assumed with irresistible naïveté, and the costume was as the French say, "ravissant." The engagement of Mdlle. Cerrito has been renewed for next year, which proves that Mr. Gye has still a little corner left in his breast for the too much neglected ballet.

On Thursday, L'Etoile du Nord was repeated for the sixth time, and attracted a very full house. To-night, the Prophète is announced for the second time; and on Monday-an extra night-L'Etoile du Nord for the last time this season.

On Tuesday, Rossini's Otello is to be given, with Madame Viardot, Signors Tamberlik, Graziani, Luchesi, and Tagliafico. The season will terminate on Thursday, we believe, with Пl Trovatore.

SIGNOR GORDIGIANI'S MATINEE MUSICALE.-The morning concert of Signor Gordigiani took place at the New Beethoven Rooms on Monday. The following artists assisted :-vocalists -Mad. Wilhelmy, Miss Dolby, Signors Belletti, Bettini, and Ciabatta; instrumentalists-M. Hallé (pianoforte) and M. Paque (violoncello.) Signor Gordigiani is one of the most graceful and melodious of modern Italian composers for the voice. His tunes are easy, natural, and characteristic, and the genuine musician is exhibited in all he does. The specimens of his own composi-year at the great Festivals of Norwich and Liverpool. Elsewhere tions introduced on Monday were various and interesting. They consisted of an aria, "Il nome di mia Madre," sung by Mdme. Wilhelmy; romanza, "L'Esule," by Sig. Belletti; air, "Impressione," by Sig. Ciabatta; duo, "Il Giuoco della Mora," by Signors Bettini and Ciabatta; and aria, "E m'e venuto un abbagliore," by Miss Dolby. Sig. Gordigiani is not merely successful in the tender and expressive as exemplified in the air by Miss Dolby and that by Mdme. Wilhelmy-but displays occasionally a genial talent for the buffo style. This is plainly shown in the duet, "Il Giuoco della Mora," which possesses much of the fluency and laissez-aller of the best Italian models. All these pieces we have named gave unqualified pleasure, and ample justice was done to them by the singers, more especially by Miss Dolby and Signor Belletti.

The one classical morceau of the concert was the "Introduzione e Finale," from Beethoven's pianoforte sonata, op. 53, magnificently played by M. Charles Hallé. The rest was strictly "popular.' Signor Bettini sang "La donna e Mobile," from Rigoletto, and Angiol d'amore," from La Favorita; Signor Belletti gave the air, "O jours heureux!" from Etoile du Nord; Miss Dolby sang an aria by Mercadante, which, though somewhat old-fashioned, was charmingly vocalized; Mad. Wilhelmy introduced two German songs, and Signors Bettini, Belletti, and Ciabatta, gave the well-known trio, "Papataci," from L'Italiana in Algeri. M. Paque played a solo on the violoncello, and M. Halle, with great effect, a nocturne and valse by Chopin.

The concert was fashionably attended, the majority of the company being of the gentler sex. Signor Gordigiani presided at the piano, and accompanied all the music in a very finished

manner.

was

CERITO A LA BOUCHER.-"In a corner of one of the pit boxes we observed Madame Cerito, whose coiffure of roses positively charming, and wanted nothing but some patches (mouches) on her cheeks to look the very beau ideal of one of Boucher's most lively and seducing portraits."-Messager des

Théâtres et des Arts.

MADAME BOSIO.-Our veracious contemporary, The New York Musical Review, states that "Madame Bosio is about to separate from her husband, as he has been rather a help-eat than a helpmeet for her; this is not to be wondered at." We need scarcely add that this cancan is as utterly false as the "triumphs" of Richard Wagner in England, recorded in such queer English by Professor Dreisterner Haudegen (late Plauderein) Praeger von Hamm. Poor Mr. Xindavelonis!

LEIPSIC.-The male members of the chorus at the theatre gave a performance, on the 8th instant, in honour of the 400th anniversary of the rescue of Prince Albert of Saxony from the hands of Kunz von Kaufungen. The programme contained Weber's Jubelouverture, and a chorus from Rossini's Stabat Mater, besides several other compositions, vocal and declamatory.-Dr. Schmidt (manager of the theatre before Herr Wirsing), died lately at New York.

"To the Editor of the Manchester Examiner and Times. "DEAR SIR,-My attention has been called to two places in your paper of 14th of July, in which you allude to my sister, Madame Člara Novello, in connection with the approaching Birmingham Musical Festival, in a manner the injustice of which you will perceive when made acquainted with the facts. You say other sopranos were engaged, Madame Clara Novello not being accessible' (page 11). Now, my sister was, and still is accessible, at the same terms she received last (page 5) you say, 'There is, as we said before, one name wanting. We refer to Madame Clara Novello; and we regret, for the sake of the lady herself, that she is not of this noble band. The Committee, liberal terms offered (the same as in 1852) did not meet Madame fully appreciating her artistic powers, sought her co-operation; but the Novello's views. Now, the Committee had, and still have the power to secure my sister's services at the Festival, on the same terms as she received at Norwich and Liverpool; but they decline to do so, and have engaged instead a number of foreigners to sing English oratorios. Having so decided, they had no right to use my sister's name any further; and the present misrepresentation is the more unfair, because the Committee have put it forward at a time when they know my sister to be absent from England-she having taken the few day's cessation from her arduous profession to visit her children in Italy, previously to her renewed exertions at the Hereford Festival, on the 21st of August. If the Birmingham people are disappointed of hearing their favourite, the Committee are alone to blame; they offered terms which they knew could not be accepted, since my sister received as much at Birmingham when a girl, before her marriage, and when her standing in the profession entitled her to sing only the second and third-rate songs. These, therefore, cannot be called 'liberal terms,' as they are much under those which my sister received from other great Festivals; and the Committee have no right, now, to try, by their representations, to divert public blame from themselves towards an artist who has always made so strong a point of keeping faith with the public. I must again protest against the impropriety of using a singer's name in connection with a Festival, the Directors of which have refused her "J. ALFRED NOVELLO. services.-I am, dear sir, your's faithfully, "London, 69, Dean-street, Soho, July 16, 1855." REPLY.

Mr. Novello commences by stating that his "attention has been called to two places in the Manchester Examiner and Times respecting the injustice done to his sister in connection with the approaching Birmingham Festival." With regard to the first-"Madame Clara Novello not being accessible" (page 11), the Committee have authorized no statement to this purport. As respects the second (page 5), the Committee are prepared to take the whole responsibility, and to justify, if required to do so, by making public their offer, their assertion that the terms offered Madame Novello (the same as in 1852) were and are liberal. Mr. Novello proceeds to state that "the Committee have still the power to secure the services of my sister on the same terms she received at Norwich and Liverpool, but they decline to do so, and have engaged instead a number of foreigners to sing English oratorios." To this intimation, however, the Committee have no intention of acceding, having before them the pecuniary results of both those musical undertakings, which they are anxious to avoid here; and, as respects the foreign singers, the Committee beg leave to refer Mr. Novello to the list of names in the programme, and to the ladies themselves, for an Mr. Novello then says, the answer to his uncalled-for allusion. Committee "having so decided" (namely, to decline Madame Novello's services) "had no right to use my sister's name any further;" and, moreover, that "the present misrepresentation is the more unfair, because the Committee have put it forward at a time when they know

price for every separate draught, mixture, or bolus, they may have supplied to their patients. The mere fact, patent to every one, that the articles just mentioned can, in nine cases out of ten, be prepared at a ridiculously small cost, will never lessen either the "respect"

or

"confidence" which is due to a respectable practitioner. I have taken it for granted that, in recommending the teacher to follow the example of the "physician," the "Professor" means surgeon; for I never before heard that the former was in the habit of supplying both prescription and physic: of uniting the professions of doctor and "druggist! Perhaps he was thinking of musical doctors, who, as a matter of course, bring their own music, and hence, from a confusion of ideas, his mistake may have arisen. There is, however, one important point of which the "Professor"

seems to have lost sight, viz., that his province is not simply to Allow it to be G, however, and the passage is not a bit less "odd": teach, but also to direct the studies of his pupils into proper channels. I don't know what his experience may be in this particular, but, for my own part, I generally find the selection of a proper piece attended with much loss of time, and no small amount of trouble. I have frequently to wade through whole piles of music before I can meet with a piece which I feel satisfied will suit the capacity of a particular pupil. Will any one then venture to tell me that I am not fairly entitled to some return for this extra trouble?

But I now come to the grave charge which the writer has brought against the whole body of teachers, and I think I may with justice exclaim: "Who art thou that judgest another ?" By what right do you assume that respectable teachers fill the portfolios of their pupils with pieces they "do not want ?" Has this been your own custom, and do you judge others by yourself? I leave the profession at large to assert their own honour, but, for myself, I repel the insinuation with the scorn and contempt it so justly deserves.

But, even supposing the necessity for adopting another system really exists, I certainly should not follow the "Professor's" example, and allow my pupils to select and purchase their own music! Such a course (to return to the medical parallel) would be like calling in a surgeon, and then using one's own judgment as to the kind and quantity of medicine to be taken-a mode of proceeding which might possibly save the patient's pocket, but would certainly exhibit a woful lack of confidence in the skill of the person employed. Should the "Professor" continue to hold to this resolution, I can only say, may heaven help his unfortunate pupils!

However, it may be that there are those in the profession who entertain a certain amount of delicacy on the subject of supplying their pupils with music, but who still feel that they would be failing in the conscientious performance of their duty were they to leave the matter in the hands of their pupils. To such I would venture to suggest a plan which I think would remove the difficulty, and prove satisfactory to both master and pupil, viz., to make a fixed charge for “musical instruction and music," be it much or little.

In conclusion, I would counsel the "Professor" when next he commits himself on paper, to have a little more regard for the feelings of those members of the profession, who though not inclined to give up what I trust I have shown to be a legitimate source of profit (even supposing they supply their own compositions), are, nevertheless, as jealous on the subjects of "honour" and status as the "Professor" himself. I am, sir, yours obediently,

A TEACHER OF Fourteen YEARS' STANDING.

RIVALS, NOT PIRATES, &c.

To the Editor of the Musical World.

DEAR SIR,-I must protest against your review of one of my pieces in the last number of the Musical World, as it contains a few misrepresentations (unintentional, I believe) which are calculated to injure me. First, in No. 3 of your list at the head of the article, you have printed "Les Pirates" instead of "Les Rivales," a difference with rather an unpleasant distinction. Then, in your second quotation, 3rd bar, you have F instead of G in the bass, which gives an awful wrench to the harmony. But, worse than all, in your second quotation, you take half the introduction, or "beginning," as you call it, and announce it as an "odd" introduction, leaving your readers to infer that it is the whole introduction.

Now, really, this is too unkind; the "unkindest cut of all," and I beg you to set me right in your next, or at least to insert this letter. I am, your obedient servant, High-street, Bridgnorth, July 23rd, 1855. JOHN SEWELL. [For the unintentional misprint of "Pirates," for "Rivals," we apologise. We should also apologise for the unintentional misprint of G, for F, in one of our quotations, but if Mr. Sewell

f

What will Mr. Sewell say to defend the fourth bar, with the dreadful chord that begins it?-a chord requiring no "wrenching" to make it more repulsive? With regard to the last objection of the author of "The Rivals," we must refer him to our own words ("ante"-page 477):-"Why does he (Mr. Sewell) announce it (the first polka), at the end of a short introduction, after this singular fashion?" We said nothing about the whole introduction. Our objection was to the last discord, which immediately precedes the theme of the polka:

4

P

We were about to correct another of Mr. Sewell's own misThe bar stands prints; but on second thoughts, refrain. thus :—

f

Does the author of "The Rivals" mean G, or F-F, or Geither, neither, or both?-ED., M. W.]

VICENZA.-The two young English vocalists, Mdlles. Henrietta and Adelaide Alexander, have been engaged at the Teatro di Sassari for the Autumn Carnival, the former as prima donna soprano assoluta, and the other as prima donna mezzo-soprano assoluta.

DRESDEN.-Mdme. Jenny Ney has returned from London, and made her re-appearance in Nicolai's Lustige Weiber von Windsor. Among the novelties which, according to report, are about to be produced, is Herr Dorn's Niebelungen. On the 8th inst the Sächsischer PestalozziVerein celebrated the 400th anniversary of the rescue of the founder of the reigning house of Saxony. The various Männergesangvereine, Orpheus, Germania, Liederkranz, etc., took part in the proceedings, and executed compositions of Mendelssohn, Gade, Schumann, Reissiger, etc. The Royal Family was present.

REVIEW OF THE HISTORY OF MUSIC

BEFORE MOZART.
(Continued from page 464).

tributary to Italy, Hasse's Germany, would have been quite as
backward about recognising Gluck as it was twenty years after-
wards about understanding Mozart. France, on the contrary,
was entirely ready to receive the new lyric-dramatic code, which
was nothing but the completion and perfection of its own. The
reigning masters of its Royal Academy, the numerous battalions
of its orchestra, its singers, its chorists, and its dancers, the pens
of its poets, seemed only to be waiting for a musician. Gluck
came and accomplished that of which the Florentines had
dreamed; he solved the great problem of lyric tragedy so far as
it was possible. Imagine with what enthusiasm and with what
intoxication a people, for whom dramatic excitement formed the
highest mental satisfaction, welcomed the reality of a musical
drama, after already worshipping its shadow in the shapeless
productions of their native composers. The national party, far
from disquieting themselves about the triumphs of a foreigner,
spontaneously recognised him as their interpreter and their
head-a proof that Gluck had thoroughly understood how to seize
the thought and taste of the nation; the thought, which they had
well comprehended, without being able to realise it; the taste,
which accepted alternation, because it promised them a new en-
joyment. This was an immense success, unheard of in the
annals of the theatre, which rose even to illusion and to madness.
When the learned world saw that Racine's tragedies were merci-
lessly cut to pieces to make operas of them, that Iphigenia had
already fallen under the shears of an arranger, which went to
work a thousand times more savagely than Calchas's steel, it
raised a shriek of dissatisfaction and of terror. Laharpe already
was alarmed lest all the gods of the French Parnassus, flung
together in a hecatomb, were to be slaughtered on the altar of
the German idol. Laharpe turned Piccinist, as men once turned
monks, to testify to their abhorrence for the abominations of the
time. And who were they who lavished their almost frantic
applause on a composer, whose innovations the musical nations
had rejected as assaults upon the sovereign orthodoxy of the
Italian opera? They were the mass of the French public, the
most ignorant and barbarous of men, genuine Baotians, musically
speaking! And Gluck's opponents, the Piccinists, who were
they? The music-lovers of the great world, the young musi-
cians, the hope of the country, literati, who gave the tone-
J. J. Rousseau, theorist and composer, Grimm, the pearl of
dilettantists, Laharpe, Marmontel-it was the élite of Parisian
society, who strengthened that crowd of foreigners belonging to
the higher classes, which incessantly, in an ever-constant mass,
attaches itself to the Parisian population. The whole world of
connoisseurs were, without exception, Piccinists. The Baotians,
on the contrary, declared themselves unanimously for Gluck.
(To be continued.)

GLUCK was even greater as a thinker than as a musician. From grounds of reflection, the opera seria, to which he had paid the tribute of his youth, accompanied by the most brilliant success, in Italy, disgusted him, and he began to reflect radically upon the conditions of lyric tragedy, tried to bring them into application in his Orfeo, and developed them in writing in the preface to his Alceste, which he dedicated to the Grand Duke of Tuscany. In this remarkable piece, in which the rule goes before the example, Gluck points out all the faults of the musical and poetical composition of the Italian opera, and unfolds his system, which he founds upon the principle of lyric-dramatic truth, whose application he extends to all parts of the opera, which he binds strictly together, exterminating all accessory ornaments as superfluous, substituting accurate expression of the words for forms introduced in the interests of routine and of the singers, ordering the movement of the music by the action, and making the poet in everything the indispensable counsellor and inseparable guide of the musician. These maxims, to which Gluck's scores furnish the best commentary, and, at this day, the best criticism upon whatever then may be extravagant in them, contained nothing but the principles of the French composers. The distinction between them and Gluck, however, consists in this, that they entirely lost sight of their end in the means of execution, and that Gluck was not the man to be deceived in that way. The followers of Lulli very honestly imagined that they only needed to imitate materially the inflection and the shades of the voice which characterise such and such passion in everyday life. When they had let rage, remorse, and revenge howl, when they had indicated such moods as despondency, sorrow, and lamentation by smothered tones, they fancied they had done all, and no one thought of the melodic sense or nonsense which might result from the putting together of their hollow-ringing and shrieking notes: the selections of chords troubled them about as little, provided they were always full and noisy. Moreover, they had remarked that the passions in reality announce themselves not only by the motion, but also by the higher or lower tones of the voice; that some express themselves rapidly, others slowly, and that as a general rule in speaking we do not follow a definite rhythm. Hence they thought it clearly followed, that, if they changed the movement and the measure with every word, and made the rhythm so irregular as to disturb every impression, and cause all sense of unity to vanish from the music, they attained the highest possible degree of truth. In this way the French composers drew their conclusions, owing to the false theory of their time, which placed SIGNOR LORENZO'S MATINÉE.-A select and fashionable audimusic in the category of the so-called imitative arts; and it was ence assembled at the private residence of Lady Maclaine, Cumthis that made it, leaving execution out of the question, so into-berland-street, on Friday the 27th ult., invited by the talented lerable to foreigners. barytone, Signor Lorenzo. The singers were Mesdames Fiorentini, Lorenzo, and Ransford; Signors Bettini, Belletti, and Lorenzo. Instrumentalists-Mdlle. Graver (piano), and Signor Bottesini (contra-basso). The noticeable points of the programme were the "Aria Pastorello." by Benedict, a beautiful melody, sung with great taste by Madame Lorenzo, whose voice, though not powerful, is very sweet; Madame Fiorentini's "Adelaida," which displayed infinite expression and feeling: Signor Bottesini's fantasia on the double-bass-a marvellous piece of execution; a very pretty romanza by Campana, composed expressly for, and exceedingly well sung by, Signor Bettini; Signor Lorenzo's " Tarantella," given with remarkable vivacity and real comic humour (encored); and the terzetto in the second act of Lucrezia Borgia, by Made. Fiorentini, Sigs. Bettini and Belletti. Among the fashionables present were the Duchess of Kent, the Duchess of Gloucester, the Comtesse de Lavradio, the Duchess of Wellington, the Marchioness of Ely, the Marchioness of Hastings, the Countess of Dysart, the Countess of Harrington, the Countess of Lanesborough, Lady Charlotte Watson Taylor, Lady Mary Ross, the Hon. Lady Butler, Lady Maclaine, Lady Kirkland, Lady Morgan, Mrs. Lockhart, Mrs. Colonel Marshall, Mrs. Henry Faithful, etc., etc.

To declare that a musician like Gluck could not have made such wretched mistakes, would still be no great compliment for him. Glück not only understood the true, more various, and more powerful declamation better than all the musicians before him he also knew that the chief effects and the most essential significance of music lay in its own proper elements, and that, therefore, to found musical tragedy, it was not enough to perfect the recitative and measured declamation, the only kind of song which admits of a free and almost ideal intonation of the speaking voice; but that there was need, especially, of arias, choruses, and concerted pieces, whose dramatic expression is brought out by means of melody, harmony, and rhythm—things which have absolutely no material resemblance to speech.

If we consult a comparative view of the musical statistics of Europe, from the time when Gluck projected his plan, we shall easily convince ourselves that France was the only land which could and would receive it. Italy would have put its originator under ban as a heresiarch, the public would have made merry at his expense, and the singers would have treated him very much as the Bacchantes did the hero of his Vienna opera in Orfeo. Germany, which in the opera was still

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ROSSINI has left Paris, and is staying at Havre for the benefit of the baths and the sea air. His health, we learn from the papers, is much improved, and his gaiety returning. The great composer will not go back to Paris before the end of August. ITALY.-Musical matters are quite at a stand still at Milan, where the only theatre open to the public, the Rè, was closed more than a week, owing, as the bills say, to the sudden disap-DAN pearance of Mad. Aldini. No other explanation was given; but at last a substitute was found in the person of Mad. Lemaire, who got through the part of Pippo in the Gazza Ladra pretty well. The Carcano is announced to open shortly, with Donizetti's Don Sebastiano, which will be followed by Sig. Briccialdi's new opera. Leopold de Meyer has been here, and has started for Vienna. At Genoa, the new theatre Doria will shortly be inaugurated. It is described as a magnificent building, richly decorated, elegant in form, and somewhat larger than the Paganini.-At the Metastasio at Rome, a new opera, Emilia d'Ariccia, by Signor Galanti, has been produced with a certain degree of success,

although the execution is described as having been indifferent.

The composer, a very young man, is said to evince considerable talent. On Sunday, the 15th July, the Teatro Pagliano was opened, at Florence, with a new company. Donizetti's Lucia

was the opera, and the parts were filled by Mad. Frassini and

Signori Zacchi and Giuglini, with much applause. At Venice,

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RI
London and North Western Railway here. The exercises consisted of a
an anthem, the wor SNNAMB

the 81st Psalm. the Commemoration at the of

Mr. Richard Hacking, jun., Bury, had the degree of Bachelor of Music conferred upon him. His exercise was a cantata, for five voices, with

full orchestral accompaniments, and it was performed in Music School on the 18th of last month. The Rev. Sir Frederick Arthur Gore Ouseley, Bart., M.A. and Mus. Doc., is the present professor of music, having succeeded the late Sir Henry Rowley Bishop; and we

hear that, to raise the standard of the Oxford musical degrees, sir Y. A. G. Ouseley requires candidates, in addition to the previous requiresought, in his presence, and from a subject of his own proposing; a test which will effectually try the merits of the candidate. The recent appointment of Sir F. A. G. Ouseley to the musical chair at Oxford has

ments, to work out a fugue in five or eight parts, according to the degree

been very severely canvassed by the press, both general and musical, but this step on the part of the professor, we think, is an indication of no ordinary significance. We know little of Sir F. A. G. Ouseley; we have once or twice heard a complete cathedral service of his, in E, at St. Peter's church, in this city, and a service in G, also his composition, and we are informed that he is skilled in other branches of musical acquirement, such as the organ and pianoforte. It has long been a matter of complaint that musical degrees have been no sign of merit ;

and this feeling has been so current, that the highest ornaments of the

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something. We recommend the Universities of Cambridge and Dublin Lambeth and York) to look out, if they wish their degrees to be worth

(to say nothing of German colleges, or of degrees obtained by favour at

having; and, as a preliminary step, we would suggest that they should abolish the custom of taking the degrees of bachelor and doctor by accumulation, and to adapt their exercises to the present advanced state of musical science.—(Abridged from the Manchester Courier.)

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