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VOL. 33.-No. 3.

SATURDAY, JANUARY 20, 1855.

A DREAM OF DONNA ANNA.

(From the German of Hoffmann.)

THE loud ringing of a bell and the words of a shrill voice, crying out, "the theatre begins," awoke me from a gentle sleep. Double-basses were growling in great confusion,-now came a stroke on the kettledrums, and then a blast from the trumpet-a clear A from an oboe was heard, and violins fell in between. I rubbed my eyes. "Has, perhaps, the always busy devil — ?" No! I was in the room of the hotel where I had arrived the day before almost as if broken on a rack. The rope of a bell hung just over my nose; I gave a good pull, and the servant appeared.

"What, for Heaven's sake, is the meaning of this confused music here close by me ?-is there a concert to be given in the house ?"

"Your excellency," (I had drunk champagne at dinner) "does not know, perhaps, that this hotel is connected with the theatre. This paper door will lead you into a small corridor from which you can enter box No. 23, reserved for strangers."

"What?-theatre ?-stranger's box ?"

"Yes, the small stranger's-box, holding two or, at most, three persons-it is reserved only for persons of rank; it has green paper hangings and Venetian blinds, and is close to the stage. If your excellency should choose--we play to-day Don Juan, by the celebrated Mr. Mozart, from Vienna. We can put the price for your ticket in your bill."

The last words were spoken while he opened the door of the box, so quickly had I stepped, upon hearing the words " Don Juan," through the paper door into the corridor. The house was, for this middle-sized place, spacious, tastefully decorated and brilliantly lighted. All the boxes and parterre were crowded. The first chords of the overture convinced me that a most excellent orchestra would afford me the most exquisite enjoyment of the masterpiece, even though the actors should perform indifferently. During the andante the horrors of the terrible subterranean regno al pianto came over me; presentiments of something awful filled my mind. The joyous fanfara in the seventh bar of the allegro sounded to me like villany in high glee. I saw fiery demons stretching forth their glowing claws from deep darkness to catch some of the gay mortals who were merrily dancing on the thin covering of the abyss. The conflict of man's nature with the unknown direful powers that surround him, and lie in wait for his destruction, stood clear before my mind.

At last the storm subsided and the curtain rose. Freezing and out of humour, Leporello, wrapped in his cloak, paces in dark night up and down before the pavilion: "Notte e giorno faticar."-Ah! Italian! thought I, here in this German town. Ah! che piacere! I shall hear the recitative and all, just as the great master felt and thought in his mind. Now Don Juan came rushing out, after him Donna Anna, holding the villain by the cloak. What an aspect! She might have been taller and more slender, and more majestic in her walk; but what a head! and eyes from which love, anger, hatred, and despair shot as from one focus, a shining pyramid of bright sparks, which, like Greek fire, unquenchable, burned to the very core. The loose braids of her dark hair float in ringlets down her neck. Her white night-dress traitorously discloses charms that are never looked upon without danger. The heart in which the pangs of the horrid deed are buried, was yet beating in violent pulsations. And now what a voice! "Non spera se non m3 uccidi." Her notes, as if cast of etherial metal, flash like glaring lightning through the storm of instruments.-Don Juan tries in vain to free himself. But does he wish it? Why does he not thrust the woman aside with his strong hand? Does the wicked deed enervate him, or is it the struggle of hate and love within his breast that deprives him of all courage and strength ?-The old father has now paid with his life for his folly in attacking the vigorous opponent in the dark; and Don

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Juan and Leporello approach the proscenium in the recitative conversation.

Don Juan disengages himself from his cloak, and is standing there in a costly dress of velvet embroidered with silver. His figure is strong and beautiful, his face of manly beauty; his nose of a Roman cast, his eyes penetrating, and his lips softly formed. The singular play of a muscle on the forehead gives his physiognomy, for a moment, something of the expression of Mephistopheles, which, without marring his beauty of face, excites an involuntary shudder. It seems as if he could exert the magic power of a serpent; it seems as if woman, after having once gazed upon him, could no longer escape from him, and must complete her ruin, being once seized upon by this invisible power. Leporello, tall and slim, with a red and white striped vest-coat, a short red cloak, a white hat with a red feather, is tripping round him. His features have an expression strangely mingled of good nature, roguishness, trustfulness, and ironic pertness; his dark eye-brows form a strange contrast to his grizzly hair and beard. One sees at once the old fellow is a fit assistant and servant of Don Juan. They have now made their fortunate escape over the wall. Torch-bearers, Donna Anna, and Don Ottavio, appear. The latter is a delicate, nicely-dressed, trothed of Anna, he no doubt staid in the same house, as he could and smooth mannikin, of twenty-one years at most. Being the beAt the first alarm he might no doubt not have been called so soon. have hastened to the spot in time to save the father; but he had first to dress himself, and besides he did not venture out in the night,— "Ma qual mai s' offre, o dei,

Spettacolo funesto agli occhi miei!"

More than despair in consequence of the cruel outrage is expressed in the terrible heart-rending notes of the recitative and duet. But it is not alone Don Juan's violent attempt, threatening ruin to her and causing death to her father, which forces these notes from the anguished heart; it is a destructive, deadly struggle in her heart, which can produce them. The tall, lank Donna Elvira, who has still visible traces of great beauty, which has now faded, had just chid the traitor Don Juan; "Tu nido d' inganni." And the compassionate Leporello had very archly observed, "Parla come un libro stampato," when I thought I perceived somebody near or behind me. It was easy for a person to have opened the door and stolen in, and at this thought a pain shot through my heart. I had felt so happy at being alone in the box, entirely undisturbed, and clasping with all the fibres of sensation, as with polypus arms, this masterpiece, now produced to such perfection, and absorbing it. A single word, which, moreover, might be silly, might have cruelly snatched me from this glorious state of poetico-musical exaltation. I resolved to take no notice of my neighbour, but, entirely wrapt up in the playing, to avoid every word and look. With my head resting on my hands and my back turned towards my neighbour, I looked on. The further continuation of the play corresponded with the excellent beginning. The little roguish, amorous Zerlina comforted, in sweet notes and airs, the goodnatured Masetto. Don Juan distinctly expressed his broken soul, and his scorn at the mannikins around him, put there merely for his plea sure, that he might break in upon and destroy their faint-hearted doings, in the wild aria, "Fin ch'han dal vino." The muscle on his forehead moved more violently than before. The masks now appear. Their terzetto is a prayer, that in pure and shining rays ascends to heaven. The middle curtain now flies suddenly up. There is a feast going on in a merry crowd of peasants, goblets ring, and all kinds of masks are moving round, attracted hither by Don Juan's feast. The three persons sworn to take vengeance now appear. The scene grows more solemn, till the dance begins. Zerlina is saved; during the loud thundering finale, Don Juan, undaunted, with sword in hand, meets his enemies. He strikes the fancy sword of the bridegroom out of his hand, and makes his way through the crowd, which he throws into

entire confusion, as the brave Roland did the army of the tyrant Cymort, so that all fall comically one over the other.

I often seemed to perceive behind me a warm gentle breath, and to hear the rustling of silk. This made me suppose that a woman was present, but wholly wrapped up in the poetical world which the opera disclosed to me, I took no notice of it. Now that the curtain had dropped, I looked round for my fair neighbour. No words can express my astonishment. Donna Anna, in the very costume in which I had shortly before seen her on the stage, stood behind me, and fixed upon me the penetrating look of her animated eyes. Entirely speechless, I fixed a steady gaze upon her; her mouth (as it seemed to me) contracted into a light, ironical smile, in which I mirrored myself and discovered my silly figure. I felt the propriety of my accosting her, and yet I could not move my tongue, which seemed to be lamed with surprise and even fright. At last, almost involuntarily the words escaped me: "How is it possible to see you here?" Whereupon she answered at once in the purest Tuscan, that unless I understood and spoke Italian she would be obliged to forego the pleasure of my conversation, since she spoke no other tongue. The sweet words sounded like singing. The expression of her dark blue eye was heightened while she spoke, and every glance flashing from it poured a stream of fire into my heart, which made every pulse beat quick and every fibre quiver. It was Donna Auna herself. The thought that it was possible for her to be on the stage and in my box at the same time did not occur to me. As a happy dream combines the strangest things, and a pious faith understands what is supernatural, and brings it, in a seemingly natural manner, into harmony with the so-called natural phenomena in life, so fell I also, in the presence of the wonderful woman, into a kind of somnambulism, in which I saw the secret relations which so closely joined me to her that she could not go away from me even when she was on the stage. How gladly would I write down for you, my dear Theodore, every word of the remarkable conversation which was carried on between the Signora and myself; but while I try to write down in German what she said, I find every word stiff and cold, every phrase awkward, to express what she spoke in Tuscan with all imaginable ease and grace. When she spoke of Don Juan and her own part, I felt that now for the first time the depths of this master-work were laid open to me; and I could distinctly look into and recognise the fantastic forms of a foreign world. She said that her whole life was music; that she often seemed to comprehend, while singing, many things, mysteriously hidden in her inner soul, which no words could express. Yes, then indeed, I comprehend them," continued she, with a burning eye and higher tone of voice, "but all around me remains cold and dead, and, while they applaud a difficult roulade and a successful cadenza, icy hands seem thrust into my glowing heart. 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 dwell."

me ?"

"What! you glorious, wonderful woman, is it possible you know "Did not the enchanting frenzy of ever-yearning love pour forth from your heart in the part of in your new opera? I have comprehended you; your soul has been revealed to me in singing. Yes indeed (here she called me by my Christian name), I have sung you; as are your melodies, so I"

The stage bell rang; a sudden pallor spread over Donna Anna's unpainted face; she pressed her hand on her heart as if she felt a sudden pain; and, while she said, in a low tone, "Unhappy Anna, thy most painful moments are now coming!" she left the box.

The first act had delighted me, but, after this singular event, the music affected me in an entirely different and strange manner. It seemed as if the long-promised fulfilment of the fairest dreams were now realized in another world; as if the most mysterious forebodings of the enchanted soul were made to stand forth in notes, and could be recognised in their forms.

In the scene where Donna Anna appears, I trembled with excess of delight, while a gentle warm breath stole over me. My eyes involuntarily closed, and a glowing kiss seemed to burn upon my lips; but this kiss was a note long drawn out, as if by an ever-thirsting, yearning The finale now commenced in tones of reckless merriment; "Gia la mensa è preparata." Don Juan sat caressing between two girls, and opened bottle upon bottle to give to the fermenting spirits, hermetically closed within, free sway over him. The room was small, with a large gothic window in the background, through which one looked upon the dark nigh without. Already, while Elvira reminds the faithless one of his former vows, one can see lightning through the window, and the low grumbling of an approaching thunder-storm is heard.

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At length comes the violent knocking. Elvira and the girls fly away, and amidst the fearful accords of the subterranean spiritworld, the huge marble colossus stalks in, opposite to which Don Juan appears like a dwarf. The floor shakes under the thundering footsteps of the giant. Don Juan, through storm, thunder, and the howling of the demons, shouts his terrible "No!" The hour of his destruction is at hand. The statue disappears; dense smoke fills the room, out of which horrid spectral forms are developed. Then an explosion takes place as if a thousand thunderbolts struck at once. Don Juan and the demons have disappeared one knows not how. Leporello lies fainting in a corner of the room.

How refreshing now is the entrance of the other persons, who in vain look for Don Juan, who has been withdrawn by the subterranean powers of earthly vengeance. It seems as if we had but just escaped from the fearful company of hellish spirits. Donna Anna appeared wholly altered; death-like pallor was spread over her face; the eye was without lustre; her voice was trembling and uncertain; but, for that very reason, of a heart-rending effect in the short duet with the sweet bridegroom, who, since heaven has fortunately saved him from the dangerous office of an avenger, wishes to hold at once his nuptials.

The fugued chorus rounds off the work to a whole in a most masterly manner.

I hastened to my room in the greatest state of excitement which I ever experienced. The waiter called me down to supper, and I followed him mechanically. The company was large, as it was the time of the fair. The representation of Don Juan was the subject of conversation. The people generally praised the Italians, and the true conception of their playing, yet the slight remarks that were here and there thrown out showed that hardly any one had but a faint glimmering idea of the deep meaning of the opera of all operas. Don Ottavio had pleased much. Donna Anna had been too passionate for one. This person considered that artists ought to moderate themselves and avoid everything too affecting. Donna Anna's relation of the surprise had almost overwhelmed him. Here he took a pinch of snuff, and looked with an indescribably wild and stupid expression in his neighbour's face, who maintained that the Italian woman was, however, quite beautiful, only too careless in dress and finery. Just in that scene a lock of hair had got unfastened, and shaded the half profile of the face. Now another began to hum, "Fin ch' han dal vino," whereupon a lady observed that she had been least satisfied with Don Juan; the Italian who represented him had been too gloomy and grave, and had not depictured the frivolous, volatile character lightly enough. The last explosion was praised very much. Weary of this shallow talk, I hastened to my room. (To be continued.)

JOSEPH JOACHIM.-The King of Hanover has granted two years' leave of absence to this eminent violinist, without any diminution of his salary as concertmeister to the Court. The only conditions imposed upon Herr Joachim-who demanded this favour of his Royal patron, in order to devote the period of his liberty to composition-are, that he shall give a concert, and play at Court, at certain stated intervals, during the winter. The munificence of the King is a significant tribute to the worth of the artist. We hear that Herr Joachim, besides the overture to Hamlet, has composed several new works of length and importance.

THE MENDELSSOHN FUND.-A scholarship at the Royal Academy of Music, in London, is now talked of. Bis dat qui cito dat. The sooner it is done, if it is to be done, the better. Anything is preferable to letting the money lie idle in the hands of a banker. Had it been a Wagner fund, Leipsic would have been up in arms.

that

vacant chair of Mr. Costa, we are informed, is Mr. French PHILHARMONIC SOCIETY.-Among the candidates for the Flowers, the original founder of the Contrapuntal Society. MAD. JENNY LIND-GOLDSCHMIDT.-The bruit goes Mr. Mitchell, failing to make arrangements with the Cologne Männer-gesangverein, and equally unsuccessful with other rested the sole of his foot at Dresden; that, at Dresden, he German lieder-tafel societies, in the course of his peregrinations encountered "the Swedish Nightingale," upon whose tail, like Mr. Barnum, he deposited a pinch of salt; and that the issue will be a series of concerts of sacred music, at Exeter Hall, in the course of the forthcoming season, at which "Jenny" will be the star and garter" of attraction. Nous verrons.

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ORGAN.

THE MUSICAL WORLD.

OCTAVE-COUPLERS IN GENERAL.

HAVING, some time since, in noticing an organ built by Mr. Holdich, expressed an opinion adverse to the peculiar species of octave-coupler called the "Diaocton" by that builder, we have had requests from several quarters to state the ground of our dissent. Some of our correspondents appear to think our censure directed against octave-couplers of all kinds,-others, more properly, interpret us to dislike only the Diaocton species. All, however, seem desirous of information; and this we most cheerfully give;-premising, meanwhile, that this information will be most conveniently afforded by means of some general remarks on the subject. Octave-couplers are divisible into two kinds;-that in which any given note on one manual-say the great organ-commands its octave, above or below, on some other manual-say the swell or choir; and that, on the other hand, in which any note on one manual is made to operate on its octave, above or below, on the same manual. As the latter, or "diaocton" kind-according to Mr. Holdich-was that of which we expressed disapproval, we shall commence with it in our general discussion of the matter. Our first objection to this species of coupler is, that it does not possess the qualities claimed for it by its employers. It is stated, for example, that it "doubles" the power of an organ;-that, by its use, the diapasons become additional principals, the principals additional fifteenths, and so forth. Now, this statement is an error, arising mainly from a too-common confusion of the terms "power" and "noise." The use of this sort of octave-coupler will, undoubtedly, by a reduplication of the notes pressed by the finger, increase the noise of the instrument; but it by no means follows that its power, in the proper acceptation of the term, will, at the same time, be proportionately enlarged. On the contrary; a slight examination of the just principles of orchestration will suffice to show, that power in the effect of a chord is produced by accumulating a large number of instruments 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 seeking a "doubled" power from a doubled number of notes having but the same number of pipes to each, instead of gaining it by an increased number of pipes in other words, an increased volume of sound-accumulated on the actual notes commanded by the fingers. Furthermore, diapasons do not thus become additional principals, principals additional fifteenths, and so on; except, indeed, in a sense which, if originally applied, would go to make a very bad organ. The octave of a diapason cannot become, or answer as, a principal, under any circumstances. The middle C, for example, of an open diapason, should bear no resemblance, either in force or quality, to the tenor C of a principal; and it is precisely in securing the exact adjustment of these differences of volume and character among the stops forming the harmonic intervals of a full-organ tone, in which consists the climax of the builder's art. Unless these varieties be rigidly consulted in the combination of a full-organ, the result will be an absence of power, and every possible vice of quality ranging between a deadly, drowsy muddle on the one hand, and a watery, bodyless screeching on the other. True it is, that organ builders do not universally, in their prac tice, evidence their recognition of these principles: but this is merely saying, in other words, that there are too many organs built in which the scaling and voicing-ignorantly or carelessly are capable of no effect but that of discrediting the claims of the noblest of instruments. Doubtless a coupler of the diaocton species would, as a means of effect, be highly serviceable, if constructed after some sufficiently intelligent and sympathetic fashion to confine its operation to any particular part of the key-board extemporaneously selected by the performer; but as, notwithstanding the advanced state of mechanical science, we may reasonably despair of infusing into wood and metal the requisite quantity of mind for such thoughtful obedience to a player's caprices, the objections already urged against this contrivance must be held sufficient to recommend its disuse.

These objections, however, do not apply to the other kind of

octave-couplers-namely, that in which the octave above or
below any note struck on the great organ, is produced on the
swell or choir. Doubtless-especially in semi-full combinations-
this mechanism, by reason of the greatly differing characters of
the two manuals thus connected, yields a large increase both in
depth and brilliancy of tone; but power is not primarily its
object. Its great use is in procuring combinations and contrasts
of quality, otherwise impossible-or, at least, impossible for the
hands of a single performer. By its means, for example, the flue-
work of one manual can be coupled to the reeds of another at the
interval of an octave, or even double octave apart; and as these
octaves are entirely under the control of one hand, the remaining
hand and the feet are left at liberty for any necessary develop-
ment of the accompanying parts. The effects thus to be produced,
especially in the execution of solos, are as new and charming as
they are surprising to the listener. Not only are new qualities
of tone-and this in almost endless variety-generated by this
means, but harmonic combinations, always obviously desirable
and hitherto as obviously impossible, are rendered perfectly
easy. As for instance, in organ translations of orchestral works,
any peculiarly extended disposition of wind-instrument parts
may be rendered with exact fidelity as to the notes, and often
with striking resemblance of quality, without absorbing more
than one hand in the operation, or, consequently, robbing the
score of those more important figures traced out by the motion
of the stringed instruments.

more manifest.

These descriptions of octave-couplers have been lately several times introduced into English organs, and always with the best possible result. As our performers grow more familiarised with No organ, of even second-class pretension, their peculiar uses, the importance of their presence becomes should, in our judgment, be constructed without them; and any annoyance they may occasion by the necessarily increased weight of touch, may be at once removed by the adoption of another mechanism quite as indispensable to large instruments-we mean the Pneumatic Lever.

MR. AND MRS. BRINLEY RICHARDS have returned to Town from Whitland Abbey, the seat of the Hon. Mr. Yelverton, in HERR ERNST is composing a new violin concerto expressly for South Wales. his young and gifted compatriot, Joseph Joachim. The great German artist has also, we understand, nearly finished a quartet for stringed instruments.

MADAME CLARA SCHUMANN WIECK, the pianist of Leipsic, who in spite of her Continental renown of twenty years standing, has never been heard in England, will arrive here in the spring, for the London season.

OLYMPIC THEATRE.-On dit that Mr. A. Wigan is about to produce another adaptation of Casimir Delavigne's Louis XI., in which Mr. Robson is to play the principal part.

CECILIAN SOCIETY.-On Thursday evening the Messiah was again given by this Society at the Albion Hall, Moorfields. The soloists were Miss Pringle and Miss Anne Cox; Messrs. Dawson, J. T. Hill, and Henry Buckland. Mr. Shoubridge had the baton. Miss Anne Cox deserves particular mention for her "Come unto him," and "Thou didst not leave." The chorus sweet voice, and the truth and delicacy with which she sang, acquitted themselves with creditable precision. Would we could our surprise that these small societies cannot continue either to say as much for the instrumentalists; but we must again express amend their orchestras, or to suppress them altogether.

DER FREISCHUTZ "REDIVIVUS."-Several full rehearsals have already proved what care the administration of the ThéâtreLyrique is taking for the revival of Weber's Robin des Bois (Der Freischütz). We were present at one of them, and predict for the representation of this immortal chef-d'œuvre a success equal to that of Hérold's Pré-aux-Clercs at the Opéra-Comique. and artistic taste of M. Perrin. We are delighted with the The splendid costumes and decorations attest the intelligence anticipations of this fête, which will, no doubt, attract on Monday evening the élite of the press and of the Parisian world to the Théâtre-Lyrique.-Messager des Théâtres, Jan. 15.

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Huitième Symphonie, en fa
Madrigal (Mmes. Miolan-Carvalho et Boulart)... Clari.
Solo. clarinette (M. Leroy)

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Beer. Berton. Mozart. Händel.

Air, Montano (Mme. Miolan-Carvalho)... Quatrième Symphonie, en ut "Alleluia," chœur The above, as you see, presents no novelty, for both Beethoven's symphony in F, and Mozart's " Jupiter" have long since become familiar to every London concert-goer. Yet, I confess that in some respects they appeared new to me; for it was the first time that I heard them played at the Conservatoire. Such is the precision, clearness, and delicacy of execution, to which this celebrated orchestra has attained, that even the most minute details are distinctly brought out; thus, many passages that appear obscure when less perfectly executed, become intelligible; while effects are produced that are totally unknown in orchestras where less attention is paid to the various gradations of light and shade. In this sense, I heard much that was new to me. Considering the extreme care bestowed on rehearsals by the Parisian Society, and that the executants have all been trained in the same school of music, it is no disparagement to our own countrymen to say, that in ensemble and finish the orchestra of the Conservatoire is far superior to any that England has hitherto produced. We bring together artists from all parts of Europe; and, having filled a list with well known, or even celebrated names, we seem to think that nothing further is necessary. One, two, or, at the utmost, three rehearsals are considered sufficient to ensure the perfect performance of any composition, no matter how difficult; and the result is that our standard of excellence is not the highest. We have, doubtless, many good qualities; we are capital readers at sight; in power and quality of tone our orchestras are probably unequalled; but we are deficient in that delicacy which can only be attained by long, patient, and strict rehearsal-rehearsal of the same artists under one and the same conductor.

I have mentioned our power of tone, and I am inclined to think that the London Philharmonic Society's orchestra may be more powerful than that of the Conservatoire, yet the latter exhibits many more gradations from pianissimo to fortissimo. I don't suppose a real pianissimo, such as I heard to-day at the beginning of the last movement of the F symphony, has ever been produced by an English orchestra; with us, individuals like to hear themselves; they habitually play with so nearly the full power of their instruments, that very little increase can be obtained when wanted; and, in dealing with an amount of tone whose very loudness makes it unwieldy, conductors are sometimes led to exaggerate accents which should be merely indicated, producing a spasinodic effect, very different from real light and shade. To illustrate my meaning, I may remind you how the first bars of the quick movement in the overture to Mozart's Zauberflöte are usually played by our orchestras; and, again, in Beethoven's F symphony, the very first phrase of the minuet. The reading of this latter by the orchestra of the Conservatoire was admirable, and in the trio the violoncello accompaniment to the melody given out by the horns was most effective, being played by the several violoncellists with wonderful ensemble.*

The well known Allegretto was taken faster than is usual with us; but this is in accordance with the German traditions, as I observed two years since when Molique conducted this symphony at Miss Goddard's concert. The Madrigal was well sung by Mesdames Miolan-Carvalho and Boulart; Mozart's symphony was magnificently played; and indeed the performance was excellent throughout; although neither the choruses nor the solo singers were equal to the instru

mentalists.

* Beethoven allotted this accompaniment to one only.-ED.

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I trust it will not be supposed that I undervalue English musicians, or decry English taste. I only wish to call attention to the fact that we do not turn to the best account the regreatly improved within the last few years; and even those sources which we undoubtedly possess. Our orchestras have who question the exclusive pre-eminence of Mr. Costa, must acknowledge that he has done valuable service in advancing "musical discipline." But we are still contented with a comparatively low standard of excellence. That we by no means lack native talent has been shown by the performances of the Orchestral Union under the able guidance of Mr. Alfred Mellon; and though that excellent society has not met with the support which it deserved, still a step has been made in the right direction; and I hope the time is not far distant when the public, surfeited with monster concerts (most of which, by the way, have been got up by foreigners) will have learnt to prefer quality to quantity; and will come forward to encourage those true musicians who seek to purify and elevate their art: who love and cultivate it for its own sake; and not merely for the amount of profit which it may bring.

PARIS.

(From another Correspondent.)

W.

THE long-expected drama, in five acts, which M. Scribe has written expressly for Madlle. Rachel-the last new work in which that celebrated actress will appear previous to her departure for the United States-was produced on Monday night (the 15th instant), at the Théâtre-Français, with entire success. All the world of letters, art, and science, all the feuilletonistes, with M. Jules Janin at their head, were present, and the Emperor and Empress occupied their box on the occasion. It was a fête for the incomparable actress, whose loss can never be made up, and whose glory is that of the dramatic art in France. La Czarine is the name of the play. The heroine is the Empress Catherine (Rachel), whose amour with the Count Sapieha (Bressant) is the basis of the plot. Peter the Great (Beauvallet) has already decapitated another lover of the Empress; but Sapiéha is not to be daunted by this, and the intrigue goes on. Catherine makes a co fidant of Prince Mentzikoff (Geffroy)-first of his line, and ancestor of the hero of Sevastopol. The Prince, however, has a daughter, Olga (Madile. Fix), who has also conceived a passion for the brilliant young Count, and confesses it to her father. Mentzikoff, at first intending to betray the secret of the Empress, is now puzzled what to do. Meanwhile Sapiéha, who accepts the office of Chamberlain, obtains a secret interview with Catherine; but unfortunately drops the key of the pavillion to which he has gained admission. The key is found by Villerbik (Monrose), a Dutch adventurer, who takes it to the Czar. Peter, exasperated with anger, is on the point of sacrificing everybody. Sapieha, however, being questioned, replies that the partner of his secret rendezvous was Olga, one of the Queen's maids of honuor. The will of the Czar is that they shall be married forthwith; and his will being law, they are wedded without delay. The marriage, however, only makes matters worse. The Empress, frantic with jealousy, goes to the house of Sapiéha, and Olga overhears their interview. The Czar, tormented with suspicions, interrogates Olga, who, to save her husband, avows what was untrue-that it was she who received him in the pavillion. Sapiéha, touched by this devotion, writes a letter, which he himself delivers to Catherine while the Czar is asleep. Olga, entering as he retires, sees the letter delivered, and utters a cry which awakens the despot. The Empress, to save herself, confides the letter to Olga; but Peter, having perceived it, insists upon reading it. Olga, however, by a glance at its contents, at once detects Sapiéha's avowal of love for herself and his words of farewell to the Empress, whom he resolves to see no more. Overcome with joy, she resolutely refuses to let the Czar have the letter, and the tyrant, snatching it from her, in his rage, condemns Sapiéha to the scaffold and Olga to Siberia. The execution is about to take place, and Peter drags Catherine to the window, that she

no sooner

THE MUSICAL WORLD.

may see the dreadful preparations. The plan of the Czar is to
discover, through the emotion displayed in the countenance of
An accomplished
the Empress, whether she is really guilty.
hypocrite, however, she thoroughly deceives him, and Sapiéha
is pardoned. Catherine, who had concealed a dagger where-
than the executioner
with to stab herself
believes herself
should have performed his task, now
saved; but the Czar, still not entirely at his ease, pulls out the
letter of Sapiéha, which he has obtained from Olga, and shows
it to Catherine, who, unable to smother her feelings, explodes in
a fit of jealousy. It is now her turn; Peter condemns her to die,
but, just as he is about to sign the order for her execution, he is
seized with a sudden fit of agony and expires. Mentzikoff, to
save his daughter Olga, had given him poison.

Catherine is then proclaimed Czarine, in spite of a faithful
partisan of the dead Czar, who attempts to address the populace
from the palace. "It is too cold to have the window open,"
whispers Villerbik, the Dutchman-who from the creature of
the Czar has now become the accomplice of Mentzikoff-and
drawing a pistol from under his cloak he directed it at the head
of the threatening orator; the latter, convinced by its silent
eloquence, retires.
Such, very briefly, is a digest of the story of M. Scribe's new
play, the morality of which will strike you forcibly. The acting,
however, was so good on all sides, and that of Rachel so
thoroughly magnificent, that its success was unequivocal, and
M. Scribe may be said to have added another laurel to his wreath.
The enthusiasm of the audience for Rachel was boundless, and
she was called on and cheered after every act.

FOREIGN.

BERLIN. (From our own Correspondent.)—Auber's charming opera of Fra Diavolo has been revived at the Royal Opera House, after having been neglected for too long a time. Its popularity seems as great as ever, anl the house is crammed every time it is performed. The part of the brigand chief is sustained by Herr Theodor Formes, and that of Zerlina by Mad. Herrenburger. The management of Kroll's theatre has displayed laudable activity since the return of the company to Berlin, from its trip to Potsdam. It has just produced Mr. Balfe's Quatre Fils d'Aymon (which had never been performed before in this capital), and Auber's Marco Spada. Both these works had been very carefully rehearsed, and were well put upon the stage. The result is that they have both proved great "hits." M. Roger was greatly applauded at the concert for the benefit of the Gustav-Adolph Verein, especially in the air from Méhul's Joseph in Egypt. He was not quite so successful in the "Erlkönig," of Schubert. It is generally admitted by the dilettanti here that M. Roger is more at home on the stage than in the concert-room. The second series of Liebig's Sinfonie-Soiréen began last week. The programme comprised Cherubini's Anacreon overture, Beethoven's Pastoral Symphony, Dr. Spohr's overture to Jessonda, and one of Haydn's symphonies in D major. The whole performance went off with the greatest éclat. The room was densely crowded. The king has just presented a magnificent edition of J. S. Bach's works to Herr Neithardt, as a token of his Majesty's approbation of the zeal and energy displayed by that gentleman in conducting the Königlicher Dom-Chor. Herr Alfred Jaell, who accompanied Mad. Sontag during her American tour, as pianist, has arrived, but is at present unable to appear in public on account of an injury he bas sustained in his hand. Allegri's "Miserere," a copy of which was brought from Rome by lerr von Dachröden, as it is sung in the Sixtine Chapel, is announced for performance at the third soirée of the Königlicher Dom-Chor, on the 20th. This will be an event of especial interest to all who remember the anecdote of Mozart's writing down the score from memory after two hearings.

HANOVER.-On the 2nd instant the King gave a private concert to which a select party were invited. Vivier, Roger, and Joachim were the artists. Roger sung a romance with obbligato horn accompaniment composed by Vivier ("When o'er the meads"). The effect produced was so great that the King re

demanded it, and would not listen to any other morceau for an
our afterwards. The programme was therefore suspended.
Vivier afterwards played one of Schubert's melodies, and im-
provised a cadence introducing some of his extraordinary effects.
Roger sang, in German, Schubert's "Erl König," and a pretty
melody by Membrée. Joachim played several pieces on the
Vivier and Roger have left to
violin with the greatest success.
give concerts together at Brunswick and Berlin.
HAMBURG, January 15.-Miss Arabella Goddard, who has
been making so great a sensation in Germany, appeared at a
concert here on Saturday last, and took the Hamburgers by
storm. She played Mendelssohn's first concerto (in G minor)
some of his Lieder ohne Worte, and Thalberg's fantasia on Mosè
after all of which she was raptuously applauded, and recalled,
besides being encored in the Lieder.

LEIPSIC, January 15.-(From a Correspondent.)-On Thursday evening, at the famous Gewandhaus concerts, Miss Arabella Goddard, the young English pianist, made quite a furore. She called after her performance and enthusiastically cheered. In the played Mendelssohn's second concerto (in D minor) and was resecond part, Miss Goddard performed Stephen Heller's charming improvisation on Mendelssohn's "Auf flügen des Gesanges," and was unanimously encored. At the end of the concert, Herr Schleinitz, one of the most intimate friends of Mendelssohn, death of his lamented friend, he had never heard his music congratulated the young pianist, and declared that, since the played to such perfection.

DANTSIC.-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, was performed.

VIENNA.-(From our own Correspondent.)-Mdlle. Westerstrand from Stockholm, has appeared at the Imperial Opera-house, as Amina in La Sonnambula. The impression she produced was far from favourable, and I do not suppose she will sing here again. Donizetti's Belisario has been revived at the Kärnthnerthor Theatre. The performance, on the whole, was anything but satisfactory. The piece, not been given for so long a time. The principal parts are sustained however, attracts great numbers anxious to hear an opera which has by Mad. Hermann-Czillag, Mdile. Titjens, Herren Beck, Steger, and Hölz. There is a great deal of truth contained in the old English proverb, "It never rains but it pours." For some time past, as I have informed you frequently in my letters, there has been hardly anything concerts than any one correspondent of a newspaper could possibly doing in the musical line. This last week, however, we have had more attend; most of them, however, were of little importance. principal were that given by the violinist, Herr Ludwig Strauss, on the morning of the 7th inst., in the Musikvereinsaal; and the on the same day, by Herren HelmesThe novelty of the fourth quartet concert berger, Durst, Häussler, and Schlesinger. last was a new trio for piano, violin, and violoncello by Herr L.. Zellner. The composer has the misfortune to have too good a memory, which is evidenced by his plagiarisms from Mozart and Mendelssohn. A concert has also taken place, in which Master Emil and Miss Thereso Feigerl, the one a violinist aged eleven, the other a singer aged thirteen, appeared. The boy played Rode's concerto in A minor and an air variée by De Beriot; the girl sang Kücken's "Mein Herz, ich will dich fragen," and Mad. Malibran's "Rataplan."

PROVINCIAL.

The

MANCHESTER. (From our own Correspondent.)-The fifth concert of the Classical Chamber Music Society took place in the Town Hall, on Thursday, January 11. The following was the programme:

Trio (No. 4) (in B flat, Op. 133), Spohr; Sonata Appassionata-
pianoforte (in F minor, Op. 57), Beethoven; Trio (No. 2) (in C minor,
Melodies-violin and pianoforte (Allegro, B minor, Allegretto, E major),
Op. 66), Mendelssohn; Souvenirs de Sonnambula-violoncello, Piatti;
Molique; Solo-pianoforte (Studies), Chopin.

The executants were M. Charles Hallé, Herr Molique, and
Signor Piatti. Spohr's Trio had great justice done to it by all
Sonata appassionata of Beethoven, which he played from memory,
three performers. M. Hallé made a strong impression in the

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