Oldalképek
PDF
ePub

ROYAL ITALIAN OPERA.

ON Saturday Sig. Lablache made his first appearance this season as Dulcamara in L'Elisir d'Amore. The house was crowded, and the opera, in most respects, was admirably performed. Mdme. Bosio was Adina; Sig. Gardoni, Nemorino; and Sig. Graziani, Belcore. Mdme. Bosio sang delightfully and acted with unusual spirit. Sig. Gardoni is the best Nemorino, both histrionically and vocally, we have seen since Mario. The plaintive "Una furtiva lagrima," was sung to perfection and enthusiastically encored. Belcore, in Tamburini's hands, divided the applause with Dulcamara; but Sig. Graziani appeared out of his element; he never played the part before, we believe. Lablache was as grandiloquent, pompous, oily, and stolid as ever, in the impudent quack-doctor. Some prefer the whimsicality, restlessness, and exquisite cunning of Ronconi. Each is inimimitable in his way.

L'Elisir d'Amore was announced for Tuesday, but postponed in consequence of the indisposition of Signor Lablache.. I Conte Ory was given instead, and we heard it for the fifth time with unalloyed delight; we are more than ever convinced that it is a chef-d'œuvre-not merely "airy, light, and flexible."

The first performance of Verdi's Trovatore, on Thursday night, attracted an immense audience. Expectation was on the qui vive; and, judging from the continental press, who have been lauding to the skies this new work of "Young Italy's” idol, a great success was anticipated. A "great success" was achieved; .but not entirely owing to the music.

The plot may be described en deux mots. It relates to a gipsy, who, to revenge her mother, burnt alive by the command of the old Count di Luna, carries away a child of the Count's from the cradle, and, as she supposes, consigns it to the flames. By an incredible mistake, however, instead of destroying the son of her enemy, she destroys her own. Instead of wreaking her vengeance on the survivor of this second murder-still more horrible than the first-the Gipsy takes counsel, aud adjourns her plans of retaliation. She adopts the Count's son, educates him as her own, and feeds his mind with sentiments of hatred and jealousy, hoping, that when he arrives at manhood, he may kill his brother, who is as innocent as himself. The old Count di Luna, we suppose, dies a natural death; otherwise the terrible gipsy would have brought up her victim to parricide as well as fratricide. After several rencontres and combats, which end in nothing, the Troubadour, whose real profession is that of arms, falls into the hands of the Count, his eldest brother, who, not knowing him, orders him to be beheaded. A young lady of the Court, called Leonora-whom both the brothers love-being resolved not to survive the death of the youngest, poisons herself. The Gipsy, who, at the moment the Trouba dour is executed, reveals to the Count the secret that he is his brother, is condemned to be burnt alive like her mother. What becomes of the Count is not disclosed; but, at the fall of the curtain, he is by no means in an enviable position.

The libretto is divided into four parts, in each of which occurs one or more of the striking incidents of the drama. The first part is entitled "The Duel;" the second, "The Gitana, or Gipsy;" the third, "The Son of the Gipsy;" and the fourth, "The Execution." The story is taken from a drama of Gargia Guttierez. Although not devoid of interest, and containing some powerful situations, is too revolting for musical illustration. In the accumulation of horrors the Trovatore gives the sack even to Rigoletto. But the terrible earnestness of the last scene of Rigoletto would redeem a multitude of sins. The final scene of Il Trovatore is horrible without relief, and ineffective in the bargain.

Signor Verdi so frequently "surpassed himself," that we looked forward to much more pleasure from the music of Il Trovatore, where he is said to have "surpassed himself" once more. It is apparently written with more care than the majority of his works; the unisons are fewer; and the desire to give a true dramatic interest to the scene is more manifest. On the other hand-which surprised usthe tunes are not so frequent as in his former operas. Much of the music of Il Trovatore, however, has character, is often

pleasing, oftener well adapted to the situations, and occasionally in point of freedom and breadth-for example, the air "Ah! ben mio," in the third act, so magnificently sung by Sig. Tamfavourably disposed towards the work and its composer, were berlik-worthy of unqualified praise. The audience, though not roused to enthusiasm. There were only two encores. Nevertheless, the friends of Sig. Verdi never had greater cause to be satisfied. Nothing was left undone by the management to ensure a perfect execution and complete success. The cast comprised most of the "elite" of the company; the scenery, by Mr. W. H. Beverley, disclosed a series of scenic masterpieces; and the dresses and decorations were splendid and appropriate. The band and Mr. Costa, who could not, à priori, be supposed to chorus was excellent; and the band-but why speak of the meet with difficulties in the music of Verdi?

The singers acquitted themselves admirably. It was Mdme. the music lies well for her voice. The dramatic energy and Viardot's first appearance. The part of Azucena suits her, and artistic feeling of Mdme. Viardot were exhibited to evident advantage. The scene were Azucena makes the confession to Manrico was intense and powerful, and made a deep impression. Leonora than as the Leonora of Beethoven. Her acting was Mdlle. Jenny Ney appears to greater advantage as Verdi's natural, and occasionally forcible and earnest. Her singing, too, was greatly to be admired, and frequently elicited the approbation of the audience. Mdlle. Jenny Ney, by her execution of the music, showed herself a thorough proficient in the modern Italian bravura school, and sang with admirable facility. Of Signor Tamberlik's singing and acting it is impossible to speak too highly. He was magnificent, and electrified the house

in more than one scene.

The ballata, sung behind the scenes, at intervals with the choral "Miserere," in the last act, was given with such expression

and tenderness that a unanimous encore ensued. The scenes with

Leonora in the third act, and Azucena in the fourth, were equally fine and impressive. In the concerted music, Signor Tamberlik's voice produced all the effect the composer could possibly have contemplated.

manner.

Signor Graziani, in the Comte di Luna, displayed to more advantage than ever his sigularly fine voice and the apathy of his He was encored in the cavatina (second act), "Il balen del suo sorriso❞—one of the most popular airs of the opera but hardly produced the furor ascribed to him in Paris. He does not improve as an actor. In the little part of Ferrando (played by M. Gassier in Paris), Signor Tagliafico was all that could be wished, and gave the descriptive scena (Act I.) like a true artist. Mdlle. Bellini sustained the small character of Inez with effect, and Signor Soldi was important enough as Riz. Il Trovatore is to be repeated to-night. We shall have more to say of the music and the performance next week.

ROYAL OPERA, DRURY LANE.

Don Pasquale, produced on Monday night, was well chosen, since it afforded Mdme. Gassier an opportunity of again shining in comic opera. Although Norina was written especially for Grisi, and the music does not offer many occasions for the display of brilliant vocalisation, yet Mdme. Gassier sang on Monday night with so much art and finish, and acted with such "esprit," as to leave a very satisfactory impression of the arch and animated widow on the minds of the spectators. The applause was loud and continuous throughout, and Mdme. Gassier was recalled after each act, and honoured with a distinct "ovation" at the fall of the curtain-after singing the final rondo, as Donizetti wrote it, for which other prima-donnas usually substitute something they are pleased to consider more "effective."

The Don Pasquale of Sig. Susini, and Ernesto of Sig. Bettini are entitled to praise; while the Doctor Malatesta of M. Gassier was as lively and bustling as could be desired. On the whole the opera was so well performed, and so well received, as led to a hope that a great success had been accomplished. The theatre was closed on Wednesday for the Pantomine rehearsal, and will re-open on Monday with Norma, the part of Norma

by Signora Arga, and that of Pollio by Signor Armandi, with the antecedents of neither of whom are we acquainted. It is to be hoped the management will not let so talented and already popular an artist as Mdme. Gassier escape them.

HARMONIC UNION.

There was a contretemps in the "selection." The harpist apparently took fright just when his instrument should preponderate, previous to "Robert! Robert!"-and not a sound was heard. Mr. Leslie in vain directed his bâton towards him with a menacing gesture; nervousness completely paralysed the modern David; and the orchestra was forced to proceed without a harp A VERY interesting concert was given by this Society on Wed--harpless. The other parts in the selection, solos and all, were nesday evening, in the Hanover-square Rooms, under the able as satisfactory as ever. direction of Herr Molique. There was a full audience. The following was the programme :— Overture, "The Naiads"

PART I.

Aria (Faust) Madame Rüdersdorf.
Sinfonia in A

...

[ocr errors]

PART II.

Acis and Galatea (with Mozart's Accompani-}

[ocr errors]

...

[ocr errors]

W. Sterndale Bennett.

Beethoven.

Handel.

well

At the eighth and last concert of the season, Beethoven's Septet will be played by Miss Poland, Messrs. White, Alfred Pollock, Weatherall, Adye, Dobree, and the Reverend Dr. Rowden-all amateurs. The performance cannot fail to be interesting.

MR. ALFRED MELLON'S CONCERTS.

THE second of these interesting entertainments came off on ments) The hall Monday evening, at St. Martin's Hall, as before. The English overture was played with spirit, and greatly enwas more crowded than on the occasion of the first concert. joyed. The seventh symphony of Beethoven was read by Herr This was in great part to be attributed to the first appearance, Molique according to the author-which is not always the case for more than two years, of the renowned contra-bassist, Signor now-a-days with conductors. Mad. Rüdersdorf exhibited great Bottesini, who had just returned from the Americas. The name dramatic energy in the fine soprano scena from Spohr's Faust, of Signor Bottesini has figured extensively in the bills of concerts and was applauded loudly. Händel's beautiful serenata was given for the most part. The solos were allotted to Mad. Rüders- for the last six months and upwards. First, last October, it was announced in the prospectus of M. Jullien's concerts at Drury dorf (Galatea), Herr Reichardt (Acis), Mr. Miranda (Damon) Lane. Subsequently the name appeared in the Covent Garden and Mr. Weiss (Polyphemus), who all did their best. The choruses were sung con amore, though some of them might have bills, when M. Jullien removed his concerts from Drury Lane. Then Mr. Allcroft's annual benefit concert-bills shone all the been clearer. In Mozart's additional "wind," too (first introduced to this country by Mr. Benedict, when he directed the brighter for the name of "Bottesini," and other concert-givers and benefit-takers, at the Hanover Square, Beethoven, concerts of the Harmonic Union, at Exeter Hall), there was Queen-Anne, and other rooms, and at the halls Exeter, occasional uncertainty. The tasteful singing of Herr Reichardt, St. Martins, etc., etc., made free use of the talismanic in the beautiful love-songs, "Where shall I seek?" and "Love in her eyes," was much admired and applauded. Madame quadrosyllable to stimulate the curiosity of the public. Meanwhile, Signor Bottesini was smoking quietly his cigar Rüdersdorf, though a little too sedate in "Hush! ye pretty -a prime Havannah, no doubt-on the banks of the Ohio, warbling choir," was otherwise artistic throughout; Mr. Mi-Hudson, or Mississipi, or near a spur of the Alleghany Mounranda, who has a fine tenor voice, exhibited further improvement; and Mr. Weiss gave the famous "O, ruddier than the tains, or in the depths of some interminable forest, or skirting the prairie where the wild grass invites the buffalo-herd, or anycherry," famously. On the whole, the concert pleased everyone; where, giving no thought to the London concerts at which he and Herr Molique was loudly greeted on entering and quitting was supposed to be engaged. Mr. Alfred Mellon was fortunate the orchestra. in having been first to secure the services of so great a favourite of the public.

AMATEUR MUSICAL SOCIETY.

THE following excellent selection was performed on Monday night, at the seventh concert :

[merged small][merged small][merged small][merged small][ocr errors][merged small][ocr errors][merged small][merged small][ocr errors]

Conductor-Mr. Henry Leslie.

Beethoven.
H. Leslie
De Beriot.

Herold.

J. Duggan.
Meyerbeer.
Cherubini.

The first Symphony in C of Beethoven, so spontaneous and brilliant, was very creditable to the amateurs, who, on the whole, played it well. The adagio and allegro con brio (1st movement) was good; the piquant andante in F very good; the minuetto and trio were very unsteady; and the finale was good. So far so "good" and very "good" with one "very unsteady" exception. The melodious quartet from Immanuel-sung by Misses Dolby, and Amy Dolby, Messrs. Herberte, and Weiss-was deservedly encored. De Beriot's familiar solo was played by Mr. Irving Rougemont (pupil of Herr Ernst) with excellent tone and style. The two songs of Mr. Duggan-entitled "Fond memories," and "Wild bells"-though bagatelles, are exceedingly quaint and pretty. Miss Dolby sang them in her best manner, and the last was re-demanded and repeated.

The sparkling overture of Herold, executed by the band with great animation, began the second part, as the French say, "chaleureusement;" and the more difficult work of Cherubini was entitled to praise for the careful manner in which the amateurs (rather unusual with them, by the way) attended to "pianos" and "fortes."

[merged small][merged small][ocr errors][merged small][merged small][merged small][ocr errors][merged small][ocr errors][merged small][ocr errors][ocr errors][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][ocr errors][ocr errors][merged small][merged small][merged small]

Signor Bottesini's entrance on the platform was the signal for three distinct rounds of applause. He played, if possible, better than before. It is not alone the absolute command of the instrument, and a perfection of mechanism which cannot be surpassed; nor the breadth and power of tone; nor the management of the harmonics-the despair of contra-bassists; but the variety and peculiar sweetness of tone-now making the instrument seem wood, now brass, now string-which characterises and individualises Signor Bottesini's performance. He is the Paganini of the Big Fiddle, and does as much with his instrument, comparatively, as that grand master with the violin. The encore and the applause at the end of Signor Bottesini's performance were spontaneous.

Mr. Bache, a pupil of Mr. Sterndale Bennett, has great freedom of execution and a light touch. The Andante and Polonaise were both well played, and the performer was loudly applauded on leaving the orchestra.

The vocal music was assigned to Mr. Sims Reeves and Mdlle. Cellini. The gentleman, as will be seen above, selected "Adelaida❞—one of his most perfect achievements-and a new ballad by the conductor. Both were unanimously encored, and repeated with increased effect. Mdlle. Cellini has a nice voice and evident feeling; but the songs she selected were beyond her powers, and leave us in the dark about her capabilities.

Last, not least, the glorious symphony of Mendelssohn! Turn, reader, to what has been said of Beethoven's "Pastoral," and apply it to Mendelssohn's A minor. We cannot say more for Mr. Alfred Mellon and his famous orchestra. The audience were raised to enthusiasm, after listening with breathless attention.

DRAMATIC.

SADLER'S WELLS.-Madame Celeste and Mr. Benjamin Webster, from the Adelphi, commenced a series of performances at this theatre on Monday week. The pieces were The Green Bushes, and The Queensberry Fête; or, Who's your Friend? A Miss Kate Kelly, from the Theatre Royal, Dublin, made a successful début the same evening.

OLYMPIC.-A decided acquisition has been made to the company of this theatre in the person of Miss Fanny Ternandaughter of the talented actress, formerly Miss Jarman-who made her début on Monday week in the musical piece of the Welsh Girl. Miss Fanny Ternan is prepossessing in appearance, has a charming voice, sings with taste and expression, displays great intelligence in her acting, and altogether is an artist out of the ordinary line for a beginner. She is very young, and exhibits certain crudities of style resulting from inexperience on the boards; but her talent is undeniable, and in one night she ingratiated herself into the favour of the public. Some Welsh airs, sung by Miss Fanny Ternan with naïveté and expression, were heartily relished by the audience, and loudly applauded. Mr. Robson is still playing the Yellow Dwarf, a part which, though quite below his talents, has won him additional renown.

HAYMARKET.-The Actress of Padua, produced on Friday night, is a new version of M. Victor Hugo's Angelo, which, some few years back, had been performed at the Olympic with Mrs. Stirling as the heroine; and earlier still, about twenty years ago, at the Victoria Theatre. More lately, the present version (from the pen of Mr. Buckstone), was, as we learn, played at several theatres in America, with Miss Cushman in the principal part. The performance of the Actress of Padua, on Friday night, must be chronicled as one of the greatest successes achieved under Mr. Buckstone's management. The house was full; the applause enthusiastic and incessant; and Miss Cushman obtained the usual ovation at the end.

The character of Tisbe is well suited to MissCushman's energetic powers. The woman, who, cold to all the world else, burns with love for one, and whose unrequited affection is met with the determination of a terrible revenge, which, however, is converted by returning love into devotion and self-sacrifice, could hardly have been represented with more truthfulness and force. In one or two scenes Miss Cushman was eminently great, and created a powerful sensation. The story of the Actress of Padua is somewhat complicated, but is ingenious, and skilfully developed. It is thoroughly melo-dramatic, or "romantic"-if that be the proper title and belongs to the modern fast school, from which few writers of the present day have the power or the wish to disengage themselves. The cast included, besides Miss Cushman, Miss Reynolds, Mr. Howe, and Mr. W. Farren, who supported the piece with their varied abilities.

The operatic company continues its performances with unvarying success. The crowds attracted by Fra Diavalo and the Bohemian Girl, have necessitated the repetition of both operas more frequently than was at first intended. Next week, however, Lucia di Lammermoor will be produced, and Mr. Henry Smart's new opera is announced for Saturday, May 19th.

STRAND.-Miss Julia Bleaden, a young lady concert singer, made a début here on Monday, in the character of Polly Peachum, with success.

SURREY.-The engagement of Mr. Phelps, for a round of his best parts, supported by Mr. Creswick, is as successful as last year. The house is crowded nightly. Miss Fitzpatrick returns on Monday,

PROVINCIAL.

STRATFORD.-A concert was given at the Mechanics' Institution on Tuesday, the 1st inst. Vocalists-Mrs. Pyne Galton, Miss Blanche Capill, Mr. Edmund Rosenthal. Instrumentalist-Mrs. Pyne Galton. The programme consisted of a sacred and a miscellaneous part. The audience made up for their lack of numbers by their enthusiasm. Nearly every piece was encored.

GRAVESEND.-Mrs. Pyne Galton, Miss Blanche Capill, Mr. A. Locksley, and Mr. Edmund Rosenthal gave a concert in the Institution Rooms, Harmer-street, on Monday evening, the 30th ult., under the patronage of the Earl of Darnley and the Mayor. The attendance was good.

STAMFORD.-(From a Correspondent.)—A morning performance of The Creation, and a miscellaneous evening concert, took place on Tuesday, under the auspices of the Stamford Musical Union. The performances were somewhat ostentatiously styled "Stamford Musical Festival." The only London vocal artist engaged was Miss Helen Taylor (late of the Royal Academy), the principal tenor and bass parts were sustained by Mr. Mann, of Norwich, and Mr. Harley, of Peterborough. The band and chorus were entirely local, excepting Mr. H. Nicholson (flute), and Mr. Smith (of Leicester, trumpet). The performances were scarcely up to the usual standard of the concerts given by this Society; the choruses were given too fast, and the concerted music generally was unsatisfactory. In the evening selection Miss Helen Taylor was honoured with several encores, and Mr. Nicholson was similarly complimented in his flute solos. The attendance in the morning was indifferent. The evening concert was

crowded.

LEICESTER. (From our own Correspondent.)-An opera company, including Miss Julia Harland, Miss Fanny Reeves, Mr. Elliot Galer, the past week at the Theatre Royal, to crowded audiences. The operas Mr. H. Corri, Mr. Summers, etc., etc., have been performing during di Lammermoor, L'Elisire d'Amore, and the Mountain Sylph. Though represented have been Fra Diavolo, La Sonnambula, Maritana, Lucia the company cannot be said to contain individual talent of a high order, the care taken to produce the operas as complete as possible is deserving of great praise. A small but efficient chorus accompanies the principals from town to town. The orchestra, consisting of fourteen members of Mr. H. Nicholson's band, added much to the general efficiency. PENISTONE.-On Saturday evening the 28th ult., the Penistone Choral Society, assisted by Miss Jackson, from Shepley, Miss Hinchliffe, from Thurston-land, and the principal vocal performers from the neighbourhood of Wortley, Shepley, Denby, etc., gave a musical performance in the Grammar School Room. Haydn's Creation was performed, the principal parts by Misses Jackson and Hinchliffe, Messrs. Hudson, Leader and ConParkin, Wood, Matthews, Crossland, and Milnes. ductor, Mr. C. Kilner, Denby.

EVESHAM.-A successful attempt has been made to establish a Philheid, and we understand the Society will soon be in full operation. harmonic Society in this borough. Preliminary meetings have been

ST. GEORGE'S HALL, LIVERPOOL.-At the adjourned meeting of the Liverpool Town Council yesterday, it was resolved, that an organist should be appointed at a salary of £300 a-year, whose duty should be to play upon the instrument three mornings in the week at concerts, to which the public will be admitted at a charge of 1s.; and one or two evenings, when concerts, at a much lower rate of admission, will be fixed. The yearly salary of the staff of officials attached to the Hall, will be £1309, besides which it is estimated that there will be a further expenditure of £300 a-year for gas, and £500 a-year for fuel, making the total yearly expenditure £2109. The organ, constructed by Mr. Willis, of London, under the superintendence of Dr. Wesley, is completed, with the exception of a few reed stops and the composing movement, and steps will speedily be taken for the appointment of an organist.

TO CORRESPONDENTS.

DILETTANTE.-Mozart's Cosi Fan Tutte was first represented in England, at the King's Theatre, in the Haymarket, May 9th, 1811. Herold's Zampa was produced at the Ŏpéra-Comique, in Paris, May 3rd, 1831.

had never known before. After producing a few more things of equal merit, however-among the rest an overture entitled The Wood Nymphs (first played at the Gewandhaus, in Leipsic), one or two concertos and other pieces, for pianoforte and orchestra-Mr. Bennett partially abandoned the higher branches of composition, and enrolled himself in the ranks of professors, where, assuming the position due to his

C. A. (Rugby).-Received, and will be attended to. DRAMATICUS.-Rachel was born on the 24th of March, 1820, in a small roadside inn, in Switzerland. Her full name is Elizabeth ability, he has, doubtless, effected much good in another way,

Rachel Felix.

LOVER OF JUSTICE.-(Manchester.)-Next week.

T. M. W.-We should be happy to supply our correspondent with the information he demands, but, having no short-hand reporters on the staff of the Musical World, we are unable to do so. MR. R. ANDREWS.-We must request our correspondent to wait till next week for an answer. GLEE-SINGER. We were misinformed. SIR HENRY BISHOP, it appears, was only 68 when he died. He looked much older. ADVERTISEMENTS.-It is necessary to inform advertisers that we cannot undertake to extract advertisements ourselves, for insertion, from other papers. Whatever advertisements are intended for the MUSICAL WORLD must be sent to the Office by the proper authorities or their agents. This will render all mistakes im

possible for the future.

stamp.

In accordance with a new Postal Regulation, it is absolutely necessary that all copies of THE MUSICAL WORLD, transmitted through the post, should be folded so as to expose to view the red It is requested that all letters and papers for the Editor be addressed to the Editor of the Musical World, 28, Holles 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.

[ocr errors]

THE MUSICAL WORLD.

LONDON, SATURDAY, MAY 12TH, 1855.

THE expected grand performance, at the Royal Italian Opera, for the benefit of Sir Henry Bishop's children, has been suddenly abandoned. The lamented musician was buried only on Saturday. Have the sympathies, but recently so loudly expressed in his cause, been interred, in the tomb, with his remains? Let us hope not-for the sake of human nature. Will Sir George Smart or Mr. Mitchell inform us why the Covent Garden demonstration has been given up; whether the scheme for a series of concerts in the provinces has been relinquished; and if the subscription progresses?

THE Overture of Mr. Bennett, introduced at the last concert of the Harmonic Union-like the symphony of Mr. Lucas, to which some allusions were made in our recent notice of the fourth Philharmonic concert-was calculated to raise astonishment that more has not been effected by our English musicians during the progress of the last twenty years. The Naïads is one of the most beautiful orchestral pieces ever written for the concert-room. It is not merely an ingenious display of scholarship, like the symphony in question, but a masterly composition-a work of genius, in short, and of imagination. In 1831, when it was first composed,its authorthen a boy, rivaling in precocious talent the most remarkable examples of whom the records of the art make mentiongave promise of a composer for England such as England

and set a beneficial example to our teachers. But the art lost in him a worthy representative, and the English school of music was again at a standstill.

of patronage for art in this country, we are not prepared to Whether there is any reason in the complaint about want say; it is certain, however, that music, though the most favourite medium of popular amusement, is the art least patronised by those in whom patronage is vested through the medium of wealth or station. While rich connoisseurs will crowd their galleries with the best pictures to be found as specimens of the English school, where is the musical amateur who would give £50, much less £1,000, for the finest symphony that could be written? Yet, as much fancy, as much previous study, and as great acquirements are indispensable instrumental music-as to paint a picture of the highest preto produce an orchestral symphony-the grandest form of tensions. It is, to say the least of it, a curious anomaly, that the intellectual classes among the laity, who hold very lofty. language when the subject is pictures, and who are at home and in their element when talking of Raphael, Titian, Rembrandt, Correggio-in short, of the great painters ancient and modern—if music is the subject, are content with and even prefer the lowest models, regarding the true masters with indifference, or, still oftener, knowing nothing whatever about them. Not to be able to converse about the painters who have most adorned their art would be regarded as a defect in education; but to ignore all the best works of the best musical composers is nothing of the sort. There is much, of course, in the fact that a picture when hung upon a wall may be seen so long as time shall spare it; while, to judge of a piece of music, especially of the higher class, a number of vocal or instrumental performers must be assembled together, to sing or play it, or do both at once-which is not always convenient, or, indeed, possible, and must always be expensive. The petty German princes have their orchestras, and their Capellmeisters to conduct and compose for them. Haydn lived with Prince Esterhazy; and many of Beethoven's finest quartets were written to the orders of German and Russian noblemen. In England an aristocrat may command a picture; but who ever heard of one who ordered a symphony and paid for it? Our drawing-room music is confined to sentimental ballads, airs with variations, the fantasias of Thalberg, etc., murdered by young ladies, and wretched arrangements of the last new Italian opera. Can this be all that music has to say, when, on looking round the walls of this same drawing-room, where you have just heard a meagre polka, or a trivial opera-tune, at the piano, you may see, if not fine pictures, at least fine engravings of the most admirable achievements of the limner's art? The result, with a man of sense, whose scientific knowledge of painting and music are about equal, must be evident. He will turn aside from the music, in apathy if not disgust, and address himself, with lively interest, to the landscape, or Madonna, which suggests something more to him than a yawn of ennui or a smile of contempt.

However we may deplore, then, the seeming indifference of one so naturally gifted and so far advanced in a knowledge

of his art as Mr. Bennett, should we positively blame him for were full of hope-a hope shared by many of the on-lookers who appreferring the career of a teacher to that of a composer?preciated their talent and promise-to win for English music a distinHe can make a splendid income by giving lessons on the guished place in the estimation of the world. Among this band of champions, intent to vindicate their country from the charge of being pianoforte, while he may starve upon his symphonies, wholly unmusical, so frequently and flippantly made by foreigners, overtures, and concertos. We are not exaggerating the were, naturally, men of various degrees of talent. All were, however, truth when we assert that Mr. Sterndale Bennett is quite as clever; and all were thoroughly educated musicians-such, in short, as accomplished a musician as Sir Edwin Landseer is a painter; fullest opportunity for the substantiation of their claims. They in any other country would have commanded public attention, and the that music is as great an art as painting; and that to write a started with the fairest prospects of success. They had quite the symphony is as difficult and honourable a task as to paint a average natural ability and scholastic advantages of artists of any picture; and yet, where Sir Edwin Landseer can obtain country, and they had abundant enthusiasm. The one thing wanting £1,000 and more for one of his best pictures, Mr. Bennett would was the food by which alone that enthusiasm-the great element of artget, for the finest symphony he might invent, hardly as many pipe, but nobody would dance. If they wrote symphonies, they could success-could be sustained. They speedily found that they might shillings, even if he got anything. We should, therefore, only be performed at their own cost. If they composed operas, there be more charitable, when regretting the fact of our composers, was no theatre in a state or disposition to produce them. In a word, who have families to provide for, quitting the arena of the country was not with them. They began to feel that if they had active and energetic production for one less ideally exalted, laboured with enthusiasm to qualify themselves as composers, they had though much more profitable; and rather console ourselves, a right to expect that this enthusiasm would be met with a correspond ing amount of encouragement. In this they were disappointed, and like the Sunday Times, than sneer like the Athenæum. How their ardour very naturally cooled. They judged it better to accept the same thing can be accounted for in very different ways, substantial reward for their labour in an humbler but clearer path, will be seen below, in the remarks of both our contemporaries than to persevere in the search for honours which might be indefinitely -à propos of Mr. Lucas's symphony-which will be read, we delayed. For this they were perfectly unblamable. No one who has the choice of an alternative can be expected long to endure both poverty trust, not without profit. With which of the two critics we aud neglect. A certainty of winning fame has sustained, and will do agree, it is hardly necessary to say; but to escape the chance so again, many an artist through years of the grosser of life's vexaof misconception, we declare at once for the opinions of Mr. tions. But where a contempt for his pursuits, and a total want of Henry Smart, who does not write in the Athenæum. faith in his pretensions, on the part of the public, has grown, as in England, into a national vice, a man must indeed have superhuman devotion, or infra-human folly, who perseveres in the creation of large works, in the hope of acquiring those honours which he may see every day lavished on the most superficial pretenders who are blessed by the accident of foreign birth. In all this we are not holding up Mr. Lucas as an example of first-rate genius. There may not have been a Beethoven or Mendelssohn among that knot of composers of whom Mr. Lucas was one; but, for aught any one can positively assert to the contrary, there might have been. Had there been such a man among them, we do not scruple to assert it morally impossible for him to have arrived at distinction, under the systematic want of practice and encouragement for the native musician which prevails in this country. With unexampled folly, fashionable opinion denies an English musician all the necessary opportunities for acquiring excellence in his art, and yet condemns him for not possessing it! Thus much, then, merely by way of showing why Mr. Lucas, Mr. Sterndale Bennett, and others who, twenty years since, exhibited the highest promise, have ceased to labour, though the subject is not half exhausted. We do not hesitate to say, that the manner in which court influence and its product, fashion, has succeeded in exalting the most superficial foreign preten sion over a host of genuine English ability, constitutes one of the most disgraceful social wrongs to be found in any country in the world. This very symphony of Mr. Lucas's, for example. Compare it with one of Beethoven or Mozart, and its failure cannot be denied. But now Spohr ceases to write, where is the foreign composer, German, or French or Italian, who would come an atom better out of a similar ordeal? Grant that its ideas are rather clever than genial, grant that it does not move us to extacies of rapture-which of the much bepuffed foreign composers for the concert-room would accept a challenge coherent in its form, more musicianlike in its treatment-altogether, a stances have arrived at the first rank of musical greatness, but there is better work of art? Mr. Lucas might, possibly, under no circumsufficient evidence in this symphony that a proper fostering of his undoubted talent would have enabled him to produce far better things. At any rate, the performance of this composition, under its author's direction on Monday evening, suggests strange comments on the manner it is extraordinary that, twenty years after the production of such an in which musical affairs are treated in this country. To say the least, important work, English musicians have gained so little reputation for orchestral knowledge and experience, that the Philharmonic Society should deem it necessary to ransack France and Germany for a

"At the fourth Philharmonic concert, a show of paying attention to native talent was made by repeating a Symphony, written some twenty ago (as a contemporary reminds us) for the Society of British Musicians; and in those days, by certain critics, like all the music then produced, 'borne up to the skies' with raptures as loud as the American praise of Herr Wagner, and vitriolic contempt launched against those who refused to accept such exercises as revelations. Now, others besides ourselves, à propos of this very Symphony, are asking, what has that Society done for British composition?-why have so many men of promise there brought forward not advanced beyond the threshold of promise? Others, too, are beginning to reckon with 'young England,' for having stuck fast where it began, as a dependency of Germany. Reasons may be found for this non-ripening of fruit that formed itself well, in the safe considerations which have led many English musicians to prefer the security of professorship to those more capricious chances of fortune which always attend creation. But there has been another influencing cause in the case in question: the advocacy of false praise, on the part of those who now own the necessity for qualification. What need was there, when A. B. and C. were indiscriminately hailed as our Mozart, our Beethoven, our Rossini, for A. or B. or C. to work at selfimprovement? How can it be wondered at, if, soured by neglect on the part of the public that was deaf to genius so loudly trumpeted, they retired into the silence of greatness unappreciated ? The story has a moral full of meaning for artists as well as for journalists to come."Athenæum.

The critic of the Athenæum has a perfect right to express his opinions; but he has no right to enforce them by arguments drawn from facts of his own invention. We defy him-and, what is more, win the battle-to produce a symphony more to show where the symphony of Mr. Lucas was ever "borne up to the skies with raptures," or where "vitriolic contempt" was launched against those who entertained another opinion. The symphony in question is no "revelation," that is certain; nor is it, if an "exercise" at all, half so much an exercise as the symphony in F of M. Gouvy, which the same critic has been lately trying his best to bring before the English public, or than the sacred music of M. Gounod, performed at St. Martin's Hall, which was literally "borne up to the skies with raptures as loud" as any that were ever uttered, accompanied by no little of the self-same "vitriolic contempt for those who refused to accept such exercises as revelations." reader, look the other side of the picture :

upon

Now, "Mr. Lucas's symphony was composed about twenty years ago, at a period when he, and others of the then young musicians of this country,

conductor."

These are the words of a musician, and a man of feelingof one who does not prefer the most trumpery productions of foreign labour to anything whatever that is English,

« ElőzőTovább »