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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

Mrs. Weiss.
NATIONAL OPERA.

Contralti.--Madame Amadei and Miss Fanny Huddart.
To the Editor of the Musical World.

Tenori. - Mr. Sims Reeves, Mr. Swift, and Mr. St. Albyn.
SIR,-You will, I hope, excuse me trespassing on your valuable

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,
Chambéry en Savoie,

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.

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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.

KNOCK-OFF.NOCHIMOFX. -
The gist of his letter
I conceive to be this :-"Nochimoff” has written an opera, good of

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 committee for approval; well and why does he not do so ?
because the committee consists of five members, and he not being one

NATIONAL OPERA.
of the members, describes the incapabilities for office of four of them

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 !”

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“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

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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

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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

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Poetry by Desmond Ryan. (Ah figlia.) 25. 6d. Collection of Exercises, composed by Benda, Gra- ;

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The Poetry by Linley. Fourth edition, 25.
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(From "The Critic.') Kreutzer, 40 Studies, with Piano accompt. 2 bks.

| TAGASSIER VALSE. By Madame Oury.--The 40 Grand Studies ....

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is the last but one, in which the plaintive “Miserere" is chanted by the prisoners Paganini, 24 Studies ...

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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

6

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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

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SUBSCRIPTION:-Stamped for Postage, 20s. per annum-Payable in advance, by Cash or Post Office Order,

to BOOSEY & SONS, 28, Holles Street, Cavendish Square,

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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
England at the end of November.

five times, unsuccessful as a Candidate on the Lists of the National Benevolent
Institution, a few Friends, anxious to secure his Election at the forthcoming Poll,

on Thursday, November 29th, 1855, at the Freemasons' Hall, have formed them-
M R. WINN begs to inform his Friends and the Musical

selves into a Committee to obtain Votes, and also for the purpose of raising a
1 Profession generally, that his residence is 22, Hunter-street, Brunswick Subscription, by which means they hope to accomplish the object proposed: as a
square.

considerable sum will be required, the co-operation of professional, as well as
private friends, is earnestly requested.

SUBSCRIPTIONS.
M ISS DOLBY begs to announce that she will return to

£ 8. d.
11 town for the season on Wednesday, the 7th of November.-2, Hinde-street,

Mossrs. Broadwood ..

1 1 0 Manchester-square..

Messrs. Collard & Collard

R. Dickinson, Esq. :
Mrs. Chappell ..

0 0 0 T. H. H
CADEMOISELLE COULON begs to acquaint her

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 ..
Mr. T. Chappell

0 0 Mr. J. B. Chatterton..
HERR REICHARDT begs to inform his friends that he Mr. Chater

Messrs. R. Cocks & C
Mr. Metzler .

Mr. H. May ..
11 has left town on a provincial tour, and will return the begiaping of

| Mr. Robert Ollivier ..

Mr. E. Buxton

1 1 0 January. All communications to be addressed, 26, Golden-square.

G. C. .

Mr. John Mitchell
Dr. Rimbault ..

Mr. W. H. Olivier
Messrs. Jullien & Co."

Mr. Lapworth..
CALAMAN'S AMATEUR CHORAL MEETINGS.

Mr. Goodban..

Mr. Banting.
SIXTH SEASON. These instructive and social meetings will be resumed Mr. Hopkins

Mr. Harold Thomas ..
at Mr. Charles Salaman's residence, 36, Baker-street, Portman-square, on Wed Mr. Hammond

Miss H. E. Salmon
nesday, the 28th November. Prospectuses, with terms and regulations, of Mr. Mr. Godfrey ..

Mr. T. D.A. ..
Salaman, who has returned to London for the season.-Saturday, 3rd November, Mr. Prowne .

Mr. Armstrong
Messrs. Rudall & Co...

1 1 0 L. H., per Mr. Coe .. 5 0 0
Mr. Kendall .. ..

.. 0 0 0
MISS BLANCHE CAPILL-(Voice, Contralto),
111 Professor of Music and Singing, 47, Alfred-street, River-terrace, Islington,

Subscriptions or proxies will be thankfully received by Mr. T. Chappell, 50,
where letters respecting pupils or engagements may be addressed.

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
PRIVATE INSTRUCTION IN THE ART OF

Ur. Prowse, 48, Cheapside.
1 POETICAL ELOCUTION, as adapted to the several purposes of Speaking,
Reading, and Singing, by the Rev. Hugh Hutton, M.A. Select Classes for the UPWARDS OF 500 VOLS. OF MUSIC, elegantly
study of the elder English Poets, and the practice of General Elocution.-Address

I bound in Calf, from the Library of the late W. W. Hope, Esq., including
No. 2, Provost-road, Haverstock-bill.

the Works of Kreutzer, Dalorac, Gluck, Winter, Haydn, Mozart, Exadel, Nicolo,

Boieldieu, Spontini, Auber, Gréti y, etc., etc. Ms. and printed Operas of the
TRAVIS'S AMATEUR ORGANIST.-The high patro 17th and 18th centuries from the Library of Louis XIV., by Lully, Desmarais,

Destouches, Campra, Bertin, Bourgeois, etc., e
1 nage and unprecedented success of this truly elegant work has caused

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.

in Ane
oach; or in 18 books, price 3s, each. In the press, and will be shortly published,

QUIDO.- A splendid Picture by this master, in a fine
Travis's Anthems for Amateur Organists. Leoni Lee, 48, Albemarle-street.

U state, "The Grecian Danghter," size 3 ft. by 2 ft. 10 in., in an ologant gilt,

frame, from Mr. Hope's collection.
AN EXPERIENCED ORGANIST, who will be disen-

1 gaged at Advent, desires a re-engagement. Remuneration no object. Ad. MR. COSTA'S “ELI."—Addison and Co. having purchased
dress, "Fuga," care of Messrs. Boosey and Sons, 28, Holles-street.

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,
HAVE YOU TRIED ARTHUR GRANGER'S STA-

scribers, £1 11s. 6d.-210, Regent-street.
II TONERY YET? It is the cheapest in the World. Manufactory. 308.
High Holborn, near Chancory-lano; 9, Holborn-bars, City; 10, Fitzroy-terrace,
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TENOR AND PIANOFORTE.

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RIMMEL'S TOILET VINEGAR is far superior to
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R AND CO., 390, Oxford-street, have published the
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following pieces for tenor and pianoforte:
Price 28. 6d. and ss.; sold by all Perfumers and Chemists, and by E. Rimmel,
89, Gerard-street, Soho, London.

Joachim (op. 9). Hebrew melodies. (Impressions of Byron's poema)

Variations on an original air
- *** Be sure to ask for “Rimmel's," as there are many counterfeits,

Kalliwoda (op. 186). Six Nocturnes, in two books each
Mendelssohu. Six Lieder ohne Worte, arranged by L. Hetsah..

Vieuxtemps (op 30). Elegy ..
PIANOFORTES.—OETZMANN and PLUMB beg to in-

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.

28, Holles-street.

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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,

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