FOREIGN.

and two pieces by J. S. Bach, all with the artistic certainty and PARIS.-The following is a close translation of the bill of the energetic style which distinguish a master. The only thing we could have desired was a little more moderate tempo for the last first concert which will be given in Paris by Jullien ::movement of the concerto, since-especially in the colossal hall ness and delicate graduations of the passages suffer from too which is not very favourable for any solo instruments-the cleargreat rapidity.

"The management of the Cirque de l'Impératrice have the honour of announcing that they have concluded an engagement with M. Jullien, of London, and the principal solo players of his orchestra, with the object of founding, in Paris, a grand musical society, by means of which there may be organised brilliant festivals, in the style of those which M. Jullien has given with splendid success in England, Germany; and America. Sunday, 11th March, at two o'clock, grand festival of inau-. guration, given in Paris, by the Universal Philharmonic Society, under the direction of M. Jullien, conductor of the orchestra of the Theatre Royal of her Majesty the Queen of England, of Drury Lane, of Covent Garden, and of the London Lyceum, who will conduct a grand musical body of six hundred executants selected from the members of the greatest choral societies and the best orchestras of France, England, Belgium, and Germany. Programme:-PART I. Sacred music; classical music; selections from the Creation, words by M. de Ségur, music by Haydn; the Prophète Elie, words by Bartholomew, translated by Maurice Bourges, music by Mendelssohn; the Messiah, text from the sacred books, music by Handel. PART II. Heroic music; national music: La Guerre, epic symphony, dedicated to the army; La Paix, quadrille symphony, dedicated to all nations; L'Harmonie de l'Univers, an essay, words by Humbolt, music by Roch-Albert. PART III. Voyage musical, selections from the repertory of national melodies, collected by M. Jullien, and executed by his orchestra during his universal tour; echoes of Italy, England, Germany, Russia, Switzerland, Spain, and America. The names of the solo instrumentalists, and of the singers, will be published in the detailed programme which will appear shortly."

COLOGNE Among the pieces included in the programme of the concert for the benefit of the Cologne Orchestra, was the Symphony, No. VI., in G minor, Op. 32, by Niels W. Gade, which was here new. It was very favourably received by the audience, as it deserved to be, on account of its own merits, and as well as of the careful manner in which it had been re

hearsed, and the admirable mode in which it was played. Gade's instrumental music resembles paintings, the drawing and outlines of which are, it is true, correct, but do not give evidence of very great fancy or genial creative talent, but which, despite of this, from the colouring and the way in which the lights are managed, possess such a charm that we like to contemplate them, if the mind of the spectator (or hearer) happens to be in that state which is pleased by the sole effect of the colouring. Had not the word fallen lately into discredit, we might, in Gade's case, much rather speak of symphonic music than in the case of others. On this account, it is much more necessary to hear this music than that of other masters. When it is read, or played on the piano, a great number of its good qualities disappear, and Gade's peculiar style is reduced principally to the rhythm. and a few characteristic motives of a popular kind. That, nevertheless, as this newest symphony of his proves, he does not fall into mannerism, should certainly be considered a great point in his favour, since he is greatly exposed to the temptation of doing so. The most original movement in the work is indisputably the Allegro moderato e energico (in B flat major, 3-4 time), which occupies the place of the Scherzo between the Andante sostenuto in D major, and the Finale allegro vivace e animato (in G minor, 2-4 time-the longest movement in the symphony). It will be seen, from what has been said, that one of the principal causes of the attraction of the work is the instrumentation. The reputation that Berlioz has achieved, among the French, by his peculiar effects of sound, may be claimed from another point of view, for Gade, who obtains by this art purely musical effects, in opposition to the mere programme-Vertonung.

A brilliant feature of the evening's entertainment was the performance of Herr Joachim, from Hanover. He played Mendelssohn's concerto. (It would almost seem there were only two violin concertos, that by Beethoven, and that by Mendelssohn! Why do not such artists return to Spohr, Rode, and Viotti? We make this remark generally, and not with especial reference to Herr Joachim, who never performed Mendelssohn's concerto here before, while he has played one by Viotti, and the Gesangscene by Spohr.) He also gave Tartini's Teufels Sonata,

The following was the programme of the Seventh Gesellschafts concert :

Beethoven.-Second Part.

First Part. 1. Overture to a tragedy, Op. 18, by Woldemar Bargiel (new). 2. Airs and choruses from Gluck's Orpheus (Mdlle. Jenny Meyer, from Berlin). 3. Symphony, No. IV. B flat major, 4. Pianoforte concerto in C minor, by Beethoven (Herr Alfred Jaell, pianist to the King of Hanover). 5. "Salve Regina," for chorus of four voices a capella, by M. Hauptmann. 6. Variations by Handel. Waltz by Chopin, "Home, sweet home," for pianoforte alone (A. Jaell). 7. Scene from Bellini's Romeo and Juliet (Mdlle. J. Meyer). 8. Overture to Ruy Blas, Mendels sohn.

We cannot approve of the order of the pieces. For more reasons than one, the pianoforte concerto ought to have been placed at the end of the first, and the symphony at the end of the second part, which might have commenced with Mendelssohn's overture. The insertion, too, of the scene from Bellini's Romeo and Juliet (Act I.), compressed by the omission of the recitative of Capulet and Tibaldo, as well as of the chorus, ought not to have been allowed. In the arrangement from Orpheus, the air in C major (“" Che farò senza Euridici"), before the scene in Tartarus (with the chorus of Furies), was not at all from the scene in Elysium was appropriate and impressing. in its proper place, though the addition of the charming chorus Bargiel's overture displayed, like his former works, his great talent, and was received with due appreciation. In its execution, as well as in that of Beethoven's symphony, No. IV., the orchestra distinguished themselves; the good effect of the two rehearsals a-week, during the winter, on their play is very remarkable, while merely performing in the theatre did not exactly conduce to artistic execution, but just the reverse. Mdile. Jenny Meyer, from Berlin, satisfied anything like high expectation only in the first strophe of the song in which Orpheus endeavours to mollify the Furies. Her voice is full and pleasing, but her style is deficient in warmth and feeling. It is monotonous from beginning to end, and, when she wishes to impart dramatic expression, as, for instance, in the Romeo scene from Bellini, she employs means which belong to an unartistic school. Among these we must reckon a holding of the notes over the bar, and an incorrect portamento. She ought, also, to be more careful in her pronunciation, especially as far as the quality of the vowels is concerned, The tempo and conception of the air in C major from Orpheus were altogether a mistake; there was not the least sign of the vivace con disperagione, or on the fourfold change of tempo marked by the composer.

Herr Alfred Jaell played with extraordinary success, and fully deserved it. It would be difficult for any pianist to surpass his performance as that of a perfect technical master of his instrument, especially in the scales, trills, and triplets, while his touch conveys the most delicate gradations of light and shade. In addition, however, to possessing these eminent qualities as a player, he proved, by his calm and expressive rendering of Beethoven's C minor concerto, and of Handel's charming variations, that he is an artist and musician who regards manual dexterity not as an end but simply as an indispensable means for satisfying the higher demands of art and interpreting the composer. This tendency of Herr Jaell is the more worthy of favourable notice, since, for the first few years after his return from America, he had still much to do in this respect.

CREFELD, 27th January.-At the third Subscription-Concert, Herr Maximilian Wolff, from Frankfort-on-the-Maine, distinguished himself by his performance of Mendelssohn's violin-concerto, and a fantasia, by Leonard, for violin and orchestra, on a theme by Haydn. The first part of the concert was brought to a close by Hiller's setting, for chorus and orchestra, of Göthe's Gesang der Geister über den Wassern, which was exceedingly successful. The second part of the concert

consisted of Beethoven's Pastoral Symphony. On the 3rd inst., Herr Wolff gave a soirée for chamber-music, when he played the first violin part in Mozart's G minor quartet, and in Beethoven's F major quartet, besides Bach's chaconne, some other solo pieces, and a romance of his own composition.

ARNHEIM.-The Committee for the Seventh General Musical Festival of the Society for the Furtherance of Music have decided on the following programme:—

temples of art. Their establishment, nevertheless, is not entirely without its use, and their existence is a significant sign of the times. The audiences who now frequent the new "Music Halls for the People," are, in all probability, similar to those which were wont to attend the old penny or twopenny saloons. A greater attention to dress and cleanliness certainly may be evidenced, with a better style of pipe, a more reserved demeanour, and a politer

"Thursday Evening, the 9th August.-1. Prize Symphony, by J. J. H. Verhülst, Op. 46 (crowned by the Society in July, 1846)..phraseology. But the greatest transformation has taken place 2. Samson, oratorio, by Handel.

'Friday Evening, the 10th August.-1. Overture and Introductory Chorus, by J. A. van Eyken, to Vondel's tragedy, Lucifer, Op. 40 (to which a prize was awarded by the Society in 1852). 2. Lorelei, for solo, chorus, and orchestra, by Ferdinand Hiller, Op. 70. 3. Elia op Horeb, poem by N. Beets, music by F. Coenen (prize in 1857). 4. Lobgesang, symphony cantata, by F. Mendelssohn-Bartholdy, Op. 52. "Saturday Morning, the 11th August.-Artists' Concert. Besides this, the 84th Psalm (Dutch words by Dr. J. P. Heije, music by J. J. H. Verhülst), and a symphony by Beethoven, not yet decided on, but probably No. 7.

"For the Committee:-W. Taets van Amerongen, President of the
Technical Commission. J. M. J. Engelberts, Secretary."
VIVIES.-A new organ, from the factory of the well-known builders,
Merklin and Schütze, of Brussels, was inaugurated in the cathedral

here on the 10th ult.

TO CORRESPONDENTS.

FLORIAN. Decidedly true.

W's communication is an advertisement.

NOTICE.

in taste and appreciation. In point of rank and station, the
old and new public are identical. The hardy artisan, the
upper labourers in workshops and factories, the smug clerk,
the saucy apprentice, the spruce shop-boy, the small trader,
the loose gent of the suburbs, a prevailing class-of such
materials were the auditories of the old small concert-rooms
composed; and of such are the patrons of the new great
saloons constituted. To what then is to be attributed the
change the improvement? To the influence of music, most
indubitably. There was a time-we remember it ourselves—
when the humbler classes of the community, having no other
escape for their melodious propensities, were wont to assemble
nightly in crowds at these low-priced gin-and-song taverns,
and to pass whole evenings in boisterous excitement,
listening to some nasal tenor, or
short-winded soprano,

his notes.

M. C.-Thanks for his communication; but we were unable to indulging the hearers with such exhilarating airs as "Billy send a reporter. Barlow," Happy Land," "My Master's Gun," and "The Coalbeaver's Feast," to the accompaniment of a five-and-a. half octave upright piano, touched by a gentleman learning Yet there was no complaint. Some fine-eared critic might occasionally perhaps have expressed a wish performer had played a few right notes; but good humour, that the vocalist had sung a little more in tune, or that the under the impulsive power of "old Tom" and tobacco, displayed illimitable forbearance, and no one grumbled save when the waiter, through inadvertence, proffered short change.

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THE MUSICAL WORLD.
LONDON, SATURDAY, FEBRUARY 25TH, 1860.

The history of the transition of these primitive abodes of art, from the state of grub to butterfly maturity, is not necessary. Some enterprising speculator and thorough reformer, like Mr. Morton, proprietor of the Canterbury Hall, no doubt, was impressed by the spirit of the times, saw the opening, and took advantage of it. He rented, or built, a spacious saloon, and had it handsomely decorated and brilliantly illuminated; procured tolerable singers; engaged a veritable pianist; and hired a well-conducted Broadwood or Collard. The programmes, moreover, became a serious consideration. That class of ballads, represented by "My Master's Gun," and

Does anybody doubt that music has made rapid strides in this country within the last dozen years? Does anybody deny that the progress of music keeps pace with the march of civilisation? If so, in our desire to set him right, we My Wife, she likes her Beer," were discarded, and its beg leave to direct his attention, not to the Monday place supplied by the favourite airs of the day. Operatic Popular Concerts, not to the Old Philharmonic, the tunes were introduced, and concerted morceaux attempted. New Philharmonic, or the Musical Society of London; The proprietor observed closely the inclination of the not to the numberless "Unions," Chamber Meetings, people's taste. As music took a higher flight, business rose Quintet and Quartet Associations, Vocal and Orchestral in proportion. The better the bill of fare, the greater the Concerts, &c., &c., that mushroom like have sprung up in an quantity of beer and spirits imbibed. The love of art and incredibly short space of time; nor yet to the Crystal Palace, the desire of gain alike prevailed with the manager in his which is fast merging into a vast music-hall, at the instigation selections. He who had previously but the slightest posof the Sacred Harmonic Society-since all plead, trumpet-sible acquaintance with Italian composers, now stood up tongued, their own cause; but simply to Canterbury Hall, in the Westminster-road, to Weston's Music Hall, High Holborn, to Raglan Hall, Theobald's-road, or to any other of those huge and brilliant saloons dedicated to music in several parts of the metropolis, which have taken the place of and superseded the twopenny concert-rooms of bye-gone London. We are not going to apostrophise the above places of amusement, nor to designate them

stoutly for Donizetti and Verdi, and became note-wise. The transition state reached its grand climacteric, when a musical director was secured, and selections from popular operas were performed.

If the reader, who knows nothing of the musical transactions in London beyond the Opera and the concerts, imagines for a moment that we are attempting to play on his credulity, let him satisfy himself and pay a visit to Mr.

knowest that my love for thee is exceedingly slight; thou art aware that if thou wert about to be executed on Monday next, I would gladly part with my last farthing to witness the ceremony; but, nevertheless, I frankly avow, that on this occasion, I listen to thy discourse with the profoundest admiration and respect."

"POETRY AND POETS.

"Fitzball has a poetic mind, it does not follow that he is a poet; for Choice in words to write poetry, the composition must be faultless. and expressions; perfect in imagery; and original. Many think one step from the sublime to the ridiculous."

poetically, and feel poetically, but few write poetically, there being but

Loud was the mirth of Pantagruel, shrill was the laughter "Epistemon," said Panurge, with equal solemnity, "thou of Epistemon; John the waiter rushed out of the room in knowest that my esteem for thee is of the smallest that I convulsions, and repeated the composition to the bar-maid, would not give a farthing to see thee hanged, simply because who instantly fell into hysterics. Customers at the bar the sight of thee, under any circumstances whatever, is to carried the joke into the street, and the broad Strand echoed me intensely repulsive and disagreeable. Nevertheless, with the sound of mirth. Father Thames was heard to humbly own, that on this occasion, I am proud of thy good chuckle in his muddy bed, and a dignified smile illumined the statue of Charles I. at Charing-cross.

word."

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I

The man who so innocently caused all this mischief, is a M. François Duchamp,'" continued Pantagruel.

“I shall affect the true-born Briton, and think of him as Frank Field," said Panurge.

"An exiled aristocrat,' continued Pantagruel, reading, "who surreptitiously visits Mad. Reynold."

"Miss Reynolds?" asked Panurge, with half-closed eyes. "Madame Reynold, dolt," bawled Pantagruel. "Mad. Reinhardhalt," murmured Panurge, nodding, "a sort of German name."

"To receive the rents she secretly collects for him.'" "Then Mad. Reinhardhalt is like my landlord," exclaimed Panurge. "He collects my rent so very secretly, that the operation is unknown even to himself, and therefore he sweareth lustily that I am three quarters in arrear.”

"Seventeen years are supposed to elapse,'" continued Pantagruel, reading "between the two acts. In the second act, we find the wife, supposing the husband dead'-supposing the husband dead."

"Who the devil was the wag who wrote that;" asked Pantagruel, whose merriment had given way to curiosity. "I can't tell, for the life of me," said Panurge. "I had it in the scrap of paper that inclosed the bird's-eye."

MUSIC has often been called "the only universal language," and an ingenious writer once undertook to prove that, before the confusion of Babel, the inhabitants of the earth expressed emotions and interchanged ideas exclusively in song. Spoken language, he maintained, was comparatively a recent invention-or, rather, it was a curse inflicted upon man as a punishment for his non-obsorvance of the harmonious laws of Providence. According to this author's theory, the serpent, who was undoubtedly the original Don Juan, must have tempted Eve to the air of some "La ci darem," composed by himself; and Tubal Cain could no longer be regarded as the first musician, though be would still have to be looked upon as the first and greatest manufacturer of musical instruments

Very well, I grant the hypothesis," said Panurge, im--in fact, as a sort of primæval Sax. Like a great many patiently.

"Married to M. Duchamp, and she has a grown-up daughter. The veteran soldiers being here disbanded, and passing through Nismes, are insulted by the now Bourbon mob, and among them is Christian, who is not dead.'"

"The story would be much more curious, if he marched through the town when he was dead," said Panurge. "But I knew that Christopher would take care of himself." "Having braved the fury of the mob,'" continued Pantagruel, he seeks a refuge in M. Duchamp's house, where he encounters, first his daughter, and then his wife, and finds in Duchamp himself a man whose life he has saved on the field of battle.""

66

other theories, that of our ingenious friend had the disadvantage of being untenable. Instead of being an opera, the life of man has always been a drama, and generally a very dull one, with few, if any, musical situations; in addition to which it may be shown, that the great architectural scheme, to which the science of ethnology owes its existence, whatever effect it may have had on music, has certainly left its traces in the language of musicians-more especially those of England. Melody and harmony, wherever originated, find a response all over the world. Music from all parts of Europewhich, as far as music is concerned, is the world,-find a readier welcome and appreciation nowhere than in England. But, while adopting the music of foreigners, we surely need not at the same time adopt their musical terms, though this is now done to a most unnecessary and ridiculous extent. With a view to that universality of which we have spoken, it was desirable that all nations should "Go on," said Panurge, mournfully. make use of the same language for the few directions to the "He does not own his child, nor claim his wife, magnani-player or singer which every piece of music requires, and mously preferring to give her up rather than to reduce her naturally that of the oldest musical country in Europe was to misery by proclaiming her a bigamist'-but, thou scurvy chosen. Gradually, however, French terms have been introknave! thou art not listening-no, by the parings of Apollyon's hoof, thou preferrest that scrap of paper on which thou fixest thy leaden eyes, to this sublime description."

"Then had Duchamp himself swallowed the man?" inquired Panurge, looking exceedingly stupid.

"No; Duchamp was the man, booby-only the author was an idiom."

66

duced-we mean in music printed in England-which is absurd, inasmuch as French is not the recognised musical language of Europe, and is not understood as a matter of course either in England, Germany, or Italy. Composers Listen, listen, master mine, at this glorious specimen of ought to elect one of two courses-either they should write English composition, and cheer the cockles of thy heart," their indications in Italian, or they should write them in the said Panurge, "and then, if thou wilt, chop me into small language of the country to which they belong-and in these pieces, and vend me in the form of kidney-dumplings. cases the country to which they belong is that in which they Listen to the inscription on this humble looking scrap of publish. What is the use of writing "main droite," or paper." So, leaping on to the table, Panurge read as M. D.," on a pianoforte piece addressed to English young follows:ladies who may, or may not, but certainly do not invariably,