« ElőzőTovább »
with such copiousness that the organ in question shall be plunged | This, I am certain, is the only way of ever establishing a real English which it is absolutely compelled further to communicate what Opera, as the London opera-goers will never listen to anything secondit has received to the whole faculty of feeling-can, if he wishes rate, and in this I must say they are perfectly right. to enchain this organ continuously, only degrade and blunt it, And now, sir, before I proceed to lay before you the resolutions that by rendering it to a certain extent forgetful of its endless power
| I have taken, I must beg of you to consider this letter quite private of reception or else he completely renounces its endlessly and not intended for your journal." realizing co-operation, he abandons the fetters of its sensual
I have determined, if possible, before my death to see a regular participation, and employs it again only as a slavish, dependent
national opera established in England; and as, in a short time, I hope bearer of the immediate communication of the understanding to the
to be in possession of a certain fortune which I wish to spend in understanding; which, however, is as much as to say: the poet re
behalf of that art, which unhappily is so undervalued by the greater nounces his intention, he ceases to write poetry, he simply excites in
part of our countrymen, I think I cannot better employ it than in the receptive understanding that old element which was already
opening a large lyric establishment in London, or keeping it going, if
ay I may use such a word, until that time when the English nation will known to it, and previously presented by sensual perception, to be too proud of it to let it fall to the ground for want of support. a new combination, but does not itself communicate any fresh And now. Mr. Editor, I must ask you to be so very obliging as to. object. By merely elevating spoken language into rhymed give me, through the medium of your excellent paper, a few hints as to
rse, the poet can do nothing more than compel the receptive the improvement of the following propositions, and also to answer me hearing to unsympathetic, childishly superficial attention, which those questions which inexperience obliges me to trouble you with. is incapable of extending inwardly for its object, the inexpressive I propose : word-rhyme itself. The poet, whose object is not simply to 1. That Her Majesty's should be fixed on as the most suitable excito such unsynipathetic attention, must end by completely | theatre for an English opera house. turning away from the co-operation of the feelings, and by en 2. That the season should last eight months, beginning in December deavouring to dissipate completely his fruitless excitement, in and ending in August; thereby enabling the artists to assist at the order again to be capable of communicating undisturbedly to grea the understanding.
3. That the days of performance should be Mondays, Wednesdays, We shall now be capable of perceiving more in detail the only and Fridays, so as to interfere as little as possible with the Italian manner in which this state of very highest excitement of the
Opera. feelings, endowed with strength for production, is to be realized,
4. That those works most fit for the English stage of the great as soon as we shall have examined in what relation our modern
foreign masters, should be performed as well as those of British,
composers. music stands towards this rhythmical or finally-rhymed verse well sir, supposing that these rules were scrupulously adhered to, of the poetry of the present day, and what influence such verse
| and that the prices of admission were fixed at about the same rate as has been able to exercise upon it.
at the Grand Opéra at Paris, do you really think that a permanent (To be continued.)
National Opera might be established ? Will you also inform me, sir, if the undernamed principals, with the usual staff of seconde donne,
etc., a first rate band, and a thorough good chorus, would be sufficient ORIGINAL CORRESPONDENCE.
to make a beginning with ?
Prime Dorne.- Madame Clara Novello, Miss Birch, Malle. Nau, and
Contralti.--Madame Amadei and Miss Fanny Huddart.
Tenori. - Mr. Sims Reeves, Mr. Swift, and Mr. St. Albyn.
Baritono.- Mr. Weiss. time, as the subject on which I am about to write is one of great im
Bassi Profondi.-Herr Formes and Mr. Henri Drayton. portance to that portion of the English public which, through your
By this list, you will see, sir, that the principals are English, with valuable paper, you represent. That England has no National Opera
only two exceptions, which, unless I am very much mistaken, goes & you will readily admit, and that the absence of such an establishment
long way with the greatest part of the public. Though I daresay there is a disgrace to the country every one must acknowledge. On the con
are many persons in England who have great objections to a National tinent, it is not only the principal cities that possess an opera, almost
Opera, I think it must be generally admitted that it would be of great
good if it had in view no other end than that of affording such singers overy small town in the provinces in possession of a theatre has also a good though small band, and generally a decent troupe of singers, who
as Clara Novello and Sims Reeves an opportunity of displaying their perform all sorts of operas, from Guillaume Tell down to the newest
talents in a theatre worthy of them-of giving employment to a certain little opéra comique, more or less well.
number of poor fiddlers and half-starred chorus-singers, and last, though
If, then, the small provincial towns of France, Italy, and Germany can support an opera, cannot
by no means least, that of making known the works of many very exLondon--the largest and richest metropolis in the world-do the
cellent British composers. And now, sir, I will trouble you no more ; samo ? That it can, there is not a doubt; but why it does not is a
pray excuse me having trespassed so much too far on your valuable mystery which remains to be solved. It cannot be supposed that the
time, and with my sincere thanks for the obliging manner in which you English nation is unmusical; it cannot be affirmed that the musical
have always replied to my former enquiries, taste of the Euglish public yields in the smallest degree to that of any
I remain, sir, your obedient servant,
S. A. C. other people ; it cannot be argued that we have no first-rate singers, whilst we number amongst our couutrywomen Madame Clara Novello,
October 18th, 1855. Madame Albertini -- now Madame Bauchardé, who is already celebrated
P.S., Oct. 21st.--I was on the point of sending this to the post when in Italy - Madame Fiorentini, Miss C. Hayes, Miss Birch --whom, by
a friend of mine here handed me the Musical World of the 6th inst., the byo, the French acknowledged, as far as voice was concerned, to be
bringing the most unexpected intelligence that there is a prospect of an superior to any of their countrywomen when she was in Paris some
English opera. Such being the case, I have been doubting for the last years ago - Mrs. Sims Reeves, and several others whom it cannot be
few days whether I ought to send you this letter, but as there is just a denied are worthy of a place in avy lyrio establishment; nor, further.
possibility of the National Opera Fund turning out a failure, I think I more, can it be said that we have no native composers, for we have a
may venture to trouble you with my prattle.
S. A. C. great many ercellent musicians, whose names are at least as worthy as
(We see no reason for keeping the above communication private. It those of Adolphe Adam and Louis Ciapisson, of the French Institute,
is merely the expression of the honest opinions of an individual, no way and who, if they had a chance, would soon show that they are by no
directly interested, on the establishment of an English opera. With means inferior to some of the "renowned" foreign composers of the
regard to the queries, we answer : First.--Her Majesty's Theatre is too present day,
large, and would be too expensive. Second.- We see no objection to For a very long time I have been forming plans for the most effectual
the disposal of the season. Third.--The days fired for the performmode of establishing a permanent National Opera-not one so disre.
ances entirely meet our views. Fourth.-The introduction of foreign putable to England as a musical country, and so wretchedly conducted
as well as native works is inevitable. Fifth.-The list of principals is as that to which the London public has been accustomed of late at
a good list, but capable of improvement.-Ed. M. 1.] Drury Lane, the Surrey, and elsewhere-but a first-rate establishment, * Why then write it? We could not think wasting so much good at which singers, band, chorus, and everything else should be first-rate. | matter.-Ed.
NATIONAL OPERATIC COMPANY.
as promoters, but we can all help the good work in many other ways : To the Editor of the Musical World.
some of us by silence only. Let us not show the foreign artistes who are SIR.-Your facetious correspondent, “Nochimoff," thinking, no
residing among us, that English musicians are the only ones who,
having no faith in each other, cannot be united in a good cause. doubt, that in these “out of the season” days a little "original corres. I enclose my card. and should « Nochimoff” desire to know who I pondence” would be somewhat of a novelty, has startled the numerous readers of the Musical World with some “funny" strictures upon
am, just say,
Yours very truly, the committee of the National Opera Company.
October 24th, 1855.
P.S. Not being of an anxious temperament, I am in no hurry to course, granted his love of the art, not ambition, would perhaps get
witness the opera by your “Sophisticated Composer" performed at the the better of his natural modesty, and prompt him to submit it
Theatre, governed solely by his supreme catgut idol No. 5.
To the Editor of the Musical World. in something like the following manner :-No. 1 is self-interested -30 Sir, -It seems to me, that in your leading article of this week on the “knock him off” says your "considerate” correspondent. No 2 has National Opera Company, you come to the very germ of the matter other fish to fry-over with him says the unselfish * Nochimoff.” No. 3 when you suggest the appointment on the committee of gentlemen who is one likely to exhibit “natural wants"-head-over-heels with him view inusic in reference to its commercial value, as well as to its merit says the funny wretch. No. 4 is “an unknown"-0 “Nochimoff" is as an art production. puzzled for an excuse to capsize him, but subsequently in a desperate National Opera Companies have been projected many times these effort to get bis own idol "No. 5" recognised, he consigns No. 4 to the twenty years, and they have always failed. Why? Is it not because agreeable companionship of Nos. 1, 2 and 3, and then he breathes freely, I they are usually started by artists themselves, who-without attributing for No. 5 is a “sound musician," who is not guilty of a weakness for to them any undue leaning towards baving their own works donewriting operas, neither has he any intimate friend (query) or relative naturally enough desire to hear wbat is called “good music'—that is, who does, so he may be allowed to remain.
“high art” works-performed ? Now, there is no denying that this Now, sir, I confess to have an interest in the success of the National “good music" without a popular composer's name (will it be going too Opera, and although “Nochimoff" may, on this score, even reject my far to add, and a foreign one), to back it, will not pay; and even then, right to give an opinion, with your permission, and through the medium perhaps, it may be doubtful. Perhaps it would be well to ask the of your columns, I propose saying just two words upon the subject. Directors of the Royal Italian Opera which they find brings most
Let me then first deal with “Nochimoff," though not after his own money to the treasury : a classical work by Spohr, or a popular one summary fashion. It does not require a very “clever ghost" to see by Verdi. The question therefore is, do the shareholders want “good through him. In spite of his assertion as to No. 5 having no con- music" or good dividends ? If the former, I can see nothing to object nexion with any “weak minded” writer of operas, etc., I am much to the selection of the gentlemen who act upon the committee; if the mistaken if “Nochimoff” has not partaken of “bohea," muffins, and latter, one must hope for the best-but I fear. I would suggest, that other little hospitalities at the fireside of No.5, in other words, No. 5 and after an opera has passed the ordeal of approval by the artistical com“Nochimoff” have a "sneaking kindness" for each other, whether ce-mittee, it should be further subjected to the scrutiny of some official apmented over a “ nice cup of tea," etc., is of little moment, but I simply pre pointed by the shareholders for that express purpose--one who shall have mise the fact, and that such being the case “Nochimoff” desires to place had a large experience in theatrical exigencies, and who would know just his friend in that exquisite state of feeling experienced by a certain where to throw in the “blue fire" with effect. He should have full Yankee, who modestly expressed himself thus :-“ America is the finest authority to return the work to the composer, with the words “more country in the world; Now York is the finest city in America ; and I eight-bar tunes," scribbled across it—the due supply of which, to am the finest man in New York !" No one can blame No. 5 for securing order, I would make a condition of the work being performed. Seriously such a friend as “Nochimoff," nor blame “Nochimoff” for “cuddling' though, would it not be as well if “we English" were to try our hand such a friend at Court as No. 5, but to thus inconsiderately place the a little at the Auber style of rhythm, seeing it is not (as proved in his extinguisher on all No. 5's colleagues, is coming it rayther too strong. case) incompatible with good music, and the public seems to like that
“Nochimoff" expresses his willingness to have the merits of sort of thing better than the severe school, and, after all, the theatre is his opera (which he confesses a fond affection for) judged by the not the church, nor the concert-room-a truism, which probably “solitary decision" of No. 5. (And here I think “Nochimoff" nobody will deny.
I am, sir, yours very truly, shows the cloren foot.) No doubt he speaks from the bottom of New Cross, October 24th.
Joseph R. W. HARDING. his heart, "weak tho 'it be”-I don't mean the opera. But let me ask, is this a “broad line of policy" to be adopted, in order to ensure
DUPREZ WHEN A CHILD. the success of such an important undertaking ? That No. 5 is a first
Every one is aware that, during the first years of his life, rate fiddle no one can deny, but I am somewhat averse to vesting
| the celebrated Duprez was known only by the name of Gilbert.
the such unlimited power in any one person, and I would ask you to point,
Choron was, perhaps, the only person who guessed what the if you can, to the success of any undertaking, over which No.5 has gained any influence ? The Harmonic Society, for instance, after
young pupil chance had confided to him would, one day or struggling through one season of trials and vicissitudes, adopted
other, become. Gilbert, indeed, was more than a pupil for the suggestion of No. 5, that the members of the orchestra should give
Choron : he was a beloved disciple, whom Choron could not one gratuitous performance out of nine! Such acts as this make hard.
hear sing without being moved. Very frequently, incapable of working, ill-paid orchestral performers look with an eve of suspicion mastering his emotion, he has been known to burst into tears at upon men placed in authority ard unlimited power, who hesitate not the tones of his adopted son. Sometimes he would take a pleato sacrifice their humbler brethren, if, by so doing, they can maintain sure in uniting his own trembling, and even rather false, voice themselves upon the “ dizzy heights of ambition.” I have not, like to the pure and melodious one of the child. “Nochimoff," written an opera-couldn't, if I tried; but orchestral en However, in accordance with the French maxim : Qui aime gagements being almost my sole support, I should have been better bien chatie bien, Choron, who adored his pupil, used frequently pleased to see some one in authority at the National who takes an
to find fault with him. One day, after Duprez had been underinterest in the welfare of an orchestra, and who abominates low sala
going a severe lecture, his father made his appearance at the ries. Perhaps my views are selfish, and even “Nochimoff” – your school in the Rue-Notre-Dame-des-Champs. very " Original Correspondent” – condemns anything like interested
“ Well, M. Choron ! are you contented with Gilbert?" motives, although he would fain sacrifice four out of five persons, if, by
“No, sir-he is a young rascal, whom I mean to punish." 80 doing, he could secure the acceptation of his opera, which, no doubt, is as original as his letter. To conclude, I conceive the establish
“ You will be quite right to do so, sir, and I will assist you ment of a permanent English opera a most desirable object, worthy
myself, if necessary,” said Duprez, sen., flourishing his stick, the consideration of all right-thinking native musicians; therefore
1. "just let me show you !" when such an effort is made, if we do not choose to put our
“What !” exclaimed Choron, “let you show me! Do you shoulders to the wheel, let us at least not prejudge the efforts of those mean to say you would beat him—a child who sings like an who are devoting their talent and energies in so good a cause. It is only | angel?" when the vanity and egotism of one man is sought to be gratified, that "But you said, sir ” the profession at large should murmur. We could not all figure “The best scholar in my school !”
“You were complaining—".
HANDEL'S NEW SACRED SONGS; Twelve by “Who will, one day or other, be the first singer of his time !” |
1 R. Andrews, author of “Songs for the Sabbath," "Harmonia Sacra.
Psalmody, &c. To subscribers 78. 6d., non-subscribers 15s. The work will be “Oh-no-he has so little voice !"
published early in December. Parties desirous of obtaining copies will please to “ Voice-voice--what does he want with voice? If he has address to Messrs. Boogey and Sons, as only a limited number of copies will be not got a voice he will sing with his leg !-and, even then, he
printed beyond those subscribed for. will sing better than any one else.”
CHANTS.—A set of Eight Double Chants, composed by
U JAMES WALTERS, Sept. 1855. Arranged for four voices and organ, price ADVERTISEMENTS.
Is. 6d. May be had at 50, St. Paul's Churchyard; 73, Blackman-street, and 205,
High-street, Borough. VIOLIN INSTRUCTION-BOORS, STUDIES, &C. DIMMEL'S TOILET VINEGAR is far superior to To be sold at the reduced prices annexed.
I Eau de Cologne, as a refreshing and tonic lotion for the toilet or bath, a reviving
scent, and a powerful disinfectant for apartments and sick-rooms. Its numerous £ s. d. £ s. d.
useful and sanitary properties render it an indispensable requisite in a families. Bach (J. S.) Study, or 3 Sonatas ... ... 0 6 9- 0 4 0
| Price 2s. 6d. and 53.; sold by all Perfumers and Chemists, and by E. Rimmel,
39, Gerard-street, Soho, London Baillot, Complete Method of Instruction, French
*** Be sure to ask for “Rimmels," as there are many counterfeits. and German, thick vol... „ 12 Caprices or Studies, Bks. 1&2, each... o 4 0 0 2 6 Benda, Study or Caprices, do.
TROVATORE IN ENGLISH. ... each... 0 3
9 2 0 Beriot (De) 10 Studies or Caprices
"Peace to thy spirit,” duet (Si la stanchezza) sung by Madame Anna Blumenthal, 100 Exercises, 6 books each... 0
Thillon and Augustus Braham . Bott, 6 Caprices after Paganini ...
“Night dews are weeping," the same melody as a song .. . „ do. Book. 2, with Portrait of Paganini ...
Boosey and Sons, 28, Holles-street. Bruni, 100 Studies, 2 books ... each... 0 12 0 „ Caprices and Airs varied, as Studies ... 0 7
E NUN'S PRAYER Song by Oberthur. The Campagnoli, 101 Pieces, Book 1...
... 0 5
Poetry by Desmond Ryan. Second edition, 2s,
HE WINDS ARE HUSHED TO REST. Song by
Campana. Written by Linley. Second edition, 28. „ Studies, Op. 18* ... ... ... 0 9 0 - 0 5 6 New Method of Instruction, in 52 so
THE BRIDESMAID'S DUET, by Donizetti. The
31 8 0 - 0 18 0 parts, forming a thick volume ...)
Poetry by Desmond Ryan. (Ah figlia.) 25. 6d. Collection of Exercises, composed by Benda, Gra- ;
HE SUMMER BLOOM IS PASSED. By Miss Hay. vina, Locatelli, Lolli, Tartini, Veichtner, &c., SO 2 3-0 i 6 Book 1 ...
The Poetry by Linley. Fourth edition, 25.
... ... ... )
Boosey and Sons, 28, Holles-street. Henry, Studies, dedicated to R. Kreutzer, and 20
used by him for his Scholars, 3 bks. ea. » Exercises for 4 first Positions in all Keys o
NEW MUSIC, Kaczkowski, 6 Etudes ou Caprices ...
(From "The Critic.') Kreutzer, 40 Studies, with Piano accompt. 2 bks.
| TAGASSIER VALSE. By Madame Oury.--The 40 Grand Studies ....
U elegant valse which Madame Gassier has sung with so much effoct during „ Studies of different Positions
the last season, is here adapted for the pianoforte by Madame Oury, the popular » Caprices, or a Study, Nos. 1 & 2
0 pianist. It forms a very brilliant morceau. Lafont, Souv. de Simplon, Airs Suisses ... „ Grand Fantaisie on Leocardie
MHE ETHEL NEWCOME VALSE. By Henri LauLibon, 30 Caprices, ded. to Viotti, Op. 15 Lipinski, 2 do. Op. 2
rent.-This is one of the best compositions we have beard from the pen of ... ...
M. Laurent. The first melody is remarkably chaste and beautiful, and will be Lolli, School for the Violin
remembered by cvery one after a single hearing.
THE TROUBADOUR'S SONG in “ Il Trovatore," for Nay, Méthode Elémentaire :
1 the Pianoforte. By Rudolf Nordmann.-The great scene in “O Trovatore
is the last but one, in which the plaintive “Miserere" is chanted by the prisoners Paganini, 24 Studies ...
within the tower, alternately with the touching song of the captive troubadour. Panofka, 24 Etudes, Op. 30, 2 bks.
This scene has been adapted, with great dramatic effect, for the pianoforte by Har Picbl, 100 Variations on the Scale
Nordmann, and forms a most interest piece for the amateur, Polledro, Amusing Exercises ...
Boosey & Sons, 28, Hollos-street. Praeger, Caprices, Op. 10.
... ..04 , 12 Studies, Bk. 1, Op. 44 ... Rode, 12 Etudes, 2 bks....
NSERON'S SOLFEGE CONCERTANTE for 2, 3, ... :
... 0 11 „ 24 Capriccios, &c. in the 24 Keys
and 4 Voices; used by Mr. Hullah. Price 3s. ... 0 another edition (Paris) ...
PANSERON'S SOLFÉGE À DEUX VOIX. Price 3s. Röde, Baillot, and Kreutzer, Abridged Methodlo in German ... ... ... ... S in French ... o 10
PANSERON'S A BC MUSICALE 20th Edition.
Price 3s. 6d.
** The whole of Panseron's celebrated works may be had on very advantage ... ... "
ous terms of Boosey and Sons, 28, Holles-street. Rolla, 12 Intonazione ... ... ... ... 0 4 0
,, Etudes, for 2 Violins ... ... ... 0 5 6 - 0 Romberg (A.) Study, or 3 Sonatas, Op. 32 ... 0
Published by JOHN BOONEY, of 27, Notting Hill-square, in the parish of Kensington. Schall, Exercises for Bowing and Fingering in bo 10
at the office of Boosey & Sons, 28, Holles-street. Sold also by REED, 15, John
street, Great Portland-street; ALLEN, Warwick-lane; VICKERS, Holywell-street: 58 Examples, with Caprices ...
KEITH, PROWSE, & Co, 48, Cheapside; G. SCHEURMANN, 86, Newgate-street: Spohr, Studies from his Works, 2 bks.... ea. 0 6 0
HARRY MAY, 11, Holborn-bars, Agents for Scotland, PATERSON & Sons, Woldemar, New Art of Bowing ... ... 0 2 6 - 0
Edinburgh; for Ireland, H. BUSSELL, Dublin; and all Music-sellers. 1 9
Printed by WILLIAM SPENCER Johnson, “Nassau Steam Press, " 60, St. Martin's. Boosey and Sons, 28, Holles-street.
lane, in the Parish of St. Martin-in-the-Ficlds, in the County of Middlesex.Saturday, October 27, 1855.
este ervooCON OTRA E to or
SUBSCRIPTION:-Stamped for Postage, 20s. per annum-Payable in advance, by Cash or Post Office Order,
to BOOSEY & SONS, 28, Holles Street, Cavendish Square,
MR. AND MRS. GREGORIO (late Miss F. Percival) i MR. WILLIAM BALL, so well known to the Musical
I beg to inform their Friends and Pupils that they intend to return to II Profession as a Writer of innumerable Songs, etc., having been, for four or
five times, unsuccessful as a Candidate on the Lists of the National Benevolent
on Thursday, November 29th, 1855, at the Freemasons' Hall, have formed them-
selves into a Committee to obtain Votes, and also for the purpose of raising a
considerable sum will be required, the co-operation of professional, as well as
£ 8. d.
Mossrs. Broadwood ..
1 1 0 Manchester-square..
Messrs. Collard & Collard
R. Dickinson, Esq. :
0 0 0 T. H. H
Sir G. Smart ..
1 1 0 Messrs. D'Almaine & Mrs. Smart ..
1 1 0 Mr. Brewer .. 11 Friends and Pupils that she has returned to town to resume her profes
Messrs. Addison & Hollier..
T. Blake, Esq.. sional engagementa.--22, Great Marlborough-street.
Messrs. Cramer Beale, & Co.
Messrs. Duff & Hodgson ..
0 0 Mr. J. B. Chatterton..
Messrs. R. Cocks & C
Mr. H. May ..
| Mr. Robert Ollivier ..
Mr. E. Buxton
1 1 0 January. All communications to be addressed, 26, Golden-square.
G. C. .
Mr. John Mitchell
Mr. W. H. Olivier
Mr. Harold Thomas ..
Miss H. E. Salmon
Mr. T. D.A. ..
1 1 0 L. H., per Mr. Coe .. 5 0 0
.. 0 0 0
Subscriptions or proxies will be thankfully received by Mr. T. Chappell, 50,
New Bond-street; Mr. R. Ollivier, 19, Old Bond-street; Messrs. Crampor, Boale,
and Co., 201, Regent-street; Messrs. Addison and Co., 210, Regent-street ; and
Ur. Prowse, 48, Cheapside.
I bound in Calf, from the Library of the late W. W. Hope, Esq., including
the Works of Kreutzer, Dalorac, Gluck, Winter, Haydn, Mozart, Exadel, Nicolo,
Boieldieu, Spontini, Auber, Gréti y, etc., etc. Ms. and printed Operas of the
Destouches, Campra, Bertin, Bourgeois, etc., e
For a Catalogue, apply to several imitations. The musical publie, are, therefore, most respectfully solicited Josep
Joseph Toller, Booksollor, Kettering. to order TRAVIS'S AMATEUR ORGANIST, in three volumes, neatly bound, 18s.
QUIDO.- A splendid Picture by this master, in a fine
U state, "The Grecian Danghter," size 3 ft. by 2 ft. 10 in., in an ologant gilt,
frame, from Mr. Hope's collection.
1 gaged at Advent, desires a re-engagement. Remuneration no object. Ad. MR. COSTA'S “ELI."—Addison and Co. having purchased
111 from the composer the copyright of the above oratorio, beg to announco
its publication early in January, 1856. Price to subscribers, £1 63.; nou-sub,
scribers, £1 11s. 6d.-210, Regent-street.
TENOR AND PIANOFORTE.
RIMMEL'S TOILET VINEGAR is far superior to
R AND CO., 390, Oxford-street, have published the
following pieces for tenor and pianoforte:
Joachim (op. 9). Hebrew melodies. (Impressions of Byron's poema)
Variations on an original air
Kalliwoda (op. 186). Six Nocturnes, in two books each
Vieuxtemps (op 30). Elegy ..
The same arranged for violoncello and piano 1 form Music-sellers and Professors that in consequence of their baving made great improvements in the manufacture of their instruments, substituting machinery for manual labour, and taking advantage of the new Patent Steam
VERMAN SONGS-In Volumes.Just ready, 3 Vols Drying processes, are enabled to offer to the Trade superior Pianofortes in Grands, U price 128. each, most beautifully engraved and printed, and bound with Semi-Grands, and Cottages, in all variety of woods and designs, at considerable emblematic titlo pages and covers, in gold and silver : LYRA ANGLO-GOK reduced prices. Hlustrated Lists sent on application, or a visit to their Manufac- | MANICA, a collection of 45 of the most celebrated modern songs with English tory will prove the great advantage secured. 66, Groat Russell-strect, Bloomsbury. and German words. This is at once the best printed and inost correct and Manufactory, Chenios-stroet, Tottenham-court-road. Alexander and Co.'s Har cheapest collection of German songs which exists in England. Boonoy and Sons, moniums at trado prices.
RACHEL AND THE MARSEILLAISE. aroused by her inspired tones, when they remembered that this national
hymn, the only living evidence left that there was once a time when MADEMOISELLE RACHEL could not resist the universal call of
Frenchmen dared to be free, is proscribed in their native country. It a nation-at least a nation's heart; the metropolis, New York,
was a genuine triumph for Rachel; and if she could so excite the pascried to her with an earnest voice, and appealed to her with an sions of an American audience by chaunting this glorious hymn, we imploring look to sing the “Marseillaise Hymn.” She at first can well understand the fury of enthusiasm which she caused when she refused, on the natural grounds that she was not quite so strong first startled the Parisians, in the height of their revolutionary moreas when she first made the attempt at the Théâtre Français, and ments, by her singing of their only song of freedom.” that the execution was, at any time, too much for her, and cal
Another journal, if not so complimentary to the vocal powers culated to interfere with her health. Brother Jonathan, how
of Mademoiselle Rachel, is equally forcible in its phraseology, ever, had heard so much of Rachel's singing of the famous
and decided in its opinion, as to the transcendent genius of the “Marseillaise" that he could not comfortably forego such a actress : treat ; and so he went on coaxing and bewailing, until, finally,
“What was it? Singing? It was nothing less than it was. A the great tragédienne was lured into doing that which no amount
hoarse voice, broken, incapable of 'sustaining the melody of the of money could have induced her to do, and consented to sing
simplest romance, and utter want of skill in vocalism-such sro the “Marseillaişe Hymn."
Rachel's gifts as a songstress. But what could melody bave added of The singing of the “Marseillaise" by Malle. Rachel, as may be that inspired chant of liberty ? Melody would have made it a different imagined, was likely to produce an effect altogether un- thing ; but how far from being a better? It seemed as if centuries of precedented, especially at the present moment, when America is, wrong had turned liberty from an angel to a demon, and that she was for the moment, indulging in flights of liberality and freedom, too | possessed of it. She quivered and cried out as the spirit worked its lofty and daring, even for the reddest of red Republicans. This will with her, and made her utter its fierce hatred and fiercer hopes. has gone so far, that, in some instances, exceptions are taken to
Death flamed from her eye, and the frantic wave of her hand was like Mdlle. Rachel's singing the hymn, on political grounds.
a call to vengeance which millions must rise and answer." “In the theatrical world,” says a New York correspondent, "every
Another extract from the American journals, and we have one is influenced by Rachel's singing of the Marseillase.' Looking at done. It is from the Tribune, and rushes even into a loftier the fact in a moral point of view, or even in a high artistic point strain of eulogy than any of its contemporaries :of view, the deed may be held altogether doubtful. Representing the
| “The fire of enthusiasm had scarcely subsided, wben the curtain rose, art of a country under the successful sway of an Emperor, is Malle.
and Rachel slowly advanced to the footlights. The tricolor stood on Rachel entitled, even in a republican country, to give vent to those
the stage. Silence pervaded the house. In Rachel's simple white impassioned strains which have broken on the ears of thousands, whilst
classic dress and modesty of attitude there was a touching solemnity. the blood of the brave and good, of the conspiring and wicked, have
She gazed silently on the audience for some minutes, during which her flowed in streams ? Malle. Rachel is the greatest and best embodiment countenance changed gradually from an expression of melancholy to of French art. What is French art without government patronage one of withering scorn. Then suddenly the face was lit up with a look without the fostering finger to raise it, and the smile of regal or of terrific wrath. A glowing fire of revenge burned fiercely in her dark imperial approbation to sustain it."
eyes. From the modest maiden she had sprung into the inspired This is not quite clear to us ; nor can we see why Rachel's goddess of liberty, inciting enslaved men to noble deeds. The opening performance of the “Marseillaise Hymn" should not be viewed in words, 'Allons, enfants de la patrie,' she sang with deep intensity of a purely artistic light, entirely irrespective. of political conside passion, and beautiful was the touching change in the expression of rations. Should not an audience have faith in the artist and her countenance from scorn to compassion, as, with one hand pointing look only to the “immediate” motives of acting? Was not to the far distance, she chanted in slow, measured tone, ‘Ils viennent Macready eanally inspired with the aristocratic haughtiness of ljusque dans vos bras égorger vos fils,' etc. But her stature seemed to Coriolanus and the democratic humility of Brutus, when he per
grow, her veins to swell with blood, as she addressed the imaginary sonated these characters; and must it be assumed, that, because
tyrants loudly and boldly in the words, Rachel sings and looks like one inspired while uttering the words
Tremblez, vos projets parricides
Vont enfin recevoir leur prix.' and notes of the French hymn, she must, therefore, be a red republican at heart? She may or may not. Her expression
"She reached still higher degrees of confidence as she went on, until on the stage has nothing whatsoever to do with her every-day
she expressed the most unlimited scorn of the enemy both in word end feelings. It is the effect of genins to enable its possessor to pass
look, and, as she again summed up her fiery invectives, with the soul. from himself into anothor person, and participate for awhile in all
stirring appeal : his feelings It was this power that enabled Shakspere to de
Aux armes, citoyens, pivo Lear and Dogberry in such equally vivid colours; and
Formez vos battaillons,' which renders Rachel so terribly in earnest in such opposite
the enthusiasm reached its height. She then walked to and fro for s characters as Phèdre and Adrienne Lecouvreur.
moment as if overcome with a terrible sorrow, but turning round she The effect produced by Rachel in her singing is thus described
seized the tricolor flag, and, holding it bigh in the air, fell on her in the New York Daily Times :
knees, addressing it with veneration in the words :
'Amour sacré de la patrie, “The Marseillaise Hymn'followed the tragedy of Les Horaces,
Conduis, soutiens nos bras vengeurs; which, for some managerial reason, followed the farce. If the hymn had
Liberté, liberté chérie, preceded the tragedy, Madlle. Rachel would have had time to recruit
Combats avec tes défenseurs.' her energies in the earlier scenes, where little passion is required. But coming, as it did, after the immense physical and mental strain of the with which she pronounced :
“No power of language can do justice to the enraptured adoration denunciation in the fourth act, we can only wonder that Madlle. Rachel's strength held out as it did. What shall we say of the hymn
“Liberté, liberté chérie.' itself? Imagine a pale, beautiful woman, quivering with excitement,
“We can fancy the madness of passion which such an ode chanted clasping the tricolour in her nervous hand, and crouched in weakness by such a woman must ha
| by such a woman must have roused in the hearts of the Paris popu. beneath its sacred folds. Imagine this woman delivering a word.picture.
lation in the days of revolution. Here it lacked the occasion to give Every suggestion of the language is reflected in her countenance, or visi.
| it effect, and did not create so high an enthusiasm as the closing scenes bly telegraphed by her hands. Imagine this in connexion with the words
of Horace. It can scarcely be called a song. It is a scene of musical of the Marseillaise,' and you have the best idea we can give you of the
declamation, in which the meaning is conveyed less by power of voice performance. Madlle. Rachel sings the music of the hymn thoroughly.
than by intensity of feeling and eloquence of gesture. But, whether we The effort appeared to cost her some labour, and, doubtless, much of the call it song or declamation, it is Rachel's sculptural grace and concenenthusiasm that would have been elicited under other circumstances
trated power of utterance which keeps us spell-bound." was damped by the palpable fatigue of the great tragédienne. At times it was almost painful to witness. If there were any Frenchmen among
DUBLIN.-Mr. and Mrs. Howard Paul have announced a new the great concourse of people who thronged to the Metropolitan last entertainment here at the Rotunda Rooms. It is entitled night, they must have blushed to witness the enthusiasmi which she “ Patchwork," and is of a musical and illustrative character,