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do not insert Mr. Lake's letter, for two reasons ;-firstly, because

CATHEDRAL MUSIC. all its descriptive portion has long since appeared in the pages of the Musical World, and secondly, because we do not admit any

FIFTEEN ANTHEMS, composed by GEORGE B. ALLEN, thing in the shape of professional criticism on subjects which we

Mus. Bac. Oxon. personally undertake to discuss. The propriety of this arrangement, for many reasons, Mr. Lake will, we think, at once

It is impossible to examine these compositions without perunderstand. . Mr. Best's letter on the same subject was per

ceiving that Mr. Allen has been in a difficulty, partly of talent, mitted to appear simply as a concession to his position as the partly of opinion, while at work on them. He has certainly appointed organist of St. George’s-hall,--we thought he might

been aware that the traditional cathedral music had faults, and wish to declare his own impressions of his own instrument, and

has probably done as scores of people of the same way of thinkso accorded him the opportunity. As both Mr. Best and Mr.

ing downamely, spared himself the trouble of any special Lake seem to have addressed us under the impression

analysis for the purpose of discovering what these faults were, that we have done the Liverpool organ wrong by “adverse

by compendiously charging the present music with being oldcriticism,” we must remind our correspondents, and organists

fashioned. It is this old-fashioned character that he evidently and organ-builders in general, that, at present, we have de

purposes to correct in the compositions under notice, but, on livered no detailed criticism on the finished instrument at all. account of the double difficulty aforesaid-on one side, the whole Our first papers, it most be remembered, were confined solely circumstances of his cathedral education were against him, and, to a review of the description of the organ' which was published, on the other, timidity, probably, often prevailed against his by authority, in the Liverpool Guide. Our strictures were | wishes-he has only half succeeded. To be a successful artdirected entirely upon the design of the instrument, and the reformer demands a rare association of rare qualities. Talent spirit of puffery and impertinent assumption of superiority over

of an uncommonly high order must be there ; courage, also, that all contemporary works and makers that characterized the respects no mere prejudices, no matter how time-honoured or description of its details. The solitary opinion we then gave was

multitudinously supported; and lastly, a vigorous discretion, that the organ constructed on such a scheme, was capable of the

both to rescue the beauties of the past from choking amidst the prodigious novelty and grandeur of effect claimed for it; and to

mass of rubbish falling around them, and to curb somewhat the this opinion provided the scheme remains unaltered—we have

| hot-blooded steed, progress, so that its rider be not carried into not the slightest hesitation in declaring our adherance. When, a wilderness of error and extravagance, far out of sight of all subsequently, we noticed the first performance on the organ by his contemplated purposes. Now, that Mr. Allen intended to Dr. Wesley, we expressly stated that the circumstances of the go considerably out of the beaten track, to advance on the path occasion did not afford us the desired opportunities for thoroughly of progress, to become, in some sort, a reformer, in short, is very testing the qualities of the instrument; so that, properly speak-evident, on the face of his book; but it is by no means so ing, our “criticism” on the subject is yet unpronounced.

evident that he has a due mixture of the qualities we have We have not the slightest wish to check controversy about indicated above as necessary to success. He is a clever man, this or any other matter. When we have had the necessary

and has learned a good deal of music, beyond doubt. We have opportunity of thoroughly examining, trying, and hearing the seen a considerable number of songs by him which testify so Liverpool organ in all its varieties--and which we shall do in much, at least. He has a graceful and tolerably fluent knack in the most impartial spirit and with the sincerest desire to find the the manufacture of melody, and he accompanies it in a manner instrument in every way worthy of the magnificent hall in which that generally displays a good feeling for harmony, and experience it stands, and when we have written the result of our examina- | as well as taste in its distribution. But these songs are necesnation, we shall be happy to insert anything Mr. Best, Mr. Lake, sarily short and fragmentary compositions; and precisely across or anyone else may have to say, should they think we have done the gulf that separates things of this kind from the various injustice either to Mr. Willis or his instrument. Meanwhile, descriptions of long and important works is thrown that pons they may rest satisfied that the conduct of this department of the asinorum over which every aspirant to great music must pass, Musical World has no other object than the furtherance of all and immediately after which he shows, in his first evolutions, that is best in organ-building; and that so little “ favour or whether he is a rightful occupant of the new soil, or merely an affection” have we about these matters, that if the unknown firm unlicensed “squatter.” Precisely in the difference between of Brown, Jones, and Robinson could shew us, by the simple short and long music stands one of the great points on which evidence of our eyes and ears, that they had built the finest the cathedral musicians of this country are so much behind their organ in the world, they would instantly have our suffrages and secular brethren.* Form is one of the most absolute essentials best recommendation, in preference to Cavaillée, or Hill, or Gray | to the composer for the theatre and concert-room. Without it and Davison.

-no matter what the value of the materials employed-his

operas and symphonies become weak, insufferably tiresome, LEEDS.-PEOPLE'S CONCERT.-(From our own Correspondent).

and even ludicrous. But this form-in other words, clearness of The Leeds musical season has vow fairly set in-concerts are

shape in a whole movement, and symmetrical adjustinent of its being given to suit all classes. The Leeds Recreation Society,

parts, of its modulations, and of the recurrences of its salient for the last four winters, has laboured to bring within the means

ideas-is essential to all music; and yet, to the musician of of the humblest musical entertainment in nearly every variety

purely cathedral education, the term itself has absolutely no of form, from the oratorio to the ballad. The first concert of

signification. Developed into its present tangible condition by the the fifth season was given in the Music Hall, on Saturday evening. The executants were Mrs. Sunderland, Mrs. Paget, Mr.

great German masters of a comparatively late period, the old Perring, and Mr. Delavanti, Three of these names were familiar

church-composers, indeed, could have had no suspicion of its to a Leeds audience. Mrs. Paget was a stranger. This concert,

existence or necessity. They wrote partly by instinct, and partly

in obedience to the contrapuntal dogmas of the age. Other in a pecuniary sense, was one of the most successful given by

knowledge—and especially of the larger kind to which we now the Society, the room being crowded in every part. Mr. Spark

specially refer-they had, could have had, none. Hence, we accompanied the whole of the music on the piano. It was no

find in their works, frequent bright flashes of genius, abundance easy task for one conductor, considering the number of pieces

of fugal and other artificial dexterity, and not unfrequently given. The annual services at the parish church, instituted to

fragments of grand, broad, and solemn, even sublime, effect. commemorate the opening of that sacred and beautiful edifice,

But we also find all these qualities scarcely ever occurring were celebrated on Thursday the 10th instant. The choir was

otherwise than in patches. Their movements scarcely ever disconsiderably augmented for the occasion, and amounted to

play sustaining power. For the most part they are not only nearly 60 voices—30 men and 30 boys. The musical attractions, however, not being so great as formerly, the congregations were

framentary in the extreme, but in the arrangement of their much smaller, and the collections (for the benefit of the choir)

| materials, and the juxtaposition of their keys, they exhibit effects meagre. Mr. Burton, the organist, played the accompaniments * We shall, by and bye, see some exceptions, in which both kinds of to the various services and anthems very carefully.

| music have been cultivated..

constantly unsatisfactory, and often offensive in the highest in contact with the individuality, they could be strikingly degree. Brought up, then, to the performance and contempla- | and truly represented by the most simple traits; for it was tion of this kind of music, taught to believe it the source of only by the representation of individuality that they themmodels for all emulation, and not unfrequently to sneer at every selves had to attain characteristic peculiarity. The State, thing extra-cloistral as an insane departure from the pure faith however, is not of this elastic and pliant nature, but a dogin art, it is no wonder that the cathedrally-educated musician matically stiff, fettering, peremptory power, saying to the should have a difficulty in perceiving the defect of his church- individual beforehand: So shalt thou think and act! The music, or, if his suspicions be awakened on this point, a still State has set up as the educator of individuality, of which greater difficulty in determining where, and to what extent, the it obtains possession in the womb by apportioning it beforereform should be applied. Mr. Allen, as we before said, is hand an unequal share of the means for social independence ; evidently in this latter case. He is too modernized in his ideas by forcing its own morality upon it, the State deprives indiof music generally not to perceive that, in a new issue of viduality of the involuntariness of its views, and assigns it, as cathedral music, some forward movement was necessary, and yet though it were its own property, the place it shall assume with he appears either irresolute or unconscious in what direction the regard to what surrounds it. It is to the State that the citizen required improvement should proceed. He is, so to speak, in a is indebted for his individuality, which, however, is nothing but transition state; and the complete mistake of his book is that it his predetermined relative position to the State, a position in has been published before his opinions have been finally settled which his purely human individuality is utterly destroyed as far to allegiance with the sixteenth or the nineteenth century. The as action is concerned, and is limited at most to what he thinks mixture of both which we find here is certainly little else than use- in silence. less in an artistic point of view. In some of these Anthems we The dangerous corner of the human brain, in which all man's find little else than a reproduction of the manner, phraseology, individuality had sought refuge, the State, with the assistance of and technical faults of his models; in others, solos in which the the dogmas of religion, also endeavoured to sweep out; in this, silly prettiness of Kent seems most carefully emulated; and, however, it necessarily proved powerless, since it could only bring again, there are many instances in which modern ideas, and up hypocrites, that is to say: citizens, who act differently to modern feeling seem continually struggling to make themselves what they think. From the habit of thinking, however, the power heard amidst all the vices of a now fortunately obsolete con of resisting the State was, also, first produced. The first purely struction,

human movement of freedom was displayed in warding off the (To be continued in our next.)

dogmas of religion, and the State was ultimately compelled to allow freedom of opinion. But how is this merely thinking in

dividuality displayed in action? It can only act, as long as the OPERA AND DRAMA.

State exists, as a citizen, that is to say, as an individuality whose BY RICHARD WAGNER.

mode of action does not correspond with its mode of thinking.

The citizen is incapable of taking a single step not previously laid (Continued from page 578.)

down for him either as a duty or a crime: the character of his

duty and of his crime is not that peculiar to his own individuPART IL

ality; whatever he may do, in order to act according to his

manner of thinking, which may be as free as possible, he CHAPTER V.

cannot step beyond the State, to which even his crime belongs. For art, our sole object in the present investigation, the fol-1 He can only cease to be a citizen by means of death, that is to lowing consequences of incalculable importance result from the say, at the point when he also ceases to be a man. destruction of the State.

The poet who had now to represent the struggle of indiviThe representation of the struggle, by which the individual duality against the State, could, therefore, only represent the State, sought to free himself from the political State, or the dogmas of and merely suggest to the mind free individuality. The State was religion, became the task of the poet, the more necessarily as something existing, firm and coloured, while individuality, on political life, far from which he could, after all, lead only á the other hand, was something non-existent—a something merely dream-like existence, was more and more consciously filled with thought, and devoid both of form and colour. All the traits. the dilemmas of the struggle, as well as its actual purport. Let outlines, and colours, which give individuality its decided, firm, us set on one side the religious State-poet, who, even as an recognizable artistic shape, the poet had to borrow from artist, sacrificed men, with horrible satisfaction, to his idol, and Society, politically separated and diplomatically compressed, and we have before us only the poet, who, full of real melancholy not from individuality, which designs and colours itself in its compassion for the sufferings of the individual, turned, as such contact with other individualities. The individuality merely himself, and by the representation of his struggle, against the thus thought and not represented could, therefore, only be offered State and against politics. Individuality, which led the poet into a to the mind, and not be immediately grasped by the feelings. combat with the State, was, however, from the nature of the case, Our drama was, consequently, an appeal to the understanding not a purely human feeling, but one pre-supposed by the State itself. and not to the feelings. It thus assumed the position of the It was of the same kind as the State, and merely the opposite, lying didatic poem, which represents a subject taken from life, only within the State, of the latter's extreme point. . Conscious indi so far as to satisfy the purpose of communicating a thought to the viduality, that is to say, an individuality which causes us under understanding. But in the communication of a thought to the particular circumstances to act as we do and not otherwise, is understanding, the poet has to proceed just as circumstantially, to be gained only in society, which first brings about the circum as he must be simple and plain when he turns to the immediate stances, under which we have to determine what course we grasp of the feelings. The feelings grasp only what is real, will take. The individual without Society is as an indi materially confirmed, and perceptible ; only what is perfect viduality perfectly incomprehensible to us, for it is only in our and complete, that which is merely what it now can be, is susintercourse with others, that the qualities in which we differ | ceptible of being communicated to them. Only that which from him and which peculiarize ourselves, are evident. When agrees with itself is intelligible to them; that which does not Society became the political State, the latter also presupposed | agree with itself, that which is not yet actually and decidedly the peculiarity of individuality from its own essential attri manifested, confuses them, compelling them to think, and thus butes, and as the State, in opposition to free society, it did so, driving them to a combining act which abrogates feeling. naturally more strictly and categorically than Society. Noone can | The poet who addresses himself to the feelings must, in order pourtray an individuality without the persons and things around to appeal convincingly to them, previously agree so well in it, and which presuppose it as such ; if these surrounding con- thought with himself, as to be able to renounce all the help of the ditions were natural, affording breathing room for the develop- mechanism of logic, and with full consciousness, communicate ment of individuality, and freely and elastically fashioning them with the unerring conception of unconscious, purely human selves afresh in obedience to inward involuntariness, when coming feeling. He has, therefore, to proceed as simply and (for the material perception) as unconditionally, as the real fact-such as religious bond of feeling to the political State. The return from air, warmth, flowers, animals, men-manifests itself to the the understanding to the feelings will be the course pursued by feelings. But the modern dramatic poet has, I have shown, to the Drama of the Future in proportion as we progress from adopt a diametrically opposite course, in order, by his represen- individuality which is merely something thought, to individuality, tation to communicate the most communicable, and, at the same which is real. The modern poet has, however, to represent, time, most convincingly intelligible element-purely human from the very commencement of his task, an accessary, namely, individuality. Out of the immense mass of its actual accessaries, the State, devoid of every purely human moment of feeling, in the State, which evidently lends them proportion, form, and and not to be communicated in the highest expression of it. colour, and from history numbed into the State, he has first, He can, consequently, only completely carry out his purpose by with endless labour, to construct individuality, in order, as means of the organ of communication of the combining underwe have seen, to present it only to the mind after all.* standing, feelingless modern language ; and it justly strikes the That which our feelings at once involuntarily grasp modern dramatist that it would be inappropriate, confusing, and is simply the form and colour of the State. With the disturbing, were he, among other things, to employ music for an very first impressions of our youth, we behold man only in end which is only to be expressed, at all intelligibly, as a thought the form and character given him by the State ; the indivi- for the understanding, and not as an emotion for the feelings. duality bestowed on him by it, is accepted by our involuntary feeling as his really essential attributes; we cannot conceive him otherwise than according to the distinguishing

HUMMEL AND FIELD. qualities which are, in truth, not his own, but conferred upon

In the year 1823, Hummel visited St. Petersburg, whither his him by it. The people can, now a-days, not comprehend

reputation had already preceded him, and gave several concerts man otherwise than in the uniform of the rank in which from their youth they perceive him materially and corporeally, and

there, which were very numerously attended. In the course of

these entertainments, he composed extemporary variations upon the “ people's play wright"+ can only express himself intelligibly to them, by not disturbing them for a single moment in this

themes suggested to him by his audience, in which he displayed

such talent and readiness of invention, as to waken up a perfect civil illusion, which so fetters their unconscious feeling, that

enthusiasm among his hearers. From St. Petersburg he prothey would be plunged into the greatest possible confusion,

ceded to Moscow, where Field was at that time residing. These were an attempt made to construct the actual man out of this

two artists had never seen each other, and were only known material being. I In order, therefore, to represent purely

to one another by their works and reputation. On the morning human individuality, the modern poet has to appeal not to the

after his arrival, Hummel, whose appearance was somewhat feelings but to the understanding, since the individuality in question is even for him merely something thought. For this,

heavy and slovenly, paid Field a visit. He found him in his

dressing-gown, smoking and giving instruction to a pupil. the course adopted by him must be extraordinarily circum

"I wish to speak with Mr. Field," said Hummel." "I am he," stantial ; all that modern feeling grasps as most intelligible,

said Field. “What is your pleasure ?" "I was anxious to make he must slowly and with the greatest care, divest of its outward

your acquaintance; I am a great lover of music; but I see you covering, form, and colour, before, so to speak, the eyes of this feeling, in order, during the operation, to lead, with systematic

are engaged, so don't let me disturb you. I can wait.”

Field begged him to sit down, asking him whether the smell calculation, the feelings to think, since the individuality he has

of tobacco was offensive. “Not at all,” said Hummel, “I smoke, in view, can, after all, only be something thought. Thus must the poet appeal, from the feelings to the understanding ; it is

too !" The presence of a stranger so disconcerted Field's pupil, not until he has, with the utmost prudence, overcome them,

that he very speedily took his departure. During this time that he arrives at his real object: the representation of a

Field had been scrutinizing his visitor, whose general bearing tbought to the understanding. Thus the understanding

struck him as being something remarkable ; at length he asked

him, " What is your business in Moscow ?" Hummel said he had is fundamentally the human power to which the modern poet

visited Moscow in a mercantile capacity, and that being a devoted endeavours to address himself, and he can talk to it only by means of the organ of the combining, analysing, dividing, and

lover of music, and having long heard of Field, he could not

think of leaving without hearing him. separating understanding, the mediatory and presupposed

Field was civil enough to gratify the wish of his visitor. And language of words, abstracted from the feelings, and merely

although he perhaps considered him as little better than a Midas, pourtraying their impressions and conceptions. Were our

he sat down to the piano, and played one of his Capricci in his State itself a worthy subject for the feelings, the poet would, in order to attain his purpose, have, in a certain degree,

| own surprising manner. Hummel thanked him repeatedly for

his kindness, and assured him that he had never heard the piano to pass, in the drama, from music to the language of words; the

played with so much lightness and precision. case of the Greek drama was almost exactly similar, but the reason of this was reversed. The foundation of the Greek

Field answered in a sportive tone, “Since you are so very fond

of music, you certainly must play something yourself 7" drama was lyrics, from which the drama advanced to the lan

Hummel made some excuses, saying that when at home it was guage of words, just as Society advanced from the morally

true he played the organ occasionally, but that it was impossible

to touch the piano after Field. * Göthe attempted, in Egmont, to represent to the feelings this

“That is all very well,” said Field, “but such an amateur as purely human individuality, detached during the whole course of the piece, with laborious circumstantiality, from the historico-political con

you are, always knows something to play," and he smiled in ditional accessaries, and, in the solitude of the dungeon, immediately be

anticipation of the performance he was doomed to listen to. fore death, agreeing with itself; for this purpose, he was obliged to have

Without farther parley, Hummel now sat down to the piano, recourse to music and a miracle. How characteristic is it that the

and, taking the very theme which Field had just played, began idealising Schiller could not understand this uncommonly significative

to vary it extemporaneously, in a manner so powerful, that trait of Göthe's highest artistic truthfulness! How erroneous was it,

Field stood transfixed. Dropping his pipe from his mouth, he also, on the part of Beethoven, not to begin his music with the miracu. seized Hummel, exclaiming, “You are Hummel-you are lous apparition, instead of-inopportunely in the middle of the Hummel! There is nobody but Hummel in the world capable politico-prosaic exposition of the piece!

of such inspiration !" It was with no little difficulty that + Volkschauspieldichter.

Hummel released himself from the grasp of his admirer.The people would be placed in the same position as the two children, Gallery of Living Composers. who, on seeing a picture which represented Adam and Eve, could not tell which was the man and which the woman, because the figures were naked. How, again, are all our views of things modified by the fact that

STAMFORD.--Mr. Thacker, organist of Thorny Abbey, has we are generally placed in a state of the most painful embarrassment at been elected conductor of the Stamford Musical Union. The the sight of a naked human form, which is usually pronounced to be first concert of the season will take place in October, and will improper; even our own body is only intelligible to us by reflection. commence with Romberg's Harmony of the Spheres.

ORIGINAL CORRESPONDENCE.

WEBER'S EURYANTHE.
ACCORDING to the Leipsic Telegraph, Weber's Euryanthe was

first produced in that city on the zoth May, 1825. Henrietta MUSICAL DEGREES.

Sontag appeared in it as a “star." A short time previously, To the Editor of the Musical World.

Weber himself bad arrived from Dresden, and with heavy heart, SIR, -Although from the copy of Professor Walmisley's letter, told his friend Weinlig, Cantor, or chanter, at the Thomasschule, furnished by your correspondent “ Justitia,” an inference may fairly be

that he was very much frightened about the fate of his opera, drawn that an exercise, containing only one movement in five parts,

and placed all his hopes in "fettel," as he called Sontag. Weinlig might meet the requirements of the university statutes for the degree | was greatly surprised, when the composer of Der Freischütz told of Mus. Bac., I beg to assure you that my own personal experience him the following story :inclines me to believe that, since the above letter was written, the “When my Euryanthe was brought out two years since at Cambridge Professor has deemed it expedient to render the degrees in Vienna, it did not please the public at all. The Viennese said: his university somewhat more difficult of attainment than formerly. Euryanthe was Ennuyanthe,' in a word, the opera was very

In my first interview with him on the subject of the degree with unfortunate and caused me many an anxious hour. In my which I was subsequently honoured, I informed him that I had prepared consternation, I went to Beethoven, and begged him to touch up a work according to the description I had understood would be required, the work a little. But Beethoven said: "The thing is good viz. : a sacred composition in the form of an oratorio, consisting of five

leave it alone.' To my great consolation, he took from his desk or six choruses (two of them fugues), airs, duets, &c., scored for a full

some reviews of his own composition and said to me: 'There; orchestra, and occupying nearly an hour in performance. I further

read that.' I looked at the papers, among which I found a numinformed him that one of the choruses was written in eight obbligato

ber of the Didaskalien, in which Beethoven was called an old parts throughout, and that it occupied above twenty pages, closely written. Upon this I was told that it would be useless to send the

brandy cask, and one of his masterly symphonies, with a magniwork for examination, that, in order to the attainment of my wishes,

ficent bass fugue, cried down as the greatest nonsense. In I'must write another, with all the chorus in eight obbligato parts, i e, another paper, he was advised to be more diligent, and endeavour forming points of imitation, etc., not merely servině to fill up the to improve his taste, to which end he was recommended to study harmony, and at least one fugue. This second work was written and the artistically correct symphonies of Herr Abell,” approved, and I may now subscribe myself, sir, your very obedient

Weinlig could not for the life of him recollect ever having servant,

Mus. Doo. CANTAB. heard of Herr Abell. Who knows him now? [“Mus. Doc. Cantab.” has our felicitations, which we beg him to accept, together with a notice, addressed to himself and all whom it

WEBER'S “ DERNIERE PENSEE."* may concern, that any future communications apropos of “musical degrees," must- until some new circumstance of general interest turns

“ The waltz known under the title of · Dernière Pensée de up-be paid for as advertisements.-ED. M. W.

C. M. Weber,' was composed by me at Vienna in 1822 (it may have been as early as 1821), and, having come into the pose

session, in the same year, of the firm of C. F. Peters, musicCRUSH GREGORIANIZERS.,

publishers at Leipsic, was, with my first trio (Op. 25) in 1824, To the Editor of the Musical World.

(or at the end of 1823), printed in the collection Valses brillantes SIB,—Your clever correspondent, “ Chorale," headed his last week's

en As,' Op. 26. It is to be found in this collection of twelve communication with this sentence, ascribing it to me-Crush the

waltzes in A flat. Some of these · Valses brillantes' created a Gregorians.*

sensation at the time, and I often played them at Leipsic in 1823. Now, I wrote not Gregorians (as I am ready to acknowledge that

When Weber produced my Italian opera, Dido, in 1824, I was there are some fine specimeus of ancient church music, few and far most hospitably received by him at his residence in Dresden, between though they be), but Gregorianizers.

and I remember with pleasure that the great master sang me I jnclude in this denomination all those enlightened parties, who, at some very comic songs, and that I was called upon in the small the present day, are labouring to convince the world that none other family circle (composed only of his dear wife, Madame Caroline), music, save that written on four-lined staves, in notes of portentous to give some trifles, and among others, the waltz in question, in shape and indefinite value, and with signatures of mystic import, is my turn. The waltz pleased Weber so much that I was obliged admissible into the musical service of the Anglican Church Catholic. to repeat it several times. He even observed to his wife that Theso men deserve to be "crushed,” in that word's most literal

words might be adapted to it, and sung himself the commencesignification.

ment thus :For my own part, I never will believe that these “ Men of the East"

“Net wahr? Du bist mein Schatzerl ?" are sincere; or, in other words, that they really are such worshippers

“Subsequently to this, Weber, as I afterwards heard from his of Pope Gregory and his supposed school of music.

wife, frequently played the waltz, to which he was very partial. I fancy I see a number of them sitting in council, revising the proof

It is possible that he performed it also in Paris, during his stay sheets of some new work in the ancient style, conscience stricken at the sight and hearing of their own crudities, whispering one to another

there in 1826, on his road to London. The rest is an affair of (alas! how truly), “ What a set of humbugs we are !!”

the music-publishers. To sum up the matter in a few words, Believe me, very faithfully yours,

there was in Paris a musician who wrote down the waltz, after 12th September, 1855.

A YOUNG ORGANIST.

having heard it played by Weber, and thus it appeared after his

unfortunate death in London as his ‘Derniere Pensée. There is * A misprint for " Gregorianizers.”—ED. M. W.

one point which is unintelligible to me, and that is how my old friend Pixis, who often heard the waltz played by me in Paris

in 1824, could publish variations on it, and thus confirm the · MUNIC#.--Herr Richard Wagner's Tannhäuser was produced, on the

erroneous notion prevalent in France. I never attached any 12th ult., for the first time in this city. The house was crowded to

value to the trifle, and believe that, but for Weber's authority, suffocation. There was not a single vacant place, with the exception of the it would never have created any sensation. Royal box, which was empty, as the Royal Family are at present absent

| “You have now a circumstantial statement of the whole from the capital. The management had done all in its power, in the matter. It was not until 1830, or later, that the firm of C. F. way of dresses, scenery, and decorations, and the singers exerted them. Peters in Leipsic gave a very short explanation, indeed, of it. selves to the utmost. The opera was, of course, a “great hit,” but, Hereupon, a young musical dilettante, M. Parmentier (the same like many other great hits," will, I strongly opine, soon be consigned who afterwards translated into French and brought into notice to oblivion.- A grand musical festival is to take place in the Crystal several of my songs), wrote to me from Paris, and begged for a Palace, Glas-Palast, in October. The necessary funds have already been confirmation of the reports connected with the waltz. It was voted by the board of magistrates, and the direction of the whole

thus the details of the whole affair and my letter were published confided to a committee of members of the Hofcapelle.

in the French papers.

“C. G. REISSIGER." BRUSSELS.--The opening of the new theatre, which was fixed for the lot inot., is postponed for another season.

* From the Mederrhunische Musik-Zeitung.

OPERA AND DRAMA IN GERMANY. the same thing as the groaning, and moaning, and whining in THERE are in Germany, at the present moment, 165 theatres,

the pulpit, accepted by the sect which he represents for devoof which 19 are Hoftheater (court theatres with subventions

tional expression. His allowance of ear, however, may be said from the various sovereigns), 12 Stadttheater (or theatres with

to be considerably above the average, and in respect of both subventions from the municipal authorities) of the first rank,

ears we should say that he ought to have, by some inches, the 28 Stadttheater of the second rank, 39 Stadttheater of the third

advantage of the “tremendous justice Midas," or the “ transrank, and 67 travelling companies, of which 20 enjoy a very

lated” Bottom.-Punch. good reputation, and are in satisfactory pecuniary circum

SADLER'S WELLS.-On Saturday last this theatre opened for stances. The capital put into circulation annually by the the winter season, with the play of the Hunchback. The house theatres of the first rank is reckoned at something between .was,, asi

was, as usual, crowded, and Mr. Phelps, who took the part 100 and 400,000 thalers; by the larger Stadttheater and smaller

of Master Walter, was greeted with his accustomed welcome. Hoftheater, at from 80 to 100,000 thalers; by the smaller Stadt

The chief novelty of the evening was the appearance of Miss theater, at from 36 to 50,000 thalers; and by the smaller Margaret Eburne (a provincial popularity), in the character of theatres, open only during the winter season, at from 6 to 20,000 Julia. The many excellent artists whom Mr. Phelps has introduced thalers. The number of actors, singers, and dancers living in to the metropolis, makes a début at Sadler's Wells a matter of Germany, amounts to about 6,000, and that of the choristers, more than ordinary interest. The present aspirant is very members of the orchestra, officials, tailors, etc., to about 8000. young, with an intelligent countenance, and a small but graceful

With regard to the salaries, it is reckoned, approximately. figure. The name of the débutantes and performers in this part that the number of principals in all departments of art, who

has long become legion. Miss Eburne has taken her conception

has long become legion, Miss receive from 2,500 to 6,000, or from 4,000 to 12,000 thalers, is from the most approved models, and embodied it with a young about 50,

and impassioned earnestness which, considering her extreme

youth, gives hopeful augury for the future. Her exertions rose DEATH OF MR. ROBERT MULLER.--In our obituary of the 8th with the exigencies of the situation; her last scene was decidedly inst., we intimated the decease of our late musical citizen and | her best, and merited the loud and prolonged plaudits it merited. fellow-countryman, Robert Müller, whose reputation as a pianist | She has studied with judgment as well as feeling, and is singularly and composer obtained for him, in 1844, diplomas and testi- free from the exaggeration and false energy which have been the monials from the most celebrated colleges and musical professors | bane of so many fair aspirants. The early scenes were given

bane of so many fair aspirants. The in Europe. Robert Müller, at a very early age, evinced a taste with easy and naïve vivacity, nor throughout, was there any for music, and came to Edinburgh, where he commenced his attempt to overact the impassioned passages, nor give an undue career under the veteran Dewar in the theatrical orchestra. prominence to the colloquial ones. If Miss Eburne bas been He quickly rose to the top of his profession as a teacher, engaged to fill the highest parts in tragedy, at this theatre, every hour being more than engaged, and his fame as a prac judgment must, as yet, remain undecided as to her fitness for titioner was fully appreciated. During those laborious years of such a career; but she has, at least, succeeded in exciting & his life bis income was very considerable, and ere he attained strong wish to see more of her. thirty years of age he had realised such a sum as he thought | ACTRESSES AND SINGERS RAISED BY MARRIAGE.—The first person necessary to enable him to proceed to Germany and Italy to pro- among the gentry” who chose a wife from the stage was Martin secute his study of music in the most celebrated schools, relin Folkes, the antiquary, a man of fortune, who about the year 1683 quishing his position and home. He alternately placed himself married Lucretia Bradsbaw, the representative of Farquhar'a heroines. under Hummel, Kalkbrenner, and Hertz, devoting himself to A contemporary writer styles her " one of the greatest and most prostudy and improvement. In 1830 he perfected his studies mising genii of her time," and assigns hier “prudent and exemplary in counterpoint under Professors Zelter and Klein of Berlin. In conduct,” as the attraction which won the learned antiquary. The next Stockholm, Copenhagen, Berlin, Vienna, Rome, Milan, Naples,

actress whose husband moved in an elevated rank was Anastasia Robin. Venice, and Bologna, he became a great favourite, and was pre

son, the singer. The great Lord Peterborough, the hero of the Spanish sented by many of the reigning sovereigns with valuable presents

war-the friend of Pope and Swift, publicly acknowledged Anastasia as in testimony of their appreciation of him professionally and

his countess in 1735. In four years after the Lady Henrietta Herbert, personally. He was also a friend of Göthe. He was appointed

daughter of James, first Earl of Waldegrave, and widow of Lord

Edward Herbert, bestowed her hand on James Beard, the performer, pianist to the late king of Saxony, and, on his return to his native country, pianist to their Royal Highnesses the Princess

Subsequently, about the middle of the eighteenth century, Lavinia

Bestwick, the original “Polly Peachum," became Duchess of Bolton. The Mary, and the Duchess of Cambridge.-Edinburgh Scotsman.

next on record was Miss Linley's marriage to Sheridan, one of the most “WRITE ME Down" A 'RECORD.' - The Record lately quoted

romantic epi:odes in theatrical unions; and before the eighteenth cen. from our last number some lines relative to the Promenade tury closed, Elizabeth Farren, a perfect gentlewoman, became countess Concert given in Kensington Gardens on Sunday to the Public, of the proudest earl in England, the representative of the illustrious by the Queen. To this quotation were annexed certain comments, Stanleys. She was Lord Derby's second wise, and mother of the prereviling us, of course, for ribaldry and profaneness. Our sanctimo sent Countess of Wilton. In 1807 the beautiful Miss Searle was mar. nious contemporary accused us, moreover, of advocating, in those ried to Robert Heathcote, Esq., brother of Sir Gilbert Heathcote, Bart.; verses, the institution of Jullien's concerts upon Sundays. If the and, in the same year, Louisa Brunton to the late Earl of Craven. Her Record writer has ever been present at the concerts of M. Jullien, son is now Earl Craven, and her niece, Mrs. Yutes, still exhibits the he must know that they usually include quadrilles, polkas, and dramatic genius of the Brunton family. The Beggar's Opera again other popular pieces of music, whereas the music which we repre conferred a coronet. Mary Catherine Bolton's “ Polly Peacham " cap. sented as proper for Sunday, was distinctly described by us as

tivated Lord Thurlow. She was married to his lordship in 1813. In having, on the mind of the hearer, an effect essentially and

more recent times, the most fascinating of our actresses, Miss O'Neill, beneficially spiritual. Veracity is not the forte of any of the

wedded Sir William Wrexham Beecher, Bart. ; Miss Foote, the Earl of fanatical journals, Popish or Protestant: but we do not accuse

| Harrington ; Miss Stephens, the Earl of Essex ; and Miss Mellon, then

Mrs. Coutts, the Duke of St. Alban's.- Burke's Romance of the the Record man of having uttered, to the prejudice of Mr. Punch,

Aristocracy. the thing that is not, knowing it not to be. We dare say that

THE FIRST SINGER GOING-Nor GONE.-Grisi gave us the gratifihe has not the most remote idea of what we mean by good music. To him, probably, sacred music is parish psalmody;

cation of singing during the past season at the Italian Opera, because

happily her villa at Florence was not completely ready for her-the nothing else, and nothing more; miserable and vulgar tunes

glaziar having omitted to glaze the windows, or the painter having married to equally miserable and vulgar verses; such as the

forgotten to paint the doors. Happily for the Parisians the same doggerel into which Nicholas Brady and Nahum Tate have

neglect still prevails among the tradesmen of the Prima donna, for she presumed to turn the Scriptures, in diluting, corrupting, and is announced to sing in Paris during the ensuing winter, in consequence, rhyming, the songs of David. Sacredness in music, as appre- no doubt, of the upholsterer having failed to put up the curtains hended by him, is probably what, to any person with an average according to contract, and having thus left her free to appear before ear, and ordinary sensibilities, is maudlin dreariness ; æsthetically l the curtain again. We dare say the tradesmen of Grisi will know how

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