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Tjie Grand-Opera is in a frightful state! Cruvelli! Cruvelli! One swallow does not make a summer, nor does one nightingale make an opera! Cruvclli is the Rachel of the Grand-Opera, and Rachel is tho Cruvelli of the Theatre-Francais. Rachel has Racine and Corncille; Cruvelli has HaleVey and Meyerbeer. Corncille and Racino are dead, but Halevey and Meyerbeer are alive—which is a drawback.
Whoever wishes to be immortal to-morrow must die to-day; whoever wants to be acknowledged to-morrow must have been buried yesterday.
Hale>y is not compelled to struggle very hardly against the world and the public—againbt critics and artists—for his successes are sterling but not startling! His operas please but do not furorize people; they take their station on a level with other operas, but do not totally eclipse them. Meyerbeer, however, is in a constant state of emotion. His great successes are fertile in opponents; the crowds which throng to hear his works are accounted a sin in him; if another composer's opera does not please, its chute is Meyerbeer's work; if another composer's opera is not produced, it is Meyerbeer who composed the obstacles, etc. But it is true, very true, that Meyerbeer is to blame for the fact that the operas of others make no way or are unsuccessful—but not Meyerbeer the individual, but Meyerbeer the genius; not tho man Meyerbeer, but the composer Meyerbeer; not Meyerbeer with his acquaintances and influence, but Meyerbeer with his operas, and brilliant triumphs. It is not Meyerbeer who intrigues against the success of other people's operas, but his children, i. e. his works, his musical creations! That his Robert the Veril plays the vcrv devil with a thousand other operas, and sends them to the Hades of oblivion is not his fault! We cannot account it as a crime in him that the Huguenots slay a whole host of mediocre operas in a single evening. That his Prophete lives longer into the future is an offence that is very natural! That his Etoile du Nord contiuues to shine, while many starB in its vicinity shoot by it and fall to tho ground, is a decree of Heaven!
Meyerbeer plays the part of Fate with respect to many French operas! Meyerbeer was coming to Paris; he ought to have been—he wanted to be—here a long time since; he is not come, however, or, if he did come, he merely passed through Paris on his road to London. And why did not Meyerbeer come? Because he is not only a genial and unsurpassable composer, not only one of those rare specimens of humanity on whom Fute has bestowed, in addition to colossal capabilities, luck—for talent alone will not do in the world, nor will luck alone; both must be combined—but, because he, Meyerbeer, lias a fine nose as well. A fine nose is a gift of Heaven; a most peculiar gift. What a strange combination: genius, luck, tmAafine nose.
Two new operas were to be produced: Jenny Bell by Auber, and Les Vepres Siciliennes by Verdi, the books of both being by the great libretto man in the south, "on whoso empire the couplet never sets," by Scribe.
I was about to ask Cruvelli, who had ordered some German "Mehlspeise" to be cooked for mo—Heaven and Suphir will reward her—why she had no appetite, but I guessed tho cause; she was already studying Les Vepres.
Meyerbeer's fine nose must probably have thought as follows :—" If these operas do not succeed, and I am in Paris, certain people will be sure to say,'Cest Meyerbeer!' For when an opera is unsuccessful for waul of merit, composers say, 'Meyerbeer has done that! Meyerbeer is the opera-cracker.'"
Meyerbeer, therefore, kept away: the "opera-cracker" did'nt work, and yet botli operas were " cracked," and the result was a great amount of shell and very little kernel!
Jenny Bell, "la Jenny Lind empailUe," h«s gone, without producing much emotion or commotion, without much ringing of bells or signs of joy, to where many operas go, the wny of all Strausscs and Musards! The Vepres Siciliennes, however, the last heroic achievement of the Grand-Ope'ra, the youngest child of Verdi's excellent memory for his own operas, was not damned, but is gradually sinking! When, in this opera of five mortal hours, people now and then meet with a beautiful motive, they say: Passez voire chemin,je vous connais, beau masque!
There is not one piece in the opera that is neio; I mean: Verdi has not struck out a new path in a single bolero, in a single cavatina, in a single romance, or in anything else; we find the same artistic mark woven in every piece; all the details bear the same stamp; we meet with the designs of Ernani, the invariable cadences, and the eternal absence of musical substance. There aro some very pretty and melodious bits, the instrumentation is what may be termed very j
''clean," and some of the vocal touches are very sparkling and lively, but the music of this five-hour opera has no particle of character; it is deficient] inj exactly the very thing with which a Sicilian Vesper cannot dispense: the muiical certificate of legal residence! We do not perceive Italy—Sicily; we have the local tone, but not the local colouring, not the seething blood, the feverish psssion, the voluptuous heat of musical vegetation! The second act is magnificent and contains splendid passages, but even there we find the same parade of common effects and absence of intensity of conception! Cruvelli alone, in the "double-chorus" produced a furore, and justly so. The conspirators in front, and the persons sailing on board the barks in the background, are magnificent. In tho fifth act, however, the wholo a Hair finks into a kind of lassitude and sleepy exhaustion, of insipidity and triviality of style, that is incomprehensible!
In this act, Verdi must take M. Scribe by the hand, and say to him: "Eincn theil der Scliuld muss du vor dem grosscn Richter tragen!"*
In fact, the whole book is a monslre. It cannotin jure Scribe's great and magnificent talent, if we at last speak to him in the following words: "Enough! you have swayed long enough tho sceptre of libretti; you have been long enough the only sovereign of Meyerbeer, Verdi, Auber, Halevy, and others. Your music requires rest. Even the greatest genius cannot succeed in all things and on all occasions! Let younger talent, also, hew itself out a little career, and do not place yourself right across the road, so as to block it up for the youth now coming."
The Vipres is more than a had text j it is a piece of stupidity!
There is no doubt that Scribe felt all that was repugnant and contrary to the feelings of Frenchmen in the subject! He wanted to cover himself, and thought he could get rid of the recollection of this inappropriate circumstance, by declaring at. the top of his libretto, "The Sicilian Vespers arc not at all historical! They are a fiction."
But, whether this be truo or not, I think that Scribe has, by this remark, constituted himself his own accuser. For if respect for history did not compel him to display no invention, who is to blame for the entiro absence of that quality, and, indeed, such a mutilation of an event which he could spin out and end just as he chose!
It is something hazardous to begin a chorus in Paris with the words:
"Sois maudite, 6 France!"
and, then, at the end to conclude the sanguinary Vespers so languidly and weakly, and represent two or three Frenchmen massacred by a whole host of Sicilians. Does Verdi hope that lie will be able to have the opera represented in this dress in Italy? Impossible!
Shall I now tell you what we—who go behind tho scenes—and I— who draw my information from the very midst of tho various sources— think we know about the text of this opera? Can Verdi not be aware that this libretto—at least, so says the ill-natured world—has already a grey head? That it has been offered to all the French and Italian maestri, not oven excepting tho late Donizetti? Can these Vepres have been once called Le Due d'Albe? Can the following verses of the Vepres:
"Frappez-les tous! quo vous importe?
Francois ou bien Siciliens;
Frappez toujours! Dieu choisira les siens'."
have been contained, word for word, in the libretto in question! Did not the "Legate" speak them? I cannot myself assert that ho did, but people whisper it!
And then what a wretched conclusion! The princess, who, in tho beginning, is all blood and love, love nnd blood, who plays with poniards—this sanguinary man-woman becomes at last n lamb, a fish in disposition, a shepherdess in feeling, a sister of charity in words! Signor Verdi, too, "completely agrees with this travesty of his heroine, and carries ber on to the end with shakes and couplets! Frenchmen and Sicilians massacre each other in amiable verse, and the lovers sink into the arms of death to bars of dance-music! This is called the Sicilian Vespers, not tho historical vespers, however, but tho poetic, improved Sicilian Vespers, adopted, as their offspring, by Scribe and Verdi.
There is, also,,a ballet in the opera—a ballet and danseuses, but tho latter arc so old and ugly—with the exception of Conqui! How can anyone be named •' Couqui," when sho is charming as sin, young as Spring, and beautiful as a May morning, besides dancing like a roseleaf upon tho lips of a zephyr?
There is still something left for me to mention: the costume! Is Sicily in Russia? Is Palermo the capital of Sicily? What furs! What muffs! What fur trimmings! Also good!
* "You must bear a part of the blame before the great Judge!"
But Crurelli! What a superb singer! What a Toico! What melting tones! What soul! What heartfelt singing, and what true and moving pathos! With what passion she sings her grand aria! and with what sweetness her romance! How clear, how full of soul, passion and intensity is everything she does! She was overwhelmed with applause. If these Vespers retain their place on the sta^e, it will be because Mdlle. Cruvelli is the daily Vesper-Broil which keeps them living, which nourishes them, which gives them flesh and soul.
Gueymard has a nice voice, but his acting is not dramatic, because he wants to make it too much so; besides, he has a part not suited to him; it is too soft and gentle. Saphib.
Sib,—In your last number you published a letter from "Justice," calling your attention to the faot of Mdlle. Jenny Bauer having been encored in eich of her Bongs at Heinrieh Werner's concert, though in your reporter's notice one only was mentioned as having gained that honour. I therefore respectfully request, on the part of a young artist, that you will state that Mr. Seymour was encored in "Angiol d'amor," a fact which you have not yet noticed. Tour obedient servant,
Wednesday, 18<A July, 1855. S. J. B.
[Any further letters of this description must be paid for as advertisements.—Ed. if. W.~]
Touch: As Applied To The Instrument And The Pinoeb.—The term " Touch" is applied as well to the instrument as to the performer. When it is said that a pianoforte has "a good touch," it is intended to express that each key replies with ease to every degree of lightness or power with which the finger presses or strikes it; that it possesses the just amount of resistance to the touch of the finger; that its slow or rapid reiteration produces tones of equal value respectively, and that in these various particulars there exists no perceptible inequality throughout the entire range of the instrument. By the "touch" of the performer we mean the action of the finger on the key. By the majority of pianists, professional us well as amateur, this quality is not sufficiently cultivated; and now that wo fortunately possess actions so perfect in their mechanism as to enable us to draw from the string any amount, and almost any quality of tone we may desire, we must attribute a hard unvocal tone, if I may be allowed the expression, to a want of musical feeling on the part of the performer. I would counsel all students of the pianoforte closely to imitate the voice; and, by frequent experiments, strive to produce from the point of the linger every gradation of tone of whioh the voice is capable. Between forte and fortissimo, piano and pianissimo, there are gradations of tones to be drawn forth, analagous, in the sister art of painting, to the middle tints of a picture; by the production of which, an expression is given to music which excites, both in the player and the uuditor, emotions, almost as varied as our sensibilities. Au attention to pianos and fortes, just time, and a firm dear articulation, are considered, by pianists in general, sufficient requisites to constitute a "good player." We have myriads of "good" players; but of "great" players, how few! The aim of manufacturers, besides producing a greater volume of tone, a more sustained quality, and a more equ:il touch, has been to bring, by means of the most perfect mechanism, the peculiar sensitiveness of the finger into a more immediate association with the string, so that every variety of touch shall produce a corresponding variety of tone from the instrument. Dr.Lardner, in his "Handbook of Philosophy" instances the mechanism which in the pianoforto connects the key with the hammer as a " beautiful example of complex leverage." He Bays "tho object of it is to convey, from the point where the finger acts upon the key, to that at which the hammer acts upon tho string, all the delicacy of action of the finger; Bo that the piano may participate to a certain extent in the sensibility of touch which is observable in the harp; and which is the consequence of the finger acting immediately on the string in that instrument without tho intervention of any other mechanism." The whole range of mechanical art, I believe, does not furnish a more astonishing result: and, when the distance from the keys to the wires is considered, I think it will be conceded that to produce, through the medium of wood and leather, that marvellous sympathy which exists between the finger and the strings, a great triumph of mechanical skill has been achieved. We are of late, however, so accustomed to perfection in the numerous inventions of art that it not only ceases to excite our wouder, but is not even appreciated.—Charles Salaman's Fourth Lecture.
PECULIARITIES OF MUSICIANS.
(From a German Paper.)
Musicians have, as we well know, strange whims and caprices at times. The following accouut of some of the most remarkable may prove interesting to our readers, but we do not hold ourselves responsible for the complete acjuracy of all of them. Auber could not stop two days successively in the finest city in the world. Adolphe Adam (of the Institute) has the greatest contempt for fine trees and forests. Donizetti used almost invariably to go to sleep while travelling, not paying the slightest attention to the beauties of nature. Paer was fond of contradictions: he wrote Camilla, Sargines, and Achilles, while joking with his friends, scolding his children, and incessantly quarrelling with his servants. Cimarosa had always a dozen, or so, connoisseurs of art around him, who used to be talking on all kinds of subjects while he was writing. Saochini lost the thread of his inspiration when his cats left off running over the table. Sarti could not compose except in a dark room without furniture; ho only allowed the wretched lightof a flickering lamp, that hung from the ceiling. Spontini, too, was accustomed to compose in the dark. Salieri was obliged, in order to foster his powers of imagination, to go out, and walk through all the most frequented streets, eating bon-bons. Hadyn, on the other hand, used to seat himself in a spacious arm-chair, and, with his eyes fixed on the cieling, let his imagination rove through uakuown spheres. Gluek used to seat himself in the open air—sometimes quite in the sun—with two bottles of champugno, and warm his mind by gesticulation, as the artists intrusted with the representation of his lyrical dramas might have done. Handel used to wUk about churchyards, and, also, often sat down in tho most lonely corners of the churches. Pas'iello, who was indescribably lazy, used to remain in bed a great portion of the day. M£hul worshipped flowers; ho would fall into a reverie before a rose, and felt really huppy only when he could wander unobserved in some lonely garden. Mozart read and ro-read Homer, Dante, and Petrarch. He hardly ever sat down to the piano without first perusing ODe or two chapters from his favourite authors. Verdi prepares for the task of composition by reading a drama of Shakspere, Goethe, Schiller, or Victor Hugo, or fragments from Ossian.
(A tissue of more nonsensical "canards" was never woven. We only quote them to warn our readers against attaching any importance to them.—Ed. M. W.)
Keejismunstee (Upper Austria).—A grand performance of Mendelssohn's Elijah was given on the 1st iust. The orchestra consisted of ninety members. The whole went off in the most successful manner,
and the enthusiasm of the audience was indescribable.
MR. And MADAME R. SIDNEY PRATTEN, Profossors of tha FlutJ, Guitar, and Concertina. 131b, Oxford-street; when their Concertina Clas-tcs arc held, and where all their compositions may be had for tho above instruments.
HERR REICHARDT begs to inform his friends that he ha* left for the Continent, but will return in time for the Birmingham Festival. All lutters to bo forwarded, to 3(i, Goldou-equaro.
MISS BLANCHE CAPIL L—(Voice, Contralto), Professor of Music and Singing, 47, Alfred-street, River-terrace, Islington, where lottors respecting pupils or engagements may beaddresaed.
MUSICIANS.—Wanted, under most advantageous conditions, On« Hundred Brass Instrument Players, to join a Military Uun.l i'i Her Majesty's Service. It is absolutely necessary that the men be either Germans, or speak the German 1 mguage. Parties introducing musicians will be liberally compensated. Apply to B"Os«y and Sons, 28, Holies-street, Oxfordstreet, daily, between the hours of 10 and 4.
MUSICIANS AND DRUM MAJOR WANTED for a Militia Rc-imont; pay from 2a. Gd. to 5s. a day, according to ability. Application (pergonal only) to be made to Boosoy and Sons, 28, Holles-itroet, Cavendish Square, Loudon.
MDME. ANNA THILLON, AUGUSTUS BRAHAM, FARQUHAltSON, HICHABDiON. GEORGE CASE. The above popular artistes will make a tour in the provinces in September next. Applications respecting engagements should be addressed to Mr. George Case, ut Messrs. Boosey and Sons, 28, Holles-straet, London.
"I INDLEY the VIOLONCELLIST.—The very charac
I J teristic Original Portrait of the late Robert Lindlcy, admirably painted, is now for sale, and may bo viowed at Mr. Walcsby's Gallery of Art, 5, WaterlooPlace.
B"1rmingham~^usicaitfestiVal, In Aid OF THE FUNDS OF THE GENERAL HOSPITAL, on the 28th, 29th, 30th, and 31st days of August next. Under tho especial patronage of Her Most Gracious Majesty the Queen, His Royal Highness thy Prince Albert, Her Royal Highness the Duche.*s of Kent. President. The Right Hwi. Lord Willoughby de Broke. Vice-Presidents, The Nobility and Gentry of the Midland Counties.
J. F. Ledham, Esq., Chairman of tho Committee.
TO CONCERT AGENTS, VOCALISTS, &c.—The Comraitteo of the Leeds Now Subscription Concerts, and of the People's Concert*, will bo glad to recoivo applic <tions for engagements during the enauin g season (September to April) from artistes who may be travelliug northwards. Address—John Brig^s, Hon. Sec., Recreation Society, 23, Park-row, or, William Spark, Musical Director, 11, Park-square, Leeds.
OLD CHORISTERS' GATHERING—At a Meetingof Old Choristers, held on Wcdnesd iy, July 4th, 1855, it was determined to mako arrangements for a gathering of those wlio have becu educated in, or are at present members of Cathedral antl Collegiate Choirs It was suggested that the object would be most agreeably carried into effect, by inviring all who feel an interest In meeting their o d schoolfellows (separate i as they are in many instances by distance or professional avocation-*) to assemble for a morning Choral Service in Westminster Abbey, on Monday, July 3utb, 1855. It was also proposed that tho meeting proceed by water irom Westminster to I/mdon Bridzo, and from thence by railway to the Crystal Palace. Sydonham, to enjoy a day of relaxation and friendly iutercouise. Arrangements have been made that the Tickets 'including Dinner and all other expenses) shall be 10s. t>d. each, which may be bad on application to Edward J. Hopkins, Esq., 69 TachbrooK-street, Pimico. Those persons who are desirous of boin* present are requested to make their intention known by an early application, and a remittance of the price of u Ticket, which will then be forwarded.
(Signed) Edward J. Hopkins, Chairman of Committee.
RS. PRATTEN'S PERFECTED FLUTE (on the • old system of fingering.) This instrument is universally acknowledged to posses* the most powerful tone, combined with perfect intonation, sweetness, and case to tho performer. Prospectus and testimonials ou application to John Hudson, Manufacturer, 3, Rathbouo-place.
PIANOFORTES.—To all who desire a First-rate Piano at a moderate price. Messrs, Lambert & C<>., lately romoved from Percystreet to 314, Oxford-street, near Hanover-square, beg to call particul.ir attention to their new Patent Repeater Cbeok Action Pianofortes, and method of constructing the bracing, which they warrant not t> give way in any climate. For purity of tone, easy and elastic touch, and durability, Messrs. L. and Co. have no hesitation in asserting that their Pianofortes stand unrivalled. They have received most numerous and nattering testimonies to this effect, from purchasers, both at home and abroad, and they feel confidant, that their instturnouts have only to be tried to be appreciated. Mr. Lambert gaiuo i A prize f->r his Patent Cottage Piano at tho Great Exhibition, and is the sole inventor of the Check Action.—Pianos taken in exchange, tuned, repaired, regulated, aud lent on ii iv. Lists maybe had on application.
CONCERTINAS by CASE; the only instruments that remain in tune, and do ii"t require to be constantly repaircl. Every . concertina by Date has 48 keys (full-compass) and double action. Prices:—No. 1, I In mahogany, with handsome case, fourguinoas; No. 2, in rosewood, six guineas; No. 3, in rosewood, eight guineas; N<>. 4, in rooVWuod or auiboyna, ten guinea*; No. 5. splendidly finished in ebony, with pla'i d studs, twelve guineas Case's instructions for tho concortina, price 10s. 6a, Case's Concertina Miscellany, published every month, price SU. 6d. Solo dealers and publishers, Boosey and Sons, US, Holies-street.
BANK OF DEPOSIT, No. 3, Pall Mall East, London. Established A.D. 1844. Parties desirous of INVESTING MONEY arc requested to examine tho Plan of this Institution, by which a high rate of interest may be obtained with perfect security. The interest is payable, in January aud July, at the Head Office in Lorn Ion ; and may also bo received :-t the various branches, or through country bankers, without delay or expense. Petor Morrison, Managing Director. Prospectuses aud Forms for opening accounts Bent free on application.
C. BOOSE'S NEW PATENT MODEL
COMPLETE OPERAS FOR PIANOFORTE.—Messrs. Boosey and Sons' new Reries of complete operas without words m cloth covers, gilt letters: Lucia di Lammcrmoor, 5s.; Les Huguenots 7s. tki.; La Sonnambul.i, 4s.; Norma, 4a. ; Fillu du Regiment, 4s.; Fra Diavolo, 5s.; Don Juan, fla. ; Lucrezia Borgia, 4s. Tho following operas, in paper covers, are without the recitatives: Rigolutto, 4s.; II Trovatore, 4-.; Ernani, 4s.; Nabueo, 4s.; Lombard!, 4s. ; Elisirc, 4s. ; Anna Bolona, Gs. ; &c, die. Boo-ey and Sons 28, Holies* street.
THE WANDERING MINSTREL.—Laurent's Celebrated Vilikins Valse (Fifth Thousand1, on the s<>ng sung by Mr. F. Robson, with a comic illustration by Braudard. Price, for piano, 3s. Full Band, 5s. Septet, 3s. 6d. Boosey and Sons, 28. Holies-street.
MOZART'S "DAVIDDE PENITENTR," 10s.—English Version by R. Androws, as given at the Norwich Festival. Fu'lOrrhestra and Chorus parts may bo had on hiroof JR. Andrews, 84, Oxford-street, Manchester, and J. A. Novello, London.
WEBER'S PIANOFORTE WORKS, complete, thrco vols , £3.
FORKEL'S GENERAL HISTORY of MUSIC, two vols., 4to., plates, boards, £2.
HAYDN'S VIOLIN QUARTETS.—Complete collection of Quartets, beautifully printed, f,.ur thick vols , boards, £5 108.
HAYDN'S SYMPHONIES IN FULL SCORE.— Nos. 1, 2, 3, price 3s, each. Nos. 4, 5, 6—4s. each. New edition.
T ES HUGUENOTS, IN FULL SCORE. — Splendid
J-J odiiion, strongly bound. Price .-t 10.
T ES HUGUENOTS, Orchestral Parts (printed) XI1.
MARCELLO'S PSALMS.—Fifty Salmi, with accompaniment by Mir-cki—Tivclve Tarts In Four Vol-. 0<n elegant, correct, and cheap edition, publishod under tbo direction of the col^bratod Ckerubini) price £0.
*.* Orders from the country must be accompanied by arouiittance.
VERDI'S IL TROVATORE.—The Cheapest and Best Editions.
1. Pian'-forto and Voice (unabridgol), in boards 21s.
2. Pianoforte Solo (Norduiami) .. .. .. .. .. .. 4s.
3. Pianoforte, Four Hands (Nordmann), cloth S3.
4. Tho whole of the Songs, popular editions .. .. .. Is. each.
5. Three Fantasias for the Pianoforte, by Nordroanu 3a. „
Boosey and Sons, 28, Hollos-street.
GA. OSBORNE'S NEW PIANOFORTE MUSIC— • Published this day:—Mi Manca la Voce (Mose), 3s. ; La Sonnambula, Fantasia, 3s.; Dun PcnKicro, 2s. 6d. ; Gikxi Night, 3k.; A to O Cara (second edition). 2s. 6d.; In Donna o Mobile (second edition), 3s. Boosey and Sons, 28, Holies-street.
FORBES' COMPANION to the PSALM and HYMN BOOK, in uso at a great number of the metropolitan churches. This excellent Httlo work contains 80 tunes (for four voices and piano or organ), and 35 single and double chants. Two editions are published, ono with i lie Rev. M. Gurney'a woids; the other with tho selection by tho Roi*. W. J. Hall. Price 4b. in cloth. Booaey and Sons, 28, Holies-street.
IGNOR CAMPANA'S NEW ITALIAN RO
MANZAS, sung by SLmori Mario. Gardoni, Marras, and Bellotti. Price 2s. each 1. La Luua. 2. La Prima Tagrima. 3. LUltima Prcghiera. 4. Amami. 5. Vola il tempo. 6. II Marinaro (Barcarolle), and 7. Una sera d'AniTc, duc^, 2s. Gd. Boosoy and Sons, 28, Holies-street.
ADAME OURY'S NEW PIANOFORTE MUSIC,
published this day: La Gassier Valse, 2s.; Minuet and Trio from Mozart's Symphony in E flat, price 3s.: Le Bijou Perdu. Chante pv- Cabcl, 3s.; Mazurka Brillante, 4s.: Romance sans Paroles, 4h. ; Partant pour la Syne, 3s.; Rib'oletto Funtaisio, 4s.—Boosey and Soub, 28, Holies-street.
MADAME GASSIER.—The celebrated Valse, sung by Madame Gassier, in 11 Barbicrc di Seviglia. arranged for Pianoforte by Madamo Owry, price 2s., with a t'ortrait.—Bo.»sey and Sons, 28, Holies-street.
NORDMANN.—DI QUELLA PIRA, Morceaux de Trovitoro. Price 3s. Boosey and Snna, 28, HolleB-stroet.
NORDMANN—IL BALEN DEL SUO SORRISSO, M orccaux de, Trovatore. Price 3s. Boosoy and Sons, US, Holles-sti cut.
LA SONNAMBULA, for Flute Solo, by Clinton. 2a. 6d. complete. Boosey and Sons, 28. Holies-street.
1 complete. Boosey and Sons, 28, Holies-street,
LA SONNAMBULA, for Concertina Solo, by Case. 4s. complete. Boosey aud Sons, 28, Holies-street.
LA STELLA DEL NORD (L'RTOILE DU NORD), a Lyric Play, in thrc? acts, the Mu-ic by G. Meyerbeer. The Libretto adapted t>~* tho Italian Stage, and translated frwii tho French of E. Scribe, by Maufrtdo Majjgiom", as represented at the R"yal Italian Opera. Covent Garden. July 1855. N.B.—Tliis Libretto is uu'ler the protection of the International Copyright Act; any one pirating the same wi 1 bo legally proceeded against. Printed, Published, and sold cxclnsively by Thomas Brcttell. Rujwrt Street, Haymarkct. To bo h:id nt tho Royal Italian Opera, Covent Garden; also of nil the principal Booksellers and Musiesellcrs. Price Is. CJ.
FERDINAND PRAEGER'S "Elfenraahrchen" (Fairy Tale), as performed by the composer at all his concerts on tho Continent, the celebrated Gcwaudhaus Concerts at Leipzig, &c.—Published at Cramer, Bcale, and Co.'s. Regent-street. m
BIOGRAPHY.—The Life of John Sebastian Bach, with a Critical Viow of his Compositions, translated from the German of J. N. Forkel. author of "The Complete History of Music," etc Price 4s, in boards. The above is a very valuablo and instructive piece of musical biography, exhibiting, in a most striking manner, the result of great and original genius united with untiring patience and perseverance. Boosoy and Sons, 28, Holies-street.
LA DANSE DES FEES.—Parish Alvars' celebrated morccau lor the Harp (played by Mr. John Thomas at Willis's Booms) may 1)0 had, arranged for the pianoforte, by Rudolf Nordroaun(socoud thousand). Price 3s. Boosey aud Sons, 28, Holies-street.
ORCHESTRA.—Violin, Violoncello, Clarionet, Oboe, Flageolet, Bassoon, Horn, Trumpet, (fee. Messrs. Booaeys' extensive stock of classical music, im pored from the Continent, for tho above instruments, is to bo disposed of at a greatly red iced rate. A priced catalog-no is just ready for Six pence, free by i>oat. 28, Holies-street.
OACRED MUSIC—FULL SCORE AND PIANO
O FORTE SCORE.—Messrs Boosey and Sous' extensive stock of valuable foreign miisic of ihis class, is to be disjws-jd of at grea'ly reduced prices. A catalogue froe for six stamps. 2S, Ho l.s-street. July 1st.
■yiOLIN QUARTETS—The splendid stock of Violin
v Quartets imported by Messrs. Bo<»sey and Sons, is to be disposed of at a greatly reduced rate. A complete catalogue, free by post, for six stamps. Boo?ey and Sons, 28, Holies-street.
TUST PUBLISHED.—FANTASIA on the celebrated
tl J:v-obite S-ng. "Will ye no' come bock again?M for the Pianoforte, by T. W. Niumann, price 3'. od., free by P*>st. This Piece is admirably adapted for Schools and 'IVacbors. London—Chapi>ell, 50, New Bond-street; Edinburgh— Paterson and Sons.
In the Press.—The 12th Edition of the above popular Song, with Symphonies aud Accompaniments, by tho late Finlay Dun. Price Is.
THE CONCERTINA MISCELLANY, edited by George Case. Subscription 21s. per annum. A number is issue'i the 1st of the month. Price to non-subscribers, 'is. 6d. Already published :—No. 1. Fan* taisie sur Masaniello (Concertina and PiauoX Auber; No. 2. Selection from the Creation (Concertina and Piano Concertante), Haydn; No. 3. Selection from Lucia di Laminermoor (Concertina Solo), Domxetti; No. 4. Fantnisic on Irish Airs (Concertina and Piano). National; No. 5. Selection of French Airs (Concertina and Piano) National; No. 0. Fantaisio on Guillunmo Tell (Concertina and Piano Concertante), Rossini; No. 7. (for July) contains a selection of dance music (Concertina Solo.) Boosey and Sons, 28, Holies-street.
TJEGONDI's NEW MUSIC for CONCERTINA and
rV PIANO, admirably nrrranged forAmateurs. Les Huguenots, four numbers,
3s. each. Robert le Diablo, thrco, 3s. each. Puritani two, -is. each. Lucia, two, 4s. mch. Ernani. three, 3s. each. Rizolcfto. three, 3s. each. Sonnambula, six numbers, 3s. each.—Boosey and Sons, 2S, Hollos-street.
MUS.* BAC, OXON.—The Exercise, written for the degree of Bachelor in music, by Riclnrd Hackiug, Jimr. Bury, Lancasuirev l)eiug a sacred Omtuta for fivo voices with orchestral accompaniment entitle! "Judgments and Mercies," and performed before the University of Oxford in commemoration week. June 18th, 1855. will shortly be published by subscription, in vocal sco!'-, with au accompaniment arranged for tho orgau or Pianoforte. Price 10s, 6d. Subscribes' uan.es received by tiio Author.
IMPORTANT TO LEADERS OF BANDS, &c—The
.1. band parts of the new dance. La Varsoviana (as danced at tho Argyll RoomsX arc published this day. price, for full orchestra, 5s. ; septet, 3s. Gd.; also, the fifth edition of the Pianoforte eopj'. Price 2s. Boosey and Sons, 28, Hoilcs-street.
Published by Jons Boosey, of 27, Notting Hill-square, in the parish of Kensington, at the office of Boosey &, Sons, 28. Hollos-street. Sold also by Rfed, 15, John-strcot. Great Port laud-street; Aixkn. Warwick-lane; ViCKCtts, Holy wellSircet; Keith. Prowsk, &. Co.. 48. ChcapsMc; G. Sciieurmann, S6, Nowgatestrect; Harry May, 11, Holborn-bars. Agents for Scotland, Paterson b Sons, Edinburgh ; for Ireland. H. Bossell, Dublin; and all Music-sellers.
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Popular Ams Fob The Hakp. By. F. Crowdy.
Sir Henry Bishop's admired Ballad, "Home, Bweet Home,"
with Variations for the Pianoforte by B. Andrews.
Piano, par Charles Salaman.
pour Piano par Charles Salaman. "bokdo Nbl Tempo Della Giga," for the Pianoforte, by
Charles Salaman. "Dbopb In The Sea Op Waltzes," by Josef Gungl. "The Fibst Violet," Waltzes, by H. Schallehn. "sehnsuoht," Notturno fur das Pianoforte, yon Bennett
Gilbert. "Tiieee Polkas," by Francesco Berger. "the .stone it Enge Polka," by Thomas Lloyd Fowle. "The .siege Of Sebabtopol," Grand March, for the Piano■• forte, by W. B. Braine.
No. 1 is a set of twelve popular tunes, " collected and partly arranged" for the harp. What Mr. Crowdy means by "collected we are not able to guess, the airs themselves being of the commonest and no at hand. Some idea of his "partly arranging," however,
may be gathered from the following slipshod ban (among others nearly as bad) in "Bule Britannia"—the proper bass to which, one would have thought, ought to bo familiar to every tyro :—
We are at a loss to conceive how anything so clumsy and unmusician-like as theso "part-arrangements" (with their misprints to boot) can have passed through the hands of the engraver. Is it indispensable that music, even the simplest, should be spoilt to suit it for the harp P It would almost appear so, if we may judge from the examples presented in this " collection."
No. 2 consists of a mild arrangement of the Spanish melody (not Bishop's), called, in England, "Home, sweet home j" some mild variations in arpeggio; and no end of shakes—the whole very smooth, harmless, insipid, and quite uncalled for.
Mr. Sewell's first polka (" Les Bivales"—No. 3), is lively enough; but why does he announce it, at the end of a short introduction, after this singular fashion:—
We fear these "rivals" will be left by the musical public to fight out their own battle.
The five pianoforte pieces of Mr. Charles Salaman (Nos. 4, 6, 6, 7, and 8) deserve more than a passing word. They are essentially good music, and being of moderate length and moderate difficulty, are very generally available. Another thing in their favour is that they are all original—not hashes, made out of dainty slices from the last new operas and seasoned with the pepper and salt of arpeggios and traits de bravoure, but movements planned and accomplished b) aid of materials from the composer's own brain. The only exception is a capriecio iu E flat, the theme of which—a melody, as simple as it is charming, from one of the operas of Cherubini—is treated in a musicianly manner and developed into a movement which has something of the characteristics of Dussek, while modified by passages of a more recent style. We recommend this little piece earnestly.
"La Barchetta sul flume" (No. 4) is longer, but not quite so much t our liking. Considering the dimensions of this piece, we find toormm of it iu the same keys—A fl«t and E flat—while the episode (jii»£ ttdf)