VOL. 33.-No. 4.

REACTIONARY LETTERS.

No. III.

(Continued from page 45.)

THERE was one period when composers became rather lazy. They had let a little pig-tail grow, and felt very comfortable. This same little pig-tail waggled most pleasantly in their sonatas, ensembles, and concerted pieces. Finke, who is since dead (and who, by the way, wrote a very excellent Treatise on Composition, which is superior to most of the works on the subject), then edited the Leipziger Musikalische Zeitung, and was far from objecting to the pig-tail school; on the contrary, he was quite at home in it, because everything was so beautifully conducted in the ancient fashion. First of all, the principal theme, then a second, then a passage, etc. Beethoven alone had shot a-head, and overstept the ordinary forms. This did not please the rest, and they declared it resulted from his being deaf. Robert Schumann now appeared, and founded the Neue Leipziger Musikalische Zeitung. A select number of composers and artists joined him, and supported the new undertaking. This was the David's League. However difficult a task we musicians found it to make pointed letters instead of round-headed notes, each of the leaguers worked to the utmost of his power, until the Alte Leipziger was ruined, and the pig-tail system reduced to its last gasp. Musical composition now replaced writing. The leaguers touched their harps, troubling themselves no longer about the Muses of this earth, but floating in a sunny world of dreams. Meanwhile, however, a very active musical movement had commenced. Every one wrote on Music. tain Doctor-who may have been very well acquainted with Hebrew, and, also, able to tell a bass-viol from a piccolo, but who most assuredly did not know the difference between a major and a minor-wrote, as he himself confessed, musical criticisms, and sugested corrections in Winter's Opferfest. Another individual, who knew nothing more of music than that the seven notes are called in German, c, d, e, f, g, a, h, was, for many years, the sole and unimpeachable (at least in his own paper) operatic critic of a second journal. He used to listen to what the public said, or question, sometimes very naïvely, persons who understood music. Among other things, he once inquired whether a songstress (a high soprano) did not sing a note higher than h, and, if she did, whether that higher note might not be called i; and, likewise, whether the masquerade trio in Don Juan was not a fugue, because one voice was always coming in after the other. Rellstab-on whom, as is well known, Fate once played the terrible trick of allowing him to send the newspaper for which he wrote a criticism on an opera, that, by chance, had been taken out of the bills a few hours previously, and thus was not performed at all-maltreated Spontini most awfully, and however superior the latter was to the former, the composer of the Vestale felt wounded in the most tender point, while his creative power was diminished.

A cer

The Neue Leipziger Musikalische Zeitung has since been carried on by an individual of the name of Brendel, of whose musical knowledge we know no more than that his wife plays the piano. The paper continued to grow flatter and flatter, and did not recover itself until quite recently, when Listz and his friends took up the cudgels for Richard Wagner. At present what was

PRICE 4d. STAMPED 5d.

formerly a mere skirmish of outposts, has become a general engagement. The admirers of the Leipziger Musikalische Zeitung say: that as Louis-Napoleon cured France when suffering from a superfluity of blood, Wagner restored the opera which was threatened with chlorosis. Both are working at the Drama of the Future. Both overthrow monuments. Both write on their own works. Both commenced their career with the Republic. Wagner's first piece was Rienzi; now comes Der gehörnte Siegfried, which is to play for several evenings. How many evenings Napoleon's next work will play is as yet undetermined. Just as Napoleon was crowned with the imperial diadem, Wagner is wreathed with laurels. We pray daily for many a Brendelist-not Wagnerist, for a great number of these ranters do not understand Wagner in the least, and do not even trouble themselves to form a correct opinion of him, but simply gabble away at random, so that Wagner might say with Hegel: "Of all my pupils, only one understood me, and he misunderstood me." They watch how he clears his throat, and how he expectorates, and then imitate him-but nothing more. We pray, then, daily for many a one of these zealous apostles, that he may not have to undergo the fate of St. Paul, and lose his head, although others assert it is already lost, or rather, never existed, and that the whole affair was only beard, wig, and Calabrese hat: but this strikes me as irony, although the tricks of nature are said to be very wonderful. From a sincere love towards our neighbour, we have, therefore, taken up, for some time, our pen that had reposed since the battles of the leaguers above-mentioned, but shall attack only the asses who now-a-days wish to bestride Pegasus, in order to show their skill in high horsemanship. Wagner is fine, when the pure gold of his genius flashes out, free from dross. But when he introduces three different keys in the same bar, and moreover wanders about in his modulation, like some insane lover in St. James's Park-at which, by the way, weak-minded individuals are lost in wonder, as if Händel had not been acquainted with and employed this contrivance, a hundred years ago, whenever he considered it applicable, a fact of which these surprised gentlemen may convince themselves, by looking at his Israel in Egypt; or when, in 60 bars he treats us to about 56 bars of chords of the seventh, minor, major, and diminished, so that, in order to satisfy our desire of dissolution, we would fain be changed into a piece of butter upon a hot hob-then we are not at all for Wagner. Neither Meyerbeer nor Wagner is under the pure enthu siasm of our ancestors for art. Both are great artists, but we can perceive that they take great pains with their work, and this is a fault. Theodore Mundt makes the singer Guidetta say: "The works of art of the present day are, as a general rule, no longer innocent, and, therefore, no longer real works of art. The works of art of the age have become large mousetraps, in which we require a great deal of cheese in order to enable us to catch a great many mice. The public takes more readily to the rich cheese, than it would to the breast of a young goddess, if the latter were offered it."

It is very true that cheese is a good bait. Wagner's is toasted somewhat more than Meyerbeer's; this accounts for the number of persons caught by it. We will not, however, be too determined in our opposition, but restrain our reaction within reasonable bounds; La délicatesse du goût est une première nuance de la satiété, and it is said that a little drop too much is not injurious to health, although we ourselves never advocate the principle.

perceive the delicate odour of fine Italian perfume, which made me, yesterday, first discover my fair neighbour; a feeling of delight, which I think I could only express by notes, comes over me. The air sweeps keener through the house-the strings of the piano in the orchestra are sounding. Oh, Heavens! I think I hear Anna's voice: "Non mi dir, bell' idol mio!" as if at a great distance, borne aloft on the wings of swelling notes from an aerial orchestra. Rise up before me, thou distant, unknown spirit-world-thou Dschinnistan full of glory-where all that has been promised here on earth has been fulfilled to the enchanted soul in inexpressible heavenly pain as well as the most ineffable joy! Let me enter into the circle of thy beatific visions? Would that the god of dreams whom thou hast chosen, now as a terrible, and now as a friendly messenger to earthly men- -would that, when sleep holds my body in leaden bonds, he might lead my spirit to the etherial fields!

POSTSCRIPT.-Conversation at the Table d'Hôte at Noon.

WISE MAN WITH A SNUFF-BOX (giving it a loud rap).—-It is, indeed, provoking, that one should have no true opera any more for some time to come! But that is the consequence of this detestable

overacting.

MULATTO FACE.-Sure enough! I often told her so. The role of Donna Anna always affected her very much; and yesterday she was, indeed, like one possessed. I hear she lay in a swoon during the whole of the entr'acte, and that, in the scene in the second act, she even had attacks of hysterics.

INSIGNIFICANT MAN.-You don't say so!

MULATTO FACE.-Yes, indeed, and still would not leave the stage. INSIGNIFICANT.-I trust the attacks are not dangerous; I hope we shall soon hear the Signora again!

WISE MAN WITH THE SNUFF-BOX (taking a pinch).—Hardly!-for the Signora died exactly at two o'clock this morning.

PARIS.

(From our own Correspondent.)

I DID not send you any news last week, for, "Story! God bless you! I had none to tell, sir." However, the sky has now changed, and novelties rain in abundance. The first and chiefest is a new operetta at the Opéra-Comique, full of all the old gaiety, freshness, and entrain" pétillant d'esprit," and from the first note of the overture to the finale full of sparkling melody. Le Chien du Jardinier is the combined work of Messrs. Lockroy and Cormon, and M. Albert Grisar; the two first having written the libretto, and the last the music. It is acted and sung by Mesdames Lemercier and Lefebvre; Messrs. Faure and Ponchard. It is put on the stage to perfection, having actually been three months in rehearsal, and I am quite at a loss to whom to give the palm; to the authors who the artistes who presented it to the public. It is a pastoral-an wrote the libretto, to the maestro who composed the music, or to idyll-set to music, and there is probably no lyric theatre in Europe for which it is so completely fitted as the OpéraComique.

The curtain rises on a farm-yard, with barn and hen-roost on the right; on the left is seen the farm-house, clean, smiling, and fresh, the abode of Marcelle and her cousin Catherine. The window opens, and Marcelle appears, waiting for François, whose rustic head is soon seen peering above the wall. Seizing a rope attached to the barn, he lets himself down, and is under the window of his charming mistress. Her pleasant visage inspires his amorous mind, and seizing a ladder he places it against the low-tiled roof of the farm-house. The tiles give way under his weight, and the ladder goes through the window. François hides himself in the horse-trough, and Catherine, who owns the farm, issues forth, finishing her toilet, and demands of her cousin Marcelle whence comes all the

noise. Marcelle, of course, is ignorant; but just then François, half drowned, takes breath, shews his head, and is immediately She is then seized with all a laid hold off by Catherine. Marcelle on some errand, in order that she herself may inwoman's curiosity, and all a woman's coquetry, and sends off terrogate François. François, nothing loth, describes how his

LOLA MONTES.-The Sacramento Union has a telegraphic despatch, dated Grass Valley, to the following effect:-"Our town was thrown into a state of ludicrous excitement this forenoon, by the appearance of Lola Montes rushing from her residence through Mill-street, towards Main-street, with a lady's riding-whip in one hand, and a copy of the Telegraph in the other, her eyes in a fine frenzy rolling, vowing vengeance on that scoundrel of an editor, etc. She met him at the Golden Gate Saloon-the crowd, who were on the qui vive, following in her footsteps. Lola struck at the editor with her whip, but he caught and wrested it from her before she could hit him a blow. She then applied woman's best weapon-her tongue. Meanwhile, her antagonist contented himself with keeping most insultingly cool. Finding all her endeavours powerless, the divine Lola' appealed to the miners, but the only response rendered was a shout of laughter. Mr. Shipley, the editor, then triumphantly retired, having, by his calmness, completely worn out his fair enemy. The immediate cause of the fracas was the appearance of sundry articles regarding the 'Lola-Montes-like insolence and effrontery of the Queen of Spain.' The entire scene was decidedly rich." Lola, in her own account of the affair, says-"I went forthstrong in the principles, as I have said, of Miss Lucy Stone and other strong-minded females-found this redoubtable man in the saloon, and as quick as a flash of lightning laid the said whip on his shoulder and head four times on my word of honour, before my enemy could remem. ber that he was sitting on a chair. The lady of the Golden Gate Saloon was sitting on one side, a gentleman on the other; after having given him four good whippings, he got up and squared himself on the most improved Yankee Sullivan principles, and was preparing to give me a stunner in the eye. The spirit of my Irish ancestors (I being a kind of three-quarter breed of Irish, Spanish, and Scotch), took possession of my left hand, and upon the most improved Tom Hyer principles, before he could attain my eye, I took his, on which-thanks to some rings I had on at the time-I made a cutting impression."

sprained her ankle, in order that by leaning on François she may foot of Marcelle; and Catherine forthwith pretends that she has ankle. Here occurs a pretty and effective duet delightfully sung. show her hand, and by showing the sprain display her foot and François forgets Marcelle, who comes back despairing at the very moment that Justin arrives, he being the accepted lover of Catherine. Their various sensations are well described in a very dramatic quartette. Justin and Marcelle endeavour to console each other, but without effect, and François triumphs; but so foolish is he in his glee, that Catherine regrets her conquest, and determines to undo her work, which she had merely undertaken as a pastime. She takes the opportunity of effecting this on hearing a song, describing the situation in which she has placed herself, by grasping her cousin's lover and giving up her own. This, which gives the title to the piece, is written with great neatness and point.

The song, very well given by M. Faure, was unanimously encored, and a large party in the house would gladly have heard it a third time. Du reste, the whole of the music is suited to the piece. It is throughout rustic, gay, and lively. M. Grisar has obtained a deserved and legitimate success; and if four artists could be found on the English lyric stage who could interpret the music as it is given at Paris, I should prophecy as certain a success for a translation as I am satisfied it will have for many years at the Opéra-Comique. Mais, que voulez-vous? Who could play Catherine with the grace, espièglerie, and naïveté, of Madlle. Lefebvre? In her high Norman cap, and picturesque peasant dress, she charms you ere she opens her mouth; and from beginning to end her singing and acting are perfect. Madlle. Lemercier, as Marcelle, looked the fresh, healthy peasant-girl to the life. She was evidently delighted with the part, and had thoroughly well studied the music, which she sang like a true artist as she is. M. Faure sang and acted well as

Justin; and M. Ponchard looked as bête as could be wished in the part of François. I conclude as I began, by assuring you that a more perfect little gem than the Chien du Jardinier has never been produced before the public of the Opéra-Comique. At the Grand-Opéra the Huguenots has again been given, with a happy improvement in the cast. The most unfortunate of Queens of Navarre, Mademoiselle Delly, Pupil of M. Duprez," has returned to that obscurity from which she should never have emerged, and has been replaced by Mad. Angles Fortuni. You may remember that in my description of that lady's début, I foretold her success in this part. She has now attempted it, and my prophecy is fulfilled. Mad. Angles Fortuni sang the music with great facility and real artistic feeling; and although she speaks French with a strong accent, the public was delighted with her. As to Sophie Cruvelli I know not what to say. Criticism is both idle and useless. She has studied the part of Valentine so carefully, and with such success, and she has so completely vanquished whatever was crude in her acting, that her performance is now perfect. Les Vêpres Siciliennes must bide its time, for there is little chance at present of the public getting tired of such a captivating Valentine.

I must now tell you of an engagement which came to my knowledge yesterday, and is probably more bizarre than anything which has been previously imagined. Mdlle. Rachel has, for some time, been determined on making a tour in the United States; but the difficulty has been to find a speculator bold enough to give the enormous sum demanded for her services. Rachel, in Paris, has 38,000 francs (£1,520) for her six months' performances at the Théâtre Français; but away from this most attractive of capitals, she considers herself entitled to three times that amount, for one month's representations. At length the bold and enterprising man was found, and the preliminaries were arranged. Mdlle. Rachel agreed to cross the Atlantic, and proceed to the United States for a term of one twelvemonth, receiving for her services 1,200,000 francs (£48,000), or 100,000 francs (£4000) a month. Of this sum she demanded that 600,000 francs (£24,000), should be paid down in advance, and should belong absolutely to her family, in any case, whether she lived to fulfil her engagement or not. To this the entrepreneur objected, on the ground that she might die on the voyage, or before giving a single representation, in which case Rachel's family would have his money, and he would never have had her services. Rachel saw the force of this objection, and demanded time for consideration. This being agreed to, after a week's deliberation, she discovered a means of satisfying all parties, but one so droll and original, as could only have suggested itself to a woman, that woman a Frenchwoman, that Frenchwoman an actress, and that actress Rachel. She proposed that in case of her death, after the 600,000 francs were paid, and before the termination of the first six months, the speculator should have the right of embalming her body, and exhibiting it round all the cities of the Union in a Théâtre Ardent (transparency). "Thus," said she, "I shall perform my engagement, and you will have value received for your money. This engagement has been actually signed; but Rachel has no idea of being embalmed for the present, and fully intends to return home, with 1,200,000 francs added to her fortune.

Madame Ugalde performed an extraordinary tour de force at the Opéra-Comique, last Friday. Without previous study, and at six hours' notice, she sang the part of Isabelle in Le Pré aux Clercs, of course holding the book in her hands. She repeated it on Sunday, and then acted and sang, without book, to perfection. Mdlle. Miolan, whose sudden "indisposition" was the cause of Mdlle. Ugalde's appearance, will thus have leisure to recover completely.

The "speculator" must surely be Mr. P. T. Barnum.-ED. A SENSITIVE EAR.-The delicate and sensitive ear of Rameau led him sometimes to acts even of cruelty. One morning, a friend calling in, found his wife in tears because Rameau had thrown her little lap dog out of the window. "True, very true," said Rameau, "I can not deny it; but, really it was quite intolerable, the beast barked so out of

tune."

SIGNOR AND MADAME RONCONI. SOME friends of Madame Ronconi having obtained a copy of the following letter addressed by that lady to the Emperor of several of the Parisian papers. Russia, were injudicious enough to forward it for publication to

"SIRE,-I should personally have come to throw myself at the feet Almighty, can alone hear my complaint and see of your Majesty, to implore your justice, which, after that of the me righted, had not the greatest misery kept me here. Three years ago my husband, Georges Ronconi, after having degraded my domestic hearth by his way of life, heartlessly deserted me, and to indemnify me in some way for having prevented me from pursuing my theatrical career, made a settlement upon me, through M. Wenn, a notary in London, which was enough to render me independent. To this contract, sanctioned even before your Majesty's consul, he has never adhered. I would have brought my case before your Majesty's Imperial tribunal, and demanded its being put into force, but I have not the means. What can a poor woman do against a man who ridi cules everything, and tramples under foot the most sacred duties ? My sole hope is that the infallible justice of your Majesty may compel my husband to furnish me with the means of living. For, sire, after having sold everything, his agent has not given me a sou for the last three months-me, his legitimate wife before the Almighty and before the law. And yet my husband earns, 20,000 francs (£4800) a-year, and to pamper a mistress, forgets the duties of a husband and the honour of a man. Sire, your magnanimity is great! Deign to listen to the voice of a wretched woman, who, on her knees, implores of your Majesty justice and protection. "GIOVANNA RONCONI.

"Paris, 6th January, 1855. 45, Rue de la Victoire." To the above letter M. Peigné, Signor Ronconi's solicitor, addressed the following reply, which was of course inserted by the same Editors who had opened their columns to the reclamation of that lady

"Monsieurle Rédacteur.-My attention has been this moment attracted by the letter of Madame Ronconi published in your number of the 14th January. Signor Ronconi is in Russia; and if I was to await his answer, the accusation might be accepted for truth by many of your readers. As the solicitor of Signor Ronconi, I think it best to reply to Madame Ronconi, by enumerating the receipts signed by herself, in exchange for the sums of money her husband has transmitted her1853, April, 2000 fr.; May, 2000; June, 2000; July, 2000; July (second payment), 1000; August and September, 2000; October, 1000; November, 1000; December, 1000: 1854-January and Febru ary, 2000; March, 1000; April, 1000; May, 1000; June and July, 2000; August, 1000; September, 1000; October and November, 1000; total, 24,000 francs. Yesterday, the 16th January, I received from Signor Ronconi a letter, which contained, primo, 2000 francs for Madame Ronconi, and, secondly, 8000 francs to pay debts contracted by Madame Ronconi, which makes the grand total 34,000 francs (£1,360).

1853, to 15th of January, 1855. Having read Madame Ronconi's "This has been the allowance to Madame Ronconi from April, letter, however, I do not feel justified iu giving the 2,000 francs now in my possession to herself, nor the 8,000 francs to her creditors. I conclude by begging you to announce, that Signor Ronconi wishes, as a man of heart and a man of honour, to pay all the debts incurred by him when the Théâtre-Italien was under his management, in 1848, and to settle with all his creditors, who may, therefore, forward me their accounts with a view to their liquidation.-I have the honour to be, Monsieur le Rédacteur, yours, etc., PEIGNE, Solicitor of the Imperial Court.

"Paris, 17 Jan., 1855,

"31, Rue des Fossés, Saint-Germain l'Auxerrois.' The explanation of Mr. Peigné is calculated to give both pleasure and satisfaction to the friends and admirers of Signor Ronconi in this country.

HERR GOFFRIE'S LAST SOIRÉE, on Wednesday week, provided, as usual, an excellent programme, including a trio by Beethoven and one by Mendelssohn. The instrumental executants were Mdlle. Graever, Messrs. Kialmark, Goffrie, Paque, Herr Kettenus (a new arrival); the Brothers Holmes (violins); Mesdames Messent, Bauer, Mouat, Vernon, and Mr. G. Tedder (vocalists). The concert was good in all respects. Herr Goffrie deserves much praise for the spirited manner in which his soirées have been conducted. Messrs. Kiallmark and G. Russell were the conductors.