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ORIGINAL CORRESPONDENCE.

only enjoy the advantage of a fourth part of his talent, is open to discussion. If a concert-giver engaged Herr Ernst for a series

of eight concerts and eight rehearsals, and Herr Ernst, instead MR. ANDERSON AND THE MESSRS. CHIPP. of appearing himself at the eight concerts and eight rehearsals, To the Editor of the Musical World.

was to send, as deputy, Mr. Anderson-who, though a violinist

of repute, can hardly be said to play more than a fourth as well SIR,—The letter of Mr. Anderson's solicitors can in no degree

as Herr Ernst-surely that concert-giver (say M. Jullien) would affect the correctness of the statements I have deemed it requi

be anything but satisfied ; and yet one position is precisely site to bring before the notice of both Colonel Phipps and the

analagous to the other. Mr. Anderson and the Philharmonic musical profession.

Directors paid out of the funds of the Philharmonic Society Mr. Anderson is well aware that it is out of his power to con

(which are the common property of the forty members whom fute what he terms “ a tissue of misrepresentations."

the directors represent) the sum of £16 for the services of I am, sir, your obedient servant,

a competent gentleman second fiddle at the concerts, which May 2nd, 1855.

- EDMUND CHIPP.

gentleman second fiddle (as I am told, but cannot believe)

received the £16, and handed over a fourth of it to Mr. To the Editor of the Musical World.

Simmons, as his deputy. The committee of the Sacred SIR-I beg distinctly to contradict the statement made by Harmonic Society paid out of the funds of that Society Mr. Anderson, through his solicitors, relative to the letters which (which are the common property of the members), the have appeared in your journal with my name attached. Instead sum of one guinea for the services of a competent gentleof their being a "tissue of misrepresentations or misstatements," man second fiddle at each of the concerts, which gentleman I proclaim them a chain of undeniable facts from beginning to second fiddle (as I am told, but cannot believe), received the end, which I shall only be too glad to prove whenever Mr. guinea, and handed over half of it to Mr. Simmons as a deputy; so Anderson feels disposed to meet me “in the proper quarter.” that, in the one case, the directors only obtained the fourth part I remain, sir, your obedient servant,

of the presumed equivalent, and, in the other, the committee May 3rd, 1855.

HORATIO CHIPP. only one-half. Would it not be much better to engage Mr.

Simmons perpetually, since his services were to be had so cheap, PRINCIPAL AND DEPUTY.

while those of the gentlemen he represented were apparently not

to be had at all (since he only played by deputy)? At any rate, To the Editor of the Musical World.

would it not have been fair to reverse the order of things, and Sir,-Is it true, as I have been told, that Mr. Simmons received give in the first case the twelve pounds to the deputy, who always in 1853 and 1854, the sum of 4 pounds for attending eight rehear- appeared, and the four pounds to the gentleman who preferred sals, and eight concerts at the Philharmonic? It seems to me quite looking on.-Your obedient servant, improbable, since the salary of the leading second violin is, I am Windsor, May 3rd, 1855.

WINDSOR CASTLE. told, sixteen pounds; and though Mr. Simmons only played as P.S.-I enclose my card and address, as you insist on it. : deputy for one of the leading second violins--I forget his name he would hardly receive so small a consideration for his services as only one fourth of the regular salary. It is true, I believe,

SIGNOR PAPPALARDO. that the same Mr. Simmons was paid half-a-guinea for acting as

To the Editor of the Musical World. deputy in place of one of the leading second violins, at the Sacred

April 28th. Harmonic Society, while the stipulated salary of the leading second SIR,—In a recent number of the Musical World, allusion was made violin is one guinea. But half-a-guinea is half a guinea ; while four to the last stringed quartetto of Maestro Pappalardo ; a letter I repounds is only the fourth of sixteen pounds; and I feel quite ceived this morning from Naples informs me, that His Royal Highness certain that Mr. Costa-though, with that gentlemanly spirit the Conte di Siracusa has lately appointed Sig. P. “Compositore di which always distinguishes him, he might be induced to tolerate Camera" to H. R. H., an honour previously cunferred on two

a deputy in his orchestra receiving half the amount of the salary “Sovrani Maestri,” Raimondi and Donizetti, an erident proof of the * due to the appointed player-would never have allowed any high estimation entertained of Sig. P's genius; lie is also engaged member of the profession, however humble, to be placed in so to produce a comic opera in the month of August, at the Royal Theatre paltry a position as that in which poor Mr. Simmons (as I have “Nuova,” at Naples ; in allusion to which, 1. R. 11., on conferring been told, but cannot possibly believe) was placed when deputy

tv | the appointment, was pleased to remark to Sig. P., “La classe istruita at the Philharmonic concerts, in 1853 and 1854.

del publico pretende sentire una musica degna del nome di Pappalardo." It may be argued that the gentleman second violin, who en

I remain, Sir, your obedient servant,

AN ADMIRER OF SIG. P.'s COMPOSITIONS. gaged the deputy for these concerts in 1853 and '54, played four times as well as the deputy, and, consequently, was entitled to four times as much money for his talent; but, on the other

MR. J. THORNE HARRIS'S COMPOSITIONS. hand, it is difficult to explain how, if he played four times as

To the Editor of the Musical World. well at the Hanover Square Rooms, he only played twice as well! SIR-Allow me to call your attention to a criticism, which appeared in at Exeter Hall. The moral question is not so much difficult to the Manchester Guardian last Saturday, on a concert given by the friends explain as inexplicable. Whether it is just that a Society which of Mr. J. Thorne Harris, for the express purpose of introducing that exists by public patronage, and pays to each member of its band gentleman's compositions to public opinion. The concert, which was a stipulated sum, as recompense for his time and talent, should very successful, was given at the Manchester Town Hall, before a highly critical and numerous audience, composed chiefly of the principal

THE CRYSTAL PALACE. , fainilies of Manchester, and most of the leading professors of the city.

To the Editor of the Musical World. The applause during the evening was unremitted, several encores were I SIR, -The subject of musical entertainments at the Crystal Palace demanded, and at the conclusion Mr. Harris was loudly called for. haring lately engaged a portion of the public through the medium of A German resident professor, of undeniable merit, as a critic as the pross, I beg to suggest a plan which, if carried out, I think might well as a performer, at the close of the concert went up to Mr. Harris, be adopted with considerable effect and satisfaction to visitors. Procomplimented him on his success, and courted his further acquaintance. fessor Wheatstone has lately made some experiments on the rate at

Referring to his music, you will doubtless have heard that it possesses which sound travels through conductors, but without entering into great melody, originality, and depth of thought, wanting, if anything, the statistical results at which he has arrived, and which probably will vigour in working out his conceptions, which can easily be excused in a be thoroughly laid down by some more competent person than myself, young composer like Mr. Harris. He does not attempt that which is I at once state my plans-namely, That the band be placed on an beyond his power to grasp, like most English composers, by taking the isolated sound-board, say at the east end of the middle transept, and trivial and whimsical Italian school as his model, but brings over the opposite to that another sound-board at the west, also isolated, and music from our next-door neighbours, the Germans. And therein lies one also at the north and south ends of the nave, similarly placed, all his great secret of success ; for who can deny that we, the English, are of these to be perfectly connected with the sound-board on which the of German extraction, and consequently must have the same distin- performers stand by means of a deal conducting rod, of a half or one guishing characteristies. And as music is but the poetical representa inch square. The effect of this would be, that instead of visitors now tive of our feelings and predilections, why should such music be placed only hearing the music at a few yards distance, it would be agreeably before us which is in direct opposition to our sensualities ? But the dispersed orer the whole building. The inexpensive character of the Guardian tells a very different tale. The Guardian, with its accus. experiment I should think would induce the directors to give it a trial, tomed keenness, by following in the current, of public opinion, in sup- in addition to the fact that the result which I have now stated is beyond posing the audience to be unfavourable to the wishes of Mr. Harris, question.

I am, sir, your obedient servant, . committed a great error, and the consequence was, that a miserable, 38, Moorgate-street, April 30.

RICHARD BLISS. meaningless criticism appeared in the next publication, totally unworthy of a gentleman (as I suppose he must be called) who has had the pleasure of hearing music in public rooms for the last "thirty years." It

HANOVER-SQUARE ROOMS.- A performance of Anthems and was illogical, and the writer tried to be racy, but failed signally. He

He Organ Music took place on Thursday evening, the 3rd instant, contradicts himself, and contradicts hiinself constantly ; for instance, he at the above rooms, under the direction of Mr. George Cooper. says, “There is a great want of originality, individuality, and melody" A selection of choristers and gentlemen, from her Majesty's (all of which are stereotyped phrases). A few lines lower down, he Chapel Royal, St. Paul's Cathedral, Westminster Abbey, and compares a certain song (“Parted for ever") to the Balfe style. Besides St. George's Chapel, Windsor, were engaged, Mr. Sudlow the unworthiness of the article, with respect to composition, it is conducting. With such means, infinitely better results might written in so unkind and sneering a spirit, that it is iinpossible to have been obtained. The vocal selection was not so full of escape the notice of any person of an unprejudiced disposition. For interest as it might have been—with the exception of Mendelsmyself, I would strongly recommend the writer to study music before sohn's Motett,“ Why rage the heath en ?” the same composer's be attempts to write another musical article, and thereby disgrace the

hymn, “Da Nobis Pacem," and Purcell's Anthem “Oh give columns of a journal considered by many to be so respectable and so

thaaks”-none of which was particularly well sung. The pure in its sentiments; for until he does, he will always have to confess

| verse anthem (Weldon) “In Thee, O Lord,” by Messrs. Knowles de his simplicity, and remain for evermore” innocent in musical matters.

and A. Barnby, elicited great applause. A trio (M.S.) from It is currently reported that he has himself stated, in brayado, that he

The Murtyrdom of St. Polycarp, by Sir F. Gore Ouseley, sung by cannot distinguish one note from another, and that he mistook the

Masters Sullivan, Stevens, and Malsch, was encored. Mr. overture to Fra Diavolo for that to Der Freischütz. My object, in penning this, has been to direct your attention to the

George Cooper performed on the organ a prelude and fugue by article in question, for yourself and many others to consider its merits,

Sebastian Bach; the adagio from Spohr's Nonetto, arranged for if you should condescend to oblige an unknown correspondent, by pub

the organ ; and variations on a Russian Church melody by A. lishing it. Believe me, etc.,

A LOVER OF JUSTICE.

Freyer. His playing was admirable, and he was loudly ap

plauded in all, but especially Spohr's adagio, which was perfect. COPYRIGHT AND PRAEGER OF HAMM.

Two solos-Dr. Greene's solo anthem, “ Acquaint thyself with To the Editor of the Musical World.

God," sung by Mr. Dawson, an alto singer with a pleasing voice

and a solo from Mozart's Litany, sung by Mr. T. E. WilliamsSIR,I shall be much obliged if you can explain to me a point in

are entitled to honourable notice. The house was only tolerably the copyright law.

full. A British subject disposes of his compositions to a Prussian publisher, who prints them at once ; by so doing, does he (the composer)

WHITEHAVEN.—The Whitehaven Harmonic Society gave their lose his right to sell them at a future time to an English publisher, and

fourth concert on the 20th ult., in the theatre, before a numerous can he restrain English publishers from reprinting them

assembly, who were much pleased with the manner in which the And please tell me, is Professor Praeger the correspondent of the choruses, etc., were given. The programme was miscellaneous. New York Musical Gazette, “Ferd. Praeger,” who told me a very The members are all amateurs, except the conductor, Mr. H. different tale about Wagner at Rotterdam last year ?

White, who deserves praise for the manner in which he has Yours, &c.,

drilled the chorus. Miss Burns and Mr. Tulk deserve mention, Cologne, May 1.

C. A, B. the former for her singing of Mendelssohn's “Praise thou the

Lord” (Lobgesang), and Haydn's “On thee each living soul;" the ROYAL OPERA, DRURY LANE.

latter for his performance of “Sound an alarm.” In “He was To the Editor of the Musical World.

despised," Miss Froggart was warmly applauded. Mr. J. Sur --The alarm of fire on Wednesday evening during the per

Graham obtained an encore for his solo on the flute. Mendels

sohn's Arodante and Rondo was well played by the conductor. formance of Sonnambula, was raised without any foundation. Nothing

The National Anthem terminated the concert. took place in the theatre to warrant it, and how the report got circu

HEREFORD MUSICAL FESTIVAL, 1855.—The list of Stewards lated remains a mystery. No theatre in Europe has such facilities of egress, so that in case of

being complete, the time will be soon fixed for the meeting of fire the whole audience can escape in a few minutes. Three firemen

the three choirs. Hereford possesses now three lines of railway, are always in attendance, and Mr. Smith, the lessee, causes all the

and the Festival depends no longer on locality. The losses means of exit to be prepared previous to the commencement of the

of the Stewards will therefore in all probability be diminished, performance.

as at Worcester and Gloucester. The following gentlemen are Those ladies and gentlemen who were preparing to leave the theatre the Stewards The Right Hon, and Rev. the Lord Saye and immediately returned to their places, and remained during the evening, | Sele, Sir Harford Jones Brydges, Bart., J. K. Arkwright, Esq., perfectly satisfied with Mr. Smith's explanation.-I am, Sir, your Hampton Court; T. W. Booker, Esq, M.P., E. Chadwick, Esq., obedient servant,

EDWARD STIRLING. Puddlestone Oourt; W. Keville Davis, Esq., Croft Castle ; Rev. Royal Opera, Drury Lane, May 3,

Stage-Manager. | W.P. Hopton, Bishop's Froome; and H. S. Stratford Esq.

A REVIEW OF THE HISTORY OF MUSIC | surpassing all his teachers, as a contrapuntist; then the madri

galist, who strove, perhaps primarily, to express the words; and BEFORE MOZART.

then the creator of the style which bears his name, and which (Continued from page 261.)

was formerly called alla capella. We have to speak of him only The Middle Age bequeathed to early civilization two forms in this last capacity; in a relation, therefore, which makes him a which contained all that there had ever been of learned music

unique man in his way. For the rest, the age was not yet ripe, the choral song and the canon. These forms possessed nothing

either for the fugue or for expressive melody. For us, Palestrina that could flatter the ear, whether taken together or separately.

is the choral song become harmony, according to the true chaThe choral song without the canon was as yet no music; with

racter of church music, as we find it in the Improperia, and still

more in the Stabat Mater, which is sung on Palm Sunday in the the canon it ceased to exist, and the canon itelf was nothing I more than a sonorous noise, which drowned the Latin of the

Sixtine Chapel at Rome. Since, through Palestrina,, we come

| upon the first great revolution in Art-the origin of real music, Liturgy ; a loss the more to be lamented, since no musical interpretation of the words took its place. Things went on worse from

and since he himself constitutes the bond, by which the dead day to day, till finally, about the middle of the sixteenth century,

works of calculation are united to the works produced by feeling, the patience of the hearers was worn out, and reason had begun

taste, and imagination, we must inquire wherein the alla capella to be awake. All cried out against a music of this sort,

style was distinguished from what went before, and in what it excepting those who composed it. “Away with the canon!” was

is distinguished from modern music. the cry, and probably musicians thought to themselves, “ Away

In its outward form the alla capella style reproduced the united with the choral song!” But the choral song was nearly as old as

counterpoint of the fourteenth century, which the masters of the Christendom; the canon also numbered many years. Could men

fifteenth scorned to employ, or only very seldom employed, and for several centuries pursue a scientific path, which was to be

which, with a certain contemptuousness, they named style famiwithout present profit, and entirely fruitless for the future ?

liare. But Palestrina introduced into it a more closely interwoven That were admitting that Humanity could lose its tiine, like a

and correct harmony; he mingled with it a light dose of canonical single man, which is not possible. In the collective striving of

seasoning, which elevated the composition without harming the the human mind there is nothing absolutely unprofitable; but

words; and instead of banishing the canto fermo into the middle we often pronounce false what passes before our eyes and ears,

part, he transferred it to the upper part, where it could unfold judging, like the reader of a book, without the conclusion, or the

itself more freely, and more deeply enchain the attention of the spectator of a drama without its denouement. If the book

I ear. That was restoring the leading melody to its right of appears unintelligible, or the drama absurd and immoral, it is

singing, and opening a path in which no one of the predecessors because the last chapters or the last acts are wanting, which

of the Roman Swan had previously travelled. The distinction would explain and justify the whole ; and, therefore, is contein

between him and the modern composers—who, considered with poraneous history, whether it treats of music or other matters,

reference to his own time, begin with the melodists of the sevenalways difficult to write. He who should have undertaken, as a

teenth century-lies particularly in their choice of chords. lover of music, to judge of the merits, the productive energy of

That there may be some unity of melody and key in a work, the Roman choral song before Palestrina, would certainly have

which is an almost indispensable condition of all modern music, very much deceived himself; he, who as professor of aesthetics,

the harmony must be composed of the different kinds of trishould have undertaken to weigh the significance of the

chords, seventh and ninth chords, which have their seat in the fugue before Händel and Bach, or without knowing them, as

diatonic intervals of the scale chosen by the composer. If he J. J. Rousseau has done, would have deceived himself not less,

passes over into another scale, to tarry there awhile, another and their errors in judgment would have appeared the more

family of chords follows upon the first, and, for the time being, gross, the better judge the man might be for his own century.

governs the modulation until the return of the original key, Through the labours of the Belgian and Flemish masters, the

whose absence must not last too long, legt the ear become too contrapuntists had at length acquired that certainty and mecha

accustomed to a foreign land, so that it will hardly recognise nical facility which allowed them, in spite of the enormous

itself in its own when it gets back. This is the system of modern weight which seemed to clog their every step, to move with a

intonation, this true and perfect system, which gives for every certain ease and grace. Already had counterpoint become more

major scale fifteen, and for every minor scale twelve principal or pliant, and harmony somewhat purified, and in a condition to

radical chords ;* which chords, multiplied by all their respective co-operate towards the true end of music. The hour had struck

transpositions, place unlimited means in the control of the comof a glorious new birth for music, but, above all, for the choral

poser, whereby he can vary the harmony within the limits of song; that was the oldest and had waited for it, for more than

the scale, without the necessity of striking a single chord that is one thousand years. It was no more than fair!

foreign to it. The whole mass of these auxiliary and related In the year of grace 1565, God commanded his servant Aloy

chords--which have only a dependent existence and a relative sius of Præneste, to quicken this dull form of the choral song

importance, since they do not subsist on their own account, but with the breath of genius; and, Aloysius replied, “ Lord, thy will

always end in the perfect chord of the scale, into which they be done;" and the transformed church song again resounded like

revolve-represents the revolving movement of a system around the chorus of the angels; sublime church music appeared in a

its centre of gravity ; it constitutes the harmonic unity and holy crown of rays. The pope, the cardinals, the whole people

homogeneousness of a piece. threw themselves down at the feet of the immortal man. Let

A melody may express anything or nothing, unless it ftois us too bow down before the great name of Palestrina, the honour

from the feeling of the modal relation, of which we have spoken; of the catholic church and the glory of Italy. Hail to the god

on the other hand, since there are in every melody indefinite like man, whom Greece would have exalted among her gods, had

notes, which leave the ear in uncertainty about their origin, inashe been one of her sons! He came, and the hod carriers of har

much as they admit of several,often very different, interpretations, mony made way for the master builder; through his voice the

the presence of the chord is indispensable to the determining of shapeless materials, collected with so much pains since the time

their sense and character. Herein lies the whole science of the of Ambrose and Gregory, were united in a temple of the most

harmonist. Such a wealth of means of expression through harimposing majesty; music, but now almost dumb, although eupho

mony was still infinitely far from the time in which Palestrina nious, begins to speak, and the human soul responds. She speaks

lived—about as far as the precision, the boldness, the variety and of God, as if first of all to thank Him that He has given her a

grace of contours, which shine in the outlines of the modern language. The musical sceptre, hitherto borne provisionally by

music. Most of the auxiliary chords were unknown to him. He the Netherlanders, passed from this moment over into the hands

knew, indeed, the dominant seventh chord; he has, in fact, emof the Italians, there to remain for two centuries by the most

ployed it without preparation and with all its intervals ; but legitimate and undisputed claim.

this klud of harmony appears in his music only as a rare accident Palestrina could be divided into several great musicians. In * According to the classification of Godfrey Weber, which seems to the first place you find, in him, the scholar of the Flemish school, me the best by far.

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or a thing of instinct. His customary and systematic progression consists in a series of perfect major and minor chords, mixed with a few chords of the sixth, between which there exists so slight a modal affinity, that you cannot, through them, recognise the key. Barely are you directed to the scale of the piece by, now and then, a half-tone lying below the tonic or a seventh. Nevertheless, Palestrina's harmony, in general, is pure, by reason of the great correctness in the movement of the voices. Notes will show this better than words can describe it. I fancy, a musician of the present day should be able to give at once a harmonic, but quite simple and natural, explanation of the four following measures of choral songs :

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CAN

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How does that sound? Beautiful, sublime, heavenly! That music is not of this earth; it comes, in fact, from heaven. Yes, Palestrina is sublime, precisely for the knowledge, which the musicians of his time had not; as the Bible is sublimely above

all tbat depended on the wealth of langnages and the metaphyThis is very simple, very natural. Yes, indeed, you will reply,

sical culture of the times in which it was written. Observe well,

that with a more melodious and expressive cantilena, a harmony so much so that it is scarcely worth the pains to listen to it. Insignificant melody, common-place harmony! Well then, since

| like this of Palestrina's would be impossible; it holds only in

the choral song, which, on its part, rejects as trivial and ordiyou are not satisfied with my labour, hear Palestrina ; perhaps

nary all the combinations of chords that belong to ornamental you will be more pleased with this:

melody. Palestrina, as yet, makes no division of the verbal

phrases; the effect of his purely harmonious song is like the - - - 9-9- 9-9-hot

impressions of an Æolian harp. His solemn trichords fall upon

one another at equal intervals, without characteristic rhythm, Sta-bat Ma- ter do · - lo- ro - sa

and resound like the voice of God, that triune God, of whom the harmonic trichord seems to be one of the most unfathomable material emblems. Here are none, or almost none, of those connecting chords, whereby might be expressed some casualty and mutual dependance between the grand revelation of the absolute; none of those wanton or pathetic dissonances, types of our momentary happiness, our transient or excited humour; no rhythm following the flight of time, measured by the pulsation of a mortal heart; in a word, nothing that awakens a worldly thought and speaks the language of fleshly passions. This is a church music, than which no one ever composed a truer. It contains absolutely no admixture of profanity; it wears an eternal beauty, since it rests upon something unchangeable, or, so to speak, upon the elementary application of the accord. It is antique, and that is of one its most precious excellences, since its antiquity knows no age,

which enhances everything, and contributes so powerfully to jux - ta cru

the reverence one cherishes for sacred things. And, in fact, time has made Palestrina young. His modulation, so original and striking to-day, must have been much less so in the sixteenth century, as composers of that time generally modulated after the same fashion. To grow young through years—is not that altogether an extraordinary fate, especially for a musician?

Thus was realised the oldest and most sublime of all the expressions of music, the religious or Christian chant expression. It was no more than right, that an art born upon the altars of Christianity, whose long and refractory childhood the church alone, like a tender mother, had protected, should lay the firstlings

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of its majority upon those same altars. Music, in this way, was

LOHENGRIN: doing no more than her sister arts, Painting and Architecture, also revived through the Church, and that entirely in the true

A ROMANTIC OPERA, IN THREE ACTS, DY Christian spirit, ad majorem gloriam Dei.

RICHARD WAGNER. We have yet to remark, in passing, that the sixteenth century

(Concluded from page 260.) was the epoch of the brief glory of a nation, which to-day has acquired other titles to consideration, and easily consoles itself

ACT III.-SCENE III. for the inability to produce great artists, by the fact that it can At the rising of the curtain, the stage represents the meadows on the banks of the pay those from abroad better than any other nation. If Pales Scheldt, as in Act I. Day-break-alterwards completely day. From various

sides, the Brabant Ban arrives gradually on the stage; the separato bodies of trina had rivals in his time, we must seek them in England.

troops are led by counts, whose standard-bearers plant their standards in the There shone the admirable Tallis, and his yet more admirable ground, while the respective troops gather round them. Pages carry the shields scholar, William Bird. He was organist to Queen Elizabeth, and spears of the counts, and grooms lead their horses on one side. When the

Brabanters have all arrived, Kino HENRY enters on the left with his Ban; they and could not, therefore, as a Protestant, under the influence of

are all in full armour, the reformed cultus, soar to the majestic simplicity and the lofty

THE BRABANTERS. (Greeting the KING on his entrance.) Long live ecclesiastical expression of the Roman master; on the other

King Henry! Hail to King Henry! hand, as a contrapuntist, he was perhaps superior to Palestrina.

TừE KING. (Standing under the oak.) Receive my thanks, wellIn his fugued song may be found more character, melody, and

beloved men of Brabant ! How proudly I feel my heart glow on finding sonority than I have been able to discover in that of any com

in every German land such a strong and numerous military union. poser of his time; for which reason his harmony occasionally

Now let the foe of the Empiro approach ; we will receive him valiantly: comes nearer to the modern harmony. The work of his, which never more will ho again venture hither from the desolate East! For Dr. Burney mentions, would be worthy, in every respect, of an the German land, the German sword! Thus let the power of the organist of our time, supposing there were one now with ability Empire be preserved! to write in forty parts. Only forty parts no more!

ALL TOE MEN. For the German land, the German sword! Thus let Soon after Tallis and Bird, the English music, which had kept the power of the Empire be preserved! even pace with the Italian, succumbed to the Vandal fury of the KING. But where tarries the man whom God sent for the same and Puritans. These must have pulled it all up by the very roots, greatness of Brabant ? (The various personages crowd timidly together. for there has been no growth since. Only Purcell escaped the

The four BRABANT NOBLES carry in FRIEDRICH'S corpse, covered over, general devastation. England, which, for fifty years, had only

on a bier, which they set down in the middle of the stage. Uneasy sighed and sung psalms, held this man at first for a God; but glances

glances of inquiry are interchanged on every side.) Purcell glimmered only for a moment, like a rainbow after a

ALL. What do they bring? What do they proclaim? The vassals storm, to be obscured by the beams of Händel, that great

are those of Telramund.

| King. Whom do you bring hither? What must I behold? Terror light, that ascended over Albion at the beginning of the last

seizes me at sight of you! century.

THE FOUR NOBLES. Thus wills the Protector of Brabant ; whose is (To be continued.)

this body he will himself make known.

(Elsa enters, followed by a long train of women, and advances

slowly, with faltering steps, into the foreground.]

Toe Mex. See, Elsa, the Virtuous Ope, approaches. How pale and NEW ARRIVALS.—Signor Bottesini, the eminent contra basso;

mournful is her countenance ! Madame Fiorentini, late of Her Majesty's Theatre; Signor Salvi,

KING. (Advancing to meet Elsa, and conducting her to an elevated late of the Royal Italian Opera; and Herr Nabich, trombone seat opposite himself.) How sad do I behold thee! Does the separation player.

80 much grieve thee? CECILIAN SOCIETY, LONDON WALL.—The Cecilian Society gave

ČElsa dares not look him in the face. There is a great rush a performance of Mendelssohn's St. Paul on Thursday evening,

in the background.) at the Albion Hall, London Wall. Although the names of the Voices. Make way for the Hero of Brabant! principal vocalists were not in the book of words, we understood

ALL THE MEN. Hail! Hail to the Hero of Brabant. them (on inquiry) to be as follows - Soprano, Miss Cox; con

[The KING has resumed his place under the oak. LOHENGRIN, tralto, Mrs. Dixon; tenor, Mr. Thomas; and bass, Mr. G. Buck

armed exactly in the same manner as in Act 1., has land. But as no particular display of vocal excellence transpired,

advanced, without retinue, solemnly and mournfully.] to say much of them individually would be invidious. We may,

KING. Hail to thy coming, cherished hero! Those whom thou so however, observe that the soprano sang her music with great

truly summoned'st to the field, eager for the contest, await thee, cer. simplicity and sweetness, and when she is older in the art, when

tain of victory when led on by thee ! her voice has acquired more volume, and her head more judg.

THE BRABANTERS. Eager for the contest, we await thee, certain of ment, there are reasonable hopes of her becoming an efficient

victory when led on by thee! vocalist. The contralto sang carefully, as did also the tenor (Mr.

LLOHENGBIN, My Lord and King, let me inform thee that I cannot

lead to buttle the valiant heroes whom I summoned ! Thomas), whose voice, though light, is pleasing, and who is to be

ALL THE MEN. (In the greatest astonishment.) God protect us! commended for his clear articulation. The advice we would

what harsh words he speaks! tender the bass (Mr. G. Buckland), is to apply immediately to

LOHENGRIN. I have not come hither as your companion in arms; let some established professor, and ascertain by study under his me now be heard as an accuser! First, I state publicly before you all, surveillance what is meant by vocal tone. Mr. Boardman, organist and demand judgment in accordance with law and right, that this man of Clapham Grammar School, conducted the performance with | attacked me unexpectedly in the night ; say, was I right in killing him ? ability. The hall, which is ancient and badly ventilated, was

[He uncovers FRIEDRICH's corpse; all turn away with horror. exceedingly full and oppressively hot.

KING AND ALL THE MEN. (Stretching out their hands towards the SALE OF OLD VIOLINS.-At the conclusion of the sale of a

corpse.) As thy hand has stricken him here upon earth, God's punishimusical library, which took place on Wednesday at the auction

ment will be his lot in another world! rooms of Messrs. Puttick and Simpson, in Piccadilly, several

LOHENGRIX. Second, I complain aloud, in the hearing of all men, violins and violoncellos of a high class were disposed of. Among

that the wife to whom God united me has allowed herself to be in. them was a violin by Straduarius, said to be one of the finest in

veigled into an act of treachery against me.

ALL THE Men. Elsa! how caine such a thing to pass ? how could'st the country, which was knocked down at 200 guineas; and a

thou be guilty of such a crime ? violoncello by Amati, well known to most amateurs as having

LOHENGRIN. You heard how she promised never to ask me who I been the late Sir William Curtis's, sold for 100 guineas. The

was. Yet has she violated her sacred oath, and delivered up her heart sale also included the violins of the late Mr. William Cramer

to faithless counsel! In recompense for the giddy questions of her (son of François Cramer). His violin by Straduarius (but not in

doubt, my answer shall no longer be deferred. I was at liberty to its original state), sold for £24, and his violin by Bergonzi, for resist the importunities of my foe, but must now declare my name and $43.

race. Now, mark me well, and say if I have reason to avoid the light

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