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“In these latter days it seems that men wilfully close their eyes to integrity of the firm as a firm, or of its individual members the difference between meum and tuun. The task of making the dis
as gentlemen and men of unblemished character. tinction is left to the lawyers, who undertake to defend the conscience at
! This is our apology, which, we repeat, is offered with all the expense of the pocket. It appears to us that the respectable body i of music publishers is remarkably blind in the sense we allude to. As sincerity. It was not our wish to renect upon inaividuals, soon as a publisher discovers that the law cannot punish the pirates but upon a law which we thought it our duty to criticise as who take his works, owing to the imperfections of an old Act of Parlia vague, and a decisior which, as loyal subjects, we conceived ment, he is immediately stripped by his friends, who divide his property
we had good reason to pronounce illogical and unjust, leaving among them. Now if this principle were acted upon by every one in
those who might hold an opposite opinion the undisputed every position of life, it would certainly be rather awkward for some of us. For instance, if the Act of Parliament which makes pocket-picking
| right of maintaining it, and of ignoring or condemning ours. criminal were suddenly found to be defective, what would become of ** Since the above was written, another communication our purses and handkerchiefs? We should shut ourselves up for fear
from Mr. Arthur Chappell has been addressed to the publisher of being robbed by our friends. And yet there would be nothing more un-neighbourly in taking a man's purse than in purloining any other
of the Musical World. It consists of a letter and an enclosure, article of his property, even if it be an opera. He has paid for both;
Here is the letter:but while the law does not recognise the simple act of furtively John Boosey, Esq. possessing yourself of a cotton handkerchief which belongs to another, | DEAR SIR,-In answer to your favour received on the 9th instant, I it winks at the appropriation of a copyright worth a hundred times as beg to say that unless the enclosed paragraph, or a similar one to be much to the proprietor. It thus becomes a rule of trade to lay hands approved of by me before its publication, be printed as an editorial upon every bit of musical property appertaining to one's neighbour.” | article in the same part of the Musical World as the attack on our Now, who in his senses can find a libel against Messrs.
house was printed in last Saturday's number, that I shall without
further notice give the matter into our solicitor's hands to commence Jullien, or Messrs. anybody, in the above? If libel at all, it
an action, as I consider the attack so unjust and so clearly libellous as is a libel against human nature generally; and never was the not to be passed over without due apology.--I am, dear sir, yours truly, philosophic definition of Thomas Hobbs of Malmesbury-! 214, Regent-street, Wednesday evening. ARTHUR CHAPPELL. that, “ A state of nature is a state of war, every man warring
(For Jullien and Co). against every man"-more aptly exemplified in a small way We have great pleasure in complying with Mr. Arthur than in this battle of the music-sellers.
Chappell's demand, and at the same time beg to tender him If Messrs. Jullien have any cause to be offended we can our thanks. He has saved us the trouble of wording an only trace it to the second paragraph, which ran as beneath:- apology-always a disagreeable task for an independent editor. “Messrs. Jullien, for example, have reprinted the Wedding March
We shall endeavour for the future to be less "incautious;" and and Scherzo from the Midsummer Night's Dream, which Mendelssohn should our enthusiasm, in an unguarded moment, be again disposed of to the Messrs. Ewer in this country. The “new” edition, permitted to outrun discretion, and an apology be required however, is a shabby one, and they who look out for bargains in the of us at the hands of firms imagining themselves insulted by inpurchase of stolen goods will be disappointed. We, therefore, advise sinuation firms not understanding metaphor—we shall apply professors and amateurs to support the bona fide proprietors for their own sake no less than for that of Messrs. Ewer.”
to Mr. Arthur Chappell to throw it into shape for us. We
could never even say “Peccavi,” much less write it ; but, But when we inform our readers that the republications though as valiant as ancient Pistol. we are also as wise : in question were sent us for review, it surely exonerates us in
and to appease such a Fluellen as Mr. Arthur Chappell, a great measure, if not completely. We were asked for our brandishing in his anger the trenchant "haudegen” of opinion, and we gave it. We own that we were desirous of Chand
Chancery Lane, we willingly eat the leek. placing additional emphasis upon its expression ; and wel And now to eat it. (It tastes very bitter.) therefore assigned it a short “ leader," instead of an ordinary
[Paragraph to be inserted in Musical World, July 14th.] paragraph, under the head of “ Reviews.” We pronounced
In our impression of Saturday last, in an article on musical the edition of Mendelssohn's music to A Midsummer Night's copyright, we incautiously wrote the following paragraph:Dream “a shabby one;" and we adhere to that opinion. It “Messrs. Jullien, for example, have reprinted the Wedding March and is not merely a "shabby” one, and a part of it reprinted from Scherzo from the Midsummer Night's Dream, which Mendelssohn old and worn-out plates, ill-punched at the outset, but it is disposed of to the Messrs. Ewer in this country. The “new” edition. also' incomplete, the vocal pieces and the melo-dramatic however, is a shabby one, and they who look out for bargains in the
purchase of stolen goods will be disappointed. We, therefore, advise instrumental music being omitted. With these facts before
professors and amateurs to support the boná-fide proprietors for their us, and the complete edition of Messrs. Ewer on our table, for own sake no less than for that of Messrs. Ewer.” which scarcely half the price of the incomplete and “shabby" | It having been pointed out to us that the remark “the new one is charged, were we not justified in letting our readers edition is a shabby one, and they who look out for bargains in the know which was the best of the two, and which they would purchase of stolen goods will be disappointed” as referring to do wisely to purchasc — the complete and good-looking Macfarren's edition of Mendelssohn's works is untrue, as we find original or the incomplete and ill-looking counterfeit ?
the pieces are very correct and well printed, and also conveys a
most unjust imputation on the firm of Jullien and Co., and one “Five shillings to one on't, with anybody that knows the statues !"* calculated to injure their reputation as music publishers, we beg
If Messrs. Jullien, however, conceive themselves injured | to withdraw it with an apology for its careless insertion. (much more libelled) by the metaphorical allusion to "stolen | Nevertheless (we appeal to Messrs. Ewer), the edition of goods”—which is simply in keeping with the preamble of the | Messrs. Jullien is a somewhat “shabby" one, after all ; and article, like the bit of color in the corner of a picture that (we appeal to Messrs. Jullien) that of Messrs. Ewer is unhelps to impress the beholder with a sentiment of the pre- questionably more complete. Be chesm! Our heads be dominant tone—we are happy to express our regret for | upon it! We speak as “ Reviewers." having made use of it, and to assure our worthy correspondent, who represents them, that we had no intention of con
With all our admiration of Mr. Ella, Director of the veying anything whatever derogatory to the honour and
Musical Union, we cannot get rid of the conviction that his
eloquence is greater than his tact. His last “Record” * Dogberry.
(July 10) proves this triumphantly. As usual, Mr. Ella
sets himself before the world as an example of immeasurable “Were it possible to collect the candid opinion of all who attend wisdom. from which his universally erring fellow-creatures performances of music, as to their preference of particular composers may well be content to gather experience. At the same
| and players, we should find little agreement; and this want of agree
ment, in persons of superficial knowledge in art, may often be traced time, strange to say, the Director himself has been led into to the influence of the most accidental and trivial circumstances. Nor what the uninitiated may probably regard as a blunder. All are all professional men exempt from partiality to favourite styles of the world knows that Meyerbeer honoured one of the recent music and playing, owing to the influence of education, and often, we sittings of the Union with his presence; and that, in order to
fear, to jealousy of a rival's success. An eloquent commentator on
poetry and painting, speaking of the judgment of some painters, thus confer the highest possible distinction upon his renowned
remarks: --I have rarely met with an artist who was not an implicit visitor, Mr. Ella placed him in close propinquity with a admirer of some particular school, or a slave to some favourite manner. bishop, an archbishop, and a director (Mr. Ella). And lest we They seldom, like gentlemen and scholars, rise to an unprejudiced and should not be aware of this, the Director has taken extra
liberal contemplation of true beauty. The difficulties they find in the ordinary pains to make it notorious. He informs his patrons
practice of their art, tie them down to the mechanic; at the same time
that self love and vanity lead them into an admiration of those strokes that
of the pencil which come the nearest to their own. I knew a painter “The imposing presence of the illustrious Meyerbeer, at our last at Rome, a man of sense too, who talked much more of Jacinto, matinée, for a while seemed to unsettle the performers ; but nothing than he did either of Correggio or Raphael.'-- how truthfully these could well surpass the admirable ensemble of the Adagio, and the sub. | words express the daily experience of our relations with musical prosequent movements of Beethoven's difficult Quartet in E minor, and fessors !--the antagonism of opinions on the ideal and mechanicalthe début of the lady pianist was a complete triumph."
genius and acquirements !” Which can only be translated by the fact that the firstW e knew a Director in London, who talked much more of movement of Beethoven's quartet, and the whole of Spohr's, himself than the public might care to know-and probably were not well played by MM. Ernst, Cooper, Hill, and “a man of sense too," more or less, like the admirer of Piatti. If this was really the result of their being startled Jacinto Brandi. But what of that? We cannot all be and “unsettled” at the sight of Meyerbeer (who is not so unutterably sage; we cannot all be without motes and formidable, after all, to look at), we think Mr. Ella should moles_immaculate—as Ella, and the man of Hamm. Out have left it to be recorded by the newspaper reporters, of the pale of “the books"
of the pale of “the books” it is barely practicable to excel. whom he so humanely accords free admission to the Let there, then, be charity. The director of the Musical performances of the Musical Union. That is what we Union reckons charity among his virtues, but gives foreigners (if we had the courage) should have been left to say the exclusive benefit of the account. He extends it especially supposing we had discovered it. Such a mode of paying a | to Richard Wagner :compliment to the great composer, at the expense of his brother “My only interview with Wagner, at Dresden, in 1846, impressed musicians, and of historical accuracy, is unworthy one who me with profound regard for his talent. I had already visited young whatever his merits as a critic, has never shown himself
Roeckel, and found him in ecstasies over the full partition of Wagner's very deficient as a rhetor. But, on reflection, our anxiety to
opera Tannhäuser. I regret that on each visit to Dresden I was either catch the learned director out in an error (we confess his
| too late, or too early in the season, to witness the performance of
Wagner's operas, but from a slight investigation of his last production, infallibility gives us umbrage)-however venial-has led us with a German musician, I must honestly confess that I found no very to overlook the obvious cause of this flaw in the entire and | captivating melodic forms; but frequent progressions of vague harmony, perfect chrysolite. Homer nods. Ella's flights into the sub
that suggested nothing to my mind-nay, to my ears, the succession limer regions of connoisseurship, known among the initiated
of unexpected transitions and extraneous modulations was positively
disagreeable. It is true, that in the latter works of Beethoven and also under the title of “ Æsthetics,” are not to be accomplished in Mendelssohn, I could select a few examples, with direful collision without some tumbles into the slough of ineptia (the word of dissonant intervals; but the design of the composer is always is your's, Ella ; we claim no copyright in it-use it at your apparent. Recollecting the fate that has attended the early efforts of leisure). Then—especially in this instance, supposing the
in the all original composers, I am reluctant to express an opinion on the flights governed by the very natural law, that the higher
operas of Wagner, without witnessing their representation in a theatre.” they soar the lower the reactionary plunges—must we be
Thus, for the nonce, the “future” man is saved. Mr. fully prepared for any amount of wanton error, of crass
Ella (having expressed a strong opinion just before) declares stolidity.
that he is “reluctant to express an opinion without," etc. After so sublime an outburst as that which commences
If Richard Wagner had known this, he would not have last week's synoptical analysis :
quitted England so precipitately. But, further on, Mr. Ella “ Tone for the million! Style for the aesthetic few! Novelty for
waxes “kinder, and still more kind :"sensation! Experience in catering for the musical tastes of different
“Those who have enjoyed the society of Wagner, during his sojourn persons, soon proves the truth of these hackneyed aphorisms—" in London, entertain a high opinion of him, both as a man, scholar, we ought not to be astonished at a less transcendent
poet, and musician! His theory upon the agreement of words and
music, in a lyrical drama, is, in the main, true; but untenable in some sequel. Mr. Ella has a singular itch for insinuating that the particulars. If Wagner be unable to realize practically what he has enmusical artists he employs are less “perfect wholes” than deavoured to expound as the aim and object of music, it is a pity that himself. For example :
in his critical remarks upon other composers he did not confine himself “Our beau-idéal of perfection in all styles is never attained by any
| to the abstract question of his thesis. To my thinking, there is much to
be admired in his general observations, which are not new, upon the single artist, and the wisdom of practical philosophy teaches us to
progress of the lyrical drama, and no branch of the art is capable of appreciate and be content with the intentions of a great and con
more improvement. What but the consistency and historical interest scientious executant."
of the dramas of Les Huguenots, Le Prophète, and L'Etoile du Nord, When Mr. Ella asks the realisation of his (Ella's) “beau give to Meyerbeer's music such a hold upon the public mind throughideal” from a human fiddler, he asks too much. To find it. | out Europe?". he must repair to the spheres, on the wings of his own This will be satisfactory to all who have considered it their eloquence. Critics, too, and professional men generally, are duty to arraign Herr Wagner as an enemy to music, since, in unfairly rated by the Director of the Musical Union, because his defence, Mr. Ella plainly demonstrates that he knows they are not (like himself) infallible. For instance : | nothing at all about “the theory” which is "in the main true"-or why does he cite the operas of Meyerbeer and Europe, nor the honours which have been bestowed upon him by the their popularity, as examples of its correctness. Had great ones of the earth, have been able to overthrow; his disinterested
ness of mind, his scrupulous honesty, have long procured for him the Mr. Ella, before writing such a quantity of nonsense,
| esteem and affection of all who know him. And the personal virtues taken the pains to read our own translations of Herr of this artist-as amiable as he is distinguished-must charm even those Wagner's most comprehensive book-Oper und Drame who envy him his fortune and his fame. In short, he is fully deserving he would have learnt that the Meyerbeer-opera is at- of the estimation in which he is held as a distinguished composer, and tacked by Herr Wagner with unparalleled virulence
of the esteem which, as a man, is so universally felt for him.' ---The good
opinion of so excellent a man and so celebrated a musician is to be and animosity, as the culminating point of that error
prized, and I doubt not but the members of the Musical Union will which debased dramatic music from the outset--in short, as sympathise with my feelings in receiving permission to publish his the most untrue and hideous shape that the musical art has generous appreciation of my exertions in the cause of art.” been made to assume in connection with the drama. Meyer-! This “generous appreciation of” Mr. Ella's "exertions in beer himself is slandered with as much rancour as Meyerbeer's the cause of art" (!) is simply a letter of thanks for the music is abused. He is proclaimed a “Jew”—and being a polite invitation M. Meyerbeer had received to attend the “Jew,” everything that is bad, from a thief downwards. concert of the Musical Union, and an expression of the And yet, just after Meyerbeer's visit to the Musical Union gratification he had derived from the performance. Such (of which Mr. Ella takes full advantage to aggrandise him- a letter should not have been printed, since it was never self), our director thinks fit to publish in his programme a intended for publication. But, as it served Mr. Ella's turn, sort of half-defence, half-panegyric, of the bitter and unscru he applied to M. Meyerbeer for permission, which the “expulous hater of that celebrated musician-hater, we repeat, cellent man and celebrated musician” accorded without diffisince Wagner does not so much criticise Meyerbeer as ex-culty. And in return for his kindness, this “excellent man press his loathing of him through the medium - of a pen and celebrated musician," this "amiable maestro," whose nibbed by a dagger and dipped in poison. But Mr. Ella is " friendship" Mr. Ella has so “long enjoyed,” was rewarded not merely ignorant of Wagner's theories; he was never by being condemned to see a eulogy of himself and a eulogy even present at a concert where Wagner conducted !
of his implacable vituperator, side by side, in the next “As a conductor of overtures and symphonies, Wagner is accused,
“Synoptical Analysis” of the Musical Union ! by the majority of my musical acquaintances, of changing the time and This is want of tact, and no mistake; and, without entering expression of the music at the Philharmonic Concerts. Whatever may into further details (for which the “Record” of Tuesday be a man's theory, it should not be permitted to interfere with our
would furnish abundant materials), we may be content to satisfaction in listening to the works of others. I did not witness his mode of conducting, but instead of poor Wagner being exposed to
reiterate our conviction that “the eloquence of Mr. Ella is calumny and abuse, for doing what he conscientiously felt to be right, greater than his tact.” the directors ought to be blamed for engaging a conductor without first ascertaining his qualifications.”
SiGNoR VERDI is about to visit London-not to witness at The introduction of the word “ calumny” in this para. Covent Garden the success of his own Trovatore, the pergraph is impertinent. Having confessedly no experience of formances of which have been suspended through the deparhis own, upon which to found an opinion, Mr. Ella prefers a ture of Mdlle. Jenny Ney; nor, like Meyerbeer, to supervile imputation against those who, in the free and conscien- intend the rehearsal of a new opera; but simply on private tious discharge of their duty, have criticised Herr Wagner business disconnected with stage matters altogether. It is unfavourably. Herr Wagner has been exposed to no ca- | not unlikely, however, that, while remaining here, overtures lumny. He has been condemned in this country, by the will be made to the Italian maestro by the directors of the best judges, as a composer on false principles of art, and as Royal Italian Opera, about Les Vépres Siciliennes, his last, an inefficient conductor. What importance we attach, how. and, according to many, his best opera. Signor Verdi, it ever, to the man and to his writings, may be gathered from will be remembered, paid London a visit in 1847, when he the large space we accord to them in our columns, week after composed I Masnadieri for Her Majesty's Theatre, and came week. It is because he is a man of amazing eloquence and from Paris to preside at the rehearsals. But Signor Verdi subtle wit, that we esteem him the more dangerous. To in 1847 and Signor Verdi in 1855 are two different perignore Herr Wagner, and his opinions, would be pre-sonages; as different as I Lombardi and Ernani from posterous. To endeavour to expose their falsehood, is the Rigoletto and Il Trovatore. Whatever minute distinctions task we have undertaken; and we shall pursue it to the of opinion may exist as to the “absolute” merits of the best of our ability.
Italian composer, his great popularity would alone ensure On the very next page to that which contains the defence him marked attention during his sojourn in this metropolis, of Wagner (which may be likened to the Encomium of Nero, where so many of his operas have been successfully by a greater scholar, if not a greater sophist,* than Mr. Ella), performed. we find the following about the man whom Wagner has persecuted in his writings with such unrelenting ferocity-we Ernst leaves London to-day for Aix, in Savoy. He will not mean Meyerbeer :
return to England before the end of October. "I have long enjoyed the friendship of the amiable maestro, and the
Mrs. NISBETT.-Lady Boothby has written to the Times, to honour of his visit to the Musical Union afforded me an additional mark
state that the report of the return to the stage of Mrs. Nisbett of his personal esteem. His true character, as a man, is impartially is wholly untrue. described in the concluding chapter of Mr. Gruneisen's Memoir, from | Mr. W. FARREN, who has, for upwards of fifty years, mainwhich the following extract is taken :- The natural benevolence and | tained so eminent a position on the English stage, will take a mildness of his character; his agreeable and amiable behaviour to farewell benefit at the Haymarket Theatre on Monday evening, everybody; his modest and reasonable estimation of his own powers, | and then retire altogether from public life. which knows no pride of wealth or professional eminence, no jealousy Mr. RICHARD ROBERTS.-Welsh papers announce the death of this of others; and which neither his celebrity, spread over the whole of Welsh harpist, who, for upwards of fitty years, enjoyed the title of
“ Prince of Song," and the distinction of being the chaired monarch of * Cardan,
THE PHILHARMONIC SOCIETY.
perhaps). Every German “Doctor," from Spohr of Cassel (To the Editor of the Musical World.)
down to Liszt of Weimar, was to be asked, in turn, to under
take the post! Such a gross insult to the many eminent SIR-The bubble has burst! The general meeting of the
musical men who live in this metropolis was never practised Philharmonic Society has taken place. Twenty-five members
before, and let us hope may never be tried again. were present. Questions were put and answered. As was
The “accounts” passed muster, in spite of all this. Herr anticipated, nobody knew anything about anything; and
Wagner got £200, and Mr. Anderson's expenses to Zurich the result may be illustrated by the old symbol of the small
and back again (in the snow) amounted to £30 more. The mouse which issued from the belly of the big mountain in
loss on the season was between £500 and £600. And yet labour!
three of the managing directors were retained in their places The meeting took place on Wednesday night. Mr. Costa
-Messrs. Anderson, M'Murdie, and Lucas. M. Sainton, more came early and looked prophetic. Mr. Benedict appeared
consistent, declined in advance to serve. Mr. Sterndale wrapped in a cloud of mystery. Mr. Lindsay Sloper, with
Bennett, contrary to all expectation and in defiance of many papers, encouraged a hope that he was prepared to say
all reason, accepted office under Mr. Anderson and tail! * no end of things—the act to follow the word, as thunder the
What, then, has all this pother been about, since Mr. Benlightning. Messrs. Lucas and Clinton seemed as though some.
nett was last a director ? For what have Mr. Bennett's thing were “looming” in the distance, not very pleasant to them
stanchest friends and supporters exposed themselves on selves—in expectation, as it were, of being placed upon the
his account to obloquy and worse? We are pretty well wheel and interrogated. Mr. Sterndale Bennett entered,
hardened to surprises ; but such an “interrupted cadence" like Pistol, in the play, and—to speak in metaphor-placed his sword upon the table, saying :
has fairly upset us. Mr. Bennett will answer, that, having
eighteen votes, he was at the head of the poll, and therefore sweetheart, lie thou there.
| over, not under, Mr. Anderson and tail ; but that is little to Come we to full points here; and are et ceteras nothing?"
the purpose ; "over” or “under,” it is pretty well agreed, on Mr. Anderson was there, M. Sainton, and the rest. But all sides, that Mr. Anderson “Director,” means Mr. Anderenough of names. Deeds ought rather to be on the tapis. It son « Autocrat”-in plain language, undisputed master of should be our grateful task to announce reforms, to predict the society and its affairs. It was so when Mr. Bennett was the renovation of the Philharmonic Society, to reckon upon director before ; and will be so now that he is director all sorts of fine things. Alas!—the whole ended in smoke. | again. Mr. Bennett, on laying his sword on the table, We have nothing to record worth telling. There was a great
declined (like M. Sainton) to accept office. But on some noise and a vast amount of talk. But talk is only a tinkling trivial objection, which he stated as the reascn of his unwilcymbal when the words express no real sentiment Beau
lingness, being removed,+ he took up his sword, as we have coup de bruit peu de fruit, is an old saying, often quoted, and said, coquetted for a while, at length relented, and, like exemplified on the present occasion to perfection.
Donna Julia, Mr. Bennett had laid down his sword to take it up.
“Whispering, 'I will ne'er consent,' consented !-" He did not "imbrue.” There was no “incision." There were no "grievous ghastly gaping wounds;" the “sisters three”
once more a victim to the blandishments of the Philhar
monic Don Juan. were not “untwined;" all was in the end “sack” and “good
Thus fell Mr. Bennett, from the rocky humours.” Mr. Bennett took up his sword, sheathed it,
heights of stern uncompromising patriotism down to the cried Pax vobiscum ! and allowed himself to be elected A
soft plains of enervating serfdom. Dallying with despotism DIRECTOR, with eighteen white balls by the side of Mr. G.
he was entrapped, and like Telemachus laid his head on the lap F. Anderson, reappointed with fifteen ! O tempora 1-0
of the enchantress. Well would it have been for Mr. Bennett mores 1-0 Sterndalius Bennetus ! ! &c.
had Mr. Lindsay Sloper (his Mentor) taken a hint from the The other five directors for the ensuing campaign are
Odyssey, and tied him to the mast, as his ship sailed slowly past Messrs. M'Murdie, J. B. Chatterton (0 Chattertonius !) Lucas,
the Andersonian shores and quicksands. And what did Mr. H. Blagrove, and
Sloper, with his papers?-nothing. And what did Mr. From this directorate we have not the slightest hope of
Benedict?—no more. He simply cried “Peccavi!" and
owned that, when he formed one in the directorate, it was any good ensuing. There is too much of the ancient leaven. It is another shift of the puzzle, and another configuration
he who first proposed that Richard Wagner should be of the mismanagement of our musical Greys and Elliots.
invited over from the Venusberg of his imaginary “future," The whole proceedings were a mockery. Of course ques
to conduct Tannhäuser at the Philharmonic Concerts. We tions were asked about Richard Wagner, whose conducting
wish some of the others were but half as candid as has been so disastrous to the band.
Nothing, however, was .elicited but this—that he was proposed by Mr. Clinton and
The result of the meeting may be briefly summed up. seconded by Mr. Lucas (or vice versa), and that Messrs.
A new directorate has been appointed-a sort of coalitionLucas and Clinton, although they proposed and seconded
| government of utterly antagonistic materials, from which him, had never heard of Herr Wagner before! This, ou
nothing can be expected but a blind adherence to tradition. cross-examination from the gentleman who arrived so hotly to
A committee has been instituted from among the indethe debate, so hotly disposed his sword upon the table, and
pendent members, to consider the affairs of the Society, so coolly took it up again, was acknowledged without a blush!
and to alter the laws. Until this has been effected But still worse, without a blush, six directors out of seven
the directors are not to assemble officially. So that confessed that it had been unanimously agreed among them
| up to about November nothing will be done at all ; to invite no resident professor, native or foreign, on any account whatever, to direct the concerts. So that if Mr.
* Accepted office under, &c. The expression will readily be Anderson had failed to noose the “Man of the Future,"
+ Mr. Bennett's only objection to resume office was that the private there would have been no conductor at all (tant mieu.
c l meetings of directors took place on Sundays.
but, when November comes the seven directors may
REVIEW OF THE HISTORY OF MUSIC meet together, shake bands, proceed to business in the old
BEFORE MOZART. style, and following the stereotyped routine which has brought
(Continued from page 431). the institution almost to the brink of ruin, discuss how best BEFORE Gluck and Mozart, this error was excusable. The to employ the £2,400 which remains in the treasury. Out Italian opera was the best that was known, or, rather, it was the of nothing can come nothing. Those who feel any interest only one which really was music. The friends of music, therein the Philharmonic Society will regret that it has reached fore, had no choice, and it is something altogether natural to such a pass : while, on the other hand, those who are indif. take the best one knows for the best that is possible. But if ferent, and prefer to hear symphonies well played (under!
I hear to-day a national opera music mentioned with a certain
pride or a certain patriotic feeling, be it in what land it may, I Mr. A. Mellon), at St. Martin's Hall, to symphonies ill
really do not understand what is meant by it. There are two played (under anybody), in the Hanover-square Rooms, will kinds of music, one of which is always confessedly national, and shrug their shoulders, and ask—"After all, what is the the other really so; these are popular melodies and the church Philharmonic Society, that such a fuss should be made about song. The former, because they are a natural product, and, to a it?” The answer is evident. The Philharmonic Society certain degree, the expression of the inner life of the people was once an exceptional institution; but M. Jullien
that sings them, and consequently owe their power, their merit, has taught the crowd that they can hear, for a shilling
and their charm to their origin. They possess the virtue of
making things present to us, or conjuring spells to summon the and half-a-crown, several times during the winter season, |
dear and holy images of the fatherland before our souls, the performances quite as good as those for which the moment we hear them in certain situations in which every one Philharmonic directors charge one guinea. The music-master may sometimes find himself. The intrinsic matter of a melody is abroad; and only a small fraction, a very small exerts no influence on the power of the impression which it can fraction of the musical talent of this country belongs awake as a national song. A Swiss organist, living far away to the Philharmonic Society. Its once exclusive claims to
from his mountain, will many a time prefer the “ Ranz des consideration are, therefore, dissipated ; and, unless Mr.
vaches” to all the preludes of Bach and Händel. And the same Costa comes forward once more to save it, it must follow the
feelings, more or less, are stirred in every man, to whatever
people he may belong, especially when he hears melodies which Ancient Concerts and the Society of British Musicians to
recall certain spots that are dear to him above all others, or the “ tomb of the Capulets.” Mr. Costa, however, may be events with which they chance to be peculiarly associated in his tired of playing Cincinnatus ; besides, he is studying a
mind. more profitable and important part. Who then will be Quite analogous reasons secure, or should secure, the special conductor next season ?-"There's the rub!” We will be
organisation of the church song among nations attached to their bound to say that not one of the directors will think of pro
own cultus. This song may be good or bad music in itself; it
passes for the best where it has long existed. Everywhere the posing Mr. Alfred Mellon ; and as Mr. Bennett and Mr. Lucas
spiritual melodies have identified themselves with the national einer propose vor vote for themselves (both being direc- | religion; men know them from their childhood; they hear them tors), the chances are somewhat even for MM. Benedict, at the most solemn stadia of life; in them lies the power of Hallé and Molique-that is, unless Herr Wagner returns awakening, even in the most indifferent souls, the thought of a with the whole" Niebelungen. (!) or Mr. Costa's oratorio high and mysterious antiquity, the thought of something that is, should fail (which may the Muses in a body forbid), and his and
and was, and ever shall be. If the hearers are not capable of attention again be diverted from divine to secular harmony.
appreciating a learned church composition as a work of art, yet
| they feel it in the depths of their hearts as the expression of the A good deal has been said about M. Berlioz; but, even had | Christian thought. Men who assemble for prayer to God, do not the judgment that “he already lies irretrievably buried not learn music with the critical ear of a connoisseur, or with the under the ruins of his own machines,” been pronounced by no fastidious ear of a dilettante. Even the best judges, if they are less an authority than the ex-conductor of the Philharmonic Christians, or have only a little taste, are offended by every (Herr Wagner), we could point at once to four directors out distraction which brings them too directly back to their profane of the seven who would inevitably vote against M. Berlioz,
enjoyments. A radical departure, therefore, from the church the “anxious polyscopity” of that original and extraordinary
melodies—such as, too frequently, was made in the eight
eenth century and in our days—is nothing but a destruction of a musician being altogether beyond their comprehension.
train of ideas operating in the most compact and powerful AN ENGLISH MUSICIAN. manner on the imagination; it is an outright destruction of the
poetry of the national cultus. It is not necessary in any other HARMONIC UNION.-(From a Correspondent.)-A Soirée Musicale way to establish this maxim, that church music in part derives of the members and friends of the Harmonic Únion was held at the | its peculiarities and its power from its antiquity, whereas in the Hanover Square Rooms, on Saturday evening, the Rev. F. J. Stain. secular style the converse is the case; it commonly maintains forth, M.A., president of the Society, in the chair. Tea and coffee itself by its novelty only. having been served, a miscellaneous selection of music was given, in Two branches of music, and indeed just the two extremeswhich; several artists and members of the chorus took part. Madame the people's song, in which art stands at zero, and the sacred kind, Weiss sang a new song, composed for her by I. Gibsone--"Sweet hour upon which in some lands all the resources of art are expended of eventide.” Mr. Weiss gave his ballad, “ The Village Blacksmith,"
have thus the right and the necessity of being national, which fortuand was encored. Miss Stabbach sang two of Molique's songe-"Song | nately exempt them from the tributes other branches pay to for song,” and “Could I through æther fly." The former is written for voice, violin or flute, and piano.
fashion. But how do they manage to maintain themselves in this The distinguished composer played l state of stability? As we have seen, by the association of moral the violin part. Miss Stabbach also sang "Kathleen Mavourneen.” Herr Molique played one of his own fantasias. Mr. Rea (the Society's
thoughts which they awaken, and which they possess the power organist) performed a pianoforte piece, which was redemanded. Mr.
of representing. Neither the edification which Christians derive Blagrove's duo concertante, for violin and concertina, was played by
from the introduction of church music into their common congreMessrs. R. and H. Blagrore. Mr. Frank W. Force gave Wallace's
gation, nor the patriotic satisfaction with which in certain cirballad, “ Annie, dear, good bye!” and a song by Molique. The Misses cumstances we hear our country's song, is a purely musical E. and M. Mascall sang “ No, Matilde, non morai," and the Jacobite
enjoyment. Armed with its peculiar property of conjuring up duet, " Whats a' the skeer, Kimmer ?" The latter was encored. Songs, the memories with which it is associated, and of enhancing our glees, &c. were sung by members of the chorus. The audience included spiritual emotions, music operates no more alone and through its many of the Society's subscribers and supporters.
own peculiar power, but also and especially as the vehicle of an