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and the 6 minor quintet that he discusses at any length. The difference in style between the last four quartets (especially of three of them, written for Friedrich Wilhelm II., King of Prussia) and of the first six is, also, charmingly described.
Especially welcome is all that is said concerning the quintets. We are delighted that Jahn stands up for these magnificent compositions, explains their character—which is different from he last quartets, and approximates again to the style of the first six—and describes their beauties. It is an indisputable fact that Mozart's quintets are too much neglected in the public
?uartet associations which nearly every town of note possesses, t is true that the signal was given by a great composer of the modern school, who always used to leave the room when one of Mozart's quintets began. This is partly true even of the quartets, for how many lovers of music are there at present who have heard—not once, perhaps, but frequently—all the ten written by Mozart? We hope, too, that the eulogy which Jahn pronounces, and which is but the echo of our own sentiments, on the grand trio on E flat major, for violin, viol, and violoncello, will direct the attention of associations for chamber-music to this gem of its kind. He justly calls it, "One of the most wonderful of Mozart's works, a genuine cabinet specimen of chamber-music." (Page 94.)
Well worthy our consideration is the analysis of the G minor quintet, containing the expression "of a passionately excited frame of mind, of grief conscious only of itself, and of a struggle of the heart with it, changing, in the finale, to the opposite mood (a gushing dithyrambus), which, however, belongs to the same nature, that is rendered with perfect fidelity and truth." Hereupon we read, at page 103.
"Involuntarily, with such psychological development, we seek the man in the artist, and who can deny that the most evident marks of Mozart's own nature are impressed on the work of Art 1 If, however, we tried to find a definite inducement in his immediate circumstances, for its production, we should most certainly be led astray. Mozart's circumstances were at that time (1787), generally speaking, good. He had not long returned, richly rewarded with success and money, from Prague and in the Jacquin family enjoyed the society of those who satisfied both his mind and his heart. It is true that, shortly afterwards (26th May), he lost his father, but who ever carefully weighs the letter he wrote his father on the 4th of April, at the thought of the possibility of death (III., p. 279)—at this time he was engaged on the first quintet in C major—must own that the tone of the G minor quartet could not be suggested by the thoughts of a dying father. The springs of artistic creation flow too far below the surface to be immediately called forth by every emotion in common life. It is true that the artist can give no more than what is in him, and what he has himself gone through; but even of the musician does Goethe's assertion hold good, that in a work of art there is nothing which the artist has not experienced, only not as he has experienced it.
"A second question now forces itself upon us: Does a piece of music which, like this one, unrolls before us a true soulpainting, follows the course of psychological development with the strictest consistency, and exhibits sharply and characteristically the tottering emotion of passionate sensations in the most delicate toches—does, we repeat, a piece of music like this obey also the formulas and laws of musical construction and technics? Without doubt, any one who chooses to disregard entirely the psychological development can show, by a purely technical analysis, how this quintet, which constrainedly obeys the conditions of musically beautiful form, by the most uncommon combination of invention and discernment, reaches a high degree of formal perfection, and whoever follows these indications will become aware that both the truth and strength of the psychological development, and the purity and beauty of the artistic form, coincide, and are one and the same in their essential manifestations."
Lastly, in this Bectiou, the author treats in a similar manner the compositions for reed-bands (Harmonie-Musik) and the seven symphonies which Mozart wrote iu Vienna. Concerning the improvement of the orchestra by Mozart, concerning bis contrapuntal art, as a free phenomenon of artistic
beauty, and concerning the union of this art with the free employment of the various kinds of sound, the author says much that is very excellent and characteristic of Mozart's genius. In the fact that the three grand symphonies in £ flat major, G minor, and C major (with the fugue), were written within six weeks (from the end of June to the 10th of August, 1788), and, though equally rich and equally profound in purport, are yet most different in their character, Jahn justly perceives a fresh proof: " that, amidst the most manifold impressions of life, the artist's soul is always labouring and producing, while, in secret, the threads of which the work of art is woven are continually and mysteriously converging."
., TO CORRESPONDENTS. Vox Et Prbterea Nihil.—" But the fact is, that the tone of the voice in speaking, and the t une of the voice in singing, bear not the least resemblance to each other; they are formed upon principles directly apposite; the different inflections of the voice in speaking are not musical intervals—in singing t/iey are, or should be nothing but musical intervals. If we feel the outside of the throat while speaking, and then change from speaking to singing, it will be perceived that the arrangement within which produced speaking, must be changed before we can form a musical sound. Recitatives is that species of music which bears the nearest resemblance to speaking, and speaking it is in musical sounds; but this, as far as tune is concerned, is more removed from common speaking iluxn from, singing, because the intervals are tones, semitones, dec."
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THE MUSICAL WORLD.
LONDON, SATURDAY, February 18th, 18G0.
The death of Madame Schrceder-Devrient has been recently recorded in the German newspapers. This eminent dramatic vocalist, some thirty years ago, delighted and astonished all London by her performance of Leonora in Beethoven's Fidelio. Such was the impression she created in the part, that old Opera-goers even now recall with enthusiastic admiration the grand effects in her acting and the special points in her singing, and do not hesitate to pronounce her one of the brightest stars that ever adorned the lyric stage. Something of the feeling, however, must be attributed to first impressions, a great originator, it may be said, of unexamined opinion, not to say prejudice; and something to the fact that Beethoven's opera was heard for the first time in London, and heard in the original language. Malibi-an, who succeeded Schrceder-Devrient in Leonora, appeared in au English version of Fidelio, and the alteration of the language, it need hardly be mentioned, made a vast difference in the effect of the music, wliich, composed by the most conscientious and scrupulous of masters, was written with a view to illustrate every word of the drama, one of the most powerful and affecting ever submitted to the musician. Fidelio and Madame Schroeder-Devrient had certainly an extraordinary reception. The success of the artist at that period, however, cannot be measured, by a comparison with our own times. When Madame Schrceder-Devrient appeared at Drury Lane for the first time, Pasta was declining from her zenith at the Italian Opera; Sontag had just risen above the musical horizon; and Malibran, from a different point of the hemisphere, was beginning to emit a few brilliant scintillations of that light which was destined in so short time to obnubilate, if not extinguish, all contemporaneous luminaries. That, indeed, may be denominated the great operatic epoch of the age. Season after season brought new singers of celebrity to London, and from Catalani to Grisi may be traced one unbroken line of indisputable queens of song. Madame Schroeder-Devrient then had some names and reputations to contend against. The sympathies of the public were either enlisted with Malibran and Sontag at the Italian Opera, or with our own Miss Stephens* and Miss Paton, on the English lyric stage; while at the oratorios and in the concert-room were heard such popular and renowned songstresses as Bonzi de Begnis, Cainporese, Lalande, Pisaroni, Blasis, and other foreign cantatrici. Nevertheless, the great Teutonic artist, who in all probability, on the Italianstage would not have taken rank amongthe first singers, achieved an unparalleled success at Drury Lane, and attracted all London for an entire season. Mad. Schrceder-Devrient was a singer apart from all comparisons. She possessed very superior capabilities, both vocal and histrionic. Her voice was a high soprano, powerful and sonorous, matchless in the expression of passion and strong emotions, but somewhat deficient in tenderness and suavity. Thus, in the character of Fidelio, not even Malibran, perhaps, gave equal force to the denouncement of Pizarro in the prison scene; while to the Governor's interrogation, "Who art thou 1" the answer "I am his wife!" (almost lost, by the way, in the English translation) was transcendent in its energy and earnestness. In the last finale, too, Mad. Schrceder-Devrient's voice, a real soprano, "towered" above principals, band, and chorus; and the singer never failed to send away her hearers with her last brilliant tones ringing in their ears. As an actress— a serious actress, let it be understood—her powers were of a high order. Indeed, nothing short of the rarest endowments and finest impulses could have enabled an artist to conceive and grasp a character like that of Leonora, at once so domestic and tragic, so natural and so lofty, so simple yet so sublime. Mad. Devrient's figure did not consort well with the male attire. She had too much embonpoint, and her walk was over-studied and conventional. Every action and movement, however, -was instinct with reality, and became the requirement of the moment and the situation. She was truly absorbed in the scene, and in her abstraction seemed to forget the stage, the footlights, and the audience. What Johu Kemble said of Edmund Kean might, with equal truth, have been said of Mad. Schrceder-Devrient — "She was terribly in earnest."
All opinion of the German singer is restricted to the character of Leonora. The name of Schrceder-Devrient is associated with Fidelio only in this country. She may have appeared in other parts; they are not remembered, or have left but a slight impression. It is seldom a singer identifies herself with one particular character and no other. We cannot point to a second instance within our recollection. Perhaps the very success of Fidelio prevented the manager from trying the artist in another opera. If the theatre was
* Mis* Stephens appeared at Drury Lane, in a version of Rossini's GuillaMme Tell, entitled, Hofer, the Tell of the Tyrol, with Sinolair tnd H, Phillips, in May, 1880,
crowded nightly, any change- would have been impolitic. Mad. Devrient's fame in England is limited to her impersonation of Leonora. This, however, has been sufficiently great to entitle her to a place among the most remarkable artists of her time. Malibran succeeded her, but the performance even of that most wonderful and gifted of singers did not eflace the impression left by the original. With the recollection of Beethoven's Fidelio, the name most intimately associated is that of Schrceder-Devrient.
Shall we, pause a little from the practice of burlesquing? t Shall we, now that Christmas is past, duly honoured with extravaganzas, try, for a short time, whether we cannot possibly contemplate the sublime, and the beautiful, and the fanciful, otherwise than in connection with the "fast" habits of modern London?
Far from decreasing, the burlesquing ranks are strengthened by the accession of new recruits. A Mr. Burnand, of whom we never heard till last week, has fleshed his steel pen with the "j32neid," out of which he has extracted the episode of Dido. With much moulding and hammering, much cutting off and sticking on, he has fashioned this same episode into a burlesque for the St. James's Theatre, whero Mr. Charles Young excites much laughter by the gravity with which he depicts the cares of the Carthaginian queen. Much trouble has been taken to work the old dramatic story into dramatic shape. Anna, the sister and confidant of Dido, is made the cause of the Trojan's desertion; and though it is natural enough that any gentleman should become enamoured of the lovely Miss Wyndham, yet is this misdirected passion on the part of ^Eneas wholly foreign to the scope and purpose of the tale. Classical scholars felt a creeping sensation come over their skin, when they saw Dido join the hands of the fickle ^Eneas and the treacherous Anna, thus wantonly cheating the Fates, who had decreed the foundation of imperial Rome. Had we seen Moses marry Pharaoh's daughter, and quietly ascend the throne of Egypt—had we gazed on a Drury Lane pantomimo without a scene by Beverley—had we beheld Lydia Thompson dancing a sailor's hornpipe without a round of applause—had we seen a farce by Mayhew and Edwards that did not excite so much as a smile—had we joined a Christmas festivity in the Crystal Palace, in which the pudding was made of real grocery—we should not have been more amazed than we were at the sight of that unholy alliance. We are informed that Mr. Burnand is himself a classical scholar, but it does not thence follow that he shrank in sympathy with others. The shriek of our own knife across our own plate less sets our teeth on edge than that same feat performed by another.
Mr. Burnand has been somewhat severely handled for the vulgarity of his, dialogue, and certainly he evinces that love of slang, which we find in very young gentlemen who wish to look older than they are in worldly experience. Assuredly there is something in the very spirit of burlesque tluvt appeals to the sneering, hlas6, non-enthusiastic disposing of the age—an age that prides itself above all upon the faculty of being " wide awake," A dissertation on the wanderings of ./Eneas might be erudite, but it would be slow, whereas he who makes ./Eneas familiar with cigars must at any rate be knowing.
But the world has gradually become so very knowing itself, that it is somewhat weary of the knowing faculty of others, and would have no objection to a little simplicity by way of contrast. Mr. Burnand experiences rough treatment, not so much because he is so very much more slangy than others, but because he comes late into the market, and finds a public already sated with the species of humour to which he devotes his talents. Tho accomplished Talfourd, the fertile Byron, the genial Brough, are quite sufficient to supply us with burlesques in our holiday seasons, and at other periods of the year we do not greatly want the article. So completely have we been dosed with burlesques during the last dozen years, that we can anticipate the coming jokes as wc foresee the practical pleasantries of tho clown in a Christmas pantomime.
Something very new as far as the present generation is concerned might be effected by a thorough separation of the fanciful from the satirical elements of burlesque. The myths of classic Greece, the tales of Arabia, the legends of mediaeval Europe, the fairy narratives of French Countesses, were not devised like " Gulliver's Travels," for the purpose of satirising modern vices and follies, but appealed with all gravity to a natural or artificial mirth. The chief of extravaganza, M. Planche, is one who, of all his contemporaries, has burlesqued the least, and showa the tenderest affection for the subject he takes in hand. Why not go a step further, or rather let us say a step back in the same direction, and try if we cannot use our old stories, without the constant employment of a now stale system of anachronism. Those scenic effects and Terpsichorian episodes, which are so invaluable to the parodies of the present day, would be still more in keeping with an earnest spectacle ; and to the introduction of popular airs there could be no objection, even on the part of those who abhor popular slang. Tho bald prase of the old fairy melodramas would probably not suit a public more lyrically trained than that of fifty years ago, and therefore let the personages, by all means, speak verse,— but verse need not be loaded with modern allusions, nor is anachronism the only source of wit. A fairy spectacle, got up in real earnest, would, at any rate, be far from those common-places of which the present public is fast becoming weary.
Mr. Cahlyle, in one of his essays, rejoices in the thought that there must needs exist one "horny-eyed" man more stupid (and "horny-eyed") than all others, and with high glee pictures to himself this supremely imbecile person looking forth upon the world and forming to himself "some theory of this [universe"—an occupation, by the way, in which not a few reputed sages have displayed their folly in the most eminent manner. To discover this biggest fool in all creation would be a difficult and decidedly un profitable task, but we are not quite sure that there would not be some advantage in establishing, by common consent of tho sagacious, certain classifications in the various forms of art, so that it might be said absolutely—this is very nearly, that is quite the lowest branch of painting, sculpture, architecture, literature, or music. Everyone, however, will admit that, among piotures, only a very humble rank can bo allotted to tavern signs; that the Scotchman outside a tobacconist's shop must be olassed with the inferior productions of statuary; that nothing can be much lower than the architecture of the pig-stye: and that in literature, it is impossible to sink beneath the level of the criticisms in the Entr'acte. We proceed to inquire whether in music there is anything that can be assimilated to the tavern sign, the sculptured Scotchman, the pig-stye, and the articles in the Entr'acte. Is it the comet solo of an omnibus conductor 1 No; for
that, written down, or the impossibility of writing it down being demonstrated, could be proved not to be music at all. Is it the tinkling of a musical box? No; for that belongs to the domain, not of art, but of machinery, and wanting expression,—which in the arts means life—is to musio precisely what photography is to painting. What then hi the name of the plump little angels who held the music while St. Cecilia played the violoncello, can it be 1 *
Literature, and every form of art, whether or not they have "progressed" In tho present century, have at all events undergone an extraordinary development. Readers, and amateurs of all kinds, have increased and multiplied, and those who havo ears and hear not, those who have hearing and understand not, have to be provided for as well as their more educated brethren. Hence, whilst the best books and finest music obtain more students and admirers now than at any former period, there is also an unprecedented large demand for literary and musical rubbish, which may be and is shot with success into a variety of cheap publications and concert rooms; and it appears to us that bad music has been steadily deteriorating for the last fifteen years. It may be objected to us, that we should not take cognizance of that which is uniformly bad,—in other words, that the execrable in art does not lie within our jurisdiction. But if, as a high authority has said, critics are the police of literature, surely they may regard themselves as to some extent the constables of art, and, that being admitted, we know of more than one composer, or "arranger," whom we have every right to take in charge and expose in tho pillory, and more than one kind of music which deserves nothing short of interdiction and outlawry.
Once upon a time, before tho establishment of casinos, before the middle classes were in the habit of going to the Opera—and, therefore, before the reign of the operatic fantasia—though a great deal of disagreeable music may have been published, there were no utterly objectionable musical forms. The least estimable kind of composition must have been dance music, which does not appeal to the heart so much as the heels, and which still maintains its modest position at the bottom of the musical ladder. Strauss, Lanner and Jullien, however, in their way men of genius, and who in sixteen bars have expressed, infinitely more on the subject of waltzing than Byron was able to do in a long poem, gave a temporary interest to the particular kind of dance-music in which they excelled, and even founded a school of waltz-writers—now apparently extinct. The Puritans, in proscribing music, chiefly objected to it that it led to dancing, which, according to Prynne, was "for the most part attended with many amorous smiles, wanton compliments, Rcurrilous songs and sonnets, and ridiculous love-pranks," and which "served no necessary use, no profitable, laudable, or pious end at all, but issued only from the inbred pravity, vanity, wantonness, incontinenoy, pride, profaneness, or madness of mens' depraved natures." If Strauss had published his waltzes in England, in the time of the Puritaus, ho would have convulsed society, and would probably have been beheaded. Fortunately for him he lived in the nineteenth century, and in Vienna, which is not a puritanical city at all.
In the meanwhile the operatic fantasia had been much cultivated by composers of ability, but chiefly by composers who, not satisfied with having no ideas of their own, could
* Vide the St. Cecilia by Domenecliino in tho Louvre. In the face of one of tho angels the pleasaut features of Mr. Buckstone are foreshadowed.
not take those of their betters without wantonly disfiguring them.'
Then the writers of dance music, tired of inventing or combining tunes "monotonous as tlio songs of slaves," determined to imitate the distorters of operatic melody, and even to go beyond them. They appropriated tho most beautiful, and, therefore, in the great majority of instances, the mast unsuitable airs they could find, and subjected them to the Procrustean operation, with this difference, however, that the humane Procustes only chopped off the tops and toes of his victims or stretched them out a little where they were not quite long enough, whereas the dance composers often cut a tune, if necessary, in two, and take the middle. However, we are not going to write an article against them; we would as soon think of hissing an Ethiopian Serenader. But we wanted to discover the lowest thing that had ever been done in music, and we believe we have pointed it out.
The Royal London Yacht Club.—On Monday evening the annual ball of the Royal London Yacht Club was celebrated at .Willis's Rooms, St. James's. About 500 ladies and gentlemen attended, and the scene was of a most animated character. After supper the chair was taken by the popular commodore of the club—Andrew Arcedeckne, Esq., who gave the toasts with becoming facetiousness, and who, in proposing the " Health of the Ladies," was especially successful. Mr. Sheridan Markwell proposed the commodore's health. He informed the company Mr. Arcedeckne had only just returned from Madeira, expressly to be present at the ball; that he had been, and still was, a staunch supporter of the club; also that amongst the members he had introduced, special and honourable mention might be made of Captains M'Clintock, Hobson, Allan Young (present), Commander Pym, Arctic celebrities, and also Mr. Cornelius Grinnell. Mr. Markwell wound up by informing the company that Captain M'Clintock had given the name of Arcedeckne to. an island he had discovered in the locality of the magnetic pole, Dancing was kept up till the morning had far advanced. The general arrangements, under the ball committee, left nothing to be desired. Mr. T. Broadwood is the vice-commodore, and M. Eagle the treasurer.
The West Middlesex Rtple Corps And Theie Amateur Band—(From a Member of the Corps).—Tho members of this corpi hare displayed an energy and common sense highly creditable, and worthy of imitation by all other rifle corps. It appears that the members were extremely desirous of having a first-rate band, and considered that as they included in their ranks the leading clergymen, medical men, lawyers, and tradesmen of Marylebotie and other districts, they had a right to have one, but their captain. Lord Radstock, whose admirable management of all matters connected with the corps, combined with an evident desire to aid the movement, has frequently been evinced, judged that the money already oolleoted could not be spent on such an object. What then was to be done P Someofthe corps had small professional bands, others only buglers, while a few had regimental fifes and drums. Mr. J. Day, however, proprietor of the refectory at "Lord's," had, for the last three years, assembled an am&tour brass band of unusual pretensions. Mr. Day is an able musician, and as an amateur cornet player stands in high osteem; added to this his coadjutor, Mr. Mitchell, has skilfully arranged a vast selection of popular music, suitable for the purpose, and to which, with his two sons, gives efficient support to Mr. Day. Upwards of twonty other gentlemen and tradesmen efficiently back the above-mentioned, and from constant practioe under Mr. Day's direction, considerable progress has been made. The members of this band offered their services to the Rifle Corps; and, after performing two or three times before the council, as well as before a committee specially appointed for the purpose, it was unanimously decided that the offer should be accepted, and a subscription set on foot. The subscription was 90 readily responded to that matters were concluded on the night after tiie proposal. The only condition made by Mr. Day,—representing the amateurs—was, that he should have a professional drummer and opheiclide player. Several gentlemen have sinee been induced by the corps to join the band, among whom is Mr. Hermann Lang, long known in amateur circles as the friendly rival of Mr. Henry Tatbam for the Amateur Championship of the Cornet, and who will share the solo parts with Mr. Day.
ST. MARTIN'S HALL.
The performance of M. Gounod's "Grand Mass in G," composed for the celebration of St. Cecilia's day, and Beethoven's " Choral Symphony," attracted a large assemblage of amateurs on Wednesday evening to St. Martin's Hall. Curiosity, no less than, admiration, exercised its influence on this occasion. M. Gounod's Mass had been loudly vaunted by the Parisian press, and the English public were willing to endorse the continental judgment, if they could do so conscientiously. The " Mass in G,'' however, was not entirely unknown here. Two pieces had been introduced into one of Mr. Hullah's concerts some years since, in an incomplete form, certainly; but those who heard them, arguing naturally that Mr. Hullah would select the most effective parts for performance, had already ventured to pronounce an opinion on the whole. The Mass was received with but little applause on Wednesday evening. The audience could not have been more attentive, the band and singers more zealousand painstaking. In no part of the work, however, was the slightest degree of enthusiasm manifested. A few applauded, occasionally, but the impression at the end—if the word, indeed, may be used— amounted to the utmost indifference. M. Gounod's Mass does not possess qualities to render it popular. The "Agnus Dei," is the most satisfactory piece in conception and treatment; the "Sanctus" begins well and ends indifferently; the "Gloria in Excelsis" is feeble in idea and in the working out; and the "Kyrie Eleison" and "Credo" present few attractions in a musical light. M. Gounod is fond of devices ; but he attains nothing new in his search after novelty. He is apparently as addicted to climaxes as Signor Yerdi himself, and the crescendo in the "Sanctus" bears a strong resemblance to the boisterous displays in certain finales of Ernani, II Trovatore, and Nahucco, &c.
The principal solo singers were Miss Banks, Mr. Wilbye Cooper, and Mr. Thomas, and the choir was composed of Mr. Hullah's First Upper Singing School.
The "Choral Symphony " did not go quite so well as on former occasions, but elicited more enthusiasm than ever.
The first concert of the fifth season was given on Wednesday evening at St. James's Hall, which must have taken some of the subscribers by surprise. No prospectus had beeu issued; scarcely an announcement of the opening night had been made previously; and, to crown all, the performance was fixed for the same evening as Mr. Hullah's concert, when M. Gounod's "Mass" and Beethoven's " Choral Symphony" were given. This proves either that there was remissness on the part of the management, or that the Vocal Association takes up a new ground altogether, and, having a sufficient amount of subscribers, and relying on its prestige, is not anxious to conciliate tho public. For the reason that no prospectus has been published, we cannot speculate as to the intentions of the Association, or what they are about to do this season. A notice of the first concert must serve all who are interested in its progress to draw conclusions therefrom as to the likelihood of its future prosperity. We may state at the outset, that the choir is considerably improved and much strengthened, a fact worth the best worded prospectus ever written.
The principal pieco was Mendelssohn's hymn, "Hear my prayer," a work, though brief, sufficiently difficult to test the capabilities of any choral band. It was throughout well and steadily sung and loudly applauded. Mdlle. Euphrosyne Parepa sang the solos with remarkable effect. The otherperformances by the choir were part-song (Mr. Henry Smart), "From the heights celestial streaming ;" part-song (Mr. Francesco Berger), "Night, lovely night j" cradle-song (Mr. Henry Smart), " Lullaby ;" partsong (Mendelssohn), "In the forest;" hunting-song (Mr.Benedict), "Rise, sleep no more;" part-song (Mr. H. H. Pierson), *' Ye mariners of England ;" serenade (arranged by Sir Henry Bishop), "01 by rivers;" and the National Anthem. Mr. Henry Smart's two part-songs were given for the first time, and loudly applauded. Both are admirable specimens of the composer's talent in this kind of ohoral writing, the "Lullaby" especially being of quaint grace and beauty. Mr. Berger's part-song, also a novelty, was encored and repeated; as was likewise Mr. Benedict's hunting-song, a highly spirited and characteristic composition.
Mdlle. Parepa more than confirmed the impression she created in Mendelssohn's Hymn, by her singing of the " Shadow Song" from Dinorah, and the " Laughing Song" from Auber's Manon Lescaut. She was loudly encored in both.
Mr. Benedict conducted with his usual skill. The second concert is announced for Wednesday, March 7.
SOCIETY FOR THE ENCOURAGEMENT OF FINE ARTS.
On Thursday evening last, the first trial of musical compositions, in connection with this society, took place at the Architectural Gallery, Conduit-street, when the following programme was given by the members of "The Arion," under the direction of Mr. Alfred Gilbert :—
Cantata for eight voices "Jehovah, Lord God." Spohr. 22nd Psalm for eight voices ... ... ... Mendelssohn.
Motett, Salve Begina ... ... ... ... Hauptmann.
And two new-part songs, arranged from MendelsBohn, (first time.)
The "Arion," is, we understand, a society forming for the performance of music for two choirs, cantatas, &c, without orchestra, and rarely heard in our concert-rooms. Of such music there is a large collection, and the study of it will open out a large field for the "Arion." We heartily wish success to the undertaking.
Her Majesty's Tiieatbe.—We are informed that Mr. E.T' Smith has taken this theatre, and intends opening it with Italian Opera on Easter Monday.
Sio. and Mad. Gassier, after fulfilling a brilliant engagement in the United States and the Havanna, are expected to return to England in the month of March.
Berlin.—Liszt has been appointed conductor to the Royal Opera! We should like to known if three are not enough! Meyerbeer, Dora, and Taubert.
The rival music conservatoriums in Berlin (Kullack's and Sterne's) have issued their new circulars. Both promise a thoroughly artistic education for about twelve pounds per annum. Note this fact, Mr. Gimson, of No. 4, Tenterden-street.
Monday Evening Concerts, Myddelton Hall.—Ihe second of the series of four concerts took place on Monday evening last. The artists were Miss Messent, Miss Paget, and Miss Fanny Reeves, Mr. Allan Irving, Elliot Galer, and D. F. Davis, harpist, who made his first appearance in London, and with complete success. Mr. Frank Mori conducted. The most successful pieces of the evening were the "Miserere," from II Trovatore, executed by Miss Reeves and Mr. Galer; the chorus by the Vocal Quartette Union (encored); "'Tis best to be off with the old love," sung with considerable humour by Miss Reeves (encored). Mr. Elliot Galer was particularly successful in each of his songs, especially a new one, "Under the linden tree," by M. Lutz, which narrowly escaped a double encore.
Death Op Mb. Henry Farren.—Wo read in American papers of the death of Mr. Henry Farren. Mr. Farren was lessee and manager of the Brighton Theatre for three or four seasons, and under his management, theatricals, which had long languished in Brighton, flourished. Unfortunately, although Mr. Farren's early managerial career in Brighton was highly creditable to him, ho was led away by the success that attended his exertions, and launched out into extravagancies in private life. At last he was beset by the myrmidons of the law, and escaped from an attic window of the Brighton Theatre. Mr. Farren followed well in his father's steps. All who have seen his Grandfather Whitehead or his Sir Peter Teazle can vouch for this. He was good as a melo-dramatic actor—to wit, in the Corsican Brothers; but ho was not a tragedian, and here he failed. He thought, he could do everything well, but it was not so.
The Windsor Association (Windsor), for the protection of persons and property against thieves and felons, held their Forty-sixth Annual Meeting at the Castle Hotel, on Wednesday, February 1st, the Mayor in the chair, supported by the ex-Mayor, the Treasurer, Solicitor to the Society, &o, Thero was a large gathering of the members, who
did ample justice to the excellent dinner provided by Mr. Sherrieff. The accounts of the Society were stated as being in a very flourishing condition, and after the routino business of the meeting had been transacted, the usual loyal and patriotic toasts were given, as well as the healths of the mayor and corporation, the vicar and clergy, the treasurer, the vice-chairman and committee, &c. Several very good speeches were made, and the proceedings of the evening were very agreeably interspersed with a selection of glees, madrigals, ballads, and songs, by Messrs. Marriott, Dyson, and Lambert, Mr. Pearson presiding at the pianoforte. The musical part of the entertainment passed off very successfully, giving universal satisfaction, and reflecting great credit on all concerned, and particularly on Mr. Dyson, who officiated as conductor.
MOZART—CHILD AND MAN.
(Continued from page 823, Vol. 37.)
Mome, June ZOth, 1770. Have we performed before the King of Naples? No, we have not. We have not yet got beyond being'saluted by the Queen each time she has perceived us. However, the Queen can do nothing for us, and it is easier to tell you than to write you a description of his Neapolitan Majesty. But you can easily imagine how these sort of things are managed at court. The young violinist Lamotte, who is in the service of the Empress, and who has been travelling in Italy by her orders and at her expense, had been a long time in Naples, and extended his stay three weoks longer, kept in a state of suspense, as he had been led to hope the King and Queen would ask to see him. Of course nothing came of this. I have a hundred amusing stories to tell yon of this court; and I will show you also a picture of the King. I have yot not been able to see any one here. I did not tell you the reason why in my first letter, but as things are assuming a better aspect now, I will do so. You know that two horses and one postillion make three brutes. At the last stage before Rome, the postillion whipped the horse harnessed to the shaft, and who consequently supports the sedia. The horse felt rolling in the sand and dust, and fell violently on one side, dragging with him the front part of the sedia, which has only two wheels. I held Wolfgang by one hand, so that he did not fall out of the carriage, but the shock dragged me down, and my right leg, which was caught in the iron fastenings of the apron of the carriage, was torn for about the length of my finger to the bone.
The Same to the Same.
Rome, July 4Uh, 1770. To-morrow we are going to dine with the Cardinal Pallavicini; the day after with the Baron de Sainte Odile, Ambassador of Tuscany. We are to learn to-morrow a piece of newB that will greatly astonish you. The Cardinal Pallavicini baa received orders to remit to Wolfgang an order from the Pope with the diploma. Do not say anything about this yet. If the news prove true I will let you know soon. The last time we were at the Cardinal's, he said several times in speaking to Wolfgang, Signor Cavaliere, we thought it was a joke. Wolfgang has grown very muoh since he has been in Naples.
The Same to the Same.
Some, July 7th, 1770.
What I wrote to you the other day about the orderf is true. It is the same order as that which was bestowed on Gluck; in the papers appertaining to it the words written are, Te creamus auratte militiaSquitem. And he must wear the beautiful gold cross that he has had presented him; you can imagine how I laugh each time I hear him called the Signor Cavaliere. We are to have an audience of the Pope to-morrow on account of this.
P.S. de Wolfgang.—Cara Sorella mia, I was agreeably surprised to see that you can compose so well, your air is really very fine; try often to do the same kind of thing; send me soon the six minuets of Haydn. Mademoiselle, I have the honour to be your very humble servant and brother—Chevalier de Mozart.—Addio.
* Francois Lamotte, born at Vienna, in 1751. Acquired while very young a high reputation. He died in Holland in 1781.
+ Mozart only wore the Order of the " Cross of the Golden Spur," and which gave him the right to call himself the Chevalier de Mozart, (as Gluck called himself the Chevalier de Gluck) in his younger daya, in the imperial towns and in his journey to Paris, by the express orders of his father, in 1770, Mozart was fourteen yearj old.
(To be oontitmti.)