tinguished themselves more highly thap the chorus, Mr. Allen a shepherd, for nine years; during which period the disguised deity especially, who sang the tenor music, which is long and not became so warmly attached to the family of his protector, as to make grateful, with undeviating correctness and true artistic feeling. them, on his recal to heaven, the objects of his continued care. Finding Mr. Weiss was equally admirable in the bass part, and to his that Admetus was stricken by a wasting disorder, Apollo solicited the competent charge was allotted what appeared to us (if we may be

Fates in his behalf; and received for answer, that Admetus should not allowed to judge from a first hearing) the best piece of music in

only recover, but should never die—so long as, on the fatal hour the oratorio-viz., an air to the words “Lord, now lettest thou

approaching, a substitute should be found. No one else coming forward thy servant depart in peace.” The singing of our English bass

to rescue the fated king, his noble wife, Alcestis, daughter of Pelias,

king of Iolchos, generously volunteered to be the victim. In the was as forcible as the music was good, and deserved an encore

version of the great Greek author, Admetus, though overwhelmed with -though it did not obtain one-much better than any of the

sorrow, is induced to accept the noble sacrifice :-& weakness in some pieces that were actually redemanded. The ladies were Mrs.

measure redeemed, by the generous and delicate hospitality with which Enderssohn and Miss Bleaden (soprani), Misses Huddart and

he welcomes the apparently ill-timed visit of Hercules, carefully conPalmer (contraltı). They all sung carefully and well, and were cealing from his hero-guest every trace of the misfortune which has deservedly encored in a very pleasing quartet (unaccompanied), befallen his house and realm.” " Trouble and anguish shall make him afraid." Miss Huddart,

In the original play, Hercules does not arrive at Pheræ until who though still nervous, has a fine voice, and is improving,

after the death of Alcestis. In Mr. Spicer's version he is made was similarly complimented in a pretty air—" Behold my ser

to appear before even Alcestis has made up her mind to offer vant." There were other encores; the applause was liberal

herself as a sacrifice for her husband. It will be at once seen and frequent; and at the end of the oratorio Mrs. Bartholomew

how much is lost by this alteration. Euripides intends to porwas conducted to the platform by Mr. Hullah, and cheered

tray the most noble hospitality on the part of Admetus, who enthusiastically-quite as enthusiastically as Mendelssohn, at

disdains to allow his guest to participate in his sorrows, and Birmingham, after the first performance of his Elijah.

receives him with smiles and a hearty welcome, interdicting all The Nativity was followed by Beethoven's Mount of Olives,

his household from acquainting him with the death of the queen, which was executed in a manner vastly creditable to Mr.

In Mr. Spicer's adaptation, Hercules seeks the hospitality of Hullah and his Upper Singing School, and to the vocalists

Admetus, when that monarch is under the influence of fears Mrs. Enderssohn, Mr. Allen, and Mr. Weiss—who undertook

that he will not find one who will yield up his life in his stead. the principal solo parts. St. Paul is to be given at the next

The spirit of the old Greek dramatists shines out in the former concert.

incident. In the latter we recognize a common-place sentiment

carried out in a common-place manner. The former is heroism; DRAMATIC.

the latter simply self-possession.

The second principal departure from the Greek story consists ST. JAMES'S.-The attempt to modernize an ancient Greek in the contest between Thanatos, or Death-denominated in drama, to assimilate it to the tastes and feelings of the present

the new version “Orcus”—and Hercules, for the restoration to time, and, by the aid of music and a change of scenery-dis

life of Alcestis, being rendered visible to the audience. This is

life of Alcestis being rendered visible carding the preservation of the unities—to render it more inte a daring innovation. Death is introduced on the stage, under resting and varied, met with entire success at this theatre on the semblance of a dark spectre. Hercules confronts him; Monday night. Of the nineteen tragedies of Euripides which bullies him ; defies him, and retires with him behind the sideremain to us out of ninety-two he wrote, there is, perhaps, not one wing, whence we hear a dialogue, in which Death is made to more likely to engage the sympathies of modern audiences than succumb to the powers of Hercules, and to swear by the Styx Alcestis. “On the score of beautiful morality, there is none of

that he will restore Alcestis to life. In Euripides, on the conthe plays of Euripides," says Augustus William Schlegel, in his

trary, the feat of Hercules is related, and the dark shade kept Lectures on Dramatic Literature, “so deserving, perhaps, of { out of sight. How much more forcible this is, we need not praise as the Alcestis. Her resolution to die, and the farewell

say. which she takes of her husband and children, are depicted with

That forbearance, upon which Schlegel bestows such high the most overpowering pathos. The poet's forbearance, in not

praise, of not allowing Alcestis to speak on her return to life, allowing the heroine to speak on her return from the infernal

To lest,” as he says, “the poet might draw aside the mysterious world, lest he might draw aside the mysterious veil which

veil which shrouds the condition of the dead," has been conShrouds the condition of the dead, is entitled to high praise."

sidered by Mr. Spicer-and, perhaps, not without some show of Nevertheless, Schlegel, following the example of nearly all the

reason-as too much opposed to the exigencies of the modern Greek critics-among whom is found the celebrated Aristarchus

stage, and not likely to appeal to the sensibilities, or meet the -places Euripides, as a dramatic writer, far below Æschylus

appreciation of his audiences. We must do the adapter the jusand Sophocles. The dramas of Euripides have, however, served

tice to say, that he has managed the change with much skill, more frequently as originals from which the moderns have derived

| and that the gradual revival of Alcestis to life, the recognition the groundwork of adaptations than those of his more cele

of surrounding objects, and the gush of delight at beholding her brated predecessors. Witness the Iphigenia in Aulis, Iphigenia husband, are achieved with true poetic feeling. in Tauris, Medea, Hippolytus, Ion, Alcestes, Andromache, etc. It is not necessary in this place to allude to less important The cause may be traced to the fact, that the plays of Euripides | alterations of Euripides, which Mr. Spicer has made in his adappossess more humanity, literally speaking ; and, if they were less tation of the Alcestis. lofty, were more life-like and real, and come home more directly With respect to the general getting up of the piece, too much to the domestic feelings. If Æschylus was the most sublime praise can hardly be bestowed on the management. The scenery writer of the three ; Sophocles, the grandest and most simple; | is well painted, the dresses new, appropriate, and, in the instance it may, perhaps, with truth be said that Euripides was the most of the King and Queen, rich and magnificent, and the grouping natural.

managed with excellent effect. The set “scena" of the old drama The Alcestis produced at the St. James's theatre on Monday throughout the entire play, with its front and two side entrances, night is not taken directly from the Greek of Euripides. The | is not followed. Each act has its separate scene, and a greater French version of M. Hyppolite Lucas has been consulted by the variety is thereby obtained. Miss Vandenhoff was engaged adapter, Mr. Henry Spicer. But, neither the Greek nor the

expressly to undertake the part of the heroine, and Mr. Barry French has been closely followed. Mr. Spicer has departed from Sullivan had to supply the place of Mr. George Vandenhoff, the original in several material instances, and, not always, we whom indisposition incapacitated from assuming the part of are inclined to think, with advantage. We shall first give a | Admetus. sketch of the piece as produced at the St. James's, and then Miss Vandenhoff was earnest and impressive throughout, and show how far the adapter has deviated from the Greek ;

in the parting scene with her husband and children, in the second “ Apollo, banished from Olympus, took refuge in the household of act, displayed great feeling and tenderness. The action of this Admetus, King of Pheræ, and served that monarch, in the capacity of | lady is studied and graceful, and every thing about her proclaims that she has been well instructed. Her speaking, however, is entirely revolting. How different Shakespere paints his villains ! too measured and exact; and what is gained in distinctness is Iago exhibits no pusillanimity when confronted with his victims; lost in force. Every word, nay, every syllable, is uttered as if | Macbeth redeems himself by his glorious death; the chivalrous life depended on the pronunciation. Miss Vandenhoff was re valour of Richard shines like a meteor through the darkness of ceived with distinguished favour, and vehemently applauded in his crimes. Louis XI., on the contrary, is hypocritical and the farewell scene of the second act. Indeed we have seldom grovelling to the end, and fails to exhibit a single quality which seen a greater effect produced in any scene of any play. There would recommend him to the mercy, not to say the sympathy, was scarcely a dry eye in the house. Mr. Barry Sullivan is not at of the spectators. M. Casimir Delavigne, without being too home in Euripides. The atmosphere of the classic drama does not faithful to history, has aimed to draw a grand historical picture, appear to suit him. He walked through the part of Admetus as and, in the opinion of many, he has succeeded. We think, neverif his sole purpose was to exhibit the splendour of his costume. theless, his drama would not have suffered if he had exhibited He had many opportunities for the exhibition of good acting, but Louis XI.—that monarch to whom, with all his faults, France did not take advantage of one. He might have been more digni- owed more than to any other-as something more like a man and fied in the second interview with Hercules--that in which he | less like a monster. endeavours to conceal the death of his wife; he might have been Every reader of French history is acquainted with the infinitely more pathetic in the dying scene of Alcestis; and he treachery and cruelty practised by Louis the Eleventh on John might easily have shown greater ecstacy of delight at the unex-d'Armagnac, Duke de Nemours, and knows how the crafty pected restoration of his Queen to life. Mr. Barry Sullivan, we monarch obtained possession of the person of the Duke by are aware, enjoys no mean reputation as a tragic actor; but his promising him a free pardon ; how, instead of granting him performance of Admetus in the play of Alcestis, is not likely to pardon, he had him beheaded, and placed his two youthful sons enhance his fame. Mr. Stuart's Hercules was a vigorous and under the scaffold to catch the drops of blood that fell from graphic performance, and created quite a sensation. He was the father's mutilated body. This horrible incident constirecalled specially at the end of the second act, and tended in no tutes the starting point of M. Casimir Delavigne's drama. small degree to the success of the play. The remaining characters | The young Duke of Nemours, who has grown up in were respectably supported.

the service of Charles the Bold of Burgundy, is sent When Alcest is was first announced, if we mistake not-at least to the Court of Louis, under another name, as the envoy of that it was understood—that the music would be entirely from Glück's powerful vassal. Louis, discovering who he is, determines to opera Alceste. Instead thereof, we found on Monday night that sacrifice him; but the death of he tyrant saves the son from the music was selected from various works of the German the fate of his less fortunate parent. This is as much of the plot master. The overture to Iphigenia in Aulis preceded the play, as need be told. The rest mainly developes the ideal of the and the choruses and entr'-acte music have no connection with each king, whose vices are laid bare to the audience in a manner other. Why the music of Alceste should not have been exclusively certainly more comic than tragic. The aim of the author in used we cannot say. The only part of the music taken from every scene, in every dialogue, is to portray the vacillations Alceste is the opening chorus; the rest is borrowed from Orfeo and of Louis, a id to exhibit the most violent contrasts of character. Iphigenia in Aulis. Mr. Wellington Guernsey is set down in the Most of these are highly effective; while some are seemingly bills as "selector and arranger." We think the play would have violations of truth and nature. For instance, when Louis is fared better if the selection and arrangement had been assigned about to suggest to his provost-marshal, Tristran l'Hermite, the to Sir Henry Bishop, who was engaged as musical director. murder of the young Duke of Nemours, he hears the “Angelus" We are sorry this subject has not been considered of sufficient sung in the distance, and breaking off suddenly from his theme, importance. The music of Glück is too seldom heard in this takes offshis hat and appears to pray fervently to the leaden image country; and now, when it is heard, it is to the manifest dis- of the Virgin placed in front of it, until the “Angelus " finished, advantage of the illustrious composer. We regret this the more, he returns to his murderous designs with equal alacrity as if since so much was done by the management to give it effect. The nothing had interrupted their discussion. The comic expression band was considerably enlarged; sixty chorus singers were of Mr. Charles Kean's face in this scene was irresistible, and provided, and, as we have just said, Sir Henry Bishop was created roars of laughter. M. Casimir Delavigne, however, engaged as conductor. We shall probably return to this subject | who probably intended to paint a true historical picture, desired next week.

to represent Louis as superstitious, rather than hypocritical. We may conclude with stating that a genuine success was Nor was the King at all likely to be a hypocrite before his chief achieved ; that all the actors were recalled at the end ; and that executioner. Mr. Charles Kean brings out the comic side of Mr. Henry Spicer had to bow from his box to a vociferous call the character elaborately, and by this means possibly saves it, made for the translator. Sir Henry Bishop, also, obtained a in a great degree, from being odious and insupportable. highly flattering reception on his entrance into the orchestra. Whatever difference of opinion may exist as to the merits of

PRINCESS's.-All the world of London is in raptures with M. Casimir Delavigne's drama-considered abroad as one of the Mr. Charles Kean's performance of Louis XI., in the new trans- triumphs of modern French dramatic literature--they have lation produced at the Princess's on Saturday. The admirers yet to be acknowledged in this country. There can be no of the actor in sist that it is his greatest effort; which is hardly dispute, however, of Mr. Charles Kean's personification of the complimentary to one who has won his highest fame in Hamlet. King. A more closely studied and admirably complete perThe truth is, that Mr. Charles Kean's acting is so thoroughly formance it would be difficult to imagine. But more than artistic, so finished, and, indeed, perfect throughout, as to make us this, the part of Louis the Eleventh seems peculiarly overlook the fact that the part of Lonis XI. is by no means a great adapted to the powers of the actor, who throws himself one, and that to give it all the force and meauing the author in- | instinctively into it, and.exhibits a new vein of comedy, for tended, is anything but exhausting to the actor's resources. M. which his warmest admirers had hardly given him credit. Casimir Delavigne's celebrated play, faulty in construction, and The character is essentially melo-dramatic; the comic predeficient in incident, possesses no great amount of interest for ponderates, and there is not one great tragic point in the whole. the general spectator. The character of Louis, however, is M, Casimir Delavigne had evidently Shakspere in his mind in depicted in such powerful colours, every phase of it is so the scene, where Louis probes Tristan l'Hermite (did the Provost forcibly brought out, that it requires an artist of no second- / Marshal require inuendoes ?) touching the murder of Nemours, rate powers to endow it with life and reality. M, Casimir which strongly recalls that between King John and Hubert, Delavigne has painted his hero even in darker colours than about the murder of Prince Arthur, and that between Richard history warrants. Louis is represented from first to last the Third and the Duke of Buckingham, apropos of the two without one redeeming quality. His meanness, craftiness, ava- princes in the Tower. rice, cruelty, superstition and cowardice an apparent in every

“Thou wast not wont to be so dull, gossip," scene; and were it not foran under-current of humour with which are the words of Louis to Tristan. Put “cousin” in place of the author, with singular tact, invests him, the character would be “ gossip," and you have the exact phrase of Richard to

Buckingham. Another hint-a very strong one-derived from music, by accurately determining the harmonic proportions and con Shakspere, cannot fail to be recognised in the last scene. The fining them to four keys. In the sixth century, St. Gregory devoted king is supposed to be dead; the dauphin kneels at his side and his attention to vocal music, and his Antiphonium, fastened to a chain, prays, and taking the crown from the table, is about to place it

was laid before the altar of St. Peter, in order for ever to preserve the on his own head, when Louis awakes and rebukes him. Need

primitive melodies, which had been produced by the most unalloyed we point to the celebrated scene between King Henry and the

enthusiasm, and were not simply a means of declaiming the text. The Prince of Wales in the second part of Sbakspere's King Henry

Roman Catholic Church retains this music to the present day, and, when the Fourth ? .

sung by a numerous choir of priests, as I have heard it sung in the CatheThe performance of Louis XI. has created an unusual sen

dral at Cologne, it produces a most powerful effect. Composers, however,

continued to introduce fresh ornaments; 60 that, in 1549, Cirollo sation in theatrical eircles. The Princess's theatre is crowded

Franchi wrote as follows concerning the singers of his day :-“ They to excess every night it is played, and Mr. Charles Kean is likely

consider their whole happiness and merit to consiet in the fact, that at to reap the benefit of his own powerful and original acting.

the same moment one says 'Sanctus,' another shall sing 'Sabbaoth,' The other actors had but little to do, and in the presence of and a third ‘Gloria Tua,' this medley being accompanied by a certain Louis XI, appear little better than nonentities.

howling, bellowing, and snarling, which rather resembles the cater

wauling of tom-cats in January than the fragrant flowers of the moon REACTIONARY LETTERS.

of May." When these abuses bad attained their greatest height, the No. II.

genius of Palestrina arose ; this, say his contemporaries, was as pure as (Continued from page 19.)

if the angels had instructed him in the harmony of Heaven. It is now One day, when Mozart was in a good humour, be proposed that

three hundred years since Palestrina taught, and yet all musicians those persons, who in vain racked their brains for melodies, should

acknowledge him as a genius of the higbest order. I am acquainted have recourse to a game at dice, in which each person should be

with two masses by him (with the same text, naturally), both magnifiallowed only two or three throws, and immediately receive a theme

cent, beautiful, and truthful in expression, and yet both differentfor a cantata, symphony, air, or galop. A great many took the joke

how does this agree with the system of Word Melody! Yes, a “Kyrie seriously and threw. It is true that the plan of deriving the melody

Eleison" contains a world full of tones, if you but possess the from the words, although somewhat similar, is a more sensible one, and,

art to select good ones : but it is only the power of genius, indeed, at first sight, appears to contain the philosopher's stone ; but

and not that of the understanding alone, which succeeds in such, unfortunately, is not the case. Words, like tones, are capable of

doing this. What Palestrina was at the epoch just mentioned, producing sensations by themselves; but if they are both united, the

Wagner wishes to be at the present day. As church music had sunk former pale like candle-lamps before gas-light. The former may aid in

then, opera has sunk now; and as a French vocal choir inoculated diffusing light, but it is from the latter that all the rays seem to pro.

Rome with superficiality, it is also the French school of modern times ceed. On this principle it is possible that thousands and hundreds of

which bas been productive of injurious effects in Germany. Germans thousands may feel elevated and excited by“ Rule, Britannia," without

have, from the bad translations they are in the habit of hearing every understanding a word of the text; and quite as many, most assuredly,

day, learned to undervalue the text. In garden-concerts, and in the allow themselves to be captivated by one of Rossini's comic operas,

streets, we mostly hear only French airs, and yet music deserves some (performed in Italian), without caring about the words. No one will

| attention as a means of expression and excitement, in so far as it works understand me as saying that words are entirely superfluous- but

upon the sentiments of a whole nation. There have been but few simply: in this manner we shall have no suns shining, but, at

statesmen who have not devoted their attention to the course taken most, candle-lamps. Trop raffiner c'est dénaturer. What have

by the feeling of a whole nation; and yet there have only been very few men not attempted with the poor words! There was one

who have recognised the influence exerted by music in determining it, period when composers exerted themselves to render the mere

although a song out of Grétry's Cour de Lion was capable, during the words picturesquely, without reference to the whole work. If, for

French Revolution of pacifying a furious multitude, and, at last, causing it instance, the expression “high goddess," occurred in the text, "high"

to join in; while, sixty years later, the melodies of La Muette de Portici, was set to a very high note; if we had “the deep feeling," it was cons

with the flames of their straw fires, excited people to a directly opposite sidered necessary to render “deep" by an exceedingly low one; at the

course, analogous to the sentiment they expressed. The present tenword "sin" the composer introduced an enharmonic transition, and a

dency of public feeling in Germany is one that, for every German, is tremolando was absolutely indispensable for "pain," just as when many

contrary to nature, and forced upon him by Paris. On tbis account it songstresses have to express that feeling they press their breast and

does not flourish, like a southern plant in a northern soil, but is cultishake their bodies. True expression proceeds from within. Melody

vated from a dearth of indigenous produce. Paris still sets the fashion. cannot be taught. We may criticise it here and there, but we cannot

This should not be the case. Berlin possesses, at least, as much strength, improve it, or it is no melody. When we blame Weber, for instance,

It is there that the banner of German art should be displayed, from because in his opera of Der Freischütz, he makes Aennchen, in the air

there that a ray of light should be diffused over all Europe; there that “ Trübe Augen," sing the unaccented syllable "gen" on a higher tone

everything that is beautiful should be concentrated and reign over all than the first syllable "au," we are, perhaps, not altogether wrong ;

around, with the irresistible force of superior and refined intellect. but any attempt to improve this most enchanting arietta, so admirably

There must be the source of the stream, that shall spread its fruitful adapted to the roguish, delightful character of Aennchen, in a word

waters over the country, receive all the brooks and rivulets, and melodious manner, would be a failure. I could adduce a great many

then pursue its onward course as a mighty river. Let us at present take sucb instances of Wagner, in spite of which he is charming, and as

for our model the schools of Paris for music and lyric declamation; many others strictly word-melodious, where he is repulsive. I purpose

when the German knows what he is to do, it will not be long before ho showing this when I come to treat of Lohengrin. If the system of

outstrips the Frenchman, because he is more indefatigable: while, word-melody maintains its ground, it will not be difficult in thuis in

again, if we gradually expunge French opera from our repertory, and ventive age-which has already invented an instrument that imme.

take care that German composers are no longer left to die of hunger, diately marks down every note a person sounds, as well as one that

we shall soon fill up the gaps with German operas. This was what imitates all the instruments of an orchestra--to invent another that

Weber wanted, and the object he had in view when writing his operas, will set down musically wbatever a person declaims. We should then

This is what Wagner, too, wants, and even if he were not already, as be able to compose a Drama of the Future in a few hours. But, joking

an artist, to be ranked among the most meritorious, he would be worthy aside, melody is quite a different thing to what some people pretend to

of our especial attention, simply from the fact of his possessing a feeling think it; for I greatly doubt their believing the doctrine they pro

of nationality, and working to the best of his ability, both in text and mulgate, and acting in accordance with it. The words are simply the

music, for German art. That a German composer, however, who did 'rough, transparent olibanum; the melody is the beautiful perfume

not first produce his operas in Paris, and there obtain a testimonial of which, when the former is warmed or lighted, escapes from the clouds

capability, should create a furore in our cautious country is due to of wreathed smoke. Let us cast a retrospective glance on its origin.

Franz Liszt. But for him, Wagner would long since have been forUpon the establishment of the Christian church, believers rejected,

gotten. Should, however, matters not turn out quite so successfully as with horror, both heathen and Grecian tunes. A most fervent and

the more sensible desire, we must blame those friends who, no longer sincere religious feeling created melodies, differing in every respect from

contented with seeing Wagner honoured as a mortal, wish him to be those employed in the theatres and temples of the heathen." Hilarius

worshipped as a god- although he iş yet very mortal, especially when was the first to write poetry and music for the church. About the

he meddles with word-melody., end of the fourth century, Ambrosius introduced a type of sacred

(To be continued.)

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Music Publishers' Circular-continued.

8. d. New, 8. W.-A Collection of Sacred Music, consisting of HIER MAJESTY'S PRIVATE BAND.

Hymns, Chants, &c. .. .. .. .. Jewell & Co. 7 8

Olivette-Sung by Mrs. Howard Paul .. .. .. .. Campbell & Co, 20 To the Editor of the Musical World.

Schulhoff, Jules-Chansons des paysans Bohèmes ., . Metzler & Co. 2 6 SIR, It gave me much satisfaction to read the very just and true

Galop di Bravura .. .. statement made in the letter of “A Chorus Singer," inserted in your Sloper, Lindsay.--Early one morning. Old English air varied, valuable journal of last Saturday.

for the Pianoforte

.. Campbell & Co. 2 It is a matter of much regret that there should be only too true a Sommer, Herr.-The wanderer's hope ..

.. . Jewell & Co. 2 O cause for such remarks.

Verdi.-All si ben mio-Il Trovatore

.. .. Boosey & Sons 1 0 There is one mistake I consider you have fallen into in your clever „ Di quella pira

1 0 leader on the same subject, which, when you know the truth (and that

Deserto sulla terra

10 can easily be discovered by inquiry), you will at some future time

Stride la vampa rectify. In speaking of the pay of the private band, you call it Westrop, E. J.--Tutor for the Violin

Campbell & Co. “liberal.” Now the salary of either Mr. or Mrs. Anderson may be

Wrenshall, C. L-Adieu, Militaire .. “liberal”—for that is a point not open to public inquiry, and that Wely, Lefébure.-Le calme du matin-Nocturne

Metzler & CO 8 0 Her Majesty is led to believe that all the members of the Private » Le calme du soir-ditto .. ..

20 Band are “liberally" paid, I have no doubt whatever. But I think, when you are told that the principal part of the members only receive

ADVERTISEMENTS. £80 or £100 per annum, and that they are required for that sum to be always in readiness to fulfil Her Majesty's commands, to the loss of all

ISS REBECCA ISAACS begs to inform her friends other engagements which they may by chance make; and that they are

1 and the public that she now receives Pupils at her residence, No. 8, Storetaken from their houses in town for the greater part of the winter to

street, Bedford-square, where communications for Concerts will be received. Windsor, without any further allowance being made them for increased expenses attending the having to keep up a second place of residence, MISS BLANCHE CAPILL (Pupil of Louis Leo-Voice, I do not think you can, in justice to that part of the musical profession, 11 Mezzo-Soprano), Professor of Music and Singing, 47, Alfred-street, Rivermake use of the term “liberal” as regards their salary.

terrace, Islington, where letters respecting pupils or engagements may be

addressed. There are many more arrangements respecting the Private Band of Her Majesty Queen Victoria, which ought-and I trust will meet with exposure before long; exposures which may possibly, nay, I believe

M ISS E. JACOBS will sing at Dalston, 22nd and 29th; will, astonish Her Gracious Majesty as much as any of her musical

11 Chatham, 23rd ; Reading, 24th; Dover, 25th; and Folkstone, the 26th

instant. Further communications respecting Concerts, &c., to be made at her subjects. I remain, sir, yours obediently, TRUTH.

residence, 8, Bury-street, City.


Pupils that he will resume his Professional duties after the termination of his To the Editor of the Musical World.

engagement in Scotland. SIR,—The insertion of the letter of "A Chorus Singer,” together,

M R. H. COOPER, Concert Ageut.-Professors and others with your powerful leading article on the subject, will do more good

giving Concerts in Town or Country, may be supplied with Vocal and for the ill-paid body of professionals, of whom I have the misfortune to Instrumental Performers on applying, by letter, to Mr, Cooper, No. 44, Upper be one, than anything that has hitherto been done ; and I speak fact Charlotte-street, Fitzroy-square. from observation, that one and all are heaping thanks upon you for

M R. H. C. COOPER, who has just returned to Town this step in their behalf. But woe to the writer of the able letter if his

11 for the season, gives lessons on the Violin, accepts engagements to perform name should ever transpire; already are the "700" on the qui vive to

Solos, lead Quartets, etc., etc.--For terms apply (by letter) to Mr. Cooper, No. 44, discover it, and of a surety he would become a marked man; but let Upper Charlotte-street, Fitzroy-square. us hope that the prime mover in a cause so beneficial to a suffering

M ISS MILNER, Vocalist (Soprano), will be happy to class will meet with better treatment. My immediate object in addressing you is to ask: Cannot the letter,

accept engagements to sing at Oratorios, Concerts, etc., etc.-For terms

apply to Mr. Cooper, No. 44, Upper Charlotte-street, Fitzroy-square. together with your leader, be, througli your kindly aid, inserted in the Times, Observer, &c. ? for then would the public be made aware of a MR. FRANK BODDA begs to inform his pupils that great abuse, and, at the same time, your praiseworthy efforts to remove Luis Vocal Classes will commence early in February and continue throughout

the season.--2, Nottingham-terrace, York-gate, Regent's-park. it. Pray accept my personal thanks for your able exertions in the cause, and insert this if you can find space for it. I remain, Sir, your MR. BRINLEY RICHARDS desires to announce that obliged servant,


L he has returned to London for the season, and requests all communications Jan. 16.

to be addressed to him at his residence, No. 4, Torrington-street, Russell-square.

January 18. (We have no connection and no influence with any of our contemporaries of the daily and weekly press. Our correspondent should

TL TROVATORE.-Messrs. BOOSEY and Sons have just make application in the proper quarter.-ED. M. W.]

1 published new editions of the four best Songs in this celebrated Opera: “Deserto sulla terra,”. “Ah si ben mio,” “Di quella pira," and "Stride la

vampa." Price ls, each.--28, Holles-street. MUSIC PUBLISHERS' CIRCULAR.

T PURITANI-arranged for Flute and Piano, by Clinton. A List of the Music published in London during the past week. S. d.

1 Three Books (Nos. 23, 24, 25, of Boogeys' Flute Répertoire). Price 38. each. Clinton, J.-I Puritani-Flute and Piano -3 books (cach).. Boosey & Sons 3 0

e Published this day by Boosey and Sous, 28, Holles-street. Coote, C., jun.-The Artillery Galop .. .. .. .. Campbell & Co. 26 THE VILLAGE BLACKSMITH.--The words by Fessy, A.-The Enchantress Schottische .. .

20 T

I LONGFELLOW. The music composed and sung by W. H. WEISS. Messrs. Glover, C. W.-Airs from Lucia di Lammermoor, in 2 books,

Cramer, Beale, and Co., 201, Regent-street; and Messrs. Addison and Hollier, each .. .. ..

.. ..

3 0 1 210, Regent-street. Gibsone, Ignace.--Helen. Mazurka .

MIBSONE'S PARTANT POUR LA SYRIE. Price Hunten, F.-Non più mesta

.. Metzler & Co. 2011 Höchst, Carl.-The Cardigan Galop...

. . Campbell & Co, 8 0 1

TU 2s. 6d. “The French National Air has been arranged by Mr. Gibsone with

consummate skill. The variations are light, elegant, and pleasing, and will be Hortense Valse .. .. .. .. ..


found admirably adapted for school teacbing."- Musical Review. » True Blue Polka .. .. .. .. ..


Campbell, Ransford, and Co., 63, New Bond-street, London.
Jung, Franz. --Maria's Beld .. .. .. .. .. Metzler & Co. 1 0
Laurent, H.-The Victory Polka ..

.. .. Campbell & Co. 8 O ro MILITIA REGIMENTS.NOTICE-CommandMendelssohn-Andante Rondo Capriccioso .. .. .. Metzler & Co. 30

1 ing Officers of Militia requiring Bands are respectfully invited to apply to Mount, G. -The celebrated Quartette from Rigoletto, arranged

Messrs. Boosey and Sons, 28, Holles-street, Military Musical Instrument Manuas a duett

.. Campbell & Co. 8 0 facturers to Her Majesty's Army and Navy, the Governor-General of India, &c. &c. A te o cara-as a duett

2 0

who undertake to form and supply Bands with every requisite, including Instru

ments with their appurtenancos, Music of the very best description and at the Mondelssohn's Wedding MarchSolo


most moderate prices, together with Bandmaster and Musicians of acknowledged · Ditto, duett .. .. .. .. ..

30 talent.


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Standard Elementary Works



I A CERTAIN REMEDY for disorders of the Pulmonary Organs-in diffiPUBLISHED BY

culty of Breathing-in Redundancy of Phlegm-in Incipient Consumption (of which Cough is the most positive indication) they are of unerring efficacy. In Asthma, and in Winter Cough, they have never buen known to fail.

Keating's Cough Lozenges are free from every deleterious ingredient; they may,

therefore, be taken at all times, by the most delicato fernale and by the youngest MHE UNIVERSAL SINGING METHOD.-Just ready

child; while the Public Speaker and the Professional Singer will find them invalu1 in a large volume (60 pages), price 68., cloth. The Universal Singing Method, able in allaying the hoarseness and irritation incidental to vocal exertion, and concontaining complete instructions how to produce and cultivate the voice without the sequently & powerful auxiliary in the production of melodious enunciation aid of a master, followed by a number of Solfeggi and Exercises by Rossini, Righini, Propared and sold in boxes, lg, 1 d., and tins, 28. 9d., 48. 6d., and 10s. ed, each, Vaccaj, Lablache, Bordogni, Garcia, and others; also useful lessons on singing with

ing, Chemist, etc., No. 79, St. Paul's Churchyard, London, taste and expression, concluding with four celebrated songs and a duet by Handel, The Testimonials of their efficacy are too numerous for publication, Bellini, Donizetti, Verdi, &c.


St. Paul's Cathedral, 30th Nov., 1849. price 48. each.-Book 1 contains a selection of Daily Exercises for the use of SIR, --I have much pleasure in recommending your Lozenges to those who may all voices. Book 2, a Collection of the best Solfeggi, by Crescentini (published in bo distressed with hoarseness. They have afforded me relief on sevoral occasions no other edition). This very useful work is recommended to the attention of all

ly able to sing from the effects of Catarrh. I think thoy would be Singing Masters. It will be found to supply a desideratum long required.

very useful to Clergy men, Barristers, and Public Orators. VACCAJ'S SINGING METHOD.-A Second Edition

I am, Sir, yours faithfully,
To Mr. Keating.

Thomas FRANCIS, Vicar Choral.
V of this celebrated work is published, price 15s.
D Solfeggi are now published, viz. : Twenty-four new easy Vocalises for all D Concert of the season will take place on Monday, January 29. Vocalists
Voices, 128.; Twelve for Contralto, 128,: Twelve for Baritone, 12s. ; Twelve for Mrs. Sims Reeves, Miss Poole, Miss Dolby, Mr. Farquharson, and Mr. Sims Reeves
Mezzo-Soprano, 15s. ; Thirty-six for Soprano or Tenor, in three books, price 109. Violinist-Herr Van Heddeghem. Orzanist-Mr. A. Carder. Conductor-Mr.

Frank Mori. Tickets-Area, Is. 6d.: Balcony, 28.: Reserved Seats, 2s, 6d. All CRESCENTINI'S TWENTY EXERCISES for the

communications respecting theso Concerts to be addressed to Mr. D. Francis,

Director, at the Institution. U voice. Price 8s. ZINGARELLI'S CELEBRATED SOLFEGGI. NEW PHILHARMONIC SOCIETY, Exeter-ball. U Price 10s.

The FIRST PERFORMANCE this season will take place on Wednesday,

Feb. 14. Conductors, H. Berlioz and Dr. Wylde. PANSERON'S A-B-C MUSICALE. Small 8vo.

Subscriptions received at

Messrs. Keith, Prowse, and Co., 48, Cheapside ; and Messrs. Cramer, Beale, and 1 Price 45

Co., 201, Regent-street.



Subscribers and the public are informed that the CONCERTS of the ensuing Two parts, price 18s. each.

season will take place in Exeter-hall, commencing in February. Subscription for

reserved seats, t2 28.; professional subscribers, £1 ls. ; subscription tickets for CZERNY'S 101 EXERCISES. Reduced price, 4s.

West gallery, £1 ls. Conductors-M. HECTOR BERLIOZ and Dr WYLDE.

Subscribers' names received at Messrs. Cramer, Beale, and Co.'s, 201, LSARMONY AND MODULATION.-Mrs. Kirkman's Regent-street.

1 New System of Harmony is now ready, price one guinea, comprising the Model Scale, Harmonical Circle, and Practical Analysis: also an Exercise Book,

THE CONCERTINA MISCELLANY.-Just Published, price 6s. This work which has received the warmest approval of every master of 1 price 28. 60., the first number of the Concertina Miscellany, a new periodical Harmony. The Musical World says, One week's attentive study of this of Popular Music for Concertina Solo, and Concertina and Pianoforto. To b: con. perspicuous diagram, will do away with the necessity of months of arduous and tinued every month. Subscriptions, per annum, 21., or postage free, 278. The Thankless labour." The Publishers beg to direct particular attention to Mrs. number for January contains a Fantasia on Masaniello for Concertina and Piano, Kirkmaus' beautiful simplification of a most perplexing subject. Prospectuses by GEORGE CASE. Boogey and Sons, 28, Holles-street.

forwarded on application. MARSCHAN'S PIANOFORTE HAND-BOOK, a new, | TUST PUBLISHED.—“Let us, then, cheerily wait for

complete, and cheap school for learning the elements of music, and acquiring o the Spring," a Winter Song, price 28. Words by ARTHUR Ransom; Music a masterly execution on the Pianoforte. It contains the theory of music all the composed and respectfully dedicated to Mrs. George Scrivens, by GEORGE LINDscales 'in both modes, and 91 Exercises, Studies, and Pieces, Price 10s. 6d., in a RIDGE. Published by Charles C. Ayles, Music Repository and Library, 35, large book.

Robertson-street, Hastings. Profits arising from the sale of this song will be

given to the Patriotic fuud. MARSCHAN'S ELEMENTARY INSTRUCTIONS in II Music, price 23. 6d., is a novel and completo method for the Pianoforte, with the addition of all the Scales in both modes.

for 1855. T EMOINE'S PIANOFORTE METHOD, in English and


1. An Almanack, with musical data. U French, 21s.

2. A List of Musical Societies throughout the Kingdom. T OGIER'S celebrated PIANOFORTE METHOD.-The 3. The Musical Doings of the past year.

4. Complete List of Music published throughout the Kingdom between 1st of 50th thousand, a new edition, price 8s.

January and 31st December, 1854. RAVINA'S TWENTY-FIVE ETUDES, in one book, 5. Names of Professors, Music-sellers, and Musical Instrument Manufacturers,

throughout the Kingdom, with their Addresses, &c. price 12s. ; or in three divisions, 6s. each.

Rudall, Rosu, Carto, and Co., 100, New Bond-street, and 20, Charing Cross. DAVINA'S TWELVE ETUDES DE STYLE ET IL PERFECTIONNEMENT. Price 12s. complete; or separately, 28. each. MOLOGNE UNION.-The following choruses for men's CZERNY'S ETUDE DE LA VELOCITE. U voices, “Good Night," "Soft Music,” “Happiest Land,” “Hunter's DeU Reduced price, Ss.

light," "Little Church," “Sailor's Song." "Soldier's Consolation," "Sunshine,"

" Wanderer," "For Liberty and Fatherland," "The Chapel," "Joyful Spring," DERTINI'S TWENTY-FIVE ETUDES CARAC

sung by the Cologne Union, score and parts, price ls. and ls. 6d. each, are pubD TERISTIQUES. Reduced price, 4s. each book.

lished by C. H. Purday, 24, Maddox-street, Regent-street. LTERZ EXERCISES, SCALES, AND CHORDS. IT New edition, with the wbole of the chords, published in no other copy,

CASE'S CONCERTINAS, manufactured under the Price 49.

personal superintendence of MR. GEORGE CASE, the eminent professor TOGIER'S SYSTEM of the SCIENCE of MUSIC, I

whose talent and energies have been devoted so many years to the improvement

of this instrument. Prices from £4 48. to £12 128. each. Case's Four Guinea I Harmony, and Practical Composition.--A new edition of this celebrated Concertinas are intended to supersede the imperfect cheap Concertinas which, work is just published, in one vol., bds., price 218. Also, the 19th odition of being made with only half the proper number of notes, are really worthless as Logier's First Companion to the Chiroplast, an Instruction Book for the Piano. musical instruments. A post-office order for £4 4s., will ensure the delivery of a forte, 8s.; and the 12th edition of the First Sequel to the Companion, price 6s. Concertina in a handsome rosewood case, carriage free to any part of England, CASE'S INSTRUCTIONS for PERFORMING on the

R+sidents in London are respectfully requested to call between the hours of Two

and Four, when Mr. Case attends to try over Concertinas and music. Boosey and U CONCERTINA, commencing with the first rudiments of music, and pro- | Sons, sole dealers in Case's Concertinas, 28, Holles-street. ceeding through a progressive course of study to the most difficult and elaborate style of performance; comprising examples, exercises, and explanations, composed, compiled, and arranged by George Case. Price 108. 6d.

NEW AND POPULAR DANCE MUSIC, price ls. DOMBERG'S VIOLONCELLO SCHOOL, the greatest Alma Redown by Hellver: Parisienne Rodowa, by Youens ; Merry Polka, by

each, marking the time well for dancing: Alma Schottische, by Youens; Il modern work for this instrument. A second edition, with portrait and L. Williams; Everybody's' Schottische, by Toner; Orynthia, by Chapman, plates, is published, price 308.

Postage free. London: B. Williams, 11, Paternoster-row.

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NOW ready for delivery, THE MUSICAL DIRECTORY

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