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A DREAM OF DONNA ANNA.
Juan and Leporello approach the proscenium in the recitative conver
sation. . (From the German of Hoffmann.)
Don Juan disengages himself from his cloak, and is standing there The loud ringing of a bell and the words of a shrill voico, crying out,
in a costly dress of velvet embroidered with silver. His figure is strong “the theatre begins," awoke me from a gentle sleep. Double-basses
and beautiful, his face of manly beauty; his nose of a Roman cast, his were growling in great confusion,--now came a stroke on the kettle.
eyes penetrating, and his lips softly formed. The singular play of a drums, and then a blast from the trumpet-a clear A from an oboe was
muscle on the forehead gives his plıysiognomy, for a moment, someheard, and violins fell in between. I rubbed my eyes. “Has, perhaps,
thing of the expression of Mephistopheles, which, without marring his the always busy devil - p! No! I was in the room of the hotel where
beauty of face, excites an involuntary shudder. It seems as if he I had arrived the day before almost as if broken on a rack. The rope
could exert the magic power of a serpent; it seems as if woman, after of a bell hung just over my nose; I gave a good pull, and the servant
having once gazed upon him, could no longer escape from him, and appeared.
must complete her ruin, being once seized upon by this invisible power. To What, for Heaven's sake, is the meaning of this confused music
Leporello, tall and slim, with a red and white striped vest-coat, a here close by me?—is there a concert to be given in the house ?"
short red cloak, a white hat with a red feather, is tripping round him. “Your excellency," (I had drunk champagne at dinner)“ does not
His features have an expression strangely mingled of good nature, know, perhaps, that this hotel is connected with the theatre. This
roguishness, trustfulness, and ironic pertness ; his dark eye-brows form paper door will lead you into a small corridor from which you can
a strange contrast to his grizzly hair and beard. One sees at once the enter box No. 23, reserved for strangers."
old fellow is a fit assistant and servant of Don Juan. They have now “ What ?-theatre ?-stranger's box ?"
made their fortunate escape over the wall. Torch-bearers, Donna “Yes, the small stranger's-box, holding two or, at most, three per
Anna, and Don Ottavio, appear. The latter is a delicate, nicely-dressed,
and smooth mannikin, of twenty-one years at most. Being the besons-it is reserved only for persons of rank; it has green paper hang. ings and Venetian blinds, and is close to the stage. If your excellency
trothed of Anna, he no doubt staid in the same house, as he could should choose—we play to-day Don Juan, by the celebrated Mr.
not have been called so soon. At the first alarm he might no doubt Mozart, from Vienna. We can put the price for your ticket in your
have hastened to the spot in time to save the father ; but he had first bill.”
to dress biinself, and bosides he did not venture out in the night, The last words were spoken while he opened the door of the box, 80
“Ma qual mai s' offre, o dei, quickly had I stepped, upon hearing the words“ Don Juan," through the
Spettacolo funesto agli occhi miei !" paper door into the corridor. The house was, for this middle-sized. More than despair in consequence of the cruel outrage is expressed place, spacious, tastefully decorated and brilliantly lighted. All the in the terrible heart-rending notes of the recitative and duet. But it boxes and parterre were crowded. The first chords of the overture is not alone Don Juan's violent attempt, tbreatening ruin to her and convinced me that a most excellent orchestra would afford me the most causing death to her father, which forces these notes from the exquisite enjoyment of the masterpiece, even though the actors should anguished heart; it is a destructive, deadly struggle in her heart, perform indifferently. During the andante the horrors of the terrible which can produce them. The tall, lank Donna Elvira, who has still subterranean regno al pianto came over me; presentiments of some visible traces of great beauty, which has now faded, had just chid the thing awful filled my mind. The joyous fanfara in the seventh bar of traitor Don Juan; “Tu nido d' inganni." And the compassionate the allegro sounded to me like villany in high glee. I saw fiery Leporello had very archly observed, “Parla come un libro stampato," demons stretching forth their glowing claws from deep darkness to when I thought I perceived somebody near or behind me. It was easy catch some of the gay mortals who were merrily dancing on the thin for a person to have opened the door and stolen in, and at this thought covering of the abyss. The conflict of man's nature with the unknown a pain shot through my heart. I had felt so happy at being alone in direful powers that surround him, and lie in wait for his destruction, the box, entirely undisturbed, and clasping with all the fibres of etood clear before my mind.
sensation, as with polypus arms, this masterpiece, now produced to At last the storm subsided and the curtain rose. Freezing and out such perfection, and absorbing it. A single word, which, moreover, of humour, Leporello, wrapped in his cloak, paces in dark night up and might be silly, might have cruelly snatched me from this glorious stato down before the pavilion : "Notte e giorno faticar."--Ah! Italian ! | of poetico-musical exaltation. I resolved to take no notice of my thought I, here in this German town. Ah! che piacere ! I shall hear neighbour, but, entirely wrapt up in the playing, to avoid erery the recitative and all, just as the great master felt and thought in his word and look. With my head resting on my hands and my back mind. Now Don Juan came rushing out, after bim Donna Anna, turned towards my neighbour, I looked on. The further continuation holding the villain by the cloak. What an aspect! She might have of the play corresponded with the excellent beginning. The little been taller and more slender, and more majestic in her walk; but what roguish, amorous Zerlina comforted, in sweet notes and airs, the good. a head! and eyes from which love, anger, hatred, and despair shot as natured Masetto. Don Juan distinctly expressed his broken soul, and from one focus, a shining pyramid of bright sparks, which, like Greek his scorn at the mannikins around him, put there merely for his pleafire, unguenchable, burned to the very core. The loose braids of her sure, that he might break in upon and destroy their faint-hearted dark hair float in ringlets down her neck. Her white night-dress doings, in the wild aria, “ Fin ch' han dal vino." The muscle on his traitorously discloses charms that are never looked upon without danger. forehead moved more violently than before. The masks now appear. The heart in which the pangs of the horrid deed are buried, was yet Their terzetto is a prayer, that in pure and shining rays ascends to beating in violent pulsations. And now what a voice! “Non spera se heaven. The middle curtain now flies suddenly up. There is a feast non mi uccidi." Ker notes, as if cast of etherial metal, flash like glaring going on in a merry crowd of peasants, goblets ring, and all kinds lightning through the storm of instruments.--Don Juan tries in vain of masks are moving round, attracted hither by Don Juan's feast. The to free himself. But does he wish it ? Why does he not thrust the three persons sworn to take vengeance now appear. The scene grows woman aside with his strong hand ? Does the wicked deed enervate him, more solemn, till the dance begins. Zerlina is saved ; during the loud or is it the struggle of hate and love within his breast tbat deprives him thundering finale, Don Juan, undaunted, with sword in hand, meets of all courage and strength ?-The old father has now paid with his his enemies. He strikes the fancy sword of the bridegroom out of his life for his folly in attacking the vigorous opponent in the dark; and Don hand, and makes his way through the crowd, which he throws into entire confusion, as the brave Roland did the army of the tyrant At length comes the violent knocking. Elvira and the girls fly Cymort, so that all fall comically one over the other.
away, and amidst the fearful accords of the subterranean spirit'I often seemed to perceive behind me a warm gentle breath, and to world, the huge marble colossus stalks in, opposite to which Don hear the rustling of silk. This made me suppose that a woman was Juan appears like a dwarf. The floor shakes under the thundering present, but wholly wrapped up in the poetical world which the footsteps of the giant. Don Juan, through storm, thunder, and opera disclosed to me, I took no notice of it. Now that the the howling of the demons, shouts his terrible “No!" The hour curtain had dropped, I looked round for my fair neighbour, No of his destruction is at hand. The statue disappears; dense smoke words can express my astonishment. Donna Anna, in the very fills the room, out of which horrid spectral forms are developed. Then costume in which I had shortly before seen her on the stage, stood be- an explosion takes place as if a thousand thunderbolts struck at once. hind me, and fixed upon me the penetrating look of her animated eyes. | Don Juan and the demons have disappeared one knows not how. Entirely speechless, I fixed a steady gaze upon her; her mouth (as it Leporello lies fainting in a corner of the room. seemed to me) contracted into a light, ironical smile, in which I mir- | How refreshing now is the entrance of the other persons, who in vain rored myself and discovered my silly figure. I felt the propriety of my look for Don Juan, who has been withdrawn by the subterranean powers accosting her, and yet I could not move my tongue, which seemed to of earthly vengeance. It seems as if we had but just escaped from the be lamed with surprise and even fright. At last, almost involuntarily fearful company of hellish spirits. Donna Anna appeared wholly the words escaped me : “How is it possible to see you here?” Where altered ; death-like pallor was spread over her face; the eye was without upon she answered at once in the purest Tuscan, that unless I under- lustre; her voice was trembling and uncertain ; but, for that very stood and spoke Italian she would be obliged to forego the pleasure of reason, of a heart-rending effect in the short duet with the sweet bridemy conversation, since she spoke no other tongue. The sweet words groom, who, since heaven has fortunately saved him from the dangerous sounded like singing. The expression of her dark blue eye was heigh- office of an avenger, wishes to hold at once his nuptials. tened while she spoke, and every glance flashing from it poured a The fugued chorus rounds off the work to a whole in a most stream of fire into my heart, which made every pulse beat quick and masterly manner. every fibre quirer. It was Donna Aupa herself. "The thought that it I hastened to my room in the greatest state of excitement which I was possible for her to be on the stage and in my box at the same time | ever experienced. The waiter called me down to supper, and I followed did not occur to me. As a happy dream combines the strangest things, him mechanically. The company was large, as it was the time of the and a pious faitlinderstands what is supernatural, and brings it, in a fair. The representation of Don Juan was the subject of conversation. seemingly natural manner, into harmony with the so-called natural | The people generally praised the Italians, and the true conception of phenomena in life, so fell I also, in the presence of the wonderful their playing, yet the slight remarks that were here and there thrown woman, into a kind of somnambulism, in which I saw the secret rela- out showed that hardly any one had but a faint glimmering idea of tions which so closely joined me to her that she could not go the deep wenning of the opera of all operas. Don Ottavio had pleased away from me even when she was on the stage. How gladly would I much. Donna Anna had been too passionate for one. This person write down for you, my dear Theodore, every word of the remarkable considered that artists ought to moderate themselves and avoid everyconversation which was carried on between the Signora and myself ; but thing too affecting. Donna Anna's relation of the surprise had almost while I try to write down in German what she said, I find every word overwhelmed him. Here he took a pinch of snuff, and looked with an stiff and cold, every phrase awkward, to express what she spoke in indescribably wild and stupid expression in his neighbour's face, who Tuscan with all imaginable ease and grace. When she spoke of Don maintained that tho Italian woman was, however, quite beautiful, only Juan and her own part, I felt that now for the first time the depths of too careless in dress and finery. Just in that scene a lock of hair had this master-work were laid open to me; and I could distinctly look got unfastened, and shaded the half profile of the face. Now another into and recognise the fantastic forms of a foreign world. She said that began to bum, “ Fin ch' han dal vino," whereupon a lady observed that her whole life was music; that she often seemed to comprehend, while she had been least satisfied with Don Juan; the Italian who represinging, many things, mysteriously hidden in her inner goul, which no | sented him had been too gloomy and grave, and had not depictured the words could express. « Yes, then indeed, I comprehend them," con frivolous, volatile character lightly enough. The last explosion was tinued she, with a burning eye and higher tone of voice, “but all around praised very much. Weary of this shallow talk, I hastened to me remains cold and dead, and, while they applaud a difficult roulade my room. and a successful cadenza, icy hands seem thrust into my glowing heart.
(To be continued.) But you seem to understand me; I see that to you also has been revealed the wonderful romantic world, where the heavenly charm of tones JOSEPH JOACHIM.-The King of Hanover has granted two dwell."
years' leave of absence to this eminent violinist, without any “What! you glorious, wonderful woman, is it possible you know diminution of his salary as concertmeister to the Court. The
only conditions imposed upon Herr Joachim—who demanded “Did not the enchanting frenzy of ever-yearning love pour forth
this favour of his Royal patron, in order to devote the period of from your heart in the part of
in your new opera? I have his liberty to composition--are, that he shall give a concert, and comprehended you ; your soul has been revealed to me in singing. Yes
play at Court, at certain stated intervals, during the winter. indeed (here she called me by my Christian name), I have sung you ;
The munificence of the King is a significant tribute to the worth as are your melodies, so I”
of the artist. We hear that Herr Joachim, besides the overture - The stage bell rang; a sudden pallor spread over Donpa Anna's
to Hamlet, has composed several new works of length and unpainted face ; she pressed her hand on her heart as if she felt a
importance. sudden pain ; and, while she said, in a low tone, “Unhappy Anna, thy most painful moments are now coming!" she left the box.
THE MENDELSSOHN FUND.-A scholarship at the Royal The first act had delighted me, but, after this singular event, the
Academy of Music, in London, is now talked of. Bis dat qui music affected me in an entirely different and strange manner. It
cito dat. The sooner it is done, if it is to be done, the better. seemed as if the long-promised fulfilment of the sairest dreams were
| Anything is preferable to letting the money lie idle in the hands now realized in another world; as if the most mysterious forebodings
of a banker. Had it been a Wagner fund, Leipsic would have of the enchanted soul were made to stand forth in notes, and could be been up in arms. recognised in their forms.
PHILHARMONIC SOCIETY.—Among the candidates for the In the scene where Donna Anna appears, I trembled with excess of
vacant chair of Mr. Costa, we are informed, is Mr. French · delight, while a gentle warm breath stole over me. My eyes involuntarily closed, and a glowing kiss seemed to burn upon my lips ; but
Flowers, the original founder of the Contrapuntal Society this kiss was a note long drawn out, as if by an ever-thirsting, yearning
Mad. JENNY LIND-GOLDSCHMIDT. — The bruit goes that desire.
Mr. Mitchell, failing to make arrangements with the Cologne The finale now commenced in tones of reckless merriment; “Gia
Männer-gesangverein, and equally unsuccessful with other Ja meris è preparata." Don Juan sat caressing between two girls,
German lieder-tafel societies, in the course of his peregrinations and opened boldle upon bottle to give to the fermenting spirits, her
rested the sole of his foot at Dresden ; that, at Dresden, he y metically closed with in, free sway over him. The room was small, with
encountered “the Swedish Nightingale, upon whose tail, like a large, gotluid wül dol in the background, through wbich one looked
Mr. Barnum, he deposited a pinch of salt; and that the issue will upon the dark tiigla without. Already, while Elvira reminds the faithless
be a series of concerts of sacred music, at Exeter Hall, in the one of his formes y pows, one can see lightning through the window, course of the forthcoming season, at which “Jenny" will be the and the lok grumbling of an approacbing thunder-storm is heard. “star and garter” of attraction. Nous verrons.
octave-couplers-namely, that in which the octave above or OCTAVE-COUPLERS IN GENERAL.
below any note struck on the great organ, is produced on the
swell or choir. Doubtless-especially in semi-full combinationsHAVING, some time since, in noticing an organ built by Mr. this mechanism, by reason of the greatly differing characters of Holdich, expressed an opinion adverse to the peculiar species of the two manuals thus connected, yields a large increase both in octave-coupler called the “ Diaocton" by that builder, we have depth and brilliancy of tone ; but power is not primarily its had requests from several quarters to state the ground of our object. Its great use is in procuring combinations and contrasts dissent. Some of our correspondents appear to think our censure of quality, otherwise impossible_or, at least, impossible for the directed against octave-couplers of all kinds,-others, more pro- hands of a single performer. By its means, for example, the flueperly, interpret us to dislike only the Diaocton species. All, work of one manual can be coupled to the reeds of another at the however, seem desirous of information; and this we most cheer interval of an octave, or even double octave apart; and as these fully give;-premising, meanwhile, that this information will be octaves are entirely under the control of one hand, the remaining most conveniently afforded by means of some general remarks hand and the feet are left at liberty for any necessary developon the subject.
ment of the accompanying parts. The effects thus to be produced, Octave-couplers are divisible into two kinds ;-that in which especially in the execution of solos, are as new and charming as any given note on one manual say the great organ-commands they are surprising to the listener. Not only are new qualities its octave, above or below, on some other manual say the swell of tone and this in almost endless variety-generated by this or choir; and that, on the other hand, in which any note on means, but harmonic combinations, always obviously desirable one manual is made to operate on its octave, above or below, on and hitherto as obviously impossible, are rendered perfectly the same manual. As the latter, or diaocton" kind-according easy. As for instance, in organ translations of orchestral works, to Mr. Holdich was that of which we expressed disapproval, we any peculiarly extended disposition of wind-instrument parts shall commence with it in our general discussion of the matter. may be rendered with exact fidelity as to the notes, and often Our first objection to this species of coupler is, that it does not with striking resemblance of quality, without absorbing more possess the qualities claimed for it by its employers. It is stated, than one hand in the operation, or, consequently, robbing the for example, that it“ doubles" the power of an organ ;-that, by score of those more important figures traced out by the motion its use, the diapasons become additional principals, the principals of the stringed instruments. additional fifteenths, and so forth, Now, this statement is an These descriptions of octave-couplers have been lately several error, arising mainly from a too-commun confusion of the terms times introduced into English organs, and always with the best “ power" and "noise," The use of this sort of octave-coupler possible result. As our performers grow more familiarised with will, undoubtedly, by a reduplication of the notes pressed by their peculiar uses, the importance of their presence becomes the finger, increase the noise of the instrument; but it by no more manifest. No organ, of even second-class pretension, means follows that its power, in the proper acceptation of the should, in our judgment, be constructed without them; and any term, will, at the same time, be proportionately enlarged. On annoyance they may occasion by the necessarily increased weight the contrary; a slight examination of the just principles of of touch, may be at once removed by the adoption of another orchestration will suffice to show, that power in the effect of a mechanism quite as indispensable to large instruments-we chord is produced by accumulating a large number of instru mean the Pneumatic Lever. ments on a small number of notes, rather than by dispersing the force of these instruments over a large number of intervals. The “Diaocton," therefore, offends against this principle, in MR. AND MRS. BRINLEY RICHARDS have returned to Town seeking a “doubled” power from a doubled number of notes from Whitland Abbey, the seat of the Hon. Mr. Yelverton, in having but the same number of pipes to each, instead of gaining | South Wales. it by an increased number of pipes in other words, an increased HERR Ernst is composing a new violin concerto expressly for volume of sound-accumulated on the actual notes commanded his young and gifted compatriot, Joseph Joachim. The great by the fingers. Furthermore, diapasons do not thus become German artist has also, we understand, nearly finished a quartet additional principals, principals additional fifteenths, and so on ; | for stringed instruments. except, indeed, in a sense which, if originally applied, would go MADAME CLARA SCHUMANN WIECK, the pianist of Leipsic, who to make a very bad organ. The octave of a diapason cannot in spite of her Continental renown of twenty years standing, has become, or answer as, a principal, under any circumstances. never been heard in England, will arrive here in the spring, for The middle C, for example, of an open diapason, should bear the London season. no resemblance, either in force or quality, to the tenor C of a OLYMPIC THEATRE.- On dit that Mr. A. Wigan is about to principal; and it is precisely in securing the exact adjustment produce another adaptation of Casimir Delavigne's Louis XI., of these differences of volume and character among the stops in which Mr. Robson is to play the principal part. forming the harmonic intervals of a full-organ tone, in which CECILIAN SOCIETY,On Thursday evening the Messiah was consists the climax of the builder's art. Unless these varieties again given by this Society at the Albion Hall, Moorfields. The be rigidly consulted in the combination of a full-organ, the soloists were Miss Pringle and Miss Anne Cox; Messrs. Dawson, result will be an absence of power, and every possible vice of J. T. Hill, and Henry Buckland. Mr. Shoubridge had the quality ranging between a deadly, drowsy muddle on the one bâton. Miss Anne Cox deserves particular mention for her hand, and a watery, bodyless screeching on the other. True sweet voice, and the truth and delicacy with which she sang, it is, that organ builders do not universally, in their prac « Come unto him," and “Thou didst not leave.” The chorus tice, evidence their recognition of these principles : but acquitted themselves with creditable precision. Would we could this is merely saying, in other words, that there are too many say as much for the instrumentalists; but we must again express organs built in which the scaling and voicing-ignorantly or our surprise that these small societies cannot continue either to carelessly--are capable of no effect but that of discrediting the amend their orchestras, or to suppress them altogether. claims of the noblest of instruments. Doubtless a coupler of the DER FREISCHUTZ "REDIVIVUS."-Several full rehearsals have diaocton species would, as a means of effect, be highly service- already proved what care the administration of the Théâtreable, if constructed after some sufficiently intelligent and sympa- | Lyrique is taking for the revival of Weber's Robin des Bois thetic fashion to confine its operation to any particular part of the (Der Freischütz). We were present at one of them, and predict key-board extemporaneously selected by the performer ; but as, for the representation of this immortal chef-d'ouvre a success notwithstanding the advanced state of mechanical science, we equal to that of Hérold's Pré-aux-Clercs at the Opéra-Comique. may reasonably despair of infusing into wood and metal the The splendid costumes and decorations attest the intelligence requisite quantity of mind for such thoughtful obedience to al and artistic taste of M. Perrin. We are delighted with the player's caprices, the objections already urged against this con- | anticipations of this fête, which will, no doubt, attract on Monday trivance must be held sufficient to recommend its disuse. evening the élite of the press and of the Parisian world to the
These objections, however, do not apply to the other kind of Théâtre-Lyrique.-Messager des Théâtres, Jan. 16.
I trust it will not be supposed that I undervalue English
musicians, or decry English taste. I only wish to call attention (From an occasional Correspondent.)
to the fact that we do not turn to the best account the reParis, 14th January.
sources which we undoubtedly possess. Our orchestras have The Société des Concerts gave their first concert, for the season,
greatly improved within the last few years ; and even those this afternoon, in the music room of the Conservatoire. I annex
who question the exclusive pre-eminence of Mr. Costa, must the programme :
acknowledge that he has done valuable service in advancing Huitième Symphonie, en fa
Beethoven. “musical discipline.” But we are still contented with a comMadrigal (Mmes. Miolan-Carvalho et Boulart)...
paratively low standard of excellence. That we by no means Solo. clarinette (M. Leroy)"....
lack native talent has been shown by the performances of the Air, Montano (Mme. Miolan-Carvalho)...
Orchestral Union under the able guidance of Mr. Alfred Quatrième Symphonie, en ut ...
Mozart. Mellon ; and though that excellent society has not met with the “ Alleluia," chmur ... ... ... ...
support which it deserved, still a step has been made in the The above, as you see, presents no novelty, for both Beethoven's right direction; and I hope the time is not far distant when the symphony in F, and Mozart's “ Jupiter" have long since become public, surfeited with monster concerts (most of which, by the familiar to every London concert-goer. Yet, I confess that in way, have been got up by foreigners) will have learnt to prefer some respects they appeared new to me; for it was the first quality to quantity; and will come forward to encourage those time that I heard them played at the Conservatoire. Such is the true musicians who seek to purify and elevate their art: who precision, clearness, and delicacy of execution, to which this love and cultivate it for its own sake ; and not merely for the celebrated orchestra bas attained, that even the most minute amount of profit which it may bring.
W.details are distinctly brought out; thus, many passages that appear obscure when less perfectly executed, become intelli
PARIS. gible ; while effects are produced that are totally unknown in orchestras where less attention is paid to the various gradations
(From another Correspondent.) of light and shade. In this sense, I heard much that was new The long-expected drama, in five acts, which M. Scribe has to me. Considering the extreme care bestowed on rehearsals written expressly for Madlle. Rachel--the last new work in by the Parisian Society, and that the executants have all been which that celebrated actress will appear previous to her departrained in the same school of music, it is no disparagement to ture for the United States-was produced on Monday night our own countrymen to say, that in ensemble and finish the (the 15th instant), at the Théâtre-Français, with entire success. orchestra of the Conservatoire is far superior to any that all the world of letters, art, and science, all the feuilletonistes, England has hitherto produced. We bring together artists with M. Jules Janin at their head, were present, and the from all parts of Europe ; and, having filled a list with well Emperor and Empress occupied their box on the occasion. It known, or even celebrated names, we seem to think that nothing was a fête for the incomparable actress, whose loss can never be further is necessary. Oue, two, or, at the utmost, three re-made up, and whose glory is that of the dramatic art in hearsals are considered sufficient to ensure the perfect perform- France." ance of any composition, no matter how difficult ; and the result La Czarine is the name of the play. The heroine is the is that our standard of excellence is not the highest. We have, Empress Catherine (Rachel), whose amour with the Count doubtless, many good qualities ; we are capital readers at sight; Sapieha (Bressant) is the basis of the plot. Peter the Great in power and quality of tone our orchestras are probably un- (Beauvallet) has already decapitated another lover of the equalled ; but we are deficient in that delicacy which can only Empress; but Sapiéha is not to be daunted by this, and be attained by long, patient, and strict rehearsal-rehearsal of the intrigue goes on. Catherine makes a coi fidant of the same artists under one and the same conductor.
Prince Mentzikoff (Geffroy-first of his line, and ancestor I have mentioned our power of tone, and I am inclined to think of the hero of Sevastopol. The Prince, however, has that the London Philharmonic Society's orchestra may be more a daughter, Olga (Madlle. Fix), who has also conceived a powerful than that of the Conservatoire, yet the latter exhibits passion for the brilliant young Count, and confesses it to her many more gradations from pianissimo to fortissimo. I don't father. Mentzikoff, at first intending to betray the secret of the suppose a real pianissimo, such as I heard to-day at the beginning Empress, is now puzzled what to do. Meanwhile Sapiéha, who of the last movement of the F symphony, has ever been pro- accepts the office of Chamberlain, obtains a secret interview with duced by an English orchestra; with us, individuals like to hear Catherine ; but unfortunately drops the key of the pavillion to themselves ; tbey habitually play with so nearly the full power which he has gained admission. The key is found by Villerbik of their instruments, that very little increase can be obtained (Monrose), a Dutch adventurer, who takes it to the Czar. Peter, when wanted ; and, in dealing with an amount of tone whose very exasperated with anger, is on the point of sacrificing everybody. loudness makes it unwieldy, conductors are sometimes led to Sapieha, however, being questioned, replies that the partner of exaggerate accents which should be merely indicated, producing his secret rendezvous was Olga, one of the Queen's maids of a spasinodic effect, very different from real light and shade. To honuor. The will of the Czar is that they shall be married illustrate my meaning, I may remind you how the first bars of forthwith ; and his will being law, they are wedded without the quick movement in the overture to Mozart's Zauberflöte are delay. The marriage, however, only makes matters worse. usually played by our orchestras'; and, again, in Beethoven's F The Empress, frantic with jealousy, goes to the house of Sapiéha, symphony, the very first phrase of the minuet. The reading of and Olga overhears their interview. The Czar, tormented this latter by the orchestra of the Conservatoire was admirable, with suspicions, interrogates Olga, who, to save her husand in the trio the violoncello accompaniment to the melody band, avows what was untrue that it was she who regiven out by the horns was most effective, being played by ceived him in the pavillion. Sapiéha, touched by this the several violoncellists with wonderful ensemble.*
devotion, writes a letter, which he himself delivers to The well known Allegretto was taken faster than is usual Catherine while the Czar is asleep. Olga, entering as he retires, with us ; but this is in accordance with the German traditions, sees the letter delivered, and utters a cry which awakens the as I observed two years since when Molique conducted this despot. The Empress, to save herself, confides the letter to symphony at Miss Goddard's concert. The Madrigal was well Olga ; but Peter, having perceived it, insists upon reading it. sung by Mesdames Miolan-Carvalho and Boulart; Mozart's Olga, however, by a glance at its contents, at once detects symphony , was magnificently played ; and indeed the per Sapiéha's avowal of love for herself and his words of farewell to formance was excellent throughout; although neither the the Empress, whom he resolves to see no more. Overcome with choruses nor the solo singers were equal to the instru- joy, she resolutely refuses to let the Czar have the letter, and mentalists.
the tyrant, snatching it from her, in his rage, condemns Sapiéha
to the scaffold and Oiga to Siberia. The execution is about to * Beethoven allotted this accompaniment to one only,-ED." take place, and Peter drags Catherine to the window, that she may see the dreadful preparations. The plan of the Czar is to demanded it, and would not listen to any other morceau for an discover, through the emotion displayed in the countenance of our afterwards. The programme was therefore suspended. the Empress, whether she is really guilty. An accomplished Vivier afterwards played one of Schubert's melodies, and imhypocrite, however, she thoroughly deceives him, and Sapiéha provised a cadence introducing some of his extraordinary effects. is pardoned. Catherine, who had concealed a dagger where- Roger sang, in German, Schubert's “ Erl König,” and a pretty with to stab herself no sooner than the executioner melody by Meinbrée. Joachim played several pieces on the should have performed his task, now believes herself violin with the greatest success. Vivier and Roger have left to saved ; but the Czar, still not entirely at his ease, pulls out the give concerts together at Brunswick and Berlin. letter of Sapiéha, which he has obtained from Olga, and shows | HAMBURG, January 15.-Miss Arabella Goddard, who has it to Catherine, who, unable to smother her feelings, explodes in been making so great a sensation in Germany, appeared at a a fit of jealousy. It is now her turn; Peter condemns her to die,
concert here on Saturday last, and took the Hamburgers by but, just as he is about to sign the order for her execution, he is
storm. She played Mendelssohn's first concerto (in G minor) seized with a sudden fit of agony and expires. Mentzikoff, to some of his Lieder ohne Worte, and Thalberg's fantasia on Mosè save his daughter Olga, bad given him poison.
| after all of which she was raptuously applauded, and recalled, Catherine is then proclaimed Czarine, in spite of a faithful
besides being encored in the Lieder. partisan of the dead Czar, who attempts to address the populace from the palace. “It is too cold to have the window open,”
LEIPSIC, January 15.-(From a Correspondent.)-On Thursday whispers Villerbik, the Dutchman-who from the creature of
evening, at the famous Gewandhaus concerts, Miss Arabella
Goddard, the young English pianist, made quite a furore. She the Czar has now become the accomplice of Mentzikoff--and
played Mendelssohn's second concerto (in D minor) and was redrawing a pistol from under his cloak he directed it at the head
called after her performance and enthusiastically cheered. In the of the threatening orator ; the latter, convinced by its silent
second part, Miss Goddard performed Stephen Heller's charmeloquence, retires. Such, very briefly, is a digest of the story of M. Scribe's new
ing improvisation on Mendelssohn's “Auf Augen des Gesanges," play, the morality of which will strike you forcibly. The acting,
and was unanimously encored. At the end of the concert, Herr
Schleinitz, one of the most intimate friends of Mendelssohn, however, was so good on all sides, and that of Rachel so thoroughly magnificent, that its success was unequivocal, and
congratulated the young pianist, and declared that, since the M. Scribe may be said to have added another laurel to his wreath.
death of his lamented friend, he had never heard his music The enthusiasm of the audience for Rachel was boundless, and
played to such perfection. she was called on and cheered after every act.
DANTSIO.- Der Freischütz was given for the 150th time on this stage, in honour of Weber's birthday, when a pièce de circonstance,
with six tableaux vivants, the subjects selected from Weber's works, FOREIGN
was performed. BERLIN.-(From our own Correspondent.)-Auber's charming 1 VIENNA.-(From our own Correspondent.) --Malle. Westerstrand opera of Fra Diavolo has been revived at the Royal Opera from Stoch holm, has appeared at the Imperial Opera-house, as Amina House, after having been neglected for too long a time. Its in La Sonnambula. The impression she produced was far from popularity seems as great as ever, anl the house is crammed farourable, and I do not euppose she will sing here again. Donizetti's every time it is performed. The part of the brigand chief is Belisario has been revived at the Kärnthnerthor Theatre. Tve persustained by Herr Theodor Formes, and that of Zerlina by formance, on the whole, was anything but satisfactory. The piece, Mad. Herrenburger. The management of Kroll's theatre has however, attracts great numbers anxious to hear an opera which has displayed laudable activity since the return of the company to pot been given for so long a time. The principal parts are sustained Berlin, from its trip to Potsdam. It has just produced Mr. by Mad. Hermann-Czıllag, Mdile. Titjena, Herren Beck, Steger, and Balfe's Quatre Fils d'Aymon (which had never been performed
Hölzl. There is a great deal of truth contained in the old English before in this capital), and Auber's Marco Spada.j Both
proverb, “ It never rains but it pours." For some time past, as I have these works had been very carefully rehearsed, and were well
informed you frequently in my letters, there has been hardly anything
doing in the musical line. This last week, howerer, we have had more put upon the stage. The result is that they have both proved great" hits." M. Roger was greatly applauded at the concert
concerts than any one correspondent of a newspaper could possibly for the benefit of the Gustav-Ariolph Verein, especially in the
attend; most of them, howerer, were of little importance. The
principal were that given by the violinist, Herr Ludwig, Strauss, on air from Méhul's Joseph in Egypt. He was not quite so suc
the morning of the 7th inst., in the Musikvereinsaal; and the cessful in the “Erlkönig," of Schubert. It is generally admitted
fourth quartet concert on the same day, by Herren Helmes. by the dilettanti here that M. Roger is more at home on the
berger, Durst, Häussler, and Schlesinger. The norelty of the stage than in the concert-room. The second series of Liebig's
last was a new trio for piano, violin, and violoncello by Herr L. Sinfonie-Soiréen began last week. The programme coraprised Zellner. The composer has the misfortune to have too good a memory, Cherubini's Anacreon overture, Beethoven's Pastoral Symphony, which is evidenced by his plagiarisms from Mozart and Mendelssohn, Dr. Spobr's overture to Jessonda, and one of Haydn's symphonies A concert has also taken place, in which Mastor Emil and Miss Therese in D major. The whole performance went off with the greatest Feigerl, the one a violinist aged eleven, the other a singer aged thiricen, éclat. The room was densely crowded. The king has just pre appeared. The boy played Rode's concerto in A minor and an air sented a magnificent edition of J. S. Bach's works to Herr variée by De Beriot; the girl -ang Kücken's “Mein Herz, ich will dich Neithardt, as a token of his Majesty's approbation of the zeal fragen," and Mad. Malibran'o “Rataplan.” and energy displayed by that gentleman in conducting the Königlicher Dom-Chor. Herr Alfred Jaell, who accompanied
PROVINCIAL Mad. Sontag during her American tour, as pianist, has arrived,
MANCHESTER.-(From our own but is at present unable to appear in public on account of an
Correspondent.)-The fifth injury he bas sustained in his hand. Allegri's “Miserere," a
concert of the Classical Chamber Music Society took place in the copy of which was brought from Rome by llerr von Dachröden,
Town Hall, on Thursday, January 11. The following was the as it is sung in the Sixtine Chapel, is announced for performance
programme : at the third soirée oi the Königlicher Dom-Chor, on the 20th. Trio (No. 4) (in B flat, Op. 133), Spohr; Sonata AppassionataThis will be an event of especial interest to all who remember pianoforte (in F minor, Op. 57), Beethoren ; Trio (No. 2) (in C minor, the anecdote of Mozart's writing down the score from memory Op. 66), Mendelssohn; Souvenirs de Sonnambula- violoncello, l'iatti; after two hearings.
Melo ties-violin and pianoforte (Allegro, B minor, Allegretto, E major), HANOVER.-On the 2nd instant the King gave a private con
Molique ; Solo-pianoforte (Studies), Chopin, cert to which a select party were invited. Vivier, Roger, and | The executants were M. Charles Halle, Herr Molique, and Joachim were the artists. Roger sung a romance with obbligato Signor Piatti. Spohr's Trio had great justice done to it by all horn accompaniment composed by Vivier (“ When o'er the three performers. M. Halle made a strong inipression in the meads”). The effect produced was so great that the King re-i Sonata appassionatu of Beethoven, which he played from piemory,