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and was loudly applauded. Mendelssohn's Trio was also very
PIRACY IN THE COLONIES. finely executed by the three able artists. Sig. Piatti's Souvenirs
A CORRESPONDENT at Melbourne, Victoria (N.S.W.) has forde Sonnambula and Herr Molique's two solos were equally
warded to us the following list of musical compositions which charming in their way. M. Hallé accompanied both, and in the
have been lately reprinted in Sydney, without the license of the three studies of Chopin exhibited his accustomed power. The
proprietors in England. We believe we are correct in stating room was full and the applause hearty.
that the laws of England afford equal protection to owners of MERTHYR.—(From a Correspondent.)-A “Grand Conver- copyrights in the colonies as in the mother country. It would, sazione,” intended to keep up the character of the Merthyr therefore, follow, that a fraud has been perpetrated under the Musical Union, took place at the Temperance Hall on Tuesday hope that the distance of the locality would prevent its detection. night (9th). The fine and spacious hall was filled in every part. It is not long since the government of Cape Colony passed a law We had three artists from London-Mrs. Alfred Gilbert and to license the free importation of American reprints of British Miss Susannah Cole, sisters, vocalists; and Mr. Alfred Gilbert, copyrights into the colony. Here, then, are two more instances pianist. The Society's local orchestra attended. Besides the of the freedom with which intellectual property is constantly to Londoners," there assisted Mr. Wilkes, the well-known and being treated by the world. These may be added to the many much appreciated pianist, to whom the Society are so much other disadvantages which we lately pointed out as surrounding indebted; the Misses Taylor and Wait, vocalists; and the the musical investments of publishers. What with legal pirates Messrs. Hopkins, Davies, Edwards, Hughes, Haddock, Faulkner, at home, and illegal pirates abroad, they must have enough to and Llewellyn, who sang catches. The Saturday Evening Con- | do to counteract all their opponents : certs are going on swimmingly.
AUSTRALIAN REPRINTS. MAIDSTONE.—A concert, under the auspices of the Literary Beautiful Venice.
In this old chair. and Mechanics’ Institute, took place in the Corn Exchange, on Do not mingle one human feeling. Madoline. Wednesday evening, the 10th, the singers being the Misses Four-leaved shamrock.
She wore a wreath of roses. Brougham, Mr. Henri Drayton, and Mr. Augustus Braham. Fairy bay.
Scenes that are brightest. Mr. F. Chatterton performed on the harp, and Mr. George Case Farewell, but whenever.
Will you love me then as now.
Farewell to the mountain. Oh, charming May. on the concertina.
Isle of beauty.
All's well. BLACKBURN.-Steps are being taken towards establishing a l I dreamt that I dwelt.
I know a bank. Philharmonic Society in Blackburn. A preliminary meeting | Kathleen Marourneen.
My pretty page. was held on Monday, at the Angel Inn, King-street, when a Land of the west.
When a little farm we keep. committee was appointed to obtain members and to call a Love not.
What are the wild waves saying. general meeting in aid of this laudable object. The society will | Light of other days.
Bohemian Polka. be established in connexion with the Gentlemen's Amateur Maid of Judah.
Norah, the pride of Kildare. Bridal
Sweetly o'er my senses stealing. Redowa Haydn's Seasons, Mendelssohn's finale to Lorely, and the over
'Twere vain to tell thee all I feel.
Helena ture and finale to Fidelio were played before a large audience.
Those evening bells.
Camelia The principal vocalists were Madame Newton Frodsham, Mr.
| We have lived and loved together. Devonshire Miranda, and Mr. Hichcliffe. Herr Jahns, the Hungarian
Art thou in tears.
Firefly tenor, sang two songs with great applause. One, called Jeannette and Jeannot.
Spirit of the ball Galop. “ Kossuth,” composed by himself, was encored. Mr. Spark | By the sad sea waves.
| Prima donna Waltzes. conducted the whole of the performance.
Dermot Astore. WORCESTER. --Mr. Henry Phillips gave his entertainment,
Dearest, then I'll love you more. Bridal
In happy moments. entitled “The City of the Sultan," at the Natural History Room,
Royal Irish Quadrilles.
I'm afloat. on Wednesday evening the 10th instant. The lecture was illustrated with drawings, painted from sketches by various artists, taken on the spot; and in the musical department Mr. Phillips sang several descriptive scenas with much ability. He also MR. CHARLES SALAMAN'S SECOND LECTURE.-If the first lecture favoured the company with some sketches of American life and was quaint and curious, the second was interesting and instrucmanners, and sang a new version of words to the air of “The tive. The invention and development of the pianoforte was the British Grenadiers," and Dibdin's well-known song “ 'Twas post
theme. Mr. Salaman informs us that the inventor of the meridian."
pianoforte was an Italian, Bartolomeo Cristofali. This has been
disputed, but the lecturer has authority for his opinion, and Tursk.-On Monday the 8th, an evening concert was given
adduced arguments not to be answered easily. The attempts to in the Assembly Rooms, Savings Bank, by Miss Birch, Miss
improve the harpsichord originated the modern instrument. The Lascelles, Mr. Alfred Pierre, and Mr. Frank Bodda.
quill plectra were superseded by hammers, and thus the harpsiBristol.-Mr. H. C. Cooper, the well-known and talented chord modulated naturally into the piano. Mr. Salaman disviolinist, gave a concert at the Victoria Rooms, on Monday played much research at this point of his lecture. From the evening, the 8th instant. The band, numerous and efficient, was year 1711 down to 1821, all the various improvements in mechaselected from the Royal Italian Opera, Philharmonic Society, nical construction were shown, and some pertinent anecdotes and Orchestral Union. The local journals speak in terms of introduced. The mention of the Messrs. Broadwood's name, in much praise of Miss Milner, a new soprano, who made her connection with the subject of patents and improvements, was second appearance before a Bristol audience at Mr. Cooper's received by the audience with marked approval. After alluding concert. Her singing of the favourite and very difficult bravura to the gradual progress in the pianoforte towards perfection, and song from Ernani, “ Ernani, involami,” has been specially men the various distinguished manufacturers, Mr. Salaman turned to tioned. In Mozart's “Non mi dir,” the débutante was not so the pitch of the tuning-fork, which, since Händel's time, has been entirely successful. Mr. Cooper's concert appears to have been raised more than a major third. He introduced the tuning-forks a first-rate one, judging from the programme and the executants. of Händel, of Sir George Smart, and of Mr. Costa. The first, The overtures to La Gazza Ladra, Leonora, Ruy Blas, and instead of striking the c, as now established, gave out the A Masaniello were executed by the band in a superior style, and below; and the second was nearly half a tone flatter than the all loudly applauded. Mr. Cooper played one of his brilliant third. From this it seems evident that the keys are entirely solos on the violin with the greatest possible effect, and several altered since Händel, and that what was easy to sing a century other members of the orchestra played solos. Mr. Frank Mori ago is now difficult, if not impossible. When Mozart wrote his conducted. The room was crowded.
music for the Queen of Night in the Zauberflöte, it was less
beyond the compass of the soprano register. Now none but organist of the Hereford Cathedral, and conductor of the Hereford extraordinary voices can attempt it. In the course of time this | Festivals.
| No. 4-“The Fisherman'--belongs to a more ambitious school of gradual raising of the pitch may destroy singing altogether, Mr. Salaman advanced some useful suggestions about “ touch"
| vocal music. It is, in fact, a scena, founded on Monk Lewis's metrical
legend of the Water-Lady (Qy. Mermaid ?) who catches, instead of in pianoforte playing, by which, it is to be hoped, some
being caught by, the fisherman. The story is well illustrated in the of the young ladies present may profit. The lecture com
music, which is dramatic and highly coloured. There is something of prised many other subjects upon which we have not time
the Schubert manner in the treatment of the accompaniment, which may to enter, and concluded with a brief review of some of the most
be termed “descriptive” with propriety, and in the very seductivo distinguished pianists and composers. The musical illustrations melody by which the artful river: nymph succeeds in persuading the unconsisted of Haydn's Adagio in B, from the sonata in E flat, No.
fortunate fisherman to take a plunge in her company. The song is very 7; the first movement of Sebastian Bach's concerto, called Nello | clever, and will suit either a bass or a contralto. It merits the attenStile Italiano; Clementi's sonatas in C, the first movement (Op. tion of our concert vocalists. 34); the whole of Philip Emanuel Bach's sonata in B flat; the No.5_“Over the calm and slumbering sea"-is another“ Mermaid" Allegro Maestoso from Steibelt's sonata, dedicated to Mad. Bona-song, of which the words and music (both by Mr. C. H. Compton) are parte ; Weber's Adagio in F, from sonata in C, Op. 24; and Men- in some degree a parody on that of Weber in Oberon. Originality delssohn's Andante and Presto Agitato in B minor. Mr. Salaman apart, to which it has no pretence, this essay of Mr. Compton may be executed these pieces with the best effect, and was loudly ap- pronounced graceful. The accompaniment shows the hand of a careful plauded in each. Haydn's Adagio and Mendelssohn's Andante musician. and Presto appeared to please the most. The lecture was de
No. 6—“Petrifaction"--- to some cheerless but touching verses by livered with clearness and point. The concert-room of the
Mrs. Norton, is lachrymose, dull, and oppressively monotonous, without Marylebone Literary and Scientific Institution, where it was
presenting a single point for comment-unless it is to the bare fifth
(page 1, bar 1, line 3), which, to be in any key at all, requires the given, was well attended.
addition of the minor third.
No. 7-"Hark! the Herald Angels sing" - a Christmas Hymn, REVIEWS.
remarkably well voiced, and harmonised in four points, begins too No. 1.-_“ ADORATION." Sacred Song. Music by G. E. L. R. Duff | much like the chorus, “He that shall endure,” in the second part of and Hodgson.
Elijah; and the same key is used- F major. The rest calls for nothing No. 2.-"I'M AN ELFIN SPRITE.” Song. Music by Alphonso
but praise. Mr. Tilleard is evidently a musician, and knows his busiMatthey. C. Lonsdale.
ness well. No. 3.-"FAIRY GOLD.” Ballad. Music by G. Townshend Smith.
No.8-“The Briton's Address to the Navy”-is another good example Chappell.
of Mr. Tilleard's skill as a writer in four parts for voices. Moreover, the No. 4.-—“THE FISHERMAN." Song Music by Hønry Leslie.
melody is marked and characteristic, and the bold unison, followed by Jullien and Co.
the still bolder passage in full harmony, which terminates each verse, is No. 5.—“OVER THE CALM AND SLUMBERING SEA.” Song. Words
| a point worthy of Arne, or even Purcell. We object, however, to the and Music by Charles H. Compton. Cramer, Beale, and Co.
alteration of Dibdin's words. No. 6.-" PETRIFACTION.” Music by George Barker. Cramer,
No. 9—“Stars of the Summer Night”- is worthy of the poetry to Beale, and Co.
which it is allied-one of Longfellow's chastest lyrics. This is really a No. 7.-“CHUROH Musio.” (No. 3.) Composed by James Tilleard.
beautiful serenade--melodious, flowing, and charmingly accompanied. J. Alfred Novello.
The point at the reprise--where, after an interrupted cadence, the voice No. 8.-" THE BRITON'S ADDRESS TO THE ARMY.” Part Song,
sustains the same note for several bars, while the subject is given in the Music by J. Tilleard. J. Alfred Novello.
accompaniment-declares an amount of musical taste for which Mr. No. 9.-" ŠTARS OF THE SUMMER NIGHT.” Music by C. H. Compton.
Compton had not prepared us in his “ Mermaid" song, reviewed above, Cramer, Beale, and Co.
but for which we now are most happy in being enabled to give him fuil No. 10.-" EXCELSIOR.” Music by Charles F. Hempel. Charles
No. 10_" Excelsior" (like the hero of the poem)-exhibits a strong No. 11.-“LET US THEN CHRERILY WAIT FOR THE SPRING.” Music aspiration for something beautiful which apparently is not quite by George Lindridge. Charles C. Ayles, Hastings—and H. Tolkien,
attained. The words by Longfellow (Shelley's Alastor in a nut-shell) London.
are difficult to set, and Mr. Hempel has assumed a form tvo fragmen:
tary to be satisfying. The song begins in D flat and ends in B flat No. 14" Adoration"--set to Tom Moore's pretty versos, beginning minor ; but that is the least objection. Every time the word “Excel« The turf shall be my fragrant shrine,” has nothing sacred in the cha sior” occurs, it is led up to by a sort of half recitation, half cantabile, racter of its melody, although it is entitled “sacred song.” The style never completed, and always in a new key. Thus we have about eight is a melée of Balfo and Bellini, and the accompaniment springs from the fragments in eight keys,-skilfully joined together we allow, and same sources. If the composer-G. E. L. R.-be an amateur, which written with undeviating purity, but helplessly ineffective for the may be guessed from the fact of his withholding his name, the song, reasons suggested. We conceive that Mr. Hempel's desire was to illus. which is neither ungraceful nor incorrectly written, must certainly be trate, by the wandering and unsettled form of his music, the continued pronounced creditable to his talent.
and vain search of the youth after the unfindable ; but it is questionable No. 2—“I'm an elfin sprite"-is pretty, and would be more accep. whether such a subject is fit for music; or whether, if used, it should table if the harmony of the accompaniment were simple and less not rather be forced into the conditions of music than vice versa. strained. The “elfin sprite” is represented as very fidgetty and restless, We leave this to be decided by poets and musicians between them in Mr. Matthey's music. His interrupted cadences, moreover, are not satisfied to pay the clever organist of St. Mary's, Truro, our complialways happy-instance page 4, where the chord of 6, 4, 2, on C natural, ment for the musical spirit exhibited in his composition, which, how. falls upon the 6, 4, on B-a clumsy way of suspending the full close in ever we may cayil about forms, is too evident to escape observation. G. In his suspensions, too, Mr. Matthey should be careful to avoid No. 11_"Let us then cheerily wait for the Spring"-is a winter such mistakes as that at the foot of page 2, where the voice has B in song, as may be guessed from its title. It has been written and pub. the common chord of G, while, in the accompaniment, C, the fourth, lished with a good object--viz: the benefit of the Patriotic Fund. It remains suspended. There are three subjects in this song, all of which is to be hoped, then, that the sale may be large. The words, by Mr. possess a certain amount of character. The words of Doctor Doran, Arthur Ransom, are poetical, and show talent, inasmuch as they indicate on the “Where the bee sucks” pattern, are lively and flowing, if not the power of the author to treat a hackneyed subject in anything but a original.
common-place manner. The music, though appropriately simple and No. 34" Fairy Gold"-is a ballad without pretence ; but the melody unpretending, is written in a musicianlike manner; and there is a is frank, and the accompaniment carefully written. The last four bars smack of the old English tone about the melody which suits the words, at the end of each verse are pretty, and remind us of a passage in the and by no means detracts from the merits of the song, the sentiment of first of Mendelssohn's six songs, dedicated to Miss Dolby, which is in which, on the contrary, it enhances. At the bottom of page 2 (bar 2) the same key-E major. The words of Mr. A. F. Westmacott embody, there are fifths between an inner part and the bass, in the accompaniin sufficiently graceful verse, the legend of the Fairy Gold, which when ment (A, E,-B, F sharp), which may as well be expunged in future once the night and the elves have vanished, appeared as nothing but dry | editions. The “Winter-song" of Mr. Lindridge will, then, be critically leaves. Mr. G. Townshend Smith, the composer, is well-known as the | upassailable as it is lively and pretty.
| players, and conductors, are obtaining higher and higher
terms for their services—the value of which we by no means In accordance with a new Postal Regulation, it is absolutely desire to understate—the musical host itself, the choristers
necessary that all copies of THE MUSICAL WORLD, transmitted and “ripieni” fiddlers, the bone and muscle, the arms and legs, through the post, should be folded so as to expose to view the red of the war, are falling gradually into neglect. In taking up stamp.
their cause, let it not be supposed that we are unmindful of It is requested that all letters and papers for the Editor be addressed the Menenian fable, and that, to feed the members, we would
to the Editor of the Musical World, 28, Holles Street ; and all starve the belly and dry up the resources of the brain. By
business communications to the Publishers, at the same address. no means. We merely wish to call attention to the fact, that, CORRESPONDENTS are requested to write on one side of the paper
if the brain and the belly appropriate all, the members must only, as writing on both sides necessitates a great deal of trouble
sooner or later wither and paralyse--for the blood that
| circulates is the source of activity, and indispensable to in the printing.
all. The organs of intellect, and the great store-house, can To ORGANISTS.—The articles on the new organs, published in the do nothing of themselves, where there is nothing to turn volume for 1854, will be found in the following numbers: 28, thought into deed, and nothing to nourish by distribution. 30, 32, 33, 34, 36, 37, 38, 42, 45, 47, 49, 51.
To quit metaphor—let us ask, if it is right that those
agents, without whose voices and fiddlesticks Händel and TO CORRESPONDENTS.
Beethoven would be dumb where they ought to be most A PROFESSIONAL CHORUS SINGER.-It is necessary to inform our eloquent and sublime, should receive such scanty consideration correspondent, and all whom it may concern, that we can print and be treated as scurvily as though they were merely chaff no letters whatever on this or any other subject, in which personal or riff-raff? No. It is a manifest injustice. When we are matters or individual interests are discussed, without the name listening to the mighty choruses of Israel in Egypt and Elijah, and address of the writers, “not necessarily"- to use the words
when we are spell-bound by the mystic magnificence of a great morning contemporary—“for publication, but as a guarantee of good faith,” We are quite ready to take up the
of the Choral Symphony, while acknowledging the talent and cause of any injured members of the musical profession, but must
decision of the conductor, and the experience of the leading decline to commit ourselves to unauthenticated statements. And, singers and players, we cannot but think at the same instant. indeed, no right thinking persons wil demand such a sucrifice at and with grateful recognition, of the inestimable services of our hands.
those numberless voices and instruments, without whose aid SUBSCRIBER TO THE OPERA.—Maria Felicia Garcia made her
the gyrations of the baton would be no more than dumbfirst appearance in this country on Monday, June the 6th, 1825,
show, and the efforts of the “principal performers” puny at the Philharmonic Concerts. On the following Saturday she
and insignificant at the best. appeared, in Meyerbeer's opera of Il Crociato in Egitto, at the
The world is too apt King's Theatre, " when," says a journalist of the day, in some
to emulate the crowd of dancers at a masquerade, who call what slipshodlanguage," she fully justified our prognostications out “Music !" in a tone of anything but respect, if not inand acquitted herself in a style at once full of promise of im- deed of ill-repressed contenipt-forgetful that, in the absence mediate pleasure, and of highly cultivated talent”—which, by
of the rhythmic harmony which they regard with such the way, is all he says, and, considering the style of his saying, apparent hauteur and indifference, their saltatory evolutions which is “full of immediate” bad English, quite enough.
would be simply ridiculous, instead of pleasurable and exciting,
It is much the same when a prima donna turns round, with a THE MUSICAL WORLD. kind of half compassion, half disdain, to the band-as much as
to say, “Mind what you are about, or I, the soul of all this LONDON, SATURDAY, JANUARY 2018, 1855.
music, will not sing ;" or when a chef-d'orchestre flourishes his stick, and in a tone of authoritative egotism, exclaims
“Now, then !”—as if the whole depended on the piece of The letter of A Chorus Singer, in our last number, and
polished wood in his hand, with which he beats the stated the comments we felt it our duty to niake, seem to have
measurements of time. How would the prima donna feel, produced a strong impression. That the subject is one if
if the players were to fail her at a pinch ?--or the conductor which calls for strict inquiry, and that those most nearly
if the wave of his peremptory båton were to be answered in concerned in it are entitled to protection, as much as any
solemn silence ? How they might feel, we shall not other class of the musical profession, will hardly be denied.
pretend to say ; how they would look, it is unnecessary to The members of the vocal and instrumental orchestras are
explain. like the private soldiers and non-commissioned officers of an With this deep conviction of the importance of the chorus army, without whom all the colonels and generals in the
and the orchestra, it will be easily understood that weworld would be at a stand-still. You cannot perform an ora
whose office it is to uphold the interests of all the musical torio or a symphony without the first, any more than you
community, quite as much as to weigh the pretensions of can fight an action or carry on a siege without the last individual performers, and portray the march of artistic Adinitting, therefore, that from their numbers and subordi
events—should consider it a bounden duty to come to their nate position-head taking precedence of sinew in all tran
assistance whenever we are called upon, to act as their sactions of life-they must, of necessity, get worse pay, for retained advocates when their cause is just, and as their harder labour, than their superiors, it is not less true that,
that, honest counsel when we conceive them to be in error. The unless the great mass which moves at the order and accom
questions, therefore, of the chorus-singers proper, and of the plishes the designs of its chieftains, be well cared for, and in
relative positions of amateurs and professors, are declared comfortable circumstances, the whole machine must inevi
open questions, free to be discussed in our columns by all who tably get out of order.
may feel disposed to avoid personalities, while speaking the The vicious effect of the present system is every day I truth without prejudice or fear being felt more severely. While principal singers, solo
THERE is but one theme on the carpet at the present | apparitions of kings, may have stalked across the platform of moment in our restless busy world of music. Who is to be the orchestra, and, alternately describing a rapid gyration the future conductor of the Philharmonic (the old Philhar- over the empty rostrum of the ex-director, acknowledged monic) Concerts? Who is to undertake the perilous re- their unworthiness by a movement of the head, and, one after sponsibility of filling up the place left vacant by no less the other, vanished into air, to the dismay of the now una man than Signor Michael Costa? We have thrown out directed “ seven"-for anything we can say to the contrary. many hints and suggestions, as our readers know; but all of All this may have happened and more, until the directors, them have proved unfounded. The question is still a vexed | like the ill-crowned Thane of Cawdor, may have felt inclined one; and we, as the pipes that convey the springs of to cry out—"What ! will the line stretch out to the crack of information on all matters of musical interest to the very doomn ?". We can only say that, if the images of those great households of our readers, are vexed at being unable to continental conductors did actually present themselves to the solve it. Nevertheless, though by no means behind the imaginations of the seven who represent the aggregate of curtain, we have some suspicion of what passes there; and Philharmonic wisdom, they were exorcised, laid-in soberer the bruits and whispers of those mysterious recesses, in phrase, kicked out, rejected. The seven would not do. vulgar theatrical phraseology denominated “coulisses," are But now not entirely withheld from us. We shall then disclose,
"The eighth appears, who bears a glass, without further preamble, what has come to our knowledge
Which shows me (them) many more!" since we last addressed our readers.
That eighth was RICHARD WAGNER, in whose glass was When it was decided that M. Berlioz could not manage mirrored the “likeness of the appearance” of the MUSIC OF to release himself from his compact with Dr. Wylde and the THE FUTURE, its prophets and its preachers. New Philharmonic Society (which he would willingly have The music of the past having lost its charms, that of “the done, had he possessed the ways and means), the composer future” will now have all the more. The Ode to Joy may of Faust's “Damnation” was abandoned to his fate. It was be replaced by Lohengrin, Der Freischütz by the Flying impossible for him to appear at the head of both the rival | Dutchman, and the Mount of' Olives by the Mount of Venus. Societies—not from any punctilio on his own side, but from | (Tannhäuser.) the very natural objection of the elder Society to such a divi. T “ The interchange of contraries is good,” said Lord Bacon. sion of his time and influence. Foiled in their endeavours | But what a look out for the subscribers! It is well known to obtain the services of one of the foreign conductors who that Richard Wagner has little respect for any music but had been summoned from across the seas to direct the | his own; that he holds Beethoven to have been a child proceedings of their formidable rival at Exeter Hall, the until he wrote the Posthumous quartets and the Mass in D. seven directors put their heads together in Hanover-square, which he (Wagner) regards as his own starting points (!); thaí and came to the sapient resolution of applying to another. he entertains much the same opinion of Felix Mendelssohn Proh pudor! The bâton decided upon was that of the | as Felix Mendelssohn was wont to entertain of Richard highly respectable Kapellmeister of Stuttgart, Herr Peter Wagner ; and that, finally, he is earnestly bent on upsetting von Lindpaintner. Peter was to be applied to without all the accepted forms and canons of art--forms and delay ; but in case that his very hard taskmaster, the King canons which Bach and Händel, Haydn and Mozart. of all the Wurtemburgs, refused Peter so protracted a | Beethoven and Mendelssohn respected-in order the more leave of absence, the Philharmonic stick should be surely to establish his doctrines that rhythm is superfluous, vested, without further palaver, in the hands of Mr. counterpoint a useless bore, and every musician ancient or Charles Lucas, a director, who, on one occasion, had dis-modern, himself excepted, either an impostor or a blockhead. tinguished himself as Sig. Costa's substitute, when the great Now such rhodomontade may pass muster in the dreary Neapolitan bâtonnier declined to conduct the overture to streets of Weimar, where Franz Listz reigns, like a musical Parasina. Thus was the decision of the seven directors. King Death, and quaffs destruction to harmony and melody: “ The appearance of the likeness thereof was as the likeness of or in the æsthetic purlieus of Leipsic, where, muddled with the appearance of " a whale. Peter was loth; or Peter beer and metaphysics, the Teutonic dilettanti have allowed was busy, or asleep, or too wide awake. At any rate, Peter their wits to go astray, and become dupes of the grossest could not, or would not, come. Thence, it will be concluded, charlatanism ; but in England, where Liszt was never much the stick was formally applied to Mr. Lucas. “Not by no thought of, and where the beer and the philosophy are means"--as the spectre, in Giovanni on Horseback, used to manufactured from more substantial and less deleterious say at Astley's. The stick was still in search of a conductor- stuff, it can hardly be. If the brilliant meteor, Berlioz, like Calebs in search of a wife, or Diogenes of an honest man- failed to entice the musical mind of this country from its a “man of wax.” It had only just been declared illegal to devotion to the bright and pure spheres of art, offer the conductorship of the concerts to any one, foreigner | into his own erratic and uncertain course, what chance or native, who was resident in London. The illegality--pro- can there be for the duller Richard, with his interminvided for the occasion-may account for no application having able pamphlets? We have no objection to see Lohengrin been made to Mr. Benedict, or to Herr Molique, or to-- Mr. or Tannhäuser, without the music ; and Mr. E. T. Smith, Sterndale Bennett (!). Further consultations took place- after the run of Meyerbeer's Etoile du Nord, might further propositions, objections, deliberations, and so forth- venture with some effect into those unexplored territories huis-clos. The directors may have called 'up spirits, like (Tannhiiuser would look formidable in a transparency). Macbeth—for aught we know. The "fetches” of seven great | But we trust Mr. Gye and Lord Ward will not be tempted continental conductors, appearing in grim succession, may into the Wagnerian waters ; for if ever there was a veritable have tortured with doubts the brain of the perplexed direc- man-mermaid it is Richard, who looks fair enough above torate; Schumann of Düsseldorf, Lachner of Mannheim, Eckert stream, but whose end is shrouded in a muddy quagmire of of Wien, Hiller of Köln, Hanssenns of Brussels, Kücken of impenetrable sophistry. Stuttgart, and Taubert of Berlin, bâton in hand, like the seven Whether it be true, as we have heard, that Mr. Anderson,
one of the Directors of the Philharmonic, has set out on a 1 allegro Madame Pleyel introduced the long and difficult cadenza. journey, to find Wagner, and bring him to England, we cannot by M. Moscheles. The concerto was followed by reiterated positively assert. Nor are we in a condition to answer for the
cheers. contingency—that, in case the “ Music of the Future” should
Like Mendelssohn, Beethoven wrote but one concerto for the
| violin. This was played on Monday night by Herr Ernst, in a be found coy and unwilling, and Wagner refuse to bite the
manner to justify all the praises that have been lavished on him Philharmonic-hook, the music of the past is to be ferretted as an executant of classical music. His performance was grand out at Hanover, and in the person of a venerable imitator and intellectual from first to last, and each movement was reof Carl Maria von Weber-Heinrich Marschner-conducted ceived with genuine applause. The cadenza introduced in the in state to Hanover-square, and there invested with the stick. / first movement, was novel and elaborate, and entirely in keeping All we can say for a certainty is that we shall say nothing
with the character of the concerto. It is admirably written, and more at present, since we know nothing more than what we
was executed with astonishing brilliancy and fire. The cadenza have confided to our readers. We leave it to their own
in the rondo, on the other hand, was—is as it should be-shorter
and less ambitious.' The whole performance was masterly acuteness to glean the truth from out of an unusual cloud of throughout, and bore the impress of that profound and imaginamystery, surmise, and doubt.
tive spirit, without which no artist can pretend truly to inter
pret the works of Beethoven. - The applause bestowed upon *** According to the latest intelligence, Mr. Anderson, Herr Ernst, after every movement of the concerto, was worthy one of the directors of the Philharmonic Society, has gone to
of himself, and of the music, and a strong sign of the capability Zurich. The object of his journey is to engage Herr Richard
| of M. Jullien's audience to appreciate the highest class of comWagner, composer of Tannhäuser, etc., to conduct the eight
position and performance.
Miss Dolby was encored in the lovely song above named, concerts for the season 1855-Mr. Costa having seceded. It
which she gave with perfect taste and the most genuine is a long way to travel for such a purpose, and in the snow expression. A song possessing so little of ad captandun too; but we believe Herr Wagner to be an adept at the character, and eliciting such an unmistakeable fiat of approbation baton; and that is important. It would be of no use from so vast an assembly is a sign of the times. Time was, applying to any ordinary phenomenon. The task of stepping
when if Beethoven's “In questa tomba oscura” had been preinto the shoes of the Autocrat of all the Orchestras is hardly
sented to a such a mixed crowd, it would have stood the chance less perilous, in a harmonious point of view, than that of
of being "silenced” impromptu.
The symphony brought the first part to a termination ; and mounting the throne of a deceased Czar, in a political sense.
| although it was nearly half past ten o'clock when it was conHerr Wagner, however, is not an ordinary, but an extra cluded, and the audience had beenlistening to “ classic" music ordinary phenomenon; and we understand he entertains for two hours and a half, there was not the slightest symptom of very decided opinions of his own. Thus, it is possible, weariness manifested. It was played, as it always is under things may go on resolutely, if not smoothly. Herr Liszt
M. Jullien's direction, superbly. will, of course, travel from Weimar to London, and play
This “ Beethoven Night” proved one of the most successful
of the season; and, had M. Jullien time, no doubt he would be some of his latest "arabesques;” for where Wagner is, Liszt
induced to repeat it. The “Mozart Festival” is announced for is sure to come, in shadow, if not in substance.
ST. MARTIN'S HALL. this season. M. Jullien should prolong his concerts at
MR. HULLAH's third concert took place on Wednesday evenCovent-Garden, and drown it.
ing, to a crowded audience. The incident of the evening was So that, after all, the prognostications in our “leader," the first performance of a new oratorio, the composition of Mrs. above, have been in some degree justified.-(Friday, Jan. 19, Mounsey Bartholomew, and entitled The Nativity. The subject, 1855.)
we need scarcely say, is the birth of the Saviour and its influence
upon humanity. The episode of John the Baptist is introduced, M. JULLIENS CONCERTS.
and the opening chorus involves the scriptural account of the THE “ Beethoven Festival” took place on Tuesday night. The | beginning of the world. Thus it will be seen that the book is audience was as dense as that of the preceding Tuesday, when the
neither narrative, nor descriptive, but didactic. At the same Mendelssohn Festival was given. These festival nights have
time we must add that, while nothing can be more lofty and improved so attractive, that Mozart's name is about to be added pressive than such a theme, nothing could have been more unto those of Beethoven and Mendelssohn.
fortunately selected for the purposes of a lady-composer. Everyone The selection comprised the symphony in C minor, the fifth : / in musical circles is aware that, under the name of Miss Mounsey, the overture to Leonora–the grandest of the Fidelio set; the
the authoress of The Nativity published a number of songs, etc., pianoforte concerto in C minor ; the violin concerto-the only
which entitled her to high consideration, independently of her sex. one Beethoven wrote; and the contralto song, "In questa
| Had she continued in this branch of musical invention, she would tomba." Here was a regular Philharmonic Concert, with a have continued to win laurels, we are sure; but justice com pels difference: the visitor paid one shilling or half-a-crown, as it us to say that she has none of the requirements indispensable to suited his pocket, in place of half-a-guinea or a guinea. Is there so high an effort as the composition of an oratorio; and that The not good reason then for M. Jullien being supported by the Nativity is no oratorio at all, but merely a series of unelaborate public?
and unpretending pieces, for chorus, and solo voices, never The concert commenced with the overture, which was executed bordering on grandeur, and with no definite purpose, decision of with great vigour and precision. The pianoforte concerto is one of style, absolute connection, or anything at all approaching to Beethoven's earlier works, and shows the influence of Mozart in elevation. That there are many melodious phrases, and that every movement. It was well chosen by Madame Pleyel, who has the songs especially are gracefully accompanied, and with a real seldom been heard to greater advantage. Her performance was
feeling for harmony, will be readily believed by all who are not only marked by that mechanical perfection for which she
acquainted with the published music of Mrs. Mounsey Barthois always noted, but distinguished by consummate taste. | lomew. But here respect for truth commands us to desist; and, The rondo was a prodigy of grace and esprit; and a new | indeed, the work does not call for further or more detailed charm was imparted to the theme at each “ reprise," by means examination. of those delicate nuances, which are only in the province of The general performance, under Mr. Hullah's direction, genius to conceive, and of the most perfect art to realise. In the though not perfect, was praiseworthy. The solo singers dis