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ROYAL ITALIAN OPERA.

pleasing, oftener well adapted to the situations, and occasionally On Saturday Sig. Lablache made his first appearance this

in point of freedom and breadth-for example, the air “Ah!

ben mio," in the third act, so magnificently sung by Sig. Tamseason as Dulcamara in L'Elisir d'Amore. The house was crowded, and the opera, in most respects, was admirably per

berlik-worthy of unqualified praise. The audience, though formed. Mdme. Bosio was Adina; Sig. Gardoni, Nemorino;

favourably disposed towards the work and its composer, were and Sig. Graziani, Belcore. Mdme. Bosio sang delightfully and

not roused to enthusiasm. There were only two encores. Neveracted with unusual spirit. Sig. Gardoni is the best Nemorino,

theless, the friends of Sig. Verdi never had greater cause to be both" histrionically and vocally, we have seen since Mario. The

satisfied. Nothing was left undone by the management to ensure plaintive “Una furtiva lagrima," was sung to perfection and

la perfect execution and complete success. The cast comprised enthusiastically encored. Belcore, in Tamburini's hands, divided

irited most of the "élite" of the company; the scenery, by Mr. W. H. the applause with Dulcamara; but Sig. Graziani appeared out of

| Beverley, disclosed a series of scenic masterpieces; and the his element; he never played the part before, we believe.

dresses and decorations were splendid and appropriate. The Lablache was as grandiloquent, pompous, oily, and stolid as ever,

chorus was excellent; and the band—but why speak of the in the impudent quack-doctor. Some prefer the whimsicality,

band and Mr. Costa, who could not, à priori, be supposed to restlessness, and exquisite cunning of Ronconi. Each is inimi

meet with difficulties in the music of Verdi ? mitable in his way.

The singers acquitted themselves admirably. It was Mdme. L'Elisir d'Amore was announced for Tuesday, but postponed

Viardot's first appearance. The part of Azucena suits her, and in consequence of the indisposition of Signor Lablache. Il

the music lies well for her voice. The dramatic energy and Conte Ory was given instead, and we heard it for the fifth time

artistic feeling of Mdme. Viardot were exhibited to evident with upalloyed delight; we are more than ever convinced that

advantage. The scene were Azucena makes the confession to it is a chef-d'ouvre-not merely “airy, light, and flexible."

Manrico was intense and powerful, and made a deep impression. The first performance of Verdi's Trovatore, on Thursday night,

Mdlle. Jenny Ney appears to greater advantage as Verdi's attracted an immense audience. Expectation was on the qui

Leonora than as the Leonora of Beethoven. Her acting was vive ; and, judging from the continental press, who have been

natural, and occasionally forcible and earnest. Her singing, too, lauding to the skies this new work of “ Young Italy's" idol, a

was greatly to be admired, and frequently elicited the approbagreat success was anticipated. A “great success” was achieved ;

tion of the audience. Malle. Jenny Ney, by her execution of the .but not entirely owing to the music.

music, showed herself a thorough proficient in the modern The plot may be described en deux mots. It relates to a

Italian bravura school, and sang with admirable facility. gipsy, who, to revenge her mother, burnt alive by the command

Of Signor Tamberlik's singing and acting it is impossible to of the old Count di Luna, carries away a child of the Count's

speak too highly. He was magnificent, and electrified the house from the cradle, and, as she supposes, consigns it to the flames.

| in more than one scene. By an incredible mistake, however, instead of destroying the son

The ballata, sung behind the scenes, at intervals with the of her enemy, she destroys her own. Instead of wreaking her

choral "Miserere,” in the last act, was given with such expression vengeance on the survivor of this second murder-still more

and tenderness that a unanimous encore ensued. The scenes with horrible than the first-the Gipsy takes counsel, and adjourns

Leonora in the third act, and Azucena in the fourth, were equally her plans of retaliation. She adopts the Count's son, educates

fine and impressive. In the concerted music, Signor Tamberlik's him as her own, and feeds his mind with sentiments of hatred

voice produced all the effect the composer could possibly have and jealousy, hoping, that when he arrives at manhood, he may

contemplated. kill his brother, who is as innocent as himself. The old Count

Signor Graziani, in the Comte di Luna, displayed to more addi Luna, we suppose, dies a natural death; otherwise the ter

vantage than ever his sigularly fine voice and the apathy of his rible gipsy would have brought up ber victim to parricide as

manner. He was encored in the cavatina (second act), “Il well as fratricide. After several rencontres and combats, which

balen del suo sorriso”-one of the most popular airs of the opera end in nothing, the Troubadour, whose real profession is that

--but hardly produced the furor ascribed to him in Paris. He of arms, falls into the hands of the Count, his eldest brother,

does not improve as an actor. In the little part of Ferrando who, not knowing him, orders him to be beheaded. A young

(played by M. Gassier in Paris), Signor Tagliafico was all that lady of the Court, called Leonora-whom both the brothers

could be wished, and gave the descriptive scena (Act I.) like a love-being resolved not to survive the death of the youngest,

true artist. Mdlle. Bellini sustained the small character of Inez poisons herself. The Gipsy, who, at the moment the Trouba.

with effect, and Signor Soldi was important enough as Riz. dour is executed, reveals to the Count the secret that he is his

Il Trovatore is to be repeated to-night. We shall have more brother, is condemned to be burnt alive like her mother. What |

to say of the music and the performance next week. becomes of the Count is not disclosed; but, at the fall of the curtain, he is by no means in an enviable position.

ROYAL OPERA, DRURY LANE. The libretto is divided into four parts, in each of which occurs one or more of the striking incidents of the drama. The first Don Pasquale, produced on Monday night, was well chosen, part is entitled “The Duel ;" the second, “The Gitana, or since it afforded' Mdme. Gassier an opportunity of again shining Gipsy ;" the third, “ The Son of the Gipsy;" and the fourth, in comic opera. Although Norina was written especially for “ The Execution.”The story is taken from a drama of Gargia Grisi, and the music does not offer many occasions for the display Guttierez. Although not devoid of interest, and containing of brilliant vocalisation, yet Mome. Gassie

of brilliant vocalisation, yet Mdme. Gassier sang on Monday some powerful situations, is too revolting for musical illus night with so much art and finish, and acted with such“ esprit," tration. In the accumulation of horrors the Trovatore gives as to leave a very satisfactory impression of the arch and anithe sack even to Rigoletto. But the terrible earnestness of the mated widow on the minds of the spectators. The applause was last scene of Rigoletto would redeem a multitude of sins. The loud and continuous throughout, and Mdme. Gassier was refinal scene of Il Trovatore is horrible without relief, and in- called after each act, and honoured with a distinct" ovation” at effective in the bargain.

the fall of the curtain after singing the final rondo, as Donizetti Signor Verdi so frequently “surpassed himself,” that we | wrote it, for which other prima-donnas usually substitute somelooked forward to much more pleasure from the music of Il thing they are pleased to consider more "effective." Trovatore, where he is said to have "surpassed himself” once The Don Pasquale of Sig. Susini, and Ernesto of Sig. Bettini more. It is apparently written with more care than the are entitled to praise ; while the Doctor Malatesta of M. Gassier majority of his works; the unisons are fewer; and the was as lively and bustling as could be desired. On the whole desire to give a true dramatic interest to the scene the opera was so well performed, and so well received, as led is more manifest. On the other hand-which surprised us to a hope that a great success had been accomplished. The the tunes are not so frequent as in his former operas. Much theatre was closed on Wednesday for the Pantomine rehearsal, of the music of N Trovatore, however, has character, is often and will re-open on Monday with Norma, the part of Norma

Sinfonia in À

onen.

...

" PET 11."

by Signora Arga, and that of Pollio by Signor Armandi, with There was a contretemps in the "selection.” The harpist apthe antecedents of neither of whom are we acquainted. It is parently took fright just when his instrumeut should preponto be hoped the management will not let so talented and derate, previous to “Robert! Robert !"-and not a sound was already popular an artist as Mdme. Gassier escape them.

heard. Mr. Leslie in vain directed his bâton towards him with a

menacing gesture ; nervousness completely paralysed the modern HARMONIC UNION.

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 At the eighth and last concert of the season, Beethoven's following was the programme :

Septet will be played by Miss Poland, Messrs. White, Alfred PART I.

Pollock, Weatherall, Adye, Dobree, and the Reverend Dr. Overture, « The Naiads" ..

W. Sterndale Bennett. Rowden-all amateurs. The performance cannot fail to be Aria (Faust) Madame Rüdersdorf.

interesting.

MR. ALFRED MELLON'S CONCERTS. Acis and Galatea (with Mozart's Accompani: Alonde ments) ... ... ... ... 5

The second of these interesting entertainments came off on The English overture was played with spirit, and greatly en

Monday evening, at St. Martin's Hall, as before. The hall joyed. The seventh symphony of Beethoven was read by Herr

was more crowded than on the occasion of the first concert. Molique according to the author-which is not always the case

This was in great part to be attributed to the first appearance, now-a-days with conductors. Mad. Rüdersdorf exhibited great

for more than two years, of the renowned contra-bassist, Signor dramatic energy in the fine soprano scena from Spohr's Faust,

| Bottesini, who had just returned from the Americas. The name and was applauded loudly. Händel's beautiful serenata was well

of Signor Bottesini has figured extensively in the bills of concerts given for the most part. The solos were allotted to Mad. Rüders

for the last six months and upwards. First, last October, it was dorf (Galatea), Herr Reichardt (Acis), Mr. Miranda (Damon)

announced in the prospectus of M. Jullien's concerts at Drury and Mr. Weiss (Polyphemus), who all did their best. The

Lane. Subsequently the name appeared in the Covent Garden choruses were sung con amore, though some of them might have

bills, when M. Jullien removed his concerts from Drury Lane. been clearer. In Mozart's additional “wind," too (first intro

Then Mr. Allcroft's annual benefit concert-bills shone all the duced to this country by Mr. Benedict, when he directed the

brighter for the name of “Bottesini,” and other concert-givers concerts of the Harmonic Union, at Exeter Hall), there was

and benefit-takers, at the Hanover Square, Beethoven, occasional uncertainty. The tasteful singing of Herr Reichardt,

Queen-Anne, and other rooms, and at the halls Exeter, in the beautiful love-songs, “Where shall I seek ?" and “Love

St. Martins, etc., etc., made free use of the talismanic

quadrosyllable to stimulate in her eyes," was much admired and applauded. Madame

the curiosity of the public, Rüdersdorf, though a little too sedate in “Hush! ye pretty

Meanwhile, Signor Bottesini was smoking quietly his cigar warbling choir," was otherwise artistic throughout; Mr. Mi

a prime Havannah, no doubt-on the banks of the Ohio, randa, who has a fine tenor voice, exhibited further improve

Hudson, or Mississipi, or near a spur of the Alleghany Mounment; and Mr. Weiss gave the famous “O, ruddier than the

tains, or in the depths of some interminable forest, or skirting cherry,” famously. On the whole, the concert pleased everyone;

the prairie where the wild grass invites the buffalo-herd, or anyand Herr Molique was loudly greeted on entering and quitting

where, giving no thought to the London concerts at which he the orchestra.

was supposed to be engaged. Mr. Alfred Mellon was fortunate

in having been first to secure the services of so great a favourite AMATEUR MUSICAL SOCIETY.

of the public. The following excellent selection was performed on Monday. The programme was even better than at the first concert :night, at the seventh concert:

PART 1.
PART I.
Overture (Der Freischutz) ...

Weber.
Symphony (No. 1.) .

. Beethoven.

Song, “ Dove Sono" (Figaro) ... ... ... ... Mozart.
Quartet, “Immanuel"

· H. Leslie
Solo (Contra-basso) ... ... ...

Bottesini.
Solo (Violin).

De Beriot.
Song, “ Adelaida" .... ...

Beethoven
PART II.
Symphony, A minor ... ...

Mendelssohn.
Overture, “Zampa"
Herold.

PART II. Songs (MS.)

J. Duggan.

Overture (La Gazza Ladra) ... ... ... ... ... Rossini.
Selection, “Robert le Diable” .

. Meyerbeer.
Ballad (M.S.) ... ....... .....

... ... A. Mellon. Overture, “Les Deux Journées" : • Cherubini.

Solo, (Andante and Polonaise, Pianoforte) ... ... Bache.
Conductor-Mr. Henry Leslie.

Scena “Bel Raggio” ... ... ... ... ... ...
The first Symphony in C of Beethoven, so spontaneous and | Overture (Domino Noir) to .

Auber brilliant, was very creditable to the amateurs, who, on the whole,

Conductor-MR. Alfred Mellon. played it well. The adagio and allegro con brio (1st movement) The overture to Der Freischütz was magnificently played was good; the piquant andante in F very good; the minuetto and and encored in a tumult of applause. The overture to La Gazza trio were very unsteady; and the finale was good. So far so Ladra was given with equal fire and precision; nor was the “good” and very good” with one “very unsteady" exception. | quaint prelude to Le Domino Noir lost in the

quaint prelude to Le Domino Noir lost in the splendour of the The melodious quartet from Immanuel sung by Misses Dolby, other two. and Amy Dolby, Messrs. Herberte, and Weiss-was deservedly l Signor Bottesini's entrance on the platform was the signal encored. De Beriot's familiar solo was played by Mr. Irving for three distinct rounds of applause. He played, if possible, Rougemont (pupil of Herr Ernst) with excellent tone and style. better than before. It is not alone the absolute command The two songs of Mr. Duggan-entitled “Fond memories,” and of the instrument, and a perfection of mechanism which cannot “Wild bells”—though bagatelles, are exceedingly quaint and be surpassed ; nor the breadth and power of tone ; nor the pretty. Miss Dolby sang them in her best manner, and the last management of the harmonics—the despair of contra-bassists; was re-demanded and repeated.

but the variety and peculiar sweetness of tone-now making The sparkling overture of Herold, executed by the band with the instrument seem wood, now brass, now string—which chagreat animation, began the second part, as the French say, racterises and individualises Signor Bottesini's performance. "chaleureusement ;” and the more difficult work of Cherubini was He is the Paganini of the Big Fiddle, and does as much with his entitled to praise for the careful manner in which the amateurs | instrument, comparatively, as that grand master with the violin. (rather unusual with them, by the way) attended to "pianos” The encore and the applause at the end of Signor Bottesini's and “ fortes."

performance were spontaneous.

Rossini.

Mr. Bache, a pupil of Mr. Sterndale Bennett, has great | STRAND.--Miss Julia Bleaden, a young lady concert singer, made a freedom of execution and a light touch. The Andante and début here on Monday, in the character of Polly Peachum, with Polonaise were both well played, and the performer was loudly | success. applauded on leaving the orchestra.

SURREY.–The engagement of Mr. Phelps, for a round of his best The vocal music was assigned to Mr. Sims Reeves and Malle. parts, supported by Mr. Creswick, is as successful as last year. The Cellini. The gentleman, as will be seen above, selected house is crowded nightly. Miss Fitzpatrick returns on Monday. “ Adelaida"-one of his most perfect achievements and a new ballad by the conductor. Both were unanimously encored, and

PROVINCIAL repeated with increased effect. Mdlle. Cellini has a nice voice and evident feeling; but the songs she selected were beyond her STRATFORD.-A concert was given at the Mechanics' Institupowers, and leave us in the dark about her capabilities.

tion on Tuesday, the 1st inst. Vocalists-Mrs. Pyne Galton, Last, not least, the glorious symphony of Mendelssohn! Turn, Miss Blanche Capill, Mr. Edmund Rosenthal. Instrumenreader, to what has been said of Beethoven's “Pastoral," and talist-Mrs. Pyne Galton. The programme consisted of a sacred apply it to Mendelssohn's A minor. We cannot say more for and a miscellaneous part. The audience made up for their lack Mr. Alfred Mellon and his famous orchestra. The audience of numbers by their enthusiasm. Nearly every piece was were raised to enthusiasm, after listening with breathless encored. attention.

GRAVESEND.-Mrs. Pyne Galton, Miss Blanche Capill, Mr. A.

Locksley, and Mr. Edin und Rosenthal gave a concert in the DRAMATIC.

Institution Rooms, Harmer-street, on Monday evening, the 30th SADLER'S WELLS.--Madame Celeste and Mr. Benjamin Webster, ult., under the patronage of the Earl of Darnley and the Mayor. from the Adelphi, commenced a series of performances at this | The attendance was good. theatre on Monday week. The pieces were The Green Bushes,

STAMFORD.-(From a Correspondent.) – A morning performance and The Queensberry Fête; or, Who's your Friend? A Miss Kate

of The Creation, and a miscellaneous evening concert, took place Kelly, from the Theatre Royal, Dublin, made a successful début

on Tuesday, under the auspices of the Stamford Musical Union. the same evening.

The performances were somewhat ostentatiously styled "Stamford

Musical Festival.” The only London vocal artist engaged was Miss OLYMPIC.-A decided acquisition has been made to the com

Helen Taylor (late of the Royal Academy), the principal tenor and pany of this theatre in the person of Miss Fanny Ternan bass parts were sustained by Mr. Mann, of Norwich, and Mr. Harley, daughter of the talented actress, formerly Miss Jarman-who of Peterborough. The band and chorus were entirely local, excepting made her debut on Monday week in the musical piece of the Mr. H. Nicholson (flute), and Mr. Smith (of Leicester, trumpet). Welsh Girl. Miss Fanny Ternan is prepossessing in appearance, The performances were scarcely up to the usual standard of the has a charming voice, sings with taste and expression, displays concerts given by this Society; the choruses were given too fast, and great intelligence in her acting, and altogether is an artist out of the concerted music generally was unsatisfactory. In the evening the ordinary line for a beginner. She is very young, and exhi

selection Miss Helen Taylor was honoured with several encores, and bits certain crudities of style resulting from inexperience on the

Mr. Nicholson was similarly complimented in his flute solos. The boards ; but her talent is undeniable, and in one night she ingra

attendance in the morning was indifferent. The evening concert was tiated herself into the favour of the public. Some Welsh airs,

crowded. sung by Miss Fanny Ternan with naïveté and expression, were

LEICESTER.—(From our own Correspondent.)--An opera company, heartily relished by the audience, and loudly applauded. Mr.

including Miss Julia Harland, Miss Fai:ny Reeves, Mr. Elliot Galer, Robson is still playing the Yellow Dwarf, a part which, though

Mr. H. Corri, Mr. Summers, etc., etc., have been performing during

the past week at the Theatre Royal, to crowded audiences. The operas quite below his talents, has won him additional renown.

represented have been Fra Diavolo, La Sonnambula, Maritana, İncia HAYMARKET.-The Actress of Padua, produced on Friday night,

di Lammermoor, L'Elisire d'Amore, and the Mountain Sylph. Though is a new version of M. Victor Hugo's Angelo, which, some few years

the company cannot be said to contain individual talent of a high order, back, had been performed at the Olympic with Mrs. Stirling as

the care taken to produce the operas as complete as possible is deserving the heroine; and earlier still, about twenty years ago, at the of great praise. A small but efficient chorus accompanies the princiVictoria Theatre. More lately, the present version (from the pals from town to town. The orchestra, consisting of fourteen mempen of Mr. Buckstone), was, as we learn, played at several bers of Mr. H. Nicholson's band, added much to the general efficiency. theatres in America, with Miss Cushman in the principal part. PENISTONE.--On Saturday evening the 28th ult., the Penistoue Choral The performance of the Actress of Padua, on Friday night, must Society, assisted by Miss Jackson, from Shepley, Miss Hinchliffe, from be chronicled as one of the greatest successes achieved under Mr. Thurston-laud, and the principal vocal performers from the neighbourBuckstone's management. The house was full; the applause hood of Wortley, Shepley, Denby, etc., gave a musical performance enthusiastic and incessant; and Miss Cushman obtained the usual

in the Grammar School Room. Haydu's Creation was performed, the ovation at the end.

principal parts by Misses Jackson and Hinchliffe, Messrs. Hudson, The character of Tisbe is well suited to MissCushman's energetic

| Parkin, Wood, Matthews, Crossland, and Milnes. Leader and Con. powers. The woman, who, cold to all the world else, burns with

ductor, Mr. C. Kilner, Denby. love for one, and whose unrequited affection is met with the

EVESHAM.-A successful attempt has been made to establish a Phildetermination of a terrible revenge, which, however, is converted

harmonic Society in this borough. Preliminary meetings bave been by returning love into devotion and self-sacrifice, could hardly

heid, and we understand the Society will soon be in full operation.

heid have been represented with more truthfulness and force. In one or two scenes Miss Cushman was eminently great, and

St. GEORGE'S HALL, LIVERPOOL.--At the adjourned meeting of created a powerful sensation. The story of the Actress of Padua the Liverpool Town Council yesterday, it was resolved, that an is somewhat complicated, but is ingenious, and skilfully deve- organist should be appointed at a salary of £300 a-year, whose loped. It is thoroughly melo-dramatic, or “romantic”-if that duty should be to play upon the instrument three mornings in be the proper title and belongs to the modern fast school, from the week at concerts, to which the public will be admitted at a which few writers of the present day have the power or the wish charge of ls.; and one or two evenings, when concerts, at a much to disengage themselves. The cast included, besides Miss Cush-| lower rate of admission, will be fixed. The yearly salary of the man, Miss Reynolds, Mr. Howe, and Mr. W. Farren, who sup staff of officials attached to the Hall, will be £1309, besides which ported the piece with their varied abilities.

it is estimated that there will be a further expenditure of £300 The operatic company continues its performances with unva a-year for gas, and £500 a-year for fuel, making the total yearly rying success. The crowds attracted by Fra Diavalo and the expenditure £2109. The organ, constructed by Mr. Willis, of Bohemian Girl, have necessitated the repetition of both operas London, under the superintendence of Dr. Wesley, is completed, more frequently than was at first intended. Next week, how with the exception of a few reed stops and the composing moveever, Lucia di Lammermoor will be produced, and Mr. Henryment, and steps will speedily be taken for the appointment of an Smart's new opera is announced for Saturday, May 19th.

organist.

TO CORRESPONDENTS.

| had never known before. After producing a few more

things of equal merit, however-among the rest an overture DILETTANTE.-Mozart's Cosi Fan Tutte was first represented in entitled The Wood Nymphs (first played at the Gewandhaus,

England, at the King's Theatre, in the Haymarket, May 9th, in Leipsic), one or two concertos and other pieces, for piano. 1811. Hårold's Zampa vas produced at the Opéra-Comique, in

forte and orchestra-Mr. Bennett partially abandoned the Paris, May 3rd, 1831.

higher branches of composition, and enrolled himself in the C. A. (Rugby).- Received, and will be attended to.

ranks of professors, where, assuming the position due to his DRAMATICUS.- Rachel was born on the 24th of March, 1820, in a

| ability, he has, doubtless, effected much good in another way, small roadside inn, in Switzerland. Her full name is Elizabeth Rachel Felix.

and set a beneficial example to our teachers. But the art LOVER OF JUSTICE.—(Manchester.)--Next week.

lost in him a worthy representative, and the English school T. M. W.- We should be happy to supply our correspondent with

of music was again at a standstill. the information he demands, but, having no short-hand reporters

Whether there is any reason in the complaint about want on the staff of the Musical World, we are unable to do so.

of patronage for art in this country, we are not prepared to MR. R. ANDREWS.- We must request our correspondent to wait till say; it is certain, however, that music, though the most next week for an answer.

favourite medium of popular amusement, is the art least GLEE-SINGER.--We were misinformed. SIR HENRY BISHOP, it

| patronised by those in whom patronage is vested through the appears, was only 68 when he died. He looked much older. medium of wealth or station. While rich connoisseurs will ADVERTISEMENTS - It is necessary to inform advertisers that we crowd their galleries with the best pictures to be found as

cannot undertake to extract advertisements ourselves, for inser- specimens of the English school, where is the musical amateur tion, from other papers. Whatever advertisements are intended who would give £50, much less £1,000, for the finest symfor the MUSICAL WORLD must be sent to the Office by the proper

phony that could be written? Yet, as much fancy, as much authorities or their agents. This will render all mistakes im

previous study, and as great acquirements are indispensable possible for the future.

to produce an orchestral symphony-the grandest form of In accordance with a new Postal Regulation, it is absolutely

instrumental music-as to paint a picture of the highest prenecessary that all copies of THE MUSICAL WORLD, transmitted through the post, should be folded so as to expose to view the red

tensions. It is, to say the least of it, a curious anomaly, that stamp.

the intellectual classes among the laity, who hold very lofty. It is requested that all letters and papers for the Editor be addressed.

language when the subject is pictures, and who are at home to the Editor of the Musical World, 28, Holles Street ; and all and in their element when talking of Raphael, Titian, Rem

business communications to the Publishers, at the same address. brandt, Correggio-in short, of the great painters ancient and CORRESPONDENTS are requested to write on one side of the paper modern_if music is the subject, are content with and even · only, as writing on both sides necessitates a great deal of trouble prefer the lowest models, regarding the true masters with in the printing.

indifference, or, still oftener, knowing nothing whatever about them. Not to be able to converse about the painters

who have most adorned their artı would be regarded as a THE MUSICAL WORLD. 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 LONDON, SATURDAY, MAY 12TH, 1855.

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 The expected grand performance, at the Royal Italian number of vocal or instrumental performers must be assemOpera, for the benefit of Sir Henry Bishop's children, has | bled together, to sing or play it, or do both at once—which been suddenly abandoned. The lamented musician was is not always convenient, or, indeed, possible, and must buried only on Saturday. Have the sympathies, but recently always be expensive. The petty German princes have their so loudly expressed in his cause, been interred, in the tomb, orchestras, and their Capellmeisters to conduct and compose with his remains ? Let us hope not-for the sake of human for them. Haydn lived with Prince Esterhazy; and many nature. Will Sir George Smart or Mr. Mitchell inform us of Beethoven's finest quartets were written to the orders of why the Covent Garden demonstration has been given up ; German and Russian noblemen. In England an aristocrat whether the scheme for a series of concerts in the provinces may command a picture ; but who ever heard of one who has been relinquished ; and if the subscription progresses ?

ordered a symphony and paid for it? Our drawing-room music is confined to sentimental ballads, airs with varia

tions, the fantasias of Thalberg, etc., murdered by young THE overture of Mr. Bennett, introduced at the last con- ladies, and wretched arrangements of the last new Italian cert of the Harmonic Union-like the symphony of Mr. opera. Can this be all that music has to say, when, on Lucas, to which some allusions were made in our recent looking round the walls of this same drawing-room, where notice of the fourth Philharmonic concert-was calculated to you have just heard a meagre polka, or a trivial opera-tune, raise astonishment that more has not been effected by our at the piano, you may see, if not fine pictures, at least fine English musicians during the progress of the last twenty engravings of the most admirable achievements of the limner's years. The Naïads is one of the most beautiful orchestral art? The result, with a man of sense, whose scientific knowpieces ever written for the concert-room. It is not merely an ledge of painting and music are about equal, must be ingenious display of scholarship, like the symphony in question, evident. He will turn aside from the music, in apathy if not but a masterly composition—a work of genius, in short, and of disgust, and address himself, with lively interest, to the imagination. In 1831,wben it was first composed, its author- landscape, or Madonna, which suggests something more to then a boy, rivaling in precocious talent the most remarkable him than a yawn of ennui or a smile of contempt. examples of whom the records of the art make mention- However we may deplore, then, the seeming indifference gave promise of a composer for England such as England of one so naturally gifted and so far advanced in a knowledge

dra

8

he

tter to

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;

in any other country would have commanded public attention, and the

fullest opportunity for the substantiation of their claims. They 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 picture ; and yet, where Sir Edwin Landseer can obtain country, and they bad 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 art. get, for the finest symphony he might invent, hardly as many

puccess-could be sustained. They speedily found that they might

pipe, but nobody would dance. If they wrote symphonies, they could shillings, even if he got anything. We should, therefore,

uid, 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. like the Sunday Times, than sneer like the Athenceum. How

| ing amount of encouragement. In this they were disappointed, and 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 symphonywhich will be read, we delayed. For this they were perfectly unblamable. No one who has trust, not without profit. With which of the two critics we

the choice of an alternative can be expected long to endure both poverty

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 vexa. of 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 “At the fourth Philharmonic concert, a show of paying attention to devotion, or infra-human folly, who perseveres in the creation of large patire talent was made by repeating a Symphony, written some twenty works, in the hope of acquiring those honours which he may see every ago (as a contemporary reminds us) for the Society of British Musicians; day lavished on the most superficial pretenders who are blessed by the and in those days, by certain critics, like all the music then produced, accident of foreign birth. In all this we are not holding up Mr. Lucas "borne up to the skies' with raptures as loud as the American praise as an example of first-rate genius. There may not have been a Bee. of Herr Wagner, and vitriolic contempt launched against those who re thoven or Mendelssohn among that knot of composers of whom Mr. fused to accept such exercises as revelations. Now, others besides our. Lucas was one ; but, for aught any one can positively assert to the selves, à propos of this very Symphony, are asking, what has that contrary, there might have been. Had there been such a man among Society done for British composition ?-why have 30 many men of them, we do not scruple to assert it morally impossible for him to have promise there brought forward not advanced beyond the threshold of arrived at distinction, under the systematic want of practice and enpromise ? Others, too, are beginning to reckon with young England,'couragement for the native musician which prevails in this country. for baring stuck fast where it began, as a dependency of Germany. With unexampled folly, fashionable opinion denies an English musician Reasons may be found for this non-ripening of fruit that formed itself all the necessary opportunities for acquiring excellence in his art, and well, in the safe considerations which have led many English musicians yet condemns him for not possessing it! Thus much, then, merely by to prefer the security of professorship to those more capricious chances way of showing why Mr. Lucas, Mr. Sterndale Bennett, and others of fortune which always attend creation. But there has been another who, twenty years since, exhibited the highest promise, have ceased to influencing cause in the case in question : the advocacy of false praise, labour, though the subject is not half exhausted. We do not hesitate on the part of those who now own the necessity for qualification. What to say, that the manner in which court influence and its product, need was there, when A. B. and C. were indiscriminately hailed as our fashion, has succeeded in exalting the most superficial foreign pretenMozart, our Beethoven, our Rossini, for A. or B. or C. to work at selfsion over a host of genuine English ability, constitutes one of the most improvement ? How can it be wondered at, if, soured by neglect on the disgraceful social wrongs to be found in any country in the world. part of the public that was deaf to genius so loudly trumpeted, they This very symphony of Mr. Lucas's, for example. Compare it with retired into the silence of greatness unappreciated ? The story has a one of Beethoven or Mozart, and its failure cannot be denied. But moral full of meaning for artists as well as for journalists to come.” now Spohr ceases to write, where is the foreign composer, German, or Athenæum.

French or Italian, who would come an atom better out of a similar The critic of the Athenæum has a perfect right to express

ordeal? Grant that its ideas are rather clever than genial, grant that

it does not more us to extacies of rapture, which of the much behis opinions; but he has no right to enforce them by argu puffed foreign composers for the concert-room would accept a challenge ments 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 coherent in its form, more musicianlike in its treatment-altogether, a up to the skies with raptures,” or where "vitriolic contempt”

nt » better work of art? Mr. Lucas might, possibly, under no circum.

stances have arrived at the first rank of musical greatness, but there is was launched against those who entertained another opinion. sufficient evidence in this symphony that a proper fostering of his un. The symphony in question is no “revelation," that is certain; doubted talent would have enabled him to produce far better things. nor is it, if an “exercise" at all, half so much an exercise as At any rate, the performance of this composition, under its author's the symphony in F of M. Gouvy, which the same critic has direction on Monday evening, suggests strange comments on the manner

in which musical affairs are treated in this country. To say the least, been lately trying his best to bring before the English public,

it is extraordinary that, twenty years after the production of such an or than the sacred music of M. Gounod, performed at St. important work, 'English musicians have gained so little reputation for Martin's Hall, which was literally “borne up to the skies with orchestral knowledge and experience, that the Philharmonic Society raptures as loud" as any that were ever uttered, accompanied should deem it necessary to ransack France and Germany for a by no little of the self-same "vitriolic contempt for those who refused to accept such exercises as revelations."

These are the words of a musician, and a man of feeling Now, reader, look upon the other side of the picture :- of one who does not prefer the most trumpery productions of

foreign labour to anything whatever that is English. "Mr. Lucas's symphony was composed about twenty years ago, at a period when he, and otbers of the then young musicians of this country,

ondator

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