi or anybody else can bear the exposure of the stage, and the multitudinous cold currents issuing therefrom, we are at a loss to know."
He is even bolder when he writes of Mario and the New York exquisites :—
"Mario parts his hair in the middle—therefore our young New York gentry are beginning to do the same. Even those who have not the courage to come up to the decided centre of things, are sidling up to it. The Beam of division upon the head is gradually creeping up, and the youthful caputs we see at the opera have less the one-sided appearance heretofore imparted by wearing most of the hair on one side, but begin to get into shape. We trust that the balance and equipoise thus secured outside, will bo realised also in the interior arrangements."
We cannot imagine the American male physiognomy greatly improved by this mode of coiffure. Being republicans, however, we suppose the Yankees are fond of an "equal division" in all things. Mario may now be said to suit the New-Yorkers to a hair, and his motto should henceforth be "divide et impera"— which being interpreted (loosely) means "divide and wear an imperial." If the illustrious tenor has not quite turned the heads of the Americans, he has at all events managed to comb and brush them.
Marie Crttvelli.—"Mdlle. Marie Cruvelli, sister of our illustrious cantalrice, made her debut at Francfort, on the 31st of December, in the character of Fides in the Prophets. She obtained the unanimous suffrages of the public, and was recalled three times after the fall of the curtain. "This young artist," says the Francfort Journal, "is gifted with a powerful and harmonious contralto voice, and possesses an excellent method. It is not too much to fancy that one day she will be a worthy competitor of her celebrated sister."—Messagar des TMdlres et des Arts.
BEETHOVEN'S CHOBA1 SYMPHONY.
This great chef-d'oeuvre, -which was expressly composed by Beethoven, with a view to the Loudon Philharmonic Society was first performed in this country, by the band of that Society, in the Argyle-rooms, Regent-street, on Monday, the 21st of March, 1825. The following somewhat scurvy notice of this grand inspiration, now universally recognised as the noblest and most profound of the nine immortal symphonies, from the pen of a recognised critic, appeared at the time in one of the principal journals; and will now, we think, be read with some curiosity considerable interest, more surprise, and unmitigated contempt:—
"The third Philharmonic Concert, which took place on Monday last, proved an unusually potent attraction, on account of the new symphony by Beethoven, composed expressly for the Society. 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 intrinsic excellence, have stood the test of time, is extremely limited. If hardly any nation can boast of more than about halfa-dozen poets who have acquired immortal fame by their tragedies, the poverty in composers of symphonies is still more obvious. Italy, England, and Prance, though well supplied with good works in almost every other department of the art, have none; and the only country, where such compositions have been pre-eminently cultivated, is Germany. But, even in Germany, there are only three individuals (Haydn, Mozart, and Beethoven) whose symphonies are universally admired, and have hitherto been considered as unsurpassable models. If the Rombergs, Spohr, Hies, Fesca, are mentioned, it is only doing justice to their spirit of emulation, should they be doomed to remain at a considerable distance from this triumvirate. "Whenever, therefore, a genius like Beethoven enriches the art with a new work of this description, its first performance is as anxiously looked for as that of a new opera by Mozart or Weber. Still, it cannot be expected that anything like an analysis of the merits and demerits of a production of this kind should be given in this place, after a single hearing. Upon an elaborate composition of such vast compass, it is hazardous to pronounce, even generally, a decided opinion. Profound, complicated music, if really good, always improves on intimacy, and a certain degree of familiarity with it is necessary to a full perception of its beauties. If we were to judge, only, by the impression the symphony made on the majority of the audience—i.e., the amateurs—we should not hesitate to say it was a failure ; but their disapprobation may, in some measure, be attributed to its excessive length (about seventy minutes), to the lateness of the hour, or to the fatigue occasioned by listening to the seven long pieces in the first act which preceded it. The professional musicians we had an opportunity of consulting were unanimous in their judgment, that it contains some magnificent parts worthy of Beethoven; with others, in which, if the expression be allowable, he has run far from himself.
"The symphony consists of four movements, and is written in F ; the first, an aMegro, most strangely begins on the dominant instead of the key note, and continues so for some bars; so that the hearer remains all that while in suspense and uncertainty. The second movement, a scheno, somewhat in the style of the ancient gigue, is very long and very little varied: the few constituent ideas are made the best of by means of modulations, inversions, and imitations. The transition from threefourth to common time, was justly considered one of the most beautiful parts of the whole. In the last movement, of all the most ultra, the instruments jointly prepare the vocal part (the words of which at least in the German manuscript, are taken from Schiller's Ode to Joy) by a recitative. Next the basses give the melody on which this movement is mainly founded, and which is certainly most charming and original: the other instruments take it up successively, till at last the orchestra and the voices join in a most charming entemble. The principal defects of the composition, besides its most extraordinary length, seem to be a want of regular design, and of uniformity in the parts;
abrupt modulations; too frequent and too sudden changes of time; and, lastly, some very common-place ideas. Some passages are so unaccountable, that one certainly could not help thinking Beethoven must have written them in that unhappy state of melancholy, of discontent with his fate, and of despair, under which it is known he sometimes labours. The vocal part was well sustained by Madame Caradori (who earned the most deserved applause), Miss Goodall, Mr. Vaughan, and Mr. Phillips.
The same critic, the late Mr. Jordan—of whom Southey wrote in a poetical address to his friend Charles Lamb,
Methinks, old friend, thou art not worse batted, Since dullness threw a Jerdan at thy headwas noted for his virulent, senseless, and vituperative attacks upon Lord Byron, during the latter period of his career.
nUMMEL'S ACCOUNT OF HTS OWN LIFE.
Being applied to by M. Sonnleithner, member of the Society of Friends to Music in "Vienna, and editor of the General Biography of celebrated Austrian Musicians for some particulars of his artistic career, Hummel, deservedly one of the most eminent of them, drew up the following brief and graphic sketch in reply:—
"Weimar, May 22,1826.
"mt Dear Friend.—Excuse my having left your letter so long unanswered-^the reason is, that it arrived here just as I had started off on a journey to Leipsic, Dresden, and Berlin, whence I have just returned. I now fulfil your wish with the greatest pleasure, the more especially as it tends to the glory of the imperial city, by celebrating the artist-talent that it has produced or cultivated.
"I was born November the 14th, 1778, at Presburg. The particulars of my life, up to a certain period, you may find given in the Conversations-Lexicon. My father, who was a good musician, undertook the first development of my talent, which afterwards, from my seventh to my ninth year, Lad the advantage of Mozart's instruction. I then travelled with my father through Germany, Denmark, Holland, England, and Scotland. The encouragement I received on all sides, added to my own diligence and strong predisposition to music, spurred me forwards; as for what concerns the pianoforte, I was left, with Mozart's instruction, entirely to myself', and have been, upon that instrument, my own preceptor. My first attempts at composition were made about my eleventh or twelfth year, and though they bear the impression of the taste of their day, and of the childhood of their author, they still show character, regularity, and a disposition for harmony, which is the more remarkable as I had not then received any instruction in composition.
"In my fifteenth year I returned to Vienna, studied counterpoint under A lbrechtsberger, and enjoyed Salieri's instruction in vocal composition, more particularly in an sesthetical and philosophical view of it. During these my studious years, I worked mostly in quiet for my own improvement, seldom publishing anything. The three fugues, Op. 7, and the variations, Op. 8, were what first drew upon me the observation of the connoisseur world. As I had already acquired the first place as a player at Vienna, I was much occupied in teaching. My pupils were so numerous, that for ten years I taught daily from nine to ten hours; and,-in order to improve in composition, I accustomed myself to be at my writing desk, both winter and summer, by four o'clock, as I had no other time left.
"From 1794 to 1814 I gave up playing in public at Vienna, as many circumstances stood in the way of it, and I had, moreover, lost the inclination. I, however, still continued to extemporise in private circles, among my friends and the more devoted amateurs of the art. During these years, I produced compositions of almost every species, that have had the applause of connoisseurs as well as amateurs, and have gradually established my reputation in foreign countries. In 1803, Joseph .