CONVERSATIONS WITH FELIX MENDELSSOHN.* Christus am Oelberge-in Fidelio-and in many other of his works?" (Concluded from page 494.) "WE have read and heard a great deal lately of the influence which a composer's way of looking at the world exercises on his works," I said to Mendelssohn. "I confess that I can form no clear idea on this matter. You are a composer of the present day. What is your opinion?" "Ah! you ask me more than I can answer," Mendelssohn replied, with a smile. "I do not possess the mania, or, if you prefer it, the talent for discovering profound combinations between heterogeneous subjects. It is certain that many things, very often apparently dissimilar, work upon, and pre-suppose one another, but it is equally true that there are others which have nothing in common, and are perfectly independent of each other. A man's way of looking at the world and a man's way of looking at art I are two things that have nothing in common, and exercise no reciprocal influence upon each other." "What you say is exactly the reverse of what is now asserted by a great many really thinking minds," I replied. "I cannot help it," said Mendelssohn, shrugging his shoulders. "After all, did you ever know a composer who gave utterance to this opinion, or agreed with it?" "I must own that I never did," I answered. "There, you see!" said Mendelssohn, "and yet we also ought to be consulted on the matter." "But the proofs for the opinion in question have been deduced from the works of composers," I replied. "There is Beethoven, for instance" "Has put his way of looking at the world in a score-is not that it?" inquired Mendelssohn. "So it is said," I replied. "Is the idea then quite destitute of reality, quite contrary to experience ?" "You will, at any rate, grant," I observed, "that no artist can step out of his own period, which consequently exercises an influence on him?" Certainly, I will," replied Mendelssohn, "but that, instead of refuting, merely confirms my views. When people say the artist is a child of his own times, it means, he cannot step beyond the way of looking at art followed in his own times. If a man at the present day composes a symphony, he has not got Pleyel, Dittersdorf, Wolf, etc., but Mozart and Beethoven before his mind. Beethoven wrote as he did, because the works of Haydn and Mozart were the guiding stars in his day; but he took some of his musical thoughts from the political or religious spirit of his day, did he? Čan you, for instance, tell, from hearing his symphony in B, or the one in F major, that the Revolution had broken out in France? All the religious and political opinions of the day never inspired him with the idea of employing the clarinets, oboes, flutes, horns, etc., in such and such a manner, or of working out a theme thematically after this or that fashion, but he heard these means so employed in the works of his models, he read them in their scores, he abstracted from them the maxims for his own guidance, and, in his own way, still further developed and practised them." "But we see," replied I, "poets, for instance, who are properly called political poets, since, in their poems, they treat of political subjects of the day." Poets may do so, if they choose," replied Mendelssohn; "but such effusions are merely speeches in rhyme; the goddess of poetry has naught to do with them. Moreover, a composer has no business to interfere with political and party opinions on state affairs, but must busy himself with feeling-purely human feeling-if he would work upon the entire body of musical humanity. The artist should be objective and universal. He "In my opinion, completely-utterly," said Mendelssohn. must be capable of pourtraying circumstances of every kind as "The expression; the way of looking at the world, means, Iwell as the feelings arising from them with equal truth and presume, nothing more than how a man thinks respecting the faithfulness-to-day a rebellion, and to-morrow an idyll, and to occurrences of the wor'd, what he holds of them-what his views call up in his own breast all the notions and passions belonging are with regard to them. Out of these views are formed a to them. If the worldly views and opinions of his time comman's sentiments for or against the things of this world. The manded him, he would not be a free creator in art, but a democrat is not pleased with the present political system, shackled slave. because he does not deem it in accordance with his ideas of government. He wants it to be arranged after his notion, and from this proceeds his sentiments, a hatred for everything and every | one that differ from or oppose this idea of his. Suppose now, Beethoven had possessed such a way of looking at political matters, and such sentiments in conjunction with it, and that he had consequently fostered a feeling of hate in his mind, what influence do you suppose such a mode of looking at matters and such sentiments exercised upon him when composing his Pastoral Symphony?" "You very cleverly select one phenomenon of his, that is adverse to the proposition. I will remind you, on the other hand, in favour of it, of his Eroica. We know that he wished to celebrate Napoleon as the hero of the Revolution, and as a republican, and that he tore up the title, on hearing that the Consul had created himself Emperor." "The artist, when creating, flies from everyday life, with its conflicting interests, and enters the higher and rich sphere of art. What reciprocal influence do you suppose is at work in the case of a political fanatic at the moment he has to set a love-air to music? Can he, at such an instant, think of his democratic or aristocratic opinions, or arouse the hatred within his breast, and, with this feeling, proceed to the musical pourtrayal of the love of a gentle girl?" "He would certainly produce a strange piece of music," I observed. "An artist," continued Mendelssohn, "must, in the hour of creation, be that which he wishes to represent; that alone; that, and nothing but that. His sentiments may to-day agree with any subject, and to-morrow completely differ from it. Göthe is said to have been an aristocrat. Supposing this is true, in Götz von Berlichingen and Egmont there is not the slightest trace of any such sentiments. In those works, his heart appears to have glowed for freedom. What sentiments, then, produced Iphigenia political convictions Göthe may have entertained, however, it was not they which furnished him with the ideas in his worksthe subjects of the latter did so.' "You reproach me with the same thing in which you indulge yourself," said Mendelssohn. "I adduce one phenomenou against, and you, one phenomenon for-if, by the way, I admit that the-what, the Wahlverwandschaften-what, the Tasso? Whatever music of the Eroica is democratic music, that is, music of such a kind, that by hearing it we could perceive Beethoven's democratic views and sentiments. I should like to know whether you could ever learn them from the music, supposing you to be unacquainted with the title and anecdote in question? Besides these two symphonies, however, Beethoven has written seven others, as well as a certain number of quartets, quintets, trios, sonatas, overtures, masses, an oratorio, and an opera, and in them, as far as we actually know, pourtrayed a mass of subjects and things which have absolutely naught in common with democratic views and sentiments. What democracy is there in "I perfectly agree with you," I replied, "but then we must ask the question: Whence can an idea come, and find so many believers, when there is, in reality, nothing true in it ?" "It comes from a one-sided view of things," replied Mendelssohn. "Because Auber wrote La Muette de Portici, Beethoven, the Sinfonia Eroica, and Rossini Guillaume Tell, people hit upon the notion of a political system of music, and demonstrated that the above composers were under the necessity of producing these works, in consequence of their political views and the times in which they lived. The fact of Auber's having composed a Maurer und Schlosser, and Fra Diavolo, Rossini, Otello, Tancredi, etc., and Beethoven a hundred works which have nothing at all to do with the political mode of looking at the world, is passed over in complete silence." "If your reasoning is correct," I replied, "we may draw a more comprehensive conclusion from it. Because the artist's works have been considered dependent on his mode of looking at the world, many persons wish to bring the course pursued by art generally into necessary connection with the course followed by our religious and political life; political and religious ideas are developed after this or that fashion, and, consequently, music must be developed after this or that fashion also. Händel was obliged to write in his day in the manner he did, because the life of the period was what it was. Gluck, Haydn, Mozart, and so on, were obliged to write as they did, in obedience to the path pursued by people generally and universally in their mode of looking at the world at that epoch." VIVIER. (Another Yankee "Canard.") RICH AGAINST HIS WILL.-Vivier, the musician, who is the present rage in Europe, is one of the rare instances of a man of genius who has a banker! His account with his banker used to be a very uncertain one. successful tour or concert, and he made haste to indulge in a little Now and then he was "flush" with the proceeds of a financial respectability, by making a deposit, on which he could draw cheques like a capitalist. The season, some five or six years since, was very productive. He had made a tour with Jenny Lind in Germany, and, his pocket being heavy on his return, the great banker, Mr. Baring, had been the recipient of some twelve hundred pounds to his account. But Vivier's heart was in his own country, and, the moment he was unoccupied, he began to be homesick. He would make a visit of a month or two to Paris, and return when the Great Fair of London recalled him to the banks of the Thames. He drove to the banker's for his money. By the eminent Mr. Baring, he was received with the genial courtesy which genius commands, even in the marts of Mammon, from those who are its princes. "Do "Cer "An opinion which is as untenable as that on the works of the individual artist," said Mendelssohn. "Beethoven's genius for music did not come into the world for the first time with Beethoven. It is probable that it had existed several times, at "I have called to draw the little sum that I have in your hands," earlier and different epochs. But it found other predecessors, said Vivier. At these words, the banker put on a grave air, and slightly other models, and other modes of looking at art. People admit pinched his lips. "It is impossible to let you have it," was the reply. Göthe's assertion that an artist, coming ten years earlier or "Ah! you are perhaps embarrassed at this particular moment ?" innolater than he did, would have been a different person, that is to cently supposed the musician. "Not at all," said the banker, and one of his clerks entering at the moment, he turned to him and said: "You say, in so far as he would have met with other views of art, will send to His Grace the Duke of- the forty thousand pounds, which would have worked differently upon his development, and which was the amount of the loan he requested." "This reassures then again they would make the course pursued by art dependent me," said Vivier, "if you can lend forty thousand pounds, you could on that followed by the world. That Beethoven's genius mani- easily furnish me the two hundred pounds, from my deposit, which I fested itself as it did, depended simply on the order in which he require at this moment for a trip to Paris." Certainly I could-but appeared. Had he lived in Händel's days, he would not have I must still refuse it," persisted the imperturbable banker. "Monsieur!" been our Beethoven. He would have been different before said Vivier, "I like a joke well enough when it is not carried too far; Haydn and Mozart. Haydn and Mozart would have been dif- but this seems to me to have attained its limits." "I never joke on ferent had they lived after Beethoven. This would have so hap-matters of business, sir," said Baring, "and, when I assure you that pened whatever the world might have been, politically, reli- you cannot have the money you ask for, I am quite in earnest." giously, etc. No matter what dogma or political opinions you pretend to deny that I made a deposit with you, then ?" had prevailed, whether there had been peace or war, tainly not. I remember perfectly that, a short time since, you deposited absolutism, constitutionalism, or republicanism, it would with me twelve hundred pounds, for which, with a confidingness that have had no influence on the course of music, and that is true was a compliment to me, you did not ask for a receipt." "And will solely because the artist cannot expand and develope himself you abuse this confidence ?" 'Never, of course. But, still, you canotherwise than in accordance with the artistic moment at which he not touch the money in question." "Your reason why, sir, if you appears. Let us suppose that, from to-day, all artistic creation please?" "I will tell you. A few days before her departure for the were interrupted for a hundred years, while the political, the honour to dine with me. United States, Miss Jenny Lind, whose banker I also am, did me the religious, and the philosophic world continued to progress once more hearing her delightful voice, and she assented on one condition: After dinner, we pleaded for the privilege of without let or hindrance. Would music, on awakening from that I would grant a request which she wished to make. I promised, her long sleep, have gone forward with the rest of the world, and she sang. The song over, we claimed to know our obligation, and and would the works of the next master be a hundred years in she then said: Vivier has deposited money with you-twelve hundred advance of the best works of our own times? Not one step. pounds, I hear. He ought to be rich, with the money he makes, but Under the most favourable circumstances, they would only the careless creature spends his earnings with the prodigality of a prince. follow in the same line as our best works, and continue the Some one should be prudent for him, since he has no prudence for himseries uninterruptedly, however the world might, in the mean- self. His capital should be invested in spite of him, and the interest time, have progressed in everything else. allowed to accumulate. This sum, now, might be, one day, a little capital that would save him from want. I wish you to refuse to let him draw it out of your hands.' This is the explanation of my refusal, and you see that it originated in a kind and affectionate solicitude for your welfare." "Oh! very well," said Vivier, "and, of course, I am sensible of the sympathy which actuated the illustrious woman, whose tude, I do not accept the tutelage, for I am out of money, and must heart is even greater than her talent; but, notwithstanding my grati appeal to the law." "Very well," said the banker, "the right is on have it for my present need. If I can get it in no other way, I will with the cost of the suit, and, with my means, I can make it last as long your side, and you can go to law, if you like, but you will ruin yourself as your life, for the delays of the law are endless if you choose to pay for them. Nothing shall prevent me from keeping my word to Jenny Lind, and carrying out her benevolent design. You cannot touch the money in my hands.' "In a word-the course of musical art possesses nothing in common with the course of science, philosophy, religion, or politics; it developes itself in conformity with the natural laws of progress of the art, in conformity with the laws of its rise, growth, and decay." Much to my regret, Mendelssohn now perceived a friend, whom he called, saying, Adieu, Mr. Grub, Auf Wiedersehen," as he stretched out his hand to me. I had a great many objections to make against his last arguments, but I was obliged to wait for a good opportunity, as Mendelssohn was not always inclined to enter on such discussions, and, when I remarked this, I took care not to annoy him with them. GOTTSCHALK.-We regret to hear that this distinguished American pianist, the best our country has produced, is in a very precarious state of health, and that his friends are deeply concerned for him. He was lately in New York, at the house of a friend in Fourteenth-street, but has now returned South, to his native climate.-New York Musical World. WEIMAR.-Dr. Liszt is engaged in arranging his choruses to Herder's Prometheus for concert performances. Before the inflexible determination of the banker, Vivier was obliged to yield, and, to the delight of his friends in Paris, he was obliged to give a concert during his vacation there, to pay the expenses of his idleness. Vivier is the greatest of living horn-players, and though he still makes exorbitant sums of money, is as extravagant in its expenditure as ever. If he lives to the common age of man, however, he will be rich in spite of himself. [The above witty effusion is taken from our contemporary the New York Musical Review. When Vivier reads it, if he ever reads it (he cannot either read or speak English), he will be more astonished than any one else. En revanche, he should bring an action against Mr. Mason for the £1200 of which that editor has made him a present in print.-ED. M. W.] GIACOMO MEYERBEER. (Continued from page 495.) AFTER the triumphant success achieved by Robert le Diable at the Grand-Opéra in Paris, the administration was determined to have a second work by Meyerbeer. The libretto of Les Huguenots, which was written by Scribe, was confided to the celebrated composer. To make sure of his applying himself immediately to his task, a forfeit of thirty thousand francs was stipulated, in case the complete score should not be delivered within a specified time. While Meyerbeer was occupied in the composition of the new opera, the health of his wife, which was seriously affected by a disease of the chest, compelled him, with the advice of the medical attendants, to try the milder climate of Italy. In this situation, he demanded of the director of the GrandOpéra to delay for six months the rehearsal of his opera. This just request was refused. Meyerbeer, nettled and offended, withdrew his score, paid the forfeit, and departed. The director, however, soon felt the necessity there existed for bringing out the Huguenots. The public was not attracted by his spectacles. Something novel was required. The forfeit money was consequently returned, and the new opera of Meyerbeer was represented at the Académie Royale de Musique, on the 29th of February, 1836. The structure of the poem of the Huguenots has no analogy with that of Robert le Diable. The action at first progresses slowly, and the interest does not begin to develop itself until towards the middle of the third act. Here almost everything is owing to the musician, who, single-handed, has been able to sustain attention throughout these empty scenes. No composer could have triumphed over such difficulties, but by force of superior intellect. At first, neither the public, nor, for the most part, the critics were able to thoroughly understand and appreciate the true merits of the Huguenots. It was allowed, indeed, that the duet in the third act between Valentine and Marcel, all the fourth and part of the fifth act, contained beauties of the first order; that there was nothing more profoundly pathetic in dramatic music than the last scene of the fourth act; and yet it was agreed that, as a grand and complete work, the Huguenots was inferior to Robert le Diable. More late, those who were disinterested abjured their error; and now, after nearly twenty years, the Huguenots is almost universally allowed to be the chef-d'œuvre of the master. Of a work so renowned a few particulars will not be unacceptable. The original cast at the French Grand-Opéra was as follows: Marguerite de Valois, Valentine, ... Count de St. Bris, Count de Nevers, ... ... ... Madame Dorus Gras. M. Derivis. M. Nourrit. Raoul de Nangis, Marcel, Urbain, The Huguenots was first performed in London, by the German Company, in 1842. The Belgian troupe produced it at Drury Lane in 1845. It was tolerably well played, M. and Madame Laborde and M. Zelger sustaining the parts of Raoul, Valentine, and Marcel with much effect. The same company played the opera again in 1846. The success of the Huguenots by the Belgian Company at Drury Lane attracted the attention of the directors of the Royal Italian Opera. Everything was favourable to the production of the French opera at Covent Garden. The splendour and completeness of the band and chorus, the company from which so powerful a cast might be selected, the zeal, energy, and talents of the conductor, together with the unrivalled resources of the theatre in scenery, dresses, and decorations, all pointed to an unprecedented success. Her Majesty Queen Victoria commanded the first performance-her first command at the Royal Italian Opera-and attended in state. A fortnight previously the Huguenots had been talked of, but not rehearsed. Her Majesty expressed a wish that, if possible, the opera might be given on the command night. Mr. Costa and Mr. Gye-nothing daunted at the ninety-six full rehearsals devoted to the Huguenots at the Académie-Royale, and the one hundred and fifty rehearsals at Berlin-went to work at once, and, with three or four part rehearsals and one full rehearsal, achieved one of the greatest successes ever known in any theatre. "The Academy," exclaimed a French professor at the end of the opera, "must now be silent for ever. Their two years' rehearsals achieved nothing like this performance." tragedy of Andromaque was played (Rachel, Hermione) on FRENCH PLAYS, ST. JAMES'S THEATRE.-On Saturday the Monday Lady Tartuffe; and on Wednesday Adrienne Lecouvreur (for the second time). The vogue continued to the end; while the great actress seemed to grow greater, and her genius to expand with each successive performance. Crowds flocked to the theatre, and the excitement rose to fever-heat. But to talk about Rachel in connection with applause and bouquets, is superfluous; she is above them. We shall, therefore, leave those "ovations" to other chroniclers. We do not like the comedy of Lady Tartuffe. If it is a comedy of manners, it is a comedy of bad manners; and the poor lady who wrote it (Mad. de Girardin), was too open to satire herself, to satirize others with anything like grace. Peace be with her ashes! Her Lady (why "Lady?") Tartuffe-alias Mdlle. de Blossac-is a monstrous caricature, without a redeeming point. be. And yet, what Rachel makes of her! The comedy of the No such wicked person ever was, or by any possibility could literally upsetting a saw, and out of a sow's ear making a silk French tragedian is nothing short of marvellous. This is purse. Rachel can do even that; her "Lady" Tartuffe is a proof of it. And then, the Jane of her clever sister, Dinah, is exquisitely natural-full of archness and vivacity, and prepossessing to a degree. Yet for all that, we do not like Lady Tartuffe. How refreshing to turn from this piece of overstrained hyperbole to the magnificent tragedy of Andromaque. In this Racine is probably more dramatic, and for that reason approaches nearer to the Shaksperean play than in any of his works. It is not so lofty as Phèdre, or so sublime as Athalie; but it is more fit for stage effect, and more human than either of those masterpieces of its celebrated author. Hermione was never thoroughly understood until Rachel undertook the part; and we doubt whether if in any other character the immensity of her talent, and its capability of giving effect to every variety of emotion, are more strikingly evinced. Her performance on Saturday night beggared description. We shall not, therefore, attempt to describe it, or the thrilling sensation it produced upon the audience. Besides, we have alluded to it elsewhere. With the second performance of Adrienne Lecouvreur this short series of dramatic triumphs came to an end. We may long look for their like again. BADEN-BADEN-(From a Correspondent).-We are, as the French say, en pleine saison. M. Benazet has opened his splendid rooms, which are daily and nightly crammed with rank and fashion. In addition to the customary amusements, there will be presently plenty of music in Baden-Baden. The charming Marie Cabel is here; also Mad. Sabatier and Mad.Miolan, of the OpéraComique. The saloons are not quite finished, but when they are they will be magnificent. M. Benazet is employing all his taste and liberality in decorating them and making them comfortable for his guests. On the 16th instant, there is to be an opera in which Madame Cabel is to sing. Last, not least, Vivier (Pietro, veramente "Il Grande") is here. "Le Ciel est bleu est sa mine est verte." Vivier will play at a grand concert to be given on the 25th. I will send you an account of it, with whatever else may be worthy of your notice. Clapisson, the composer, is here. TO CORRESPONDENTS. S. W. D.-There was no mistake; Keeley and Mario have appeared in the same part-Raimbaldo in Robert le Diable-with this distinction, that Keeley left out the music, while Mario retained all the fun. THE MUSICAL WORLD. LONDON, SATURDAY, AUGUST 11TH, 1855. RACHEL is, probably, by this time, on her way to the United States. The steamer in which she was to embark is the "Pacific." May the Atlantic be also pacific, and the "calm sea and happy voyage," so poetically suggested by Mendelssohn in his enchanting overture, wait on her all the way-until cousin Jonathan, who is expecting her arrival on the other side of the ocean, stretches out his friendly arms to receive her! 66 The short visit of the French tragedian to this metropolis has proved eminently satisfactory, in more respects than one. We are able and pleased to congratulate our transatlantic brethren on the fact that they are about to welcome to their shores the very greatest artist of our time, in the zenith of her powers, her brow over-shadowed with laurels magnificently worn, before her fame has been shaken of one leaf by the shifting wind of popular opinion, and before the slow but ruthless hand of time has been busy in its work of demolition with a beauty that, as it glides before us on the stage, can only be compared to the paragons of Athenian art. Rachel was never so entirely a mistress of all her unequalled resources, never so incomparably an artist, never so convincingly a genius-never, in short, so perfect, as at this moment. To compare her with any other would be preposterous. She is as a swan trooping with crows the one white and spotless thing the dramatic art possesses. Although we are not among those who hold the works of Racine and Corneille in small repute since we cannot shut our eyes to the truth that, in spite of the "unities" and so forth, the best of them are masterpieces of nature, no less than polished examples of poetic art we are quite aware of the inestimable service which Rachel has been the means of rendering to the dramatic literature of her country by reviving the taste for them. The French, tossed about on the waves of their revolution, and engulphed to the eyes and ears in a tempestuous sea of events which was destined to encroach so materially on the stubborn rocks of despotism, had lost sight of or forgotten those grand poets who sang of the sorrows of ancient Kings and Queens in a time when modern potentates were safer, or thought themselves safer, on their thrones. Talma, the actor, did something to arouse his compatriots to a sense of pride, and to bring back to their knowledge that a race of great dramatic poets had lived and shed a lustre on their "Augustan" period, a lustre which, though dimmed by circumstances, was far more worthy to be restored, than the wars, the extravagance, and the follies of that sensual egotist, the fourteenth Louis, to be remembered. Talma, however, only prepared the way for Rachel he laid the train, which a spark from her transcendant genius was destined to fire. Not only did Rachel once more loosen the tongues of oracles long speechless from neglect, and cause their eloquent words to resound again in the listening ears of the people; she found new meanings in those words; she held over them a flaming torch, and exposed to view much that had previously remained as inscrutable as the deathless forms of the sculptor in the unhewn and shapeless block. There was, indeed, in many of the plays of Racine and Corneille, more than had been ever recognised. To Rachel is wholly due this discovery, so important and so flattering to the French, as a nation of poets, no less than of philosophers and warriors. "Le laid c'est le beau" was stripped of its garment of sophistry by the black-browed Queen of tragedy: she saw it was false, and laid bare its hideous deformity. Camille and Hermione-those radiant creations were made manifest in all their glory; and heroines, that Shakspere himself might not have disdained matchless artist, who clothed them with her own beauty, and to own, rose, like ghosts from the tomb, at the nod of the brought them back to life, and health, and vigour. A whole volume might be written about Rachel's Camille and Rachel's Hermione-the first the loveliest and most winning, the last the subtlest and most terrific, art-repre sentation probably ever witnessed in a theatre. Phèdre is perhaps the loftiest interpretation of Rachel ;* but there is more humanity and much more variety in Hermione. The great characters in the tragedies of Les Horaces (Corneille), which the well-known Talma was celebrated, and Andromaque, and Andromaque (Racine), used to be the elder Horace, in for Rachel's genius to perceive, and for her amazing talent to an equally renowned impersonation of Mdlle. Mars. It was explore, the mine of dramatic wealth that lay hidden in and Hermione, which must therefore be regarded as her the previously-considered secondary personages of Camille most original, if not absolutely her grandest, assumptions. How Rachel played on Saturday night, how tremendously great-greater than ever before was her acting, as the wayward and terrible Hermione, can never be forgotten by those who were lucky enough to witness it. It made the audience shudder and weep by turns; it truly and without hyperbole, "shook the soul and purified it." As she quitted with a storm of imprecations, hurrying to the unseen bier of the stage, after overwhelming the panic-struck Orestes Pyrrhus, alternately loved and hated, to immolate herself there in expiation, she looked like a fury pursued by fate, convulsed with agony, sublime in madness. This "exit" was unparalleled. The house trembled with emotion, until the pent-up feelings of the audience were let loose in a tempest of cheers and plaudits. time, we tender them our hearty felicitations. That they will We really envy our American friends, while, at the same fully appreciate the genius of Rachel those who know them best are best inclined to believe. THE following letter has been addressed to the Editor of the Musical World :— (TRANSLATION.+) MY DEAR SIR,-I have this instant received the Musical World of the 4th August, and I have read with much pain the unjust attack of which Mr. Costa has been the subject in a French journal on the occasion of the representation of L'Etoile du Nord * We had not seen Athalie when this was written; Rachel's Athalie is even loftier than her Phèdre! Or was it that Drury Lane Theatre is loftier than St. James's? +(ORIGINAL). MON CHER MONSIEUR,-Je viens de recevoir à l'instant le Musical World du 4 Août, et j'y lis avec beaucoup de peine l'injuste attaque dont M. Costa a été l'objet de la part d'un journal Français à l'occasion M. Costa m'a donné tant de preuves de zèle et de dévouement pendant de la représentation de L'Etoile du Nord au théâtre de Covent Garden. tout le cours des répétitions de cet ouvrage, et il en a dirigé l'orchestre at the Royal Italian Opera. Mr. Costa gave me so many proofs of zeal and devotion (dévouement) during the whole course of rehearsals for this work, and directed the orchestra with such admirable talent, that I am in a great measure indebted to him for the excellent execution of the opera. Moreover, Mr. Costa, far from offering any opposition to my directing the orchestra, at the first performances of the Etoile du Nord, begged me earnestly several times, on the contrary, to do so. If, notwithstanding this, I refrained, it was because, after hearing several operas which preceded my own, at Covent Garden, I was led to appreciate the high intelligence with which Mr. Costa conducted all these works, and to believe that I could not confide the direction of my opera to more skilful and conscientious hands. I had already expressed in private all my gratitude to Mr. Costa at the moment of leaving London; but in face of the article which is commented on in the Musical World, of Aug. 4, I should be much obliged if you would give a place in the columns of your estimable journal to this spontaneous testimony of my high esteem and gratitude for Mr. Costa. Pray accept, my dear sir, the assurance, etc., etc., MEYERBEER. Spa, Aug. 6, 1855. After this, our contemporary on the other side of the channel will no doubt make the amende honorable to Mr. Costa, by a simple statement of the facts. That its London correspondent (who was in Paris when the Etoile du Nord came out in London) has been misinformed, is the most charitable construction we can put upon the matter. But by whom, and to what end, it would be difficult to surmise; nor are we at, present, disposed to sift the mattter to the bottom. THE late directors of the Old Philharmonic Society are incorrigible. Can you believe, reader, that, without any power either to offer or to make engagements, they absolutely proposed, at the termination of the disastrously memorable season of 1855, to renew that of Herr Richard Wagner for next year? Our authority is Professor Praeger, of Hamm-chef de claque in England for the "Drama of the Future"-who thus writes to the New York Musical Review, which he supplies with such trustworthy information, from week to week, and which is indebted to his pen for the records of the Wagnerian triumphs in this country : "We are, however, glad to notice that the influence of this wouldbe-autocrat-critic is far less than one would believe-or than he would make the uninitiated believe; and no stronger evidence was wanting for this than the decided genuine and hearty reception which greeted Richard Wagner on his entrée in the orchestra at the eighth and last concert of the Old Philharmonic Society, on Monday, the 25th Junethe intensity of which was only exceeded by the leave-taking after the concert, for which an unusually numerous public remained purposely, against their usual habit of running and rushing out in the middle of the last overture-which was the strongest proof that possibly could avec un si admirable talent que je lui suis en grande partie redevable de l'excellente exécution de cet opéra. En outre, M. Costa, loin de s'opposer à ce que je dirigeasse l'orchestre aux premières représenta. tions de L'Etoile du Nord, m'avait prié au contraire à plusieurs reprises avec instance de le faire. Si, malgré cela, je ne l'ai pas fait, c'est que l'audition des opéras à Covent Garden qui précédaient le mien m'avait fait apprécier la haute intelligence avec laquelle M. Costa conduisait tous ces ouvrages, et que je croyais ne pouvoir confier la direction de mon opéra à des mains plus habiles et consciencieuses. J'avais déjà exprimé, en particulier, toute ma reconaissance à M. Costa au moment de quitter Londres; mais en face de l'article dont il est question dans le Musical World, du 4 Août, je vous serais bien obligé si vous vouliez donner une place dans les colonnes de votre estimable journal à ce témoignage spontané de ma haute estime et reconnaissance pour M. Costa. Veuillez agréer, mon cher monsieur, l'assurance de la haute considération de votre très dévoué, Spa, ce 6 Août, 1855. * The critic of the Musical World. MEYERBEER, be given, that all the silly twaddle and musical 'bosh' of the critic had not influenced any of the subscribers-always excepting the small (not elegant) clique of self-elected native geniuses. Even the orchestrawhich may be called Signor Costa's orchestra, and notwithstanding his presence-gave repeated hearty bursts of applause. Wagner, however, another engagement for next year, as well as one in Germany, at one of has refused already-a fact which we can prove, black upon whitethe courts which, in offering the engagement, expressed its indifference as to his position as an exile." Now, if this be true, and there is no other evidence against its truth than the testimony of the Hamm Professor (which is "rayther" suspicious), the late directors should be arraigned by the Society for assuming responsibilities, which, according to its laws, were not vested in them. When the term of office has ended, the seven directors (who are re-elected annually, at the general meetings) possess no more authority than any of the rest of the forty members. Their power only extends to the season of their direction; and they have no right whatever to meddle by anticipation with the management of future directorates, of which, so far as they are aware, not one of them may constitute a part. This matter imperatively demands an explanation. Was a fresh engagement proposed to Herr Richard Wagner?-or is the whole a pure fiction, an invention of Dreisterner, who is so fertile in manufacturing facts to suit his own ends? Here is something for the "special committee" to inquire. into-if they really mean (which we doubt) to inquire into anything. MADLLE. RACHEL'S DEPARTURE FOR AMERICA.-Madlle. Rachel left London yesterday morning, at 10 a.m., by rail, from the Euston Square Station, and arrived at 5 p.m. at the Waterloo Hotel, Liverpool. She is to embark this morning, on board the "Pacific," for the United States, accompanied by her sisters, Dinah and Lia, her brother, M. Raphael Felix, and a troupe of thirty artistes, including, among others, Madlles. Sarah Felix, Briard, Durrey; Mdme. Latouche; M.M. Randoux, Chéry, Chéry Jun., Latouche, Dieudonné, Bellevault, L. Beauvallet, etc., who all formed part of the company at the St. James's Theatre in the recent series of Madlle. Rachel's performances. RICHARD WAGNER AND HERR FORMES.-The following anecdote is vouched for as authentic. At the rehearsal of one of the recent Philharmonic concerts conducted by Herr Kapellmeister Wagner, Herr Formes was present. "Guten Morgen, Herr Formes," said Wagner; to which Herr Formes at once "Finden Sie replied, "Guten Morgen, Herr Kapellmeister." sich glücklich in England ?"-demanded the Man of the Future. "Ich lebe hier nun sechs Jahre in England, und habe mich einer grossen Anerkennung zu erfreuen," was the German basso's answer. "Ich werde froh sein wenn ich England im Rücken habe," retorted the Hope of Weimar. "Apropos, Herr Formes-warum besuchen Sie mich nicht ?"he added-to which retorted Herr Formes "Ich wohne the Kunstwerk der Zukunft had nothing to say. The above 30, Gower-street, Bedford-square." To which the author of anecdote was eagerly laid hold of by Dr. Saphir, and all Vienna reads it in the Humorist. DONIZETTI.-The Gazette de Cologne states, that the monument to Donizetti, by Vincenzo Vela, has arrived at Bergamo, and will be placed in the basilica of Sainte-Marie-Majeure. MR. AGUILAR, the well-known pianist and composer, is staying at Lowestoff, a quiet watering-place in Norfolk. SCARBOROUGH.-Mr. Harrison gave two concerts in the TownHall on the 4th and 6th instant, which were well attended. The vocalists were Madame Copare and Mr. Lambert, who were encored in several songs, and in Barnett's duet, "The singing lesson." Mr. Rayner presided at the pianoforte. |