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MEYERBEER-VERDI—SCRIBE.

"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; E.xtract of a Letter from Paris to Vienna.

it is deficient in exactly the very thing with which a Sicilian Vesper The Grand-Opéra is in a frightful state! Cruvelli! Crurelli! One

cannot dispense: the musical certificate of legal residence! We swallow does not make a summer, nor does one nightingale make an

do not perceive Italy--Sicily ; we have the local tone, but not the opera! Cruvelli is the Rachel of the Grand-Opéra, and Rachel is the

local colouring, not the seething blood, the feverish passion, Cruvelli of the Théâtre-Français. Rachel has Racine and Corneille ;

the voluptuous heat of musical vegetation! The second act is magni. Cruvelli has Halévey and Meyerbeer. Corneille and Racine are dead,

ficent and contains splendid passages, but even there we find the same but Halévey and Meyerbeer are alive-which is a drawback.

parade of common effects and absence of intensity of conception ! CruWhoerer wishos to be immortal to-morrow must die to-day; who.

velli alone, in the “double-chorus” produced a furore, and justly so. over wants to be acknowledged to-morrow must have been buried

The conspirators in front, and the persons sailing on board the barks yesterday.

in the background, are magnificent. In the fifth act, however, the whole Haléry is not compelled to struggle very bardly against the world

affair sinks into a kind of lassitude and sleepy exhaustion, of insipidity and the public-against critics and artists-for his successes are sterling

and triviality of style, that is incomprehensible! but not startling! His operas please but do not furorize people;

In this act, Verdi must take M. Scribe by the hand, and say to him : they take their station on a level with other operas, but do not totally

“Einen theil der Schuld muss du vor dem grossen Richter tragen!"* eclipse them. Meyerbeer, however, is in a constant state of emotion.

In fact, the whole book is a monstre. It cannotin jure Scribe's great His great successes are fertile in opponents; the crowds which

and magnificent talent, if we at last speak to him in the following throng to hear his works are accounted a sin in him; if another

words : “Enough! you have swayed long enough the sceptre of composer's opera does not please, its chute is Meyerbeer's work ;

libretti; you have been long enough the only sovereign of Meyerbeer, if another composer's opera is not produced, it is Meyerbeer who

Verdi, Auber, Haléry, and others. Your music requires rest. Even composed the obstacles, etc. But it is true, very true, that Meyerbeer

the greatest genius cannot succeed in all things and on all occasions ! is to blame for the fact that the operas of others make no way or are

Let younger talent, also, hew itsell out a little career, and do not place unsuccessful—but not Meyerbeer the individual, but Meyerbeer the

yourself right across the road, so as to block it up for the youth now genius; not the man Meyerbeer, but the composer Meyer beer; not

coming." Meyerbeer with his acquaintances and influence, but Meyerbeer with

The Vépres is more than a bad text; it is a piece of stupidity! his operas, and brilliant triumphs. It is not Meyerbeer who intrigues

There is no doubt that Scribe felt all that was repugnant and conagainst the success of other people's operas, but his children, i. e. his

trary to the feelings of Frenchmen in the subject! He wanted to works, his musical creations! That bis Robert the Devil plays the very

cover himself, and thought he could get rid of the recollection of this devil with a thousand other operas, and sends them to the Hades of

inappropriate circumstance, by declaring at the top of his libretto, oblivion is not his fault! We cannot account it as a crime in him that

“The Sicilian Vespers are not at all historical! They are a fiction.” the Huguenots slay a whole host of mediocre operas in a single evening.

But, whether this be true or not, I think that Scribe has, by this That his Prophète lives longer into the future is an offence that is rery

remark, constituted bimself his own accuser. For if respect for history natural! That his Etoile du Nord continues to shine, while many

did not compel him to display no invention, who is to blame for the stars in its vicinity shoot by it and fall to the ground, is a decree of

entire absence of that quality, and, indeed, such a mutilation of an Heaven!

event which he could spin out and end just as he chose! Meyerbeer plays the part of Fate with respect to many French operas!

It is something hazardous to begin a chorus in Paris with the words: Meyerbeer was coming to Paris; be ought to have been-he wanted to

“Sois maudite, ô France !" be-here a long time since; he is not come, however, or, if he did

and, then, at the end to conclude the sanguinary Vespers so languidly come, he merely passed through Paris on his road to London. And

and weakly, and represent two or three Frenchmen massacred by a why did not Meyerbeer come? Because he is not only a genia! and |

whole host of Sicilians. Does Verdi hope that he will be able to have unsurpassable composer, not only one of those rare specimens of humanity on whom Fute has bestowed, in addition to colossal capabi.

the opera represented in this dress in Italy ? Impossible!

Shall I now tell you what we-who go behind the scenes—and Ilities, luck-for talent alone will not do in the world, nor will luck

who draw my information from the very midst of the various sources, alone; both must be combined-but, because he, Meyerbeer, has a fine think we know about the text of this opera ? Can Verdi not be aware nose as well. A fine nose is a gift of Heaven; a most peculiar gift. |

that this librettoat least, so says the ill-natured world-has already What a strange combination : genius, luck, and a fine nose.

a grey head? That it has been offered to all the French and Italian Two new operas were to be produced : Jenny Bell by Auber, and Les Vêpres Siciliennes by Verdi, the books of both being by the great

| muesiri, not oven excepting the late Donizetti? Can these Vépres have libretto man in the south, “on whoso empire the couplet never sets,"

been once called Le Duc d'Albe? Can the following verses of the

Vépres : by Scribe. "I was about to ask Cruvelli, who had ordered some German

“Frappez-les tous! que vous importe ? “ Mehlspeise" to be cooked for me—Heaven and Saphir will reward

Français ou bien Siciliens ; her-why she had no appetite, but I guessed the cause ; she was

Frappez toujours ! Dieu choisira les siens !" already studying Les Vépres.

have been contained, word for word, in the libretto in question! Did Meyerbeer's fine nose must probably have thought as follows:-“If not the "Legate" speak them? I cannot myself assert that he did, but these operas do not succeed, and I am in Paris, certain people will be people whisper it! sure to say, 'C'est Meyerbeer!' For when an opera is unsuccessful for And then what a wretched conclusion! The princess, who, in the wart of merit, composers say, 'Meyerbeer bas done that! Meyer beginning, is all blood and love, love and blond, who plays with beer is the opera-cracker.'”

poniards—this ganguinary man-woman becomes at last a lamb, Meyerbeer, therefore, kept away: the “opera-cracker” did'nt work, å fish in disposition, a shepherdess in feeling, a sister of charity and yet both operas were "cracked,” and the result was a great amount in words! Signor Verdi, too, completely agrees with this of shell and very little kernel !

travesty of his heroine, and carries her on to the end with Jenny Bell, la Jenny Lind empaillée," has gone, without producing sbakes and couplets! Frenchmen and Sicilians massacre each other much emotion or commotion, without much ringing of bells or signs of in amiable verse, and the lovers sink into the arms of death to bars of joy, to where many operas go, the way of all Strausses and Musards! dance-music! This is called the Sicilian Vespers, not the historical The Vépres Siciliennes, however, the last heroic achievement of the vespere, however, but the poetic, improved Sicilian Vespers, adopted, Grand-Opéra, the youngest child of Verdi's excellent memory for his own as their offspring, by Scribe and Verdi. operas, was not damned, but is gradually sinking! When, in this There is, also, a ballet in the opera- a ballet and danseuses, but the opera of five mortal hours, people now and then meet with a beautiful latter are so old and ugly- with the exception of Conqui! How can motive, they say: Passez votre chemin, je vous connais, beau masque ! anyone be named “Conqui,” when she is charming as sin, young as

There is not one piece in the opera that is new; I mean: Verdi has Spring, and beautiful as a Moy morning, besides dancing like a rosenot struck out a new path in a single bolero, in a single cavatina, in a | leaf upon the lips of a zephyr? single romance, or in anything else; we find the same artistic mark There is still something left for me to mention: the costume! Is woven in every piece; all the details bear the same stamp; we meet Sicily in Russia ? Is Palermo the capital of Sicily? What furs! What with the designs of Ernani, the invariable cadences, and the eternal muffs! What fur trimmings! Also good! absence of musical substance. There are some very pretty and melodious bits, the instrumentation is what may be termed rery 1 * “You must bear a part of the blame before the great Judge!"

But Cruvelli! What a superb singer! What a voice! What

PECULIARITIES OF MUSICIANS. melting tones! What soul! What heartfelt singing, and what true and moving pathos! With what passion she sinys her grand aria !

(From a German Paper.) and with what sweetness her romance! How clear, how full of soul,

Musicians have, as we well know, strange whims and caprices at passion and intensity is everything she does! She was overwhelmed

times. The following account of some of the most remarkable may with applause. If these Vespers retain their place on the stage, it will

prove interesting to our readers, but we do not hold ourselves responbe because Malle. Cruvelli is the daily Vesper-Brod which keeps them

sible for the complete accuracy of all of them. Auber could not stop living, which nourishes them, which gives them flesh and soul.

two days successively in the finest city in the world. Adolphe Adam Gueymard has a nice voice, but his acting is not dramatic, because he |

| (of the Institute) has the greatest contempt for fine trees and forests. wants to make it too much so; besides, he has a part not suited to

Donizetti used almost invariably to go to sleep while travelling, not him; it is too soft and gentle.

SAPHIR.

paying the slightest attention to the beauties of nature. Päer was fond

of contradictions: he wrote Camilla, Sargines, and Achilles, while joking ORIGINAL CORRESPONDENCE.

with his friends, scolding his children, and incessantly quarrelling with

his servants. Cinarosa had always a dozen, or so, connoisseurs of art ENCORE “ENCORES.”

around him, who used to be talking on all kinds of subjects while he

was writing. Sacchini lost the thread of his inspiration when his cats left To the Editor of the Musical World.

off running over the table. Sarti could not compose except in a dark SIR-In your last number you published a letter from “Justice," room without furniture; he only allowed the wretched light of a flickering calling your attention to the faot of Mdlie. Jenny Bauer having been lamp, that hung from the ceiling. Spontini, too, was accustomed to encored in eich of her songs at Heinrich Werner's concert, though in compose in the dark. Sulieri was obliged, in order to foster his powers your reporter's notice one only was mentioned as having gained that of imagination, to go out, and walk through all the most frequented honour. I therefore respectfully request, on the part of a young artist, streets, eating bon-bons. Hadyn, on the other hand, used to seat that you will state that Mr. Seymour was encored in " Angiol d’amor," himself in a spacious arm-chair, and, with his eyes fixed on the cieling, a fact which you have not yet noticed. Your obedient servant, let his imagination rove through unknown spheres. Gluck used to Wednesday, 18th July, 1855.

S. J. R. seat himself in the open air-sometimes quite in the sun-with two [Any further letters of this description must be paid for as adver

bottles of champagne, and warm his mind by gesticulation, as the artists

intrusted with the representation of his lyrical dramas might have done. tisements.-ED. M. W.]

Händel used to walk about churchyards, and, also, often sat down in

the most lonely corners of the churches. Pasüello, who was indescribably Touch: AS APPLIED TO THE INSTRUMENT AND THE FINGER. --The

lazy, used to remain in bed a great portion of the day. Méhul term “ Touch" is applied as well to the instrument as to the performer.

worshipped flowers; he would fall into a reverie before å rose, and When it is said that a pianoforte has “a good touch," it is intended to

felt really happy only when he could wander unobserved in some express that each key replies with ease to every degree of lightness or

lonely garden. Mozart read and re-read Homer, Dante, and Petrarch. power with which the finger presses or strikes it ; that it possesses the

He liardly ever sat down to the piano without first perusing one or two just amount of resistance to the touch of the finger ; that its slow or

chapters froin his favourite authors. Verdi prepares for the task of rapid reiteration produces tones of equal value respectively, and that

composition by reading a drama of Shakspere, Goethe, Schiller, or in these various particulars there exists no perceptible inequality throughout the entire range of the instrument. By the "touch" of the

Victor Hugo, or fragments from Ossian. performer we mean the action of the finger on the key. By the

. (A tissue of more nonsensical “canardswas never woven. majority of pianists, professional as well as amateur, this quality is not

We only quote them to warn our readers against attaching any sufficiently cultivated; and now that we fortunately possess actions so

importance to them.-ED. M. W.) 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

KREMSMUNSTER (Upper Austria). --A grand performance of Menattribute a hard unvocal tone, if I may be allowed the expression, to a

delssohn's Elijah was given on the 1st inst. The orchestra consisted of want of musical feeling on the part of the performer. I would counsel

ninety members. The whole went off in the most successful manner, all students of the pianoforte closely to imitate the voice; and, by

and the entlıusiasm of the audience was indescribable. frequent experiments, strive to produce from Ule point of the finger every gradation of tone of which the voice is capable. Between forte and fortissimo, piano and piauissimo, there are gradations of tones to be drawn forth, analagous, in the sister art of painting, to the middle

ADVERTISEMENTS. tints of a picture ; by the production of which, an expression is giren to music which excites, both in the player and the auditor, emotions, almost as varied as our sensibilities. An attention to pianos and fortes,

MTR. AND MADAME R. SIDNEY PRATTEN, Projust time, and a firin clear articulation, are considered, by pianists in

IL fessors of the Fluto, Guitar, and Concertina 131B, Oxford-street; where

their Concertina Classes are held, and where all their compositions may be had for general, sufficient requisites to constitute a “good player.” We have

the above instruments. myriads of "good" players; but of “great" players, how few! The aim of manufacturers, besides producing a greater volume of tone, a HERR REICHARDT begs to inform his friends that more sustained quality, and a more equal touch, has been to bring, by 11 he has left for the Continent, but will return in time for the Birmingham ineans of the most perfect mechanism, the peculiar sensitiveness of the Festival. All lotters to bo forwarded to 36, Goldon-squaro. finger into a more immediate association with the string, so that every variety of touch shall produce a corresponding variety of tone from the VISS BLANCHE CAPILL-(Voice, Contralto), instrument. Dr. Lardner, in luis “ Handbook of Philosophy' instances 11 Professor of Music and Singing, 47, Alfred-street, River-terrace, Islington, the mechanism which in the pianoforte connects the key with the where letters respecting pupils or engagements may be addressed. hammer as a “beautiful example of complex leverage.” He says “the object of it is to convey, from the point where the finger acts upon the

M USICIANS.—Wanted, under most advantageous conkey, to that at which the hammer acts upon the string, all the delicacy

1 ditions. One Hundred Brass Instrument Players, to join a Military Band of action of the finger; so that the piano may participate to a certain

i. Her Majesty's Service. It is absolutely necessary that the men be either extent in the sensibility of touch which is observable in the harp ; and

Germaus, or speak the Germin lingunge. Parties introducing musicians will be

liberally compensated. Apply to Bosey and Sons, 28, Holles-street, Oxford. which is the consequence of the finger acting immediately on the string street, daily, between the hours of 10 and 4. in that instrument without the intervention of any other mechanism." The whole range of mechanical art, I believe, does not furnish a more MUSICIANS AND DRUM MAJOR WANTED for astonishing result: and, when the distance from the keys to the wires 11 i Militia Regiment; pay from 25. od. to 5s. a day, accorling to ability. is considered, I think it will be conceded that to produce, through the

Application (per al only) to be made to Boosey and Sons, 28, Molles-street, medium of wood and leather, that marvellous sympathy which exists

Cavendish Square, London, between the finger and the strings, a great triumph of mechanical skill has been achieved. We are of late, however, so accustomed to per

TDME. ANNA THILLON, AUGUSTUS BRAHAM, fection in the numerous inventions of art that it not only ceases to

IL FARQUHARSON, RICHARDSON, GEORGE CASE. The above popular excite our wouder, but is not even appreciated.-Charles Salaman's

artistes will make a tour in the provinces in Soptember next. Applicacions Fourth Lecture.

respecting engagements should be addressed to Mr. George Case, at Messrs. Boosey and Sons, 28, Holles-street, London.

C. BOOSÉ'S NEW PATENT MODEL

T INDLEY the VIOLONCELLIST.-The very charac-
U teristic Original Portrait of the late Robert Lindley, admirably painted, is now
for sale, and may be viewed at Mr. Walesby's Gallery of Art, 5, WaterlooPlace.
PIRMINGHAM MUSICAL FESTIVAL, IN AID

D OF THE FUNDS OF THE GENERAL HOSPITAL, on the 28th, 29th,
30th, and 31st days of August next. Under the especial patronage of Her Most
Gracious Majesty the Queen, His Royal Highness the Prince Albert, Her Royal
Highness the Duchess of Kent. President. The Right Hon. Lord Willoughby de
Broke. Vice-Presidents, The Nobility and Gentry of the Midland Counties.

J. F. LEDSAM, Esq., Chairman of the Committee.

[graphic]

mo CONCERT AGENTS, VOCALISTS, &c.—The

1 Committee of the Leeds New Subscription Concerts, and of the People's Coucerts, will be glad to receive applictions for engagements during the ensuing season (September to April) from artistes who may be travelling northwards. Address-John Briggs, Hon. Sec., Recreation Society, 23, Park-row, or, William Spark, Musical Director, 11, Park-square, Leeds. LD CHORISTERS' GATHERING.–At a Meeting of

CORNET - A - PISTONS, Old Choristers, held on Wednesdıy, July 4th, 1855, it was determined to make arrangements for a gathering of those who have been e lucated in, or are at

PATENTED BY present members of Cathedral and Collegiate Choirs It was suggested that the object would be most agreeably carried into effect, by inviting all who feel an

C. BOOSE, BANDMASTER OF THE FUSILIER interest in meeting their o d schoolfellows (separate i as they are in many instances

GUARDS. by distance or professional avocations) to assemble for a morning Choral Service in Westminster Abbey, on Monday, July 30th, 1855. It was also proposed that the This celebrated instrument, made from a new model, resembling the French meeting proceed by water from Westininster to London Bridge, and from thence Horn, is in the greatest favour with all the professors and amateurs of the Cornet by railway to the Crystal Palace, Sydenham, to enjoy a day of relaxation and friendly in England. It produces a beautifully clear and powerful tone, and greatly faci. intercourse. Arrangements have been made that the Tickets (including Dinner litates the execution of the most brilliant music. Price Seven Guincas in case : and all other expenses) shall be 10s. 6d. each, which may be had on application to carriage free to any part of Great Britain. Edward J. Hopkins, Esq., 69 Tachbrook-street, Pimlico. Those persons who are desirous of being present are requested to make their intention known by an early application, and a remittance of the price of a Ticket, which will then be

Just Published. forwarded.

(Signed) EDWARD J. Hopkins, Chairman of Committee. BOOSEY'S UNIVERSAL CORNOPEAN TUTOR. S. PRATTEN'S PERFECTED FLUTE (on the

A complete theoretical and practical school for the Cornet. Price 6s. in a hand.

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BOOSEY'S CORNOPEAN JOURNAL. Hudson, Manufacturer, 3, Rathbone-place.

275 popular melodies for the Cornet-a-Piston, selected from the modern operas,

dances, and songs. Price 159. in ornamental binding. Published and sold by DIANOFORTES.—To all who desire a First-rate Piano Boosey and Sons, 28. Hollos-street, London, Musical Instrument Manufacturer to 1 at a moderate price. Messrs, Lambert & Co., lately removed from Percy Her Majesty's Army, the Militia, etc. street to 314, Oxford-street, near Hanover-square, beg to call particul:r attention to their new Patent Repenter Check Action Pianofortes, and method of constructing the braciog, which they warrant not to give way in any climate. For purity

VALUABLE MUSICAL WORKS 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

TO BE DISPOSED OF most numerous and flattering testimonies to this effect, froin purchasers, both at home and abroad, and they feel confident that their instruments have only to be tried to be anpreciated. Mr. Lambert gained a prize for his Patent Cottage Piano

AT GREATLY REDUCED PRICES, at the Great Exbibition, and is the sole inventor of the Check Action.-Pianos taken in exchange, tuned, repaired, regulated, and lent on hire. Lists may be had on application.

SELECTED FROM BOOSEY & SONS' NEW CATALOGUE OF FOREIGN

CLASSICAL MUSIC. CONCERTINAS by CASE; the only instruments that

U remain in tune, and do not require to be constantly repaired. Every! PEETHOVEN'S PIANOFORTE WORKS, complete. concertina by Case has 48 keys (full compass) and double action. Prices :-No.1,

six vols, boards, with one vol of violin accompaniment, .£6. in mahogany, with handsome case, four guineas; No. 2, in rosewood, six guineas :: No. 3, in rosewood, eight guineas; No. 4, in rosewood or amboyna, ten guineis; OZART'S PIANOFORTE WORKS, complete, sevenNo. 5, splendidly finished in ebony, with platid studs, twelve guineas Case's instructions for the concertina, price 10s. 6d, Case's Concertina Miscellany, pub

1 teen books, £5. lished every month, price 23. 6d. Solo dealers and publishers, Boosey and Sons, 28, Holles-street.

WEBER'S PIANOFORTE WORKS, complete, three

vols., £3. PANK OF DEPOSIT, No. 3, Pall Mall East, London. TORKEL'S GENERAL HISTORY of MUSIC, two

D Established A.D. 1844. Parties desirous of INVESTING MONEY are re I vols., 4to., plates, boards, £2. quested to examine the Plan of this Institution, by which a high rate of interest may be obtained with perfect security. The interest is payable, in January and TAYDN'S VIOLIN QUARTETS.—Complete collecJuly, at the Head Office in London; and may also be received it the various branches, or through country bankers, without delay or expense. Peter Morrison,

11 tion of Quartets, beautifully printed, four thick vols , boards, £5 10s. Managing Director. Prospectuses and Forms for opening accounts sent free on application.

HAYDN'S SYMPHONIES IN FULL SCORE.

11 Nos. 1, 2, 3, price 38. eich. Nos. 4, 5, 6–4s. each. New edition. COMPLETE OPERAS FOR PIANOFORTE.--Messrs. | T ES HUGUENOTS, IN FULL SCORE. - Splendid

U Boosey and Sons' new series of complete operas without words, in cloth U edition, strongly bound. Price £10. covers, gilt letters: Lucia di Lammermoor, 5s. ; Les Huguenots, 7s.6d.; La Sonnambula, 4s, ; Norma, 4s.; Fille du Régiment, 45.; Fra Diavolo, 58.; Don Juan, T ES HUGUENOTS, Orchestral Parts (printed) £11. 69.; Lucrezia Borgia, 48. The following operas, in paper covery, are without the recitatives : Rigoletto, 48.; Il Trovatore, 44.; Ernani, 48. ; Nabuco, 4$. ; Lombardi, 49. ; Elisire, 45.; Anna Bolena, 6s. ; &c., &c. Boo-ey and Sons, 28, Holles DELIO, in Full Score, price £3. street.

DON JUAN, in Full Score, price £3.
MHE WANDERING MINSTREL-LAURENT'S Cele-

1 brated Vilikins Valse (Fifth Thousand, on the song sung by Mr. F. Robson, ST. PAUL, in Full Score, price £5 5s.
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M ARCELLO'S PSALMS.--Fifty Salmi, with accompaniMOZARTS “DAVIDDE PENITENTE," 10s.- English meut by Mirecki-Twelve Parts in Four Vols. (an elegant, correct, and 11 Version by R. Andrews, as given at the Norwich Festival. Full Orchestra

cheap edition, publishod under the direction of the celebrated Cherubini) and Chorus parts may be had on hire of R. Andrews, 84, Oxford-street, Manchester,

price £6. and J. A. Novello, London,

** Orders from the country must be accompanied by a remittance.

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VERDI'S IL TROVATORE.-The Cheapest and Best TERDINAND PRAEGER'S “Elfenmährchen" (Fairy Editions.

T Tale), as performed by the composer at all his concerts on the Continent, 1. Pianoforte and Voice (unabridged boards

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DIOGRAPHY.—The Life of John Sebastian Bach, with

.. .. 38 Boogey and Sons, 28, Holles-street.

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The above is a very valuable and instructive piece of musical biography, exhi

biting, in a most striking manner, the result of great and original genius united U . Publisbed this day:-Mi Manca la Voce (Mose), 3s. ; La Sonnambula, with untiring patience and perseverance. Boosey and Sons, 28, Holles-street. Fantasia, 3s. ; D'un Pensiero, 2s, 6d. ; Good Night, 38.; A to 0 Cara (second edition), 2s. 6d.; La Donna è Mobile (second edition), 38. Boosey and Sons,

NOTICE.-Jenny l'Hirondelle Połka, by Lachner, as 28, Holles-street.

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Thc band parts will be ready in a few day3, price 58. Boosey and Sons, BOOK, in use at a great number of the metropolitaw churches. This excel 28, Holle's-street. lept little work contains so tunes (for four voices and piano or organ), and 35 single and double chants. Two editions are published, one with the Rev. M. Gurney's words; the other with the selection by the Ror. W. J. Hall. Price 48. in cloth,

ry A. OSBORNE-A TE O CARA for the PianoBoogey and Sons, 28, Holles-street.

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be had, arranged for the pianoforto, by Rudolf Nordmann(second thousand). 5. Yola il tempo. 6. Il Marinaro (Barcarolle), and 7. Una scrit d'Amore, duct, | Price 3s. Loosey and Sons, 28, Holies-street. 2s. Od. Boosey and Sons, 28, Hollcs-street.

ORCHESTRA.- Violin, Violoncello, Clarionet, Oboe, TADAME OURY'S NEW PIANOFORTE MUSIC,

Flagcolet, Bassoon, Horn, Trumpet, &c. Messrs. Booseys' extensive stock U published this day : La Gassier Valse, 28. ; Minuet and Trio from Mozart's of classical inusie, imported from the Continent, for the above instruments, is to be Symphony in E flat, price 3s.: LU Bijou Perdu, Chanté pi" Cabel, 38.; Mazurka dispose of at a greatly red iced rate. A priced catalogue is just ready for Six Brillante, 4s. : Romance sans Paroles, 48. ; Partant pour la Syrie, 33.; Rigoletto penco, free by post. 28, Holles-street. Fantaisio, 4s.-Loosey and Sons, 28, Hoiles-street.

SACRED MUSIC.-FULL SCORE AND PIANOTADAME GASSIER.—The celebrated Valse, sung by

FORTE SCORE.-Messrs. Loosey and Sons' extensive stock of valuable Mariame Gassier, in 11 Barbiere di Seviglia, arranged for Pianoforte by

| foreign music of this class, is to be disjxzell of at greatly reduced prices. A cata. Madame Olry, price 2s, with a Portrait.-Boosey and Sons, 28, Holles-street. logue free for six stamps. 28, Holus-street. July 1st. NORDMANN.-DI QUELLA PIRA, Morceaux de VIOLIN QUARTETS. The splendid stock of Violin Trovitore. Price 38. Boosey and Sons, 28, Holles-street.

Quartets imported by Messrs. Boosey and Sons, is to be disposed of at a

greatly reduced rate. A complete catalogue, free by post, for six staraps, NORDMANN.-IL BALEN DEL SUO SORRISSO, Boogey and Sons, 28, Holles-street. Morceaux de Trovatore. Price 3s. Brosey and Sons, 28, Holles-strcct.

TUST PUBLISHED._FANTASIA on the celebrated
N ORDMANN. SI LA STANCHEZZA, Morceaux de J Jacobite Sing, “Will ye no' come back again ?" for the Pianoforte, by
I Trovatore. Price 3s. Boosey and Sons, 28, Holles-street.

T. W. Naumann, priee 2. od., free by Post. This Piece is admirably adapted for
Schools and Teachers. London-Chappell. 50. New Bond-street: Edinburgh

Paterson and Sons.
T A VARSOVIANA, by HENRI LAURENT. The only

In the Press.---The 12th Edition of the above popular Song, with Symphonies U authentic version of the music. Price 2s. Band parts 5s.

and Accompaniments. by the late Finlay Dun. Price ls.

TENELLA VALSE, by TINNEY. Encored every evening. THE CONCERTINA MISCELLANY, edited by I Price 38. Band parts 5s.

- George Case. Subscription 21s. per annum. A number is issued the 1st of

the month. Price to non-subscribers, 2s, 6d. Already published:No. 1. Fan. VELLOW DWARF POLKA, on the melody danced tai

taisie sur Masaniello (Concertina and Piano), Auber; No. 2. Selection from the

Creation (Concertina and Piano Concertante), Haydu; No. 3. Selection from by Mr. Robson in the celebrated Burlesque. Composed by Barnard.

Lucia di Lammermoor (Concortina Solo), Donizetti; No. 4. Fantaisie on Irish Airs Illustrated with a portrait of Robson in character. Price 28. 6d. Boosey and

(Concertina and Piano). National ; No. 5. Selection of French Airs (Concertina Sons, 28, Holles-street.

and Piano) National: No. 6. Fantaisie on Guillaume Tell (Concorting and Piano

Concertante). Rossini: No. 7. (for July) contains a selection of dance music D THEL NEWCOME VALSE, by HINRI LAURENT, ex

(Concertina Solo.) Boosey and Sons, 28, Holles-strect. L quisitely illustrated in colours by Brandard, price 4s. Band parts 5s. Booscy and Sons, 28, Hcllcs-street.

DEGONDI's NEW MUSIC for CONCERTINA and

PIANO, admirably arrranged forAmateurs. Les Inguenots, four numbers, DOOSEYS UNIVERSAL FLUTE PRECEPTOR, by

38. ench. Robert le Diable, three, 3s. each. Puritani, two, 4s. ench. Lucia, two,

| 4s, each. Ernani, three, 38. each. Rigoletto, three, 3s. cach. Sonnambula, six D Clinton. 6s. (cloth gilt) Boosey and Sons, 28, Holles-street.

numbers, 3s. each. ---Boosey and Sons, 28, Holles-street. ROOSEYS UNIVERSAL CORNOPEAN TUTOR.

M US. BAC., OXON.–The Exercise, written for the Edited by S. Jones. 63. (cloth gilt). In a few days. Boosey and Sons, 28,

N degree of Bachelor in music, by Richard Hacking, Junr. Bury, Lancashire, Holles-street.

being a Sacred Cintata for five voices with orchestral accompaniident entitled

"Judgments and Mercies,” and performed before the University of Oxford in comDOOSEYS' UNIVERSAL SINGING METHOD. memoration Week, June 18th, 1855, will shortly be published by subscription, in D Edited by J. Wass. 6s. cloth gilt. Boosey and Sons, 28, Holles-street.

vocal score, with an accompaniment arranged for the orgau or Pianoforte. Price 10s. 6d. Subscribers' nan.es reccived by the Author.

L A SONNAMBULA, for Flute Solo, by Clinton. 2s. 6d.

TMPORTANT TO LEADERS OF BANDS, &c.—The I completo. Boosey and Sons, 28, Holles-street.

I band parts of the new dance, La Varsoviana (as danced at the Argyll Rooms).

are published this day. price, for full orchestra, 58.; septet, 3s, 64.; also, the fifth TA SONNAMBULA, for Concertina Solo, by Case. 4s. cdition of the Pianoforte copy. Price 2s. Boosey and Sons, 28, Hoiles-street,

1 complete. Boosey and Sons, 28, Holles-street. TA STELLA DEL NORD (L'ETOILE DU NORD), a | Published by John Boosey, of 27, Notting Hill-square, in the parish of Kensing.

ton, at the office of BOOSEY & SONS, 28. Holles-street, Sold also by RFED, 15, U Lyric Play, in three acts, the Mu-ic by G. MEYERBEEK. The Libretto adapted

John-street, Great Portland-street; ALLEX, Warwick-lane; VICKERS, Holywellthe Italian Stase, and translated from the French of E. Scribe,. by Manfredo

$! reet; KEITH, PROWSE, & Co., 48, Cheapside; G. SCHEURMANX, 86, Newgate. Maggioni, as represented at the Ryal Italian Opera, Corent Garden, July 1855. N.B.-This Libretto is under the protection of the International Copyright

street; HARRY MAY, 11, Holborn-bars. Agents for Scotland, PATERSON & Act; any one pirating the same wil be legally proceeded against.

Sons, Edinburgh ; for Ireland, H. BUSSELL, Dublin; and all Music-sellers.

Printed, Published, and sold exclusively by Thomas Brottell. Rupert Street, Haymarket. Printed by WILLIAM SPENCER JOHNSON, “Nassau Steam Press,” 60, St. Martin's

10 at the Royal Italian Opera, Covent Garden; also of all the principal , Jane, in the Parish of St. Martin's ia the Fields, in the County of Middlcsoz, Booksellers and Musicsellers. Price ls. 6d.

Saturday, July 21, 1855.

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SUBSCRIPTION:-Stamped for Postage, 20s. per annum-Payable in advance, by Cash or Post Office Order,

to BOOSEY & SONS, 28, Holles Street, Cavendish Square.

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Poor " Annie Laurie,” too, gets scurvily treated :

Con molto espressione.

REVIEWS. No. 1. POPULAR AIRS FOR THE HARP. By. F. Crowdy. . 2. Sir Henry Bishop's admired Ballad,' “ HOME, SWEET HOME,”

with Variations for the Pianoforte by R. Andrews. „ 3. “LES PIRATES,” two Polkas for the Pianoforte, by John

Sewell. in 4. "LA BARCHETTA SUL FIUME," Caprice Brillante pour le

Piano, par Charles Salaman. ,, 5. “LA POVEBETTA," Morgeau Brillant pour le Piano, par

Charles Salaman. , 6. CAPRICCIO ON A MELODY BY CHERUBINI,” for the Piano

forte, composed by Charles Salaman. , 7. “IL RIPOSO E L'AGITAZIONE,” two “Romances, sans paroles,"

pour Piano par Charles Salaman. 8. “RONDO NEL TEMPO DELLA GIGA,for the Pianoforte, by

Charles Salaman. 9. “DROPS IN THE SEA OF WALTZES,” by Josef Gungl. 10. “THE FIRST VIOLET," Waltzes, by H. Schallehn. 11. “SEHNSUCHT," Notturno fur das Pianoforte, von Bennett

Gilbert. “THREE POLKAS,” by Francesco Berger. 13. “THE STONEHENGE POLKA,” by Thomas Lloyd Fowle. - 14. “THE SIEGE OF SEBASTOPOL" Grand March, for the Piano

1: forte, by W. R. Braine. No. 1 is a set of twelve popular tunes, « collected and partly arranged” for the barp. What Mr. Crowdy means by "collected" we are not able to guess, the airs themselves being of the commonest and nexwi at hand. Some idea of his “partly arranging," however, may be gathered from the following slip.shod bars (among others nearly as bad) in “Rule Britannia"—the proper bass to which, one would have thought, ought to be familiar to every tyro :

We are at a loss to conceive bow anything so clumsy and unmu. sician-like as these “part-arrangements" (with their misprints to boot) can have passed through the bands of the engraver. Is it indispensable that music, even the simplest, should be spoilt to suit it for the harp ? 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;" some mild variations in arpeggio; and no end of shakes-the whole very smooth, barmless, insipid, and quite uncalled for.

Mr. Sewell's first polka (“Les Rivales"-No. 3), is lively enough ; but why does he announce it, at the end of a short introduction, after this singular fashion :

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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, 5, 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. · Again, we have the second portion of the air elaborated, by means

Another thing in their favour is that they are all of an inner part

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 xxx

bravoure, but movements planned and accomplished by aid of materials from the composer's own brain. The only exception is a capriccio in 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 fiume" (No. 4) is longer, but not quite so much to our liking. Considering the dimensions of this piece, we find too much 1 of it in the same keys- A fat and E flat-while the episode (in E nat)

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