« ElőzőTovább »
is certainly over.long. It is seldom we have to complain of too little In short, Mr. Gilbert had better not have composed “Sehnsucht;" or, modulation in compositions of the present day, the difficulty with most having composed it, had better have put it by carefully, until such time modern writers being apparently to remain in any one key for a reason. | as he might be learned enough to perceive that (although his 9th able time; but in this caprice of Mr. Salaman we confess we should “ Opus") it was not worth publishing . like to see a few (not many more flats and sharps. On the other hand "Three Polkas" (No. 12), by Herr Francesco Berger, are prettythere are so many graceful passages, some (as in pages 4 and 5, and later, the second (in B flat) more particularly. They are also well writtenin another key) à la Weber, and so well written for the pianoforte, that which, we must persist in asserting, is of itself a charm. young pianists will do no harm by practising “ La Barchetta," as a “The Stonehenge Polka" (No. 13), by Mr. Fowle, with “God save recreation after severer studies.
the Queen" in convulsions, for a coda “La Poveretta" (No. 5), in F minor, is the best of all, although illnamed “morceau brillant," however-its character being decidedly more expressive than brilliant, and more romantic than anything else. The only weak point we can find in this engaging movement (which, by the way, has a flavour of M. Stephen Heller about it) is in the episode, in A flat (page 7-lines 2-3), where the dominant of the primary key, once attained, instead of F minor being directly resumed, an interrupted cadence re-establishes the key of A flat, which is a disagreeable disappointment rather than a pleasing surprise, occurring, as it does, so near the end. Any other manner of ingeniously putting off the full close would have been preferable.
is in the key of F. “Il Riposo” and “L'Agitazione” (No. 7), are graceful trifleg-songs Mr. Braine's march, in E flat (No. 14), is spirited, if not correctly without words, but with sentiment enough (begging Herr Wagner's par written ; but why, in the name of Turkey and her ailies, entitle it " The don) to dispense altogether with the poet's assistance.
Siege of Sebastopol ?” When will this folly—this making a miserable · The “Rondo nel tempo della Giga" (No.8)-in B flat, 12-8 measure pedlar's trade out of events in which the freedom and happiness of the is quite as interesting in its way as the cappriccio on Cherubini's whole world are at stake-be put an end to ? Fye on you!-Mr. melody. A smart and close fugato (page 4), based upon the theme, Braine. You are not fit to bear your patronyme, and should be called reminds us—we cannot explain why-of the fugato in the archery scene Braine-less-(we do not mean brainless). of Guillaume Tell (Act 3). The whole is, however, clever and highly finished. “Drops in the Sea of Waltzes” (No.9), by Herr Josef Gungl, Op. 118
THE RUSSIANS IN COVENT GARDEN (“ opus" applied to waltzes is good !), may be allowed to fall into the
(“L'ETOILE DU NORD.") ocean of dance music. They will not infect the purity of the great
(From Punch.) waters, since they have gathered in their course none of the filth and
THE Russians are victorious; we are fairly beaten, and it is nothing refuse of the common sewers of terpsichorean melody. But, to "drop".
more than common candour to own our discomfiture. Mr. Gye has metaphor (in deference to Mr. Arthur Chappell), these “Drops" of
been the prime means of introducing the Muscovites into the very heart Herr Gungl are sparkling and pretty, the first two-in B minor
of the metropolis; and, whether we will or no, we must own their and G-being, nevertheless, far superior to the rest. Of the “First Violet Waltzes” (No. 10), we cannot say as much.
mastery. We will, however, as plainly as our emotion will permit us, Herr Schallehn comes reeking from the sewers of common-place, and
give a brief narrative of the catastrophe.
On the evening of the 19th inst., between seven and eight, it was presents the world with the dregs and mire he has accumulated during his under-ground investigation. But, again to "drop" metaphor, there
plain that an attack was to be made. The Russians had, by some means, is nothing at all to snuff in these first violets except a musty odour of
taken possession of Covent Garden Theatre. The English, however,
thronging the house, resolved to dispute the ground, inch by inch. the past. In No. 11–“Sehnsucht-Mr. Bennet Gilbert makes a great fuss
At eight o'clock precisely, General Costa, with his truncheon in about nothing. He dedicates his notturno, in an elaborate German
hand, rode into the orchestra, and was received with heavy rounds, title-page, to " seinem Freunde,” Mr. Robert Barnett (Associate Hono.
| which he encountered with the self-possession and true modesty of a rary Member of the Royal Academy of Music), who will have to get a
true hero. The orchestra opened from the overture battery, and never German dictionary to translate it-or we are mistaken, which is un.
did we witness such power, such brilliancy and precision of fire. likely. Moreover “ Sehnsucht" is not well written, which is unpardon
They carried all before them. able in a commonplace. If Mr. Gilbert has “nothing to say" (as
The fight raged from half-past eight-with but two brief intervals Herr Wagner insinuates of Mendelssohn), he should at least say it ele.
until nearly a quarter to one, when the star of Russia-La Stella del gantly. He should not utter consecutive octaves, between the base and
Nord—was hailed as star triumphant. It is impossible for us--although inner part, thus :
subdued and led away captive by the power of Field-Marshal Meyer. beer, to suppress the expression of our admiration, our veneration of the genius of that little, great man (for in corporal presence we think he hardly tops Napoleon or Wellington). The subdued people flung bouquets and garlands at his feet-the giant of music!
But how admirably was the genius of the General seconded by the genius of his forces ! Prodigious was the energy of Pietro Micaeloff Formes ; magnificent the power of the Cossack Corporal Gritzenzo Lablache (he fought on foot, we can therefore give no idea of the horse that could carry him). How gracefully, how skilfully did Danilowitz Gardoni bring up his forces-setting them in the most brilliant array!
Especially mighty in their grace and sweetness were the Amazons Nor should he shuffle up keys, and chords of the 6-4, in the following
who took the field.' How shall we describe Catterina Bosio, flashing
hither and thither, and, wherever she appeared, subduing and taking unceremonious manner :
prisoner all about her. And then, that Prascovia Marai-with an innocent face, a face like a flower, yet so invincible wherever she appeared. Unerring sharp-shooters were the vivandières, Ekimona Bauer and Natalia Rudersdorff-picking off unerringly whatever they aimed at.
Finally, the triumph of the Russians at Covent Garden is all to nothing the greatest victory the Russians have had in the present war. There can be no doubt that Generalissimo Gye will “sack" all London.
Among the distinguished visitors who were present at this Russian victory, we noticed the Earl of Aberdeen, Mr. Gladstone, and Messrs. Cobden, Bright, and Milner Gibson. We heard that Lord John
Russell occupied a box, but, if so, he sat so far back in the shadow that | we cannot say we conscientiously saw him.
VERDI'S VISIT TO LONDON.
CONVERSATIONS WITH FELIX MENDELSSOHN.* On Tuesday morning, Signor Verdi quitted London for Paris,
(Continued from page 467.) accompanied by Messrs. Escudier and Ricordi, his publishers. From Paris, Verdi will proceed to Milan, where he will spend the winter. The arrangements which he has made in London
On another occasion, I asked him if he could explain a point respecting his last opera, Les Vêpres Siciliennes, are understood
which for me was very important. to be very favourable. The opera has been published, and the
"I have been informed,” I said, “ that you make a great many copyright disposed of to a house in town-Mr. Gye having
alterations in your works, even up to the moment you hand over bonght the exclusive right of representation for the Royal Italian
the manuscript. Unfortunately, I do the same, and, in fact, & Opera. Should Les Vépres Siciliennes meet with half the
great deal worse, for I cannot name a single production of mine success in London that it has achieved in Paris, the popularity
in which I have not found, after it was printed, many passages of Signor Verdi will become as thoroughly established here as
with which I was discontented, and for which I had hit upon some it is in other parts of Europe. Il Trovatore was performed
far superior idea, when it was no longer time to suppress at Covent Garden eight nights to crowded houses, and would
them. have been frequently repeated but for the departure of Madlle.
Mendelssohn was peculiar for two kinds of smile. The one Jenny Ney. If Ronconi joins Mr. Gye's company next season,
was inimitably amiable, and played over his features in a quiet Rigoletto will, of course, be revived, and Verdi's last three
contented moment ; the other, which was slightly tinged with operas will be among the chief attractions of the season of 1856. quiet sarcasm, used to distinguish him when he had to find fault
with anything that was not quite bad enough to make him ITALIAN ART IN FRANCE AND THEATRICAL 1 which, as an accomplished gentleman, he had learnt how to
actually angry, which, by the way, he very seldom was, or JOURNALISM IN ITALY.
suppress. It has, for some time past, been a prolific theme with our country. "The misfortune of which you complain certainly happens to men to lament over the decline of dramatic art in Italy, and no one has me as well as to yourself," he said; “I have erased quite as much raised his voice to deplore the wretched state of theatrical criticism, as I have left of my writings. Let us console ourselves by which, instead of encouraging rising talent, has either spoiled it by thinking of the greatest masters, who were not a whit better of outrageous flattery, or stifled it by exaggerated animadversion, not un. J in this respect. Ah! would that it were only weak passages frequently the result of personal antipathy or mercenary considerations. which that cunning conjuror, Imagination, smuggles past our We have now before us a strange and a sad spectacle. Whilst Mad. judgment on to the paper! But she plays me worse tricks than Ristori and Sig. Rossi are sustaining in Paris the honour of our dra
that. She sometimes seduces me into writing down a whole matic art, which, on the faith of our own wretched jeremiads, had long
piece that, at some subsequent period, I cannot help acknowsince been considered dead and gone-whilst the French have scarcely
ledging to be very poor stuff! Out of twelve songs that I yet recovered from their astonishment at seeing this corpse so full of life
collected, I thought that only six were worth printing, and, and energy, and a shout of surprise and admiration has rent the air,
therefore, threw away the other six. My Paul originally conand all the French critics bave united in a unanimous pean to the marvellous talent of Adelaide Ristori --what, in the meanwhile, has
tained a third more pieces than it now does, but they are never Italian criticism done? Let us be candid. Italian dramatic critics,
destined to see the light of day. What say you to that ?” he whose duty it is to give support to their countrymen, and thank them
| asked, with a sarcastic smile. for having sustained the national reputation, who ought to have
“That, in all probability, you are too severe towards the heralded such joyful tidings with alacrity, and re-echoed the applause offspring of your own mind," I replied, “ Many would deem them. of the foreigner thus appreciating Italian excellence better than we ourselves fortunate if they had written and could publish what you selves have done, the Italian critics, who should have said to France : reject.” “We have sent you two of our great actors, but there are others as "I am very much obliged to you for your good opinion," said good, in their kind. We have Mad. Sadowski, the actress of grace, | Mendelssohn, laughing, “but I do not agree with it. I can elegance, and coquetry, who stands in relation to your Brohan as adduce another and still better reason for keeping back my comRistori to your Rachel; we have Mad. Cazzola, who never fails to positions, and one which will put the subject in a clearer light. excite the enthusiasm of the public, and who promises to be really a I believe in the motto, Nulla dies sine linea. I do not often let great artist; besides Rossi, we have Morelli, a studious and thoroughly
a day elapse without writing something. But on what artist conscientious artist, and Majeroni, the actor of dignity and truth; we
does the Muse always smile? Not on me, at any rate. I can have Vespri, Pieri, Dondini-all highly distinguished in their different
always write something, however, and I do so, in order to keep specialities; and, above all, we have Modena, to whom all refer the sceptre of dramatic excellence. You see, then, that we too have our
myself in practice. Just as the virtuoso loses in technical skill Ligier, our Lemaître, our Bocage, our Regnier, our Rachel, our
and certainty, if he abandons his instrument for any length of Brohan, our Chéri, our Denain." But instead of saying and acting
time, mental operations lose a portion of their light easy chaaccordingly, our Italian critics, with very few exceptions, have smiled,
racter, if you often neglect to practice. In order to keep myself shrugged their shoulders, doubted, and denied, have called it a success up to the mark, I am always composing, but the mind is not inof fashion, hospitality, and good nature, and turned the whole into a
variably ready with good gifts. Do not, however, believe that caricature.
as might appear from what has fallen from me I am contented What more shall we say? While Italian dramatic art was thus with all that I print. Such is not the case. There is a very triumphant in Paris, in the person of Mad. Ristori, and Italian music great deal that affords me but little satisfaction, and that I imgained fresh laurels in that of Sig. Verdi, only one paper, and that an mediately feel to be nothing special." Italian one, spoke of the claque. Alas! that this should proceed from "Supposing this to be so," I said, “why do you act as you do, one of your best theatrical periodicals! We have quoted these two since pecuniary considerations cannot be the cause ? I always facts, because they contrast strongly with the general feeling of the thought it the most lamentable part of an artist's fate, that he public, who naturally feel that honest pride which proceeds from the is obliged to create for mere bread." triumph of native talent in a foreign country, and its proper apprecia “There are other reasons for the artist who sees the world as tion by foreigners.
| it really is," rejoined Mendelssohn. [The above, translated from a Neapolitan art-paper, shows “I should like to know what they are," I replied, with a how very strongly that “esprit de corps,” which is wholly feeling of curiosity. wanting among English artists, no matter of what profession, “The world forgets very easily," observed Mendelssohn, " and exists in Italy. We have the greatest pleasure in transferring that is something which the artist, who has once engaged in it to the columns of the Musical World, and trust it may be read public life, must endeavour to prevent, by continually publishing with some advantage.Ed. M. W.]
new works. His name must not be wanting in any Messver
zeichniss.* In every fresh one it must again catch the eye of the more important works than are to be produced without such a public, for a long time elapses before the public will bite. Com course, posers are becoming more and more numerous. If they dis “If a man possesses talent, and yet manufactures ordinary appear a few years out of the musical catalogues, they are lost, trash, it is always his own fault. He does not employ his mabecause forgotten."
terials as he could employ them, were he in earnest. The most “That is very true," I replied, "and the public is, perhaps, ordinary cause of ordinary compositions is a want of self-criticism not quite in the wrong. We may presume that, if a man and of an endeavour to improve. Had I printed everything remains long idle, without publishing anything, the impulse of without altering, there would be very little peculiar to reproduction and power of creation cannot be very strong and rich | mark in my works. If I am allowed to possess any pecuin him."
liar characteristics, I am conscious, in my own mind, "Such' is the case,” said Mendelssohn; "and since the artist is that I owe them mostly to my strict self-criticism not successful in every work, but yet always wishes to prove and my habit of altering and striving to improve. I have himself productive, he may, and must, occasionally, in order to turned and twisted the thoughts how many times have I retain his position, let something weaker than the rest slip out. frequently done so with one and the same-in order to transform If the thing is nothing particular, he at least shows that he their original ordinary physiognomy into one more original, works hard, and hopes are entertained that he will produce more important and more effective. Just as it may easily come something better the next time. You forgive a man, in whom you
to pass that two or three notes treated in a different manner, take an interest, if by chance he is ill-tempered, or short in his tonically or rhythmically, will give a single thought quite another manner, but you become indifferent about him, if he visits you look and expression, so, if we take exanıples of greater dimentoo seldom, while, finally, you do not care about him at all, if he sions, an entire period either inserted or cancelled may make staps away altogether,”.
something extraordinary and effective out of something ordinary '. IV.
and ineffective. Good Heavens! only look at Beethoven's book On a subsequent occasion, I led the conversation back again of notes! only look at his notes for Adelaide! Why should he to the "new paths.”. The idea tormented me, and Mendelssohn's have set about altering at the very commencement? Because · reasoning had in no way convinced or tranquillized me.
the first reading is flat and ordinary, while the second is lively, .'"I heard," I began, "your overture to the Midsummer Night's more expressive, and melodious. What will you bet that if you Dream a short time ago, for the first time. It appears to me to give me a thought, of the most ordinary description, I will not surpass all your former works in originality, nor can I compare turn and twist it, as regards the outline, accompaniment, harit to any other composition, for it has no brother, or any family mony, and instrumentation, until I have changed it into somelikeness. Might we not, therefore, say that you struck out, in it, thing good? And just as in the case of a single notion, I would a new path ?"
undertake to change, by alterations and improvements, a most . “By no means," Mendelssohn answered; "you have forgotten ordinary piece into an interesting one.” what I understand by new paths: creations in accordance with “That I believe,” I replied, with a feeling of perfect connewly-discovered, and, at the same time, higher laws of art. In viction. my overture I have not enounced a single new maxim. You
“ Well, then," said Mendelssohn, “what more would you have ? will find, for instance, in the grand overture to Beethoven's Pigeons ready roasted do not fly into the mouth of the most Fidelio, the same maxims that I have followed. My thoughts talented artists. Such a thing may happen, perhaps ; but very are different, for they are Mendelssobnian and not Beetho- | rarely; as a rule, you must first catch, pluck, and roast them." venian, but the maxims which guided me in composing “And yet you have laid whole pieces on one side, as not were Beethoven's as well. We should be in an unfortunate having turned out especially well?" I inquired. position, if, because we followed the same road and created “That is very true," answered Mendelssohn; “ many come in accordance with the same principles, we could not produce into the world so sickly, that it would take as much, and perhaps new thoughts and new pictures. What has Beethoven done more, time to render them strong and healthy than to create in his overture? He has painted the substance of his piece new ones. In such a case you prefer producing something new." in tone-pictures. He has done so in a more than usually “ But is it not possible," I asked, “by too much alteration, to broad form of overture, and built up more than usually broad
render a work worse instead of better?
Is not Goethe, for periods, and so have I. But our periods are essentially and instance, right when he says: entirely formed on the laws according to which the idea of a
Hast deine Kastanien zu lange gebraten, period' presents itself as a general rule to the human mind. If
Sind dir alle zu Kohlen gerathen.'"* you test all the musical elements in this manner, you will find nowhere in my overture anything that Beethoven did not “ Yes, such a thing might happen,” replied Mendelssohn possess and turn to account, unless, indeed,” he continued, play- laughing. “What did Goethe ever say that was not deduced fully, "you give me the credit of striking out a new path, from facts? But I prefer letting one dish cook too long and be because I employed the ophicleide.”
burnt, to having every dish brought up raw to table." **"You inpute, then, the originality of invention to the welldefined subject that you had before your eyes when composing
* Your chestnuts you have too much done ; the overture ?” I inquired.
They're burnt to cinders ev'ry one. “ Certainly," answered Mendelssohn. .
« Then,” I continued, “we ought to be absolutely inundated with original works, for there is no lack of titles, containing a
A NEW SYSTEM OF ATTACK.-In Kertch, Sebastopol, and other material value, and yet the music belonging to them is frequently
out-of-the-way places, where you would imagine that Disturber of the most common description! According to your theory,
of the Peace of Private Families had never penetrated, pianos Mr. A., Mr. B., and all the Messieurs throughout the alphabet,
have been found. If the Russians were wise, they would bring would have written your overture to the Midsummer Night's
all those instruments of torture out úpon the ramparts, and Dream, had they only taken it into their heads to render the
begin playing upon them all at once. The Allies would infallibly substance of the piece in tones ?"
| raise the siege. They would never be able to stand such a “If they had set about the work with the same earnestness,"
terrible attack as that, and would retire as far as possible to get responded Mendelssohn ; "and identified themselves with the
away from the sound of it. The "din of war" would be quite a piece as zealously, they would all have produced higher and love-whisper compared to it. Only let them bring forward a
girl's-school in full practice, well supported by two or three
German professors with a touch of the forty-Broadwood power ** “Fair Catalogue," alluding to the practice pursued by German of Liszt, and, our word for it, they would effectually clear the booksellers of publishing their books at ihe periodica! Fairs held in Crimea in less than a day. Depend upon it, it would be the last the principal towns,
a thing heard of the Siege of Sebastopol.
OPERA AND DRAMA.
plete melody. But he found himself compelled, by this very course of proceeding, to supply the organisation of music, now
animated up to the bearing point, with the fecundating seed, and PART I.
this he took from the procreative power of the poet. Far re
moved from all aesthetical experimentalising, Beethoven, who - OPERA AND THE CONSTITUTION OF MUSIC. here unconsciously absorbed the spirit directing the course purBY RICHARD WAGNER.
sned by our artistic development, could not avoid going to work,
in a certain sense, speculatively. He himself was not at all (Continued from page 462.)
excited, by the creative thought of a poet, to involuntary proThis form was borrowed from the people's song, its outward
duction, but, in his musical desire to bring forth, looked round conformation, with the change and return of the movement in
for a poet. Thus, even his “Freude Melodie" appears not to be rhythmical measure, being even taken from the dance-tune created upon or through the verses of the poet, but to be written which, certainly, was originally the same as the song. Variations with reference to Schiller's poem, in the excitement produced were, it is true, introduced, but the form itself has remained the | by its general purport. It is not until Beethoven has been unassailable framework of opera down to the most modern times. raised, in the course of the poem, and by its purport, to The only thing to be thought of in conjunction with it was a dramatic immediateness,*, that we see his melodic combimelodic superstructure ; but this could naturally be nothing nations grow, more and more decidedly, out of the verge, but a superstructure, determined, from the very beginning, by until the extraordinary, varied expression of his music the framework. The musician, who, immediately he entered simply responds to the sense—which is certainly of the upon this form, could no longer invent, but simply vary, was
highest description of the poem and the mere words, with such thus at once robbed of every power of organically creating melody,
immediateness, that the music, separated from the poem, would for true. melody itself is, as we have seen, the utterance of an suddenly no longer appear to us possible 'or intelligible. And inward organization ; it must, therefore, to be organically pro- this is the point at which we see the result of the æsthetic induced, fashion its own form itself, and such a forin as would enable vestigation of the organisation of the people's song actually conit to correspond to its inward being as a most decided means of firmed with the most resplendent clearness by an artistic act. communication. But melody, constructed, on the contrary, out
As the living melody of the people is inseparable from the living of the form. could never be aught save an imitation of that poem of the people, and, when torn from it, is organically dead, melody which actually first spoke in the very form in question.* the organisation of music is only able to bring forth' true, living Hence the striving to break through this form is visible to us in melody, when fecundated by the thought of the poet, Music the case of many operatic composers ; but the form can only be brings forth, and the poet begets, and, consequently, music had overcome, with artistic success, by the discovery of suitable new
reached the height of insanity, when it wanted not only to bring forms; a new form, however, would only be a real art-form, forth but to leget as well. when displaying itself as the most decided utterance of a particular musical organization ; but every musical organization is, MUSIC 2S a Wom
Music is a Woman. by its nature, feminine; it can only bring forth, not beget ; the The nature of woman is love; but this love is the love that begetting power lies beyond it, and without fructification by this receives, and, in receiving, gives itself up without reserve. : ."" power it is not capable of bearing.Here is the whole secret of
A woman does not obtain perfect individuality until the the infertility of modern music!
moment that she gives herself up. She is the vater-nymph who We designated Beethoven's artistic course of proceeding in speeds through the waves of her native element without a soul, his most important instrumental compositions, as “the repre
until she obtains one through the love of a man. The look of sentation of the parturition of melody." We must observe here
guilelessness in the eye of a woman is the indescribably clear the characteristic fact, that, though the master first presents us
mirror in which the man recognises only the general capability with the full melody as complete in the course of the composi
of loving until he is able to perceive his own image in it; if he tion, we may presume that this same melody was complete for
once recognises himself there, the general capability of the the artist from the very commencement; he only set out by break
woman is concentrated in the one urgent necessity of loving ing the narrow form—the very same form against which the
him with the all-powerfulness of the most devoted zeal.: operatic composer struggled in vain—he shattered it into its
A true woman loves unconditionally, because she must love. component parts, in order, by organic creation, to bind these
She has no choice, except in cases, where she does not love." together again in a new whole, causing the component parts
Where, however, she must love, she feels a tremendous constraint," of different melodies to come by turn into contact with each
which, for the first time, expands her will. This will, which other, as if for the purpose of displaying the organic affinity of
mutinies against the constraint, is the first and most powerful the apparently most opposite of such component parts, and, thus,
emotion caused by the individuality of the beloved object, which the primitive affinity of the melodies themselves. In doing this, individuality having been received, has forced its way into the Beethoven only lays bare to us the inward organisation of abso
woman, and actually endowed her with individuality and will. lute music; he was, to a certain degree, intent on producing
This is the woman's pride, that only grows out of the strength this organisation out of mechanism, indicating its inward life,
of the individuality which she has received, vanquished by the and showing it to us, in the most lively manner, as engaged in
'force of love. She struggles thus, for the sake of the loved the act of parturition. But that with which he fecundated this object she has received, against the constraint of love: itself, organisation was still nothing but absolute melody; he thus
until, under the all-powerfuluess of the constraint, she becomes animated it, simply, so to say, by exercising it in parturition,
aware that, like her pride, it is only the manifestation of the inasmuch as he caused it to bring forth again the already com
power of the very individuality she has admitted into her being ; that love and the person beloved are one and the same; that,
without these, she has neither strength nor will, and that, from The operatic composer, who saw himself condemned to eternal step unfruitfulness in the form of the air, sought a field where he could
the moment she experienced pride, she was annihilated. The move with greater freedom in recitative. But this, too, was a deter...
and open acknowledgement of this annihilation is, .then, the active
il sacrifice of the last delivering-up of self on the part of the mined, fixed form; if the musician abandoned the merely rhetorical expression peculiar to recitative, in order to give the flower of a more
woman ; her pride is thus resolved in to the only thing which she excited feeling an opportunity of blossoming, he saw himself forced discapable ore
breed is capable of experiencing, the only thing that she can feel and back again, when the melody began, into the form of the air. II. in I think, iu fact, that which she is—into love for the man. .. conséquence of this, he avoided, on principle, that form, he could only
A woman who does not love with this pride of self-sacrifice. remain fixed in the mere rhetoric of the recitative, without ever raising himself to the height of melody, except let us carefully remember di * I refer the reader to the “Seid umschlungen, Millionen !" and the when, with beautiful self-forgetfulness, he absorbed the germ furnished connection of this theme with the words, "Freude, schöner Götter. by the poet.
funken!" in order to render myself perfectly clear.
does not, in truth, love at all. But a woman who does not love Love never moves her bigotted heart, though common sensual at all is the most unworthy and most repugnant object in the lust excites her carefully concealed flesh. We are acquainted world. Let us here present the reader with the characteristic with the conventicles of the pious, and the honourable cities in types of women of this description.
which the flower of cant has blossomed! We have seen the Italian music has been very strikingly denominated a cour. prude fall into the same vice as her French and Italian sisters, tesan. A strumpet can boast of always remaining herself; she only tainted with the additional crime of hypocrisy, and, unfortunever steps beyond herself, and never sacrifices herself, unless nately, without the slightest originality! when she wishes to experience pleasure or to obtain some advan But let us turn away from this hateful picture, and ask ourtage, and in this case she offers to another's enjoyment only that selves what kind of a woman true music should be ? part of her being of which she can dispose with ease, because it A woman that truly loves, who places her virtue in her has become an object of her caprice. In the embraces of the pride, and her pride in the sacrifice with which she does not strumpet, the woman is not present, but only a part of her sen- merely deliver up a portion of her being, but her entire sual organisation; she does not receive individuality in love, but being, with the richest abundance of its capability, when she gives herself generally to generality. Thus, the strumpet is an | receives. But the act of the woman is : to bring forth, contentedly undeveloped, spoilt woman-but she performs, at least, the and joyfully, what she has received-and, therefore, in order to sensual functions of the female sex, in which-although with be capable of acting, she only requires to be altogether that which regret-we can still recognise the woman.
she is, but on no account to will : for she can only will one thing: French operatic music passes, with justice, for a coquet. The to be a woman! Woman is, therefore, the eternally clear and coquet is pleased at being admired, and, in fact, even loved; but distinguishable standard of natural infallibility for man, for she she can only enjoy the delight peculiar to her, at being admired is the most perfect thing, if she never steps beyond the circle of and loved, when she herself experiences neither admiration nor the beautiful involuntariness, to which she is confined by that love for the object that she has impressed with both these which alone can bless her being; namely the necessity of feelings. The advantage she seeks, is delight in herself the love. satisfaction of her vanity; to be admired and beloved is the plea- And here, again, I must direct the reader's attention to the Bure of her existence, which would be instantaneously dimmed, magnificent musician in whom music was all that it can be in were she herself to experience admiration or love. If she man, when, in the fulness of its being, it is music, and nothing herself were to love, she would be deprived of her self-enjoy but music. Look at Mozart! Was he, forsooth, less great as a ment, for in love she must necessarily forget herself, and deliver musician, because he was all musician, and nothing else because herself up to the painful and often suicidal enjoyment of another. he could not be, and did not wish to be, anything but a musiThe coquet guards, therefore, against nothing so much as love, cian? Look at his Don Juan! Where has music ever gained in order to leave undisturbed the only thing she loves, namely such endlessly rich individuality? where has it been capable of herself, that is to say: the being which still first borrows its characterising, so surely and certainly, with the richest and seductive power and the exercise of its individuality from the most overflowing fulness, as in this instance, where the musician, advances of the loving man, from whom she-the coquet-thus | in obedience to the nature of his art, was not, in the slightest keeps back his property. The coquet lives, therefore, on thievish degree, anything but an unconditionally loving woman? egoism, and the strength of her existence is frosty coldness. In her, the nature of woman is reversed to its repulsive opposite, | But let us stop, precisely at this point, in order that we may and from her cold smile, that only reflects our distorted images fundamentally question ourselves, as to who is the man whom we turn in very despair to the Italian courtesan.
this woman should thus unconditionally love? Let us consider But there is another type of degenerate women, which fills us well, before delivering up this woman's love, whether the love with most repugnant horror: this is the prude, and as such we of the man in return be something to be begged, or something must reckon the so-called "German" opera.* It may happen necessary and redeeming for the woman? that the sacrificial glow of love for the youth who embraces Let us narrowly contemplate the poet. her may suddenly burst out in the bosom of the strumpet-let
(To be continued). us remember the God and the Bayadere !-it may come to pass that the coquet, who is always playing with love, becomes entangled in the game, and, in spite of all the struggles of vanity,
DRAMATIC. sees herself caught in the net, in which she then laments with DRURY LANE THEATRE.—Balfe's Bohemian Girl inaugurated tears the loss of her will. But this beautiful sign of humanity the autumn season, which commenced on Saturday last. The will never befall the woman who keeps guard over her spotless cast included the names of Miss Escott (Arline), Miss Fanny Dens with the orthodox fanaticism of belief-the woman whose Reeves (Queen of the Gipsies), Mr. Elliott Galer (Thaddeus), virtue is founded upon the absence of passion. The prude is Mr. Henri Corri (Devilshoof), Mr. Hamilton Braham (Count brought up according to the rules of propriety, and, from Arnheim), Miss Forrest (Buda), and Mr. J. Halford (Florestan). her youth upwards, never hears the word "love" pronounced, The Bohemian Girl has been played with invariable success except with timid embarrassment. She makes her entry, full of both in England and on the Continent. It was, therefore, dogmas, into the world, looks bashfully around, perceives the judicious on the part of the management to reproduce it. A courtesan and the coquet, and, striking her pious breast, ex- crowded house was the consequence, and the usual encores of claims : “I thank thee, Lord, I am not as these!” Her vital “I dreamt that I dwelt in marble halls,” “The fair land of power is propriety, and all her will, the denial of love, which Poland," etc., were vociferously demanded. The ballet of she does not know except as displayed in the courtesan and the Miranda followed. The opera has been played every night coquet. Her virtue consists in the avoidance of vice; her in- | during the week. fluence in infertility, and her soul in impertinent pride. And HAYMARKET.-A new five-act play, entitled Wife or no Wife, yot how near is this very woman to the most disgusting fall! | by Mr. Heraud, the author of Videnama drama produced with
success at the Marylebone Theatre some time since - was brought * By “ German" opera, I naturally do not allude to Weber's operas,
out at the Haymarket on Monday. It is finely written and but to that modern phenomenon of which people speak the more, the
skilfully constructed, but the superfluity of dialogue was disless it existo- like the “ German Empire.” The peculiarity of this
tasteful to the majority of the audience, who loudly dissented kind of opera is a something invented and made by those modern
from the applause of the minority. Miss Edith HeraudGerman composers who have not an opportunity of setting to music a
daughter, we presume, of the author of the piece-played the French or Italian libretto, which is the only thing that prevents their heroine, and displayed much talent, but was so frightened at the writing French and Italian operas, and awakes in them the proud manifestations of disapproval in the last act, as to be almost conceit, and most injurious consolation, that they could produce some unable to get through her part. The play has since been rething quite special and choice, as “they should know a great deal more peated on Wednesday and last night, and goes much more to about music than the French and Italians."
the liking of the audience.