[ocr errors][ocr errors][ocr errors]

Rock is a steadfast Rock, and minds not their buffetings, nor | EXETER HALL.-Attention has been frequently called to the their ragings, no more than it does the idle winds of the popular imperative want of a free and easy egress from buildings inbreath, which sometimes assail it from the four quarters of

tended for public assemblies, and more particularly with regard

to Exeter Hall, which, of all other buildings, should have this the heavens-north, south, east, west-all at once, and

facility. The Builder says, “The large hall may be capable of impotently. The Rock is granite, and is protected as well seating 3,000 persons. It has but three points of exit, their by its position as by its hardness from all external assaults united width being about eighteen feet. There are two tiers of man, or the elements. Mr. Anderson, we re-say, is the of offices under the large hall, so that at least fifty steps have Rock of the Old Philharmonic Society - we would not venture to be descended before the street level is gained. It does not to say, Rock-ahead, least we should be thought "insinu

require much discrimination to perceive that a building used

for large assemblages, at a considerable height from the ground, ating;" besides, the term is not polite, even if it did convey

presents points of danger greatly in excess of one that is on the a meaning.

ground level. Two of the three staircases are very narrow, full We trust to be in a position next week to give fuller |

of angles, and awkward turning points : in a time of excitement disclosures, and to supply further particulars on the recent they would be dangerous. The third staircase, leading into the changes and exchanges. The reasons for the retirement of Strand, is wider, but it is nearly straight, with but one landing, Messrs. Sterndale Bennett. Lucas, and Blagrove, cannot long and the danger resulting from a sudden rush down the fifty or be kept secret. Until we are better satisfied as to what has

sixty stairs composing it, may readily be noted by any one lookreally occurred, and hear more, we shall not dare give

ing through the swinging doorway in the Strand.” The matter

has been repeatedly complained of by bodies holding meetings utterance to the idea which has crossed our mind that

there, and by ourselves and others of the public press, but with“ there is something rotten in the state of Denmark.”

out effect; and, probably, nothing will be done to remedy the

difficulty till an alarm of fire, or some other panic, seizing on a ST. MARTIN'S HALL.

large assemblage of people endeavouring to escape to the street,

shall be attended with fatal consquences. MR. HULLAH commenced his season on Wednesday evening

SADLER'S WELLS.—The title of the new tragedy, Hamilton of with Mendelssohn's oratorio, St. Paul, a work too much neglected

Bothwellhaugh, at once connects the story with the assassination by our Sacred Societies in the present day. If not an Elijah, as

of the Earl of Murray, Regent of Scotland. History tells us some imagine, St. Paul is a masterpiece, and is, moreover, full of

that this event was unconnected with political designs, but the beauties and replete with interest. Why Mr. Costa and Mr.

author has made it the pivot of the intrigue of a Romish priest Surman, following suit, should almost entirely shelve it, is more

to restore Mary Stuart to power, after the battle of Langside. than we can imagine. If St. Paul is to be overlooked, it is a

Hamilton (Mr. Phelps), the assassin, being made prisoner in the matter for regret that Elijah-to whose prodigious success its

action, and banished and separated from his wife by sentence of neglect is to be attributed-should have been composed. The oftener

government, is persuaded by the priest, Cyril Baliol (Mr. Marwe hear St. Paul, the more we are impressed with its power, gran

ston), that Murray is in love with her, and after goading Hamildeur, and magnificence. The perforinance on Wednesday night,

ton to a vain encounter with the Earl, tells him that Murray though excellent in many respects, was hardly up to the mark.

has used violence to gratify his passion; and finally that MarThe choruses of St. Paul have yet to be mastered by the mem

garet is, in consequence, dead. Frantic with his supposed wrongs, bers of Mr. Hullah's first upper singing class. A few more per

he is secreted in the house of Baliol, and shoots the Earl from formances better even than rehearsals, of which, indeed,

the window; but no sooner is the deed done than Margaret, judging from the general execution, there seemed to have been

having escaped from her custodians, rushes in, to the utter conno want-will give the singers confidence, and restore to them

fusion of Baliol and his plots; but Hamilton drops exhausted that self-dependence, so well manifested on previous occasions,

with his passions and the effects of a wound he has received in but which sometimes failed them on Wednesday evening last.

his encounter with Murray. This tableau, which concludes the The principal vocalists were Mad. Clara Novello, Miss Palmer,

fourth act, gave expectations of an effective dénouement, which, Messrs. Lockey, Henry Buckland, and Winn. The last-named

had they been realized, would have given the piece a success gentleman is a débutante. He comes from the Northern Coun

rarely witnessed since the triumphs of Sheridan Knowles, and ties with a good reputation as a bass. His singing has not

Sir E. B. Lytton; but it was surely a mistake to bring the fiery belied his fame, and we may welcome Mr. Winn as a decided

Hamilton and his wife again before us, stretched on a barren acquisition to the sacred concert room. The Hall was well filled,

moor, in their attempt to escape justice, with Baliol, their viland the audience, on the whole, were well pleased with the per

lanous and detected destroyer, standing over them as their comformance. Mr. Hullah's directing, as usual, was characterised

panion and protector. The rest is made up of a few weak reby care and intelligence.

pentant speeches from Hamilton, and some affectionate responses

from Margaret. The officers come up, Baliol is taken, and PANOPTICON.-The chief fault of Mr. Buckingham's lecture | Hamilton dies of exhaustion. The interest and stirring incidents on the old Italian music consists in its being too brief, and the of the three middle acts would make it worth while to re-model illustrations too few for so fertile a theme. The examples from and re-write the last. As it was, however, the piece was highly Palestrina, Stradella, Scarlatti, Corelli, and Pergolesi were all successful, and the acting, scenery, and stage appointments were: very well and to the purpose ; but why omit Leo—who is said, of their usual excellence. Energy is Mr. Phelps's forte, and he by his admirers, to have approached Händel in sublimity-and had abundant opportunity for it. The chief responsibility, howJomelli, whose Requiem (in E flat) has been, by some, compared ever, lay on Mr. Marston, and nothing of the kind could exceed to Mozart's, not to speak of Clari, Leal Moreira, and many his delineation of the close and wily priest. Miss Eburne, who others? In the Pastorale from Corelli may be traced, according | has appeared in a variety of characters since her début, is evito Mr. Buckingham's theory, the germ of the well-known pas dently possessed of quick natural impulses and a clear judgment toral symphony in the Messiah-one among the innumerable to guide them. She must be regarded at present rather as an instances in which Händel drew on the thoughts of his cotempo | intelligent and promising votary of the muse, than as a highly rary. The selections from Cimarosa and Cherubini, besides being I gifted and finished artist. Her reading is always intelligible but indifferent specimens of the masters, belong properly to the and clear, and her expression often forcible and impassioned. next lecture-the Modern Italian Masters. With these exceptions, With youth and an expressive countenance to add to the list of Mr. Buckingham was as amusing and instructive as ever. her good parts, we may, we hope, congratulate Mr. Phelps and

FASHIONS À LA RACHEL.—The keeper of a dining house in New the public on this acquisition to the London stage.
York announces a pudding à la Rachel, a shoemaker gaiters de L STRAND.-—A burlesque on the utter failure at Drury Lane has
la Rachel, a confectioner ices à la Rachel, and numerous barbers been produced here, and, considering the very short time there
coiffures after the manner of Mdlle. Rachel.

has been to conceive, prepare, and get it up, it has met with cong


siderable and well-merited success. The practical humour of

PROVINCIAL the piece consists in the performers reversing the characters.

HALIFAX.-MR. SALAMAN'S LECTURE.-On Friday evening Miss Somers and Miss Bennet have the principal male parts,

Mr. C. Salaman, assisted by Miss Milner and Mr. H.C. Cooper, while Mr. Shalders personates the heroine with his accustomed

gave a lecture on the “Pianoforte and its precursors," in St. humour. The dialogue is lively and pointed, and the piece has

George's Hall, Bradford. Mr. Salaman is an eminent composer been repeated during the week to full houses.

and pianist, and by his devotion to the art has become one of the

skilled in its practice, and in a knowledge of its previous history. MUSICAL GOSSIP.

He had with him on the platform an ancient virginal, and a Among the approaching publications of some interest is the Eli

harpsichord, on which he played several pieces to show the of M. Costa, which is announced to appear in January next. capabilities of the instruments, and progress of keyed and An Italian version of Les Vépres Siciliennes will be published

stringed instruments previous to the invention of the pianoforte early in the forthcoming year. - Vincent Wallace is on his way in 1711, by Cristofali. He then passed on to the pianoforte and to England, if, indeed, he has not already arrived. He is under its history, describing the various improvements made from time stood to have two MS. operas in his portmanteau. A general to time in its structure ; combining all with anecdotes of various meeting of the members of the Philharmonic Society was held

composers and executants, and wound up with a eulogy on the on Monday evening at the Hanover Square Rooms. Messrs. piano as a family instrument, on the cultivation of a taste for Sterndale Bennett, Lucas, and Blagrove tendered their resig music, as tending to a better tone of moral and social happiness, nation as directors, and Messrs. W. H. Holmes, Clinton, and His execution is masterly in the extreme, and is touch is Calkin were elected in their places.- M. Sainton intends

delicate, yet firm and precise. The performance of the "Chagiving to the world his new fantasia on Rigoletto which has

conne," by Sebastian Bach, drew forth rapturous applause. been listened to with so much pleasure in the provinces.

Miss Milner's voice has all the softness of the contralto, with The celebrated chef-d'orchestre Strauss has received an invitation

the power of the soprano, and gains in power and compass. The to visit St. Petersburg on the occasion of the approaching car performance of Pacini's “Sommo Cielo" was loudly encored. nival, with a promise of 2,000 roubles more for the engagement The whole entertainment was more than amusing, it was instructhan he has hitherto received. The Vienna papers announce tive and intellectual, and reflected the utmost credit on all the the death of Francis Ignatius von Holbein, born at Zinzersdorf performers. Mr. Salaman, as a lecturer, speaks clearly and in 1799, actor, dramatic author, and director of the Vaudeville distinctly. His language is chaste and elegant, and from the in Germany. Many of his works were highly popular.

thorough knowledge which he possesses of his profession, all his Private letters from the United States represent Mdlle. Rachel's

observations are replete with interest.-Halifax Courier expedition to be a failure. The Yankees, it seems, don't like BRIGHTON. - The Royal Paviliou Band gave a concert OR French tragedies, don't like French acting, and don't understand

Thursday evening in the Music-Room of the Pavilion, the serFrench. Jules Janin is in a rage with Jonathan for not having

vices of the Misses Brougham and of Herr Bonn, vocalists, goûté Rachel's talent; and he tells him, without much mincing,

being secured for the occasion. The young ladies, with their that he is an utter barbarian, and thinks of nought but dollars. usual good fortune, obtained encores in all their pieces, and The Piedmontese Government has granted 3,000 lire

Herr Bonn decided the anticipations of his hopeful admirers. annually for the three best Italian plays successfully represented | The Royal Pavilion Band, which is composed entirely of wind on the boards of the Theatre-Royal at Turin. The first prize is

instruments, and is at present“ full of sound and fury, signifying to be 1,400, the second 1,000, and the third 600 lire.- Con

nothing," is certainly not calculated, when heard within four siderable sensation has been caused in theatrical circles in Paris walls, to create a sensation" in its favour. When Polonius by the sudden and mysterious disappearance of Villars, one of |

propounds to Hamlet to “walk out of the air," the philosophie the best actors of the Gymnase. On Saturday he did not arrive

Prince keenly suggests—"into my grave.”—Guardian. at the theatre, and in consequence the performances had to be

KIDDERMINSTER MUSICAL FESTIVAL.-The gross receipts of the changed, and since that day he has not yet returned home, and | festival, including ball, amount to £871 11s., in addition to which nobody can say what has become of him.-- A lady named the following donations have been received: Lord Ward, £50 : Madame Constantini, appeared on Wednesday evening at the Earl Beauchamp, £10; Right Hon. R. Lowe, M.P., £20; and National Standard Theatre, as Amina in La Sonnambula, with

Messrs. Southan and Co., £10. The expenses are, of course, complete and well-deserved success. In Madame Constantini |

considerable, but it is hoped there will be a balance enabling the we recognise an old-though young-favourite of the public, |

promoters to carry out the objects they have in view. Miss Blundell, organist of St. Andrew's Church, Liverpool, and LIVERPOOL.-The first of a series of cheap organ concerts was sometime pupil of Dr. Wesley. For the last four years, by the given in St. George's Hall, by Mr. T. W. Best, the organist of the advice of sundry vocal professors, she has been studying singing | hall, on Saturday afternoon. The charge of admission was in Italy, under the best masters, and appeared lately at some of sixpence. The Law Courts' Committee have not yet finally the provincial theatres. Miss Blundell, it will be remembered, I decided as to the future concerts to be given in the hall. Many gave a performance of classical music on Willis's large organ, at of the members are of opinion that they should be free, but, the Great Exhibition, in Hyde Park, in 1851, for which she from the injury inflicted on the building during the “ Alma ” received no limited praise in the journals. Madame Constan-holiday, when the public were admitted gratuitously, it has since tini appeared at the Marylebone Theatre on Thursday night, been considered advisable that some charge should be made, howand again at the National Standard on Friday.

ever small, particularly as the receipts would be divided amongst How TO GET RID OF “RECALLS.”—The custom of calling actors the various local charities. A party, consisting of Mad. Anna before the curtain was broadly satirised at the Circus in the Thillon, Mr. Augustus Braham, Mr. Henri Drayton, and Mr. Champs Elysées, Paris, a few nights ago. There every rider | George Case, gave a concert in the Concert-hall, Nelson-street, after his retirement is called back to the ring to receive additional on Monday, which was repeated every evening during the week. applause. On this occasion the servants of the Cirque appeared in the arena with rakes to smooth over the sawdust. Some English who were present, entering into the spirit of the above practice, VITERBO.-M. Meyerbeer's opera Roberto il Diavolo has been applauded the sawdust smoothers, and, on their retirement, played for the first time, and created a great sensation. insisted on their re-appearance, to receive, in common with Madrid.–Verdi's Il Trovatore has been produced at the Royal the more illustrious performers on horseback, a renewal of Theatre by the Italian company, and has met with its accustomed homage. The French portion of the audience appeared greatly success. The parts were filled by Mesdames Garibaldi, Bassi, and tickled at this specimen of John Bull's humour.

Borghi-Vietti, Signori Malvezzi, Vialletti and Beneventano. The MALAGA.—The operatic season was brought to an unexpected next opera was Linda di Chamouni, in which Mad. Tilli made conclusion on account of the alarm excited by the cholera. Of her first appearance; the tenor was Sig. Galvani. Both operas the operas performed, Rigoletto and Il Trovatore pleased the pleased the public, but the company in general does not seem to most.

| be satisfactory.

[merged small][merged small][ocr errors][ocr errors][merged small][ocr errors][ocr errors][ocr errors]

HAMBURGH.-The first Philharmonic concert will take place FOREIGN.

on the 10th November, for which occasion Herr Ferdinand Laub BERLIN.-An important novelty worthy of notice, at the of Berlin has promised his assistance. In the course of the Royal Opera-house, is the production of Robert le Diable with a second concert, which is fixed for the 8th December, one of the great portion of the scenery new, and the substitution of Herr pieces composing the programme will be “Les Préludes," by Theodor Formes in the part of Robert, for Herr Pfister, who Dr. Franz Liszt. The theatre closed last week with Rigoletto, appeared as Bertram. The other characters were cast as and thus ended Herr Sachse's three months' management. usual. The concert programmes are now as plentiful as LUBECK.—The Stadttheater re-opened, on the 3rd inst., with blackberries; every vacant space on the walls of the capital | Le Nozze di Figaro. is covered with them. Herren Knabe and Medorn gave their Pesti.—The manager of the German Opera has announced first soirée of chamber music last Thursday, in Sommer's rooms, his intention of producing Fidelio, Tannhäuser, Les Huguenots, which were very full. Among other pieces performed on the and Dr. Sphor's Faust, during the season just commenced. occasion were Beethoven's sonata in C minor, for violin and ZURICH.-Herr Richard Wagner is occupied in completing the piano, (op. 30), and trio in C minor, (op 1). The first concert of second piece, Die Walküre, in his “ Niebelungen-Trilogie.” a new society, the Orchester-Verein, took place on Saturday, the MUNICH.—The grand musical festival on the 4th and 5th inst. 6th inst., under the direction of Herr Julius Stern. We are was a very brilliant affair. The execution, under the direction informed in their prospectus, that: “The aim of the Orchester of Herr Franz Lachner, gave general satisfaction. The number Verein is to produce the works of ackowledged masters, executed of persons taking part in the performance amounted to one more rarely in Berlin than those of others, to whom, however, thousand three hundred, of which more than nine hundred were they are quite equal, as well as the most remarkable productions | vocalists. of contemporary composers, who, starting from their predecessors, WEIMAR.-Dr. Franz Liszt presided on the 18th inst., at a have struck out a new path. The Future alone can decide concert given by the Hof-Capelle in Brunswick. The programme whether they are working out an unaccomplished purpose, or, was composed of the overture to Benvenuto Cellini, by M. involved in error, wandering from the right road. It is, Hector Berlioz; a new and original pianoforte concerto, composed however, the duty of the Present to make the attempts of such and executed by Mr. Henry Litolff; and Orpheus and Prometheus, men known to the world.” The pieces selected, on the occasion, “symphonic poems," by Dr. Franz Liszt, who conducted the promised well for the success of the scheme. They were entire performance. Mendelssohn's Hebrides overture, Beethoven's violin concerto, MERSEBURG.–The inauguration of the new cathedral organ, and several pieces from his Ruins of Athens, and the first built by Herr Frederick Ladegart, of Weissenfels, was a grand symphony (B major) of Robert Schumann. The violin concerto event, and one that will not soon be forgotten by the inhabitants. was played by Herr Laub, who resided for some time both | Hundreds streamed from every village and hamlet in the in London and Weimar. The audience was a very numerous neighbourhood, to be present on the occasion. The proceedings one, and gave the most unmistakeable manifestations of its opened with a fantasia by Herr Engel, under whose direction approbation of the efforts of the new society. Last, though not the concert was given. This was followed by the grand fantasia least, on the list, stands Herr Liebig, who has just opened his series and fugue in C minor, composed by Dr. Franz Liszt, and played of Soiréen für classische Orchester-Musik, in Mader's rooms. The by Winterberger, his pupil; the fugue in G minor, by Sebastian programme was composed of Beethoven's overture to Coriolanus, Bach; and an original fantasia composed and executed by Herr and Mendelssohn's to Ruy Blas, Mozart's symphony in D major, Schellenberg, of Leipsic, on the chorale, “ Ein feste Burg." There and Haydn's “Military Symphony." The rooms were crowded were, also, several vocal pieces, in the shape o to suffocation, and not a place was to be obtained for love or Passions-Musik, and Mendelssohn's Elijah, in addition to which, money. In the course of the present month, probably on the Mdlle. Genast sang two songs, composed by J. W. Frank in the 17th inst., a new oratorio, entitled: Das Wort des Herrn, by | 17th century. Herr Küster, will be performed, for the first time, in the Petri MUHLHEIM-A fourth member of Herr Formes' family has at kirche. The text, made up of selections from the Scriptures, is present embraced the career so successfully followed by those of from the pen of the composer himself. During the winter, the that name who are such favourites in the world of music. The members of the Singacademie will execute three oratorios : débutant is the youngest son. He made his first appearance at Hiob (Job), by Herr C. Löwe, Judas Maccabous, by Händel, and the theatre here, and possesses a fine barytone. Paulus, by Mendelssohn.-Mozart's Idomeneo went off with HANOVER,Herr Alfred Jaell, the pianist, lately gave a great success at the Royal Operahouse, on the king's birthday, performance in the theatre and was most favourably received. There was not a vacant place in the whole house, a fact due, The four pieces selected by him were of his own composition: a perhaps, quite as much to the genius of the great composer as paraphrase on Lohengrin and Tannhäuser, Sérénade Italienne, a to the enthusiasm experienced for the present king of Prussia. transcription of an English song, and a Polka de bravoure. Be that as it may, the opera was given with great spirit and the GERA.—His Royal Highness the Duke of Saxe-Gotha has audience were profuse in their marks of approbation presented the gold medal of the Ernestsnischer Hausorden to Herr Pfister played Idomeneo, Madlle. Johanna Wagner, Herr Tichirch, Capellmeister, as an acknowledgment of his efforts Idamante; Mad. Köster, Electra ; and Mad. Herrenburger, in the cause of Art. Julia. The precision and finish of the orchestra, under the MANNHEIM.—Herr Bazzini has given several concerts with direction of Herr Taubert, were admirable, and the new scenery great success. by Herr Gropius deserving of the highest praise. The Cologne MILAN.—At the Cannobiana I Puritani has created a great Männer-Gesang-Verein sang before the king at Sans-Souci, on sensation, principally owing to the singing of the tenor, the same date.

Giuglini, of whom we have already had occasion to speak in COLOGNE.—The studies of the pupils of the Rheinische Musik- | terms of high praise. We are of course on our guard against Schule were resumed about a week since, under the direction of Italian enthusiasm, but in this case we are inclined to the Herren Hiller, Franck, and Rheinthaler, who have returned | opinion that the new tenor is much above the ordinary run, and from their vacation rambles. The operatic season opened on London and Parisian managers will no doubt have an eye upon the 1st inst. with Lucrezia Borgia.

him in the present scarcity of singers. In the third act he DANZIG.--The theatre was opened for the season on the 7th seems to have particularly distinguished himself and elicited the inst. with Les Huguenots.

enthusiastic applause of the whole house. He is considered AIX-LA-CHAPELLE.—Herr Ernst has given several concerts. decidedly superior to Moriani, even in his best days. Since the · MAYENCE.—Great activity has been displayed by the manage time of Rubini, no one has created such a sensation in Italy ment since the theatre was re-opened on the 1st ult., Les Hugue in this third act. The critics seem to think that his singing is nots, Masaniello, Belisario, La Juive, Le Maçon, Tannhäuser, not so manly as it might be, and they instance his rendering of Czaar und Zimmermann, and Robert Diable, being among the the tenor part in La Favorita. What is needed is a good mezzoopéras already produced.

carattere tenor, in Mario's line and, if report speak true,

[ocr errors][merged small][merged small][ocr errors]

Sig. Giuglini is the man. The two characteristics are very treatment of a short phrase of close and strong harmony be a token of
seldom combined, and the same reproach was continully made to | future high and severe study.
Rubini himself. Mad. Viola was also much applauded. La The Review and Gazette, as usual, growls, and puts no faith in
Sirena by Sig. Rossi is in rehearsal.

the new composer. TURIN-The Carignano has inaugurated the autumnal season

«Mr. Bristow has," it says, "evidently done his best to profit by with Verdi's I Lombardi. The opera was well received, although

these opportunities ; he has done as all composers of first operas are the execution was but indifferent. At Trieste, Sig. Apoloni's

wont to do; he has given all he knew of music at once. Generally, new opera, L'Ebreo, continues to draw good houses, and has

first works of this kind show abundance of ideas, but lack in execution. taken a firm hold on the public. The principal singers are Here we meet the contrary. The ideas, at least what may be called Mad. Cattinari, Signori Negrini and Cornago.

80, are not at all abundant; but the execution is first-rate, especially NEW YORK.-(From our own Correspondent.)- The great when we consider the difficulty of the task. The principal merit of musical event of the season—at least, what was anticipated as

Mr. Bristow's work lies in its orchestral treatment, which is throughout

Auent and full of interesting traits. The quarrelling scene between Rip such—has come off. Mr. Bristow's new opera, Rip van Winkle,

and his wife, and the ballad of the latter in the second scene of the has been produced, and achieved a genuine success, in spite of

first act, illustrate our remark better than anything else in the piece. a host of grumblers-among others, your friend, The Musical

The fairy scenes at the end of the first act were, however, not as we Review and Gazette. Of Mr. Bristow's musical capacities, M.Jullien

expected them to be, after we had heard how well Mr. Bristow could has given you a foretaste in his symphony played at his last

command his orchestra. Here the lack of ideas was too prominent, Winter concerts at Covent Garden or Drury Lane. The Symphony

and the fairy character observed as little as possible. Since Weber and found favour in the eyes of the critics, and, in one journal, was

Meyerbeer we are so accustomed to a lively representation of fairy life, lauded in the highest possible terms. The new opera was produced

that we want, at least, to be reminded of this when it lies in the task of at Niblo's theatre, on Thursday, the 4th of October, and attracted the composer. The instrumentation sounds somewhat monotonous; a very large audience. Rip van Winkle is the second opera pro- it is much more symphonic than operatic. The brass mingles not skil. duced in this country by an American. The first was Leonora, fully enough with the wood and the strings, and modern orchestral effects composed by Mr. W. H. Fry, a gentleman with whom your in operas seem to be altogether avoided. But what we missed more readers cannot be entirely unacquainted. Leonora was brought than anything else was the art of characterizing, in a musical sense. out at Philadelphia by the Seguin troupe, ahout ten years ago, This is not dramatic music which Mr. Bristow gives us; it is rather a when it ran for sixteen nights, and was, to all appearances,

sort of subjective musical expansion of different matters. The joy and the entirely successful. It has not, however, kept the stage. It

grief have almost the same colouring, and certainly, in most instances, was, according to the French form, a real grand opera, with the

the words are rather an objection to the estimation of the merits of the dialogues in recitative, and ballets and spectacles introduced.

composer. The part of Edward (tenor) seems to come off in this Mr. Fry has composed other operas, none of which have ap

respect better than any other, and the duet between him and Alice, in

the first part of the second act, has some interesting parts. But Rip peared. The New York Musical World states that Leonora was

Van Winkle himself, that humourous old Dutchman, loses, by the the first grand opera of the modern school by either an English

music he has to sing, all his primitive character, and, in a musical sense, or American composer. I know not that ; but it is probable, as

almost nothing but Dutch phlegm remains.” all the English operas have spoken dialogue.

The principal parts were distributed as follows: +Rip Van The New York Musical World—which appears to be well in

Winkle (Mr. Stretton), Dame Van Winkle (Miss Pype), Alice formed on the subject-gives a somewhat "Yankee" reason for

Van Winkle (Miss Louisa Pyne), Edward Gardenier (Mr. Harthe expulsion of Mr. Fry's operas from the stage. “The mana

rison), Frederick Vilcoeus (Mr. Horncastle), Young Rip Van gers of all the theatres in New York, exclaims that respectable

Winkle (Mr. Miller.) The scene lies partly among the Catskill authority, “as is well known, are in utter fear of a journal whose

mountains and partly on Saratoga plains. The action extends editor has made war on Mr. Fry and all his productions from the moment Leonora appeared. The public is sufficiently

over the space of twenty years. Time of the first act, 1763; of acquainted with the causes of this hostility, but is hardly aware

the second act, 1777; of the third act, 1783. The libretto is

founded on Washington Irving's well-known story, and there is that its exercise has, up to this time, through the acknowledged

an episode relating to the American War introduced to give the subserviency of the managers of all the theatres, deprived Mr.

piece a national air. I cannot say much for the drama. There Fry of a hearing in New York for any of his operas ; though his

ugh his is too much verbosity, and too little movement. In fact, I do symphonies, through M. Jullien, who defied the wrath of the

not think Mr. Bristow has had a fair chance. As a first work, editor in question, have been frequently performed.” To avoid

I think Rip Van Winkle exceedingly clever, but I am certain it giving you a one-sided impression of Mr. Bristow's new work, I

would not do in England; it wants many of the elements that shall send you an extract from the New York Musical World, and another from the Musical Review and Gazette-two journals,

conduce to popularity. Miss Louisa Pyne alone, of the singers,

is entitled to high praise. She sang delightfully, and was enas you must be well aware, of opposite feelings, politics, and

thusiastically applauded. Mr. Stretton, the new English basso, powers :

did not create any particular sensation. He has a strong voice, “Mr. Bristow's musical conceptions," exclaims the Musical World, which he barks out at times in rather a strange manner. He “mostly come into being from an orchestral stand-point. It is seldom seems, however, to be an experienced vocalist. that he leaves this point of view, and therefore his experience in instru. Mr. Bristow was called for at the end, and made a speech, in mentation may be said to be as fully suggestive of melodic figures to which he returned thanks. The entire scene was perfectly him as the libretto itself. When he does break away from this English-I should say, Londonian, and for a moment I fancied charmed sphere, the effect upon the popular ear is more direct, and so, more easily appreciated. This seems clear from the immediate favour

myself at Drury Lane after one of Bunn's “unprecedented bestowed upon the songs, The day is done,' 'Nay, do not weep, my

successes," when that incomparable master of humbug came Alice dear,' the cavatina of the 'Vivandière,' and the ballad, When

forward, and vowed to the breathlessly attentive audience,“ how circled round in youth's glad spring,' all of which received hearty en

he never, never could forget such kindness as-etc., etc." cores, because they were simple, chaste, clear and marked in rhythmical

The Royal Academy of Music has re-opened under the construction, free from intricate orchestral entanglements, and more

sole management and direction of Mr. W. H. Paine, a over in happy accordance with the spirit of the words. The outer

gentleman with whom, on the outset, everybody appears world music of the spirits of the night and daughters of the morning

satisfied. Il Trovatore was given the first night. Mad. Lagrange was so mixed up with thunder and lightning from behind the scenes

-naturally enough-failed in Leonora, not having sufficient and blasts of brass at our immediate right, that the intelligent appre power or dramatic feeling. The second opera, Linda di Chamouni, ciation of the words was well nigh lost. Some of the recitations may was better suited to her, and pleased much better. In neither pernaps be shortened with good effect. We were glad to notice that of the operas did the gentlemen appear to any advantage what tbe primal idea in the overture was the religious movement in the soever. Mad. Castellan has not arrived. Will she do? I doubt second act, 'God of battles! hear our prayer. This is resting the it. The roles of the prima donna are beyond her means. A fate of the overture upon safe ground. May this wise choice and bold more delightful seconda donna can hardly be heard. But she

[ocr errors][merged small][merged small][ocr errors][merged small][ocr errors]

will be for singing what she ought not to sing—the Grisian when the syllable in question—as is generally the case-is far parts--and rejecting what she ought to accept. Your old from being the most weighty one in the phrase, for, in direct friend, Signor Rovere, of Royal Italian Opera memory, was the opposition to the spoken accent, a Frenchman invariably so conMarquis in Linda, and displayed even less voice than ever, structs the phrase as to crowd together its presupposing elements if that were possible.

in the commencement, while the German for instance, transfers them to the end. We can easily explain, by the influence of the

verse with a final rhyme upon every-day language, this conflict OPERA AND DRAMA.

between the purport of the phrase and its expression through BY RICHARD WAGNER.

the instrumentality of the spoken accent. Directly every day (Continued from page 676.)

language prepares, in any particular state of excitement, to find vent in expression, it does so involuntarily in accordance with the

character of the verse in question, the remnant of the ancient CHAPTER II.

melody, while the German, on the other hand, speaks, under , In every case, where, as with the Romanish nations, a rhythm similar circumstances, in alliterative rhyme; as, for instance, founded upon prosodiacal longs and shorts in spoken verse was “Zittern und Zagen," " Schimpf und Schande." never attempted, and where the line was, consequently, deter But the most distinguishing feature of the final rhyme is that, mined solely by the number of syllables, the final rhyme without any significant connection with the phrase, it thus established itself as the indispensable condition of the verse. appears as a make-shift for the production of the verse, a make

In this final rhyme are characterized the essential attributes shift which ordinary language is compelled to adopt in its of Christian melody, as the spoken remains of which we must expressions, if it would speak with increased emotion. Verse regard it. We shall immediately appreciate its importance if with a final rhyme is, as regards the ordinary expression of we call to mind the plain song of the Church. The melody of language, an attempt to communicate a more elevated subject in this kind of song is, rhythmically, entirely undetermined; it such a manner as to produce a more suitable impression upon the progresses, step by step, in perfectly equal bars, and rests only feelings, by causing the expression of ordinary language to when the breath is exhausted, and for the purpose of obtaining convey its meaning by means different from those of every-day & fresh supply. The division into good and bad portions of life. The expression of every-day life was, however, the organ bars is an introduction of a later period; the primitive church of communication of the understanding to the understanding ; melody knew of no such division; roots and conjunctive by the instrumentality of a more elevated expression different syllables were, for this melody, of exactly equal value; from this one, the person communicating his sentiments wanted language had for it no justification, but only the power of in a certain degree to avoid the understanding ; that is to say, being merged in an expression of feeling, the tenour of which he wanted to address himself to that which is distinct from the was fear of the Lord, and a yearning for death. It was only understanding, namely, the feelings. He endeavoured to effect when the breath was exhausted, at the end of a section of this by awakening the material organ for the reception of speech, the melody, that the language of words took a part in the latter an organ which received the communication of the understanding by means of the rhyme of the final syllable, and this rhyme with completely indifferent unconsciousness, to a consciousness certainly so affected the last sustained tone of the melody alone, of its own activity, and by atiempting to produce in it a purely that with the so-called feminine terminations, it was only sensual pleasure in the expression itself. Now a line connecessary for the short complimentary syllable to rhyme, the cluding with a final rhyme is perfectly capable of so far rhyme of such a syllable being considered equivalent to a mas-exciting the sensual organ of hearing to attention, that culine final rhyme, either before or after it a clear proof of the it may, by listening for the return of the rhymed end of absence of all rhythm in such melody and verse.

the section of words, feel enchained; but, by this course, The verbal verse, separated at last, by the profane poet, it is simply excited to attention, that is to say, it falls into a from this melody, would without a final rhyme have been state of anxious expectation, which must be fulfilled in a mantotally irrecognizable as verse. The number of the sylla- | ner satisfactory to its power, if it is to give way to such vivid bles on which the voice rested equally without distinction, interest, and, finally, to be so fully contented, as to be capable and according to which alone the line was determined, could of communicating the delicious impression it has received to not, as the pause for breath of the song did not mark the entire faculty of sensation of man. It is only when the it as strikingly as in the melody when sung, separate latter's whole power of feeling is completely excited with an the lines recognisably from each other, if the final rhyme object communicated to it by a receiving sense, that it gains did not so fix the audible moment of the separation as sufficient strength to expand inwardly from its full condensation to compensate the wanting moment of the melody, the change in such a manner as to present the understanding with endlessly of breath in the song. The final rhyme, on which, as on the enriched and seasoned nourishment. But as the comprehension separating break of the verse, the voice rested, obtained, there of the thing communicated is the only object kept in view, even fore, such importance for the spoken verse, that all the syllables the poetical intention finally tends to a communication to the of the line had only to perform the office of a preparatory attack understanding alone ; in order, however, to arrive at this comupon the concluding syllable.

pletely certain understanding, the poetical intention does This movement towards the concluding syllable was entirely not presuppose it, from the commencement, at the point it in keeping with the character of the language of the Romanish wishes to attain in its communication, but would have nations, which, after the most manifold admixture of foreign and it, to a certain extent, first procreated out of its own worn-out component parts of speech, had developed itself incomprehension, the organ of parturition of this procreation, such a manner that all intelligence of the primitive roots was being, so to say, man's power of feeling. The latter, however, completely lost to the feelings. We see this most plainly in the is not inclined for parturition until it has by conception been French language, where the spoken accent has become placed in the high state of excitement in which it obtains the direct opposite of the intonation of the root-sylla-strength to bring forth. This strength first comes, however, bles according to what must have been natural to the through necessity, and necessity through the superabundance to feelings as long as there was any connection between the which what is received by the power of feeling has grown: that intonation and the roots of the language. A Frenchman never which overpoweringly fills a bearing organisation is what first intonates any save the concluding syllable of a word, however drives it to the act of parturition, and the act of parturition near the commencement the root may be in compound or the comprehension of the poetical intention, is the communilengthened words, even though the concluding syllable be merely cation of that intention on the part of the recipient feeling to an unessential termination. In a phrase, he crowds together the inward understanding, which we must regard as the end of the words to an equal-toned attack, becoming more and more the necessity of the parturitive feeling. rapid, on the concluding word, or rather on the concluding Now the word-poet who cannot communicate his intention syllable, on which he rests with a strongly raised accent, even to the organ of hearing, which receives it in the first instance,


« ElőzőTovább »