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FOREIGN.

Parts.—The following is a close translation of the bill of the first concert which will be given in Paris by Jullien :—

"The management of the Cirque de l'lmperatrice have the honour of announcing that they have concluded an engagement with M. Jullien, of London, and the principal eolo players of his orchestra, with the ohject 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 inauguration, 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 n 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:—Past I. Saered musio; classical music j selections from the Creation, words by M. de Segur, music by Haydn; the Prophete Elie, words by Bortholomew, translated by Maurice Bourge9, music by Mendelssohn; the Messiah, text from the sacred books, music by Handel. Past II. Heroic music; national music: La Guerre, epic symphonv, dedicated to the army; La Paix, quadrille symphony, dodicated to all nations ; V Karmonie de V Univers, an essay, words by flumbolt, music by Roch-Albert. Pabtiii. 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 Anerica. The names of the solo instrumentalists, and of the singers, will be published in the detailed programme which will appear

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 rehearsed, 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 hparer) 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 ceitaiuly 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 moderate e energico (in B flat major, 3-4 time), which occupies the place of the Scherzo between the Andante sostenulo in D major, and the Finale allegro vivace e anim tto (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— Vertdn ung.

A brilliant feature of the evening's entertainment was the performance of Herr Joachim, from Hauover. He played Mendelssohn's concerto. (It would almost seem there were only two violin concertos, that by Beethoveu, 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 G'esangscene by Spohr.) He also gave Tartini's Teufels Sonata,

and two pieces by J. S. Bach, all with the artistic certainty and energetic style which distinguish a master. The only thing we could have desired was a little more moderate tempo for the last movement of the concerto, since—especially in the colossal hall which is not very favourable for any solo instruments—the clearness and delicate graduations of the passages suffer from too great rapidity.

The following was the programme of the Seventh Gesellschafts concert:—

First Part. X. Overture to a tragedy, Op. 18, by Woldemar Bargiel (veto). 2. Airs and choruses from Gluck's Orpheus (Mdlle. Jenny Meyer, from Berlin). 3. Symphony, No. IV. B flat major, Beethoven.— Second Part. 4. Pianoforte concerto in C minor, by Beethoven (Herr Allreil Jaell, pianist to the King of Hanover). 6. "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 (Mdllo. J. Meyer). 8. Overture to Suy Bias, Mendelssohn.

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 an' in C major ('■' Che fard senza Euridici"), before the scene in Tartarus (with the chorus of Furies), was not at all in its proper place, though the addition of the charming chorus from the scene in Elysium was appropriate and i01 pressing.

BargiePs 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 orctiestra 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.

Mdlle. Jenny Meyer, from Berlin, satisfied anything like high expectation only in the first strophe of the song iu 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 Borneo scene from Bellini, she employs means which belong to an uuartistic 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 au 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, ho had still much to do in this respect.

Chkfei/o, 27</i January.—At the third Subscription-Concert, Herr Maximilian Wolff, from Frnnkfort-o.i-thc-Maine, distinguished himseff by his performance of Mendelsohn's violin-concerto, and a fantasia, by Leonard, for violin and orchestra, on a themo by Haydn. The first part of the concert was brought to a closo by Hiller's setting, for chorus and orchestra, of GiKhe'is Gesang der Geister iiber den Wassern, which was exceedingly successful. The second part of the concert

consisted of Beethoven's Pastoral Symphony. On the 3rd inst., Herr | temples of art. Their establishment, nevertheless, is Wolff gove a soirée for chamber-music, when he played the first violin not entirely without its use, and their existence is part in Mozart's G minor quartet, and in Beethoven's F major quartet,

| a significant sign of the times. The audiences who now besides Bach's chuconne, some other solo pieces, and a romance of his

frequent the new “Music Halls for the People," are, in own composition.

ARNHEIM.—The Committee for the Seventh General Musical | all probability, similar to those which were wont to attend Festival of the Society for the Furtherance of Music have de- the old penny or twopenny saloons. A greater attention to cided on the following programme:

dress and cleanliness certainly may be evidenced, with a better Thursday Evening, the 9th August.–1. Prize Symphony, by style of pipe, a more reserved demeanour, and a politer J.J. H. Verhülst, Op. 46 (crowned by the Society in July, 1816). phraseology. But the greatest transformation has taken place 2. Samson, oratorio, by Handel.

| in taste and appreciation. In point of rank and station, the Friday Erening, the 10th August.-1. Overture and Introductory Chorus, by J. A. van Esken, to Vondel's tragedy, Lucifer, Op. 40 (to

old and new public are identical. The hardy artisan, the which a prize was awarded by the Society in 1852). 2. Lorelei, for upper labourers in workshops and factories, the smug clerk, solo, choru«, and orchestra, by Ferdinand Hiller, Op. 70. 3. Elia optbe saucy apprentice, the spruce shop-boy, the small trader, Horeb, poem by N. Beets, music by F. Coenen (prize in 1857).

the loose gent of the suburbs, a prevailing class-of such 4. Lobgesang, symphony cantuta, by F. Mendelssohn-Bartholdy, Op. 52. “Saturday Morning, the 11th August.--Artists' Concert." "Besides

materials were the auditories of the old small concert-rooins this, the 841h Pealm (Dutch words by Dr. J. P. Heije, music by

composed ; and of such are the patrons of the new great J.J. H. Verhülst), and a symphony by Beethoven, not yet decided on, saloons constituted. To what then is to be attributed the but probably No. 7.

change—the improvement ? To the influence of music, most " For the Committee:-W. Taets van Amerongen, President of tlieindubitably There was a time--we remember it ourselves Technical Commission. J. M. J. Engelberts, Secretary." V JVJI.S.-A new organ, from the factory of the weil-known builders,

| when the humbler classes of the community, having no other Merklin and Schütze, of Brussels, was inaugurated in the cathedral

escape for their melodious propensities, were wont to assemble here on the 10th ult.

nightly in crowds at these low-priced gin-and-song taverns,

and to pass whole evenings in boisterous excitement, TO CORRESPONDENTS.

listening to some nasal tenor, or short-winded soprano, 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 FLORIAN.- Decidedly true.

Coalbeaver's Feast,” to the accompaniment of a five-and-a. W's communication is an advertisement.

half octave upright piano, touched by a gentleman learning

his notes. Yet there was no complaint. Some fine-eared NOTICE.

critic might occasionally perhaps have expressed a wish The Musical WORLD may be obtained direct from the Office, 28,

that the vocalist had sung a little more in tune, or that the Holles-street, by quarterly subscription of five shillings, payable

performer had played a few right notes ; but good humour,

under the impulsive power of “old Tom" and tobacco, disin advance; or by order of any Newsvendor.

played illimitable forbearance, and no one grumbled save ADVERTISEMENTS are received until Three o'clock on Friday After

when the waiter, through inadvertence, proffered short noon, and must be paid for when delivered. Terms :

change. Three lines (about thirty words)... ... ... 28. 6d.

The history of the transition of these primitive abodes of art, Every additional line (ten words) . ... 08. 6d. from the state of grub to butterfly maturity, is not necessary.

Some enterprising speculator and thorough reformer, like THE MUSICAL WORLD.

Mr. Morton, proprietor of the Canterbury Hall, no doubt,

was impressed by the spirit of the times, saw the opening, and LONDON, SATURDAY, FEBRUARY 2571, 1860. took advantage of it. He rented, or built, a spacious saloon,

and had it handsomely decorated and brilliantly illuminated;

procvred tolerable singers ; engaged a veritable pianist; Does anybody doubt that music has made rapid strides

and hired a well-conducted Broadwood or Collard. The proin this country within the last dozen years ? Does anybody grammes, moreover, became a serious consideration. That deny that the progress of niusic keeps pace with the march

class of ballads, represented by “ My Master's Gun," and 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 i 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 |

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,

cime; nor yet to the Crystal Palace, the desire of gain alike prevailed with the manager in bis 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 stoutly for Dovizetti and Verdi, and became note-wise. The Hall, in the Westminster-road, to Weston's Music Hall,

transition state reached its grand climacteric, when a musical High Holborn, to Raglan Hall, Theobald's-road, or to

| director was secured, and selections from popular operas were any other of those huge and brilliant saloons dedicated to performed. music in several parts of the metropolis, which have taken if the reader, who knows nothing of the musical the place of and superseded the twopenny concert-rooms transactions in London beyond the Opera and the concerts, of bye-gone London. We are not going to apostrophise imagines for a moment that we are attempting to play on the above places of amusement, nor to designate them his credulity, let him satisfy himself and pay a visit to Mr. Morton's establishment in Westminster-road, any evening. “I was much excited when I saw you last," said PantaHe will there hcar, considering all things, a by-no-means gruel, “and I have as yet scarcely recovered.” despicable performance of Professor Bennett's cantata, The “Hast thou forgotten the laws of moderation in thyMay Queen; or, should be prefer Ausonian strains to British, | drink ?” said Panurge. may gratify his predilections by extracts from Lucrezia “He has been reading this ” said Epistemon, handing Borgia, or some equally popular Italian work. Nay, he may another newspaper (for the first had been reduced to its gain knowledge as well as pleasure, since Mr. Morton does constituent monads), and placing his broad thumb, without not restrict his excerpts to known operas, but searches among 1 another word, on the Drury Lane advertisement. the unacknowledged and the erudite, and disdains to follow “And I will read it again ” said Pantagruel, snatching the the managers of the great patent theatres. Some time since, paper from Epistemon, and dealing him such a back-hander a selection was given from the Dame Blanche-one of the that he fell from his chair into the fender, and there remained greatest master-pieces of the French school, and, when seated, still with the same indomitable smile, for the rest novelty is so much sought for, most unaccountably over- of the evening. looked at our Italian operas. Boïeldieu's opera was ' “ John,” said Panurge, resignedly, “thou wilt bring in a expressly translated for the Canterbury Hall Concerts. screw of Bristol bird's-eye-likewise half-a-pint of beer” Scenes, too, from Macbethan opera by Verdi, which, --- and with an attentive face, he fixed his big eyes upon although it has achieved no small reputation on the Pantagruel. Continent, has never been produced in this country, is at “What I will read to thee” said Pantagruel, “is the plot this moment being executed, as well as some of the music of a play called the Forest Keeper, as described in the Drury from Meyerbeer's Dinorah. Or, if the sceptic do not like Lane advertisement. This I declare to be the most into venture on a transpontine expedition, Weston's Music teresting and exciting tale that has been produced.” Hall, in Holborn, will furnish him with a “grand selection" | “Always excepting the plot of the Goose with the Golden from Lucia di Lammermoor, supported by a strong army of Eggs," suggested Panurge. principals, a full band and an efficient chorus.

“Nay,” said Pantagruel, condescendingly, “I have seen We need not pursue the subject further. It is quite that mighty creation on the stage in all its plenitude is evident, that music has wrought the most remarkable a work of consummate art, but the Forest Keeper I have not changes in modern times, among all grades and all classes, seen.” (Here a noise arose like the gurgling which is proand will continue to work more. The change is not merely duced when a large body of water is compelled to flow artistic but social. Audiences that love good music will, through a very small aperture, and Pantagruel, turning through its influence, be induced to love something else round, saw Epistemon in such a convulsion of suppressed good, without perhaps being sensible thereof. Music should laughter, that it was a miracle he did not expire upon the not be looked upon as an Art merely, but as an Iustructor spot.) “I therefore inerely spoke of the tale as a taleand a Chastener in the ways of life.

meaning the tale here printed. Now listen: 'In the first act we see Christian, as the fond husband and royal forest

ranger doting on his wife, but finally roused to the intensest THERE was Pantagruel, stamping about the coffee-rcom of jealousy by tracing the footsteps of a man to his chamberthe “Edinburgh Castle” with such violence, that tables trembled, / window, and, moreover, seeing his wife part from a stranger.'” plates clattered, glasses rung, and, in short, every kind “Now I,” said Pauurge, “ should have been more jealous if of villanous noise was produced, that can be elicited I had seen my wife meet with a stranger, for then I should from a shaken hostelly; and there was Epistemon sitting not have known what ill might have happened ; whereas, if by the fire with a long pipe in his mouth, smiling and I had seen her part with a stranger, I should have argued smirking to himself, with wondrous complacency, and that the mischief, whatever it was, had ended for the time. exhaling little feathery fumes, with all the deliberation of Likewise, methinks, a stranger, in these cases, is better than infinite relish.

a friend." Into the midst of this state of things quietly walks 1 “In his frenzy,' continued Pantagruel, reading, ‘he seizes a Papurge, thinking of nothing, as was frequently the case ; but | gun and fires at him, but misses his aim, and his wife, falling no sooner has he entered, than amazed by the insane conduct insensible at his feet, he rushes without further inquiry of Pantagruel, he stands stock-still pear to the door, with from his home, and joins the army.'” his mouth wide open, until John the waiter closes it by | “Beshrew me, but this same Christopher,” began Panurgeviolently chucking him under the chin.

“ Christian !” said Pantagruel. What's all this about ?” quoth Panurge, when he had “Christian, indeed! out upon him for a perverted heathen!” recovered the gift of speech.

į said Panurge. “ He sees all this turmoil going on, and “Read that !” thundered Pantagruel, and he Aung a | instead of trying to find out the tops and bottoms of things, newspaper at the head of Panurge with such force, that he he runs away, when a civil question put to his wife would knocked him all the way back through the passage into the have settled the whole business. Slight, indeed, is this same street, so that he bumped against a passing omnibus, and Christopher's desire for useful knowledge. He will never be glancing off at an angle of 35 degrees, was conveyed into the euumerated among the martyrs of science, like Galileo and Strand Theatre, when for the fiftieth time he witnessed, with Tycho-nothing about him will be written by Sir Daniel infinite satisfaction, the Christmas Boxes of Augustus Mayhew Brewster. And don't you believe too much in his jealousy, and Sutherland Edwards.

my worthy lord and master. He wanted an opportunity to Returning to the “Edinburgh Castle," when the performance | be off-to cut his lucky, as Mr. Burnand would say—he'd was over, and finding Pantagruel in a calmner state of mind, have been one of Sir Cresswell's best customers, if he had (that old rascal Epistemon still whiffing and smirking as been living now. Ha ! ha! a right merry knave is this same before) he said, with chattering teeth “ Your Lordship hath Christopher!” not condescended to answer my question."

I "Panurge," said Epistemon, with exceeding gravity,“ thou

knowest that ray 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."

"Epistemon," said Panurge, with equal solemnity, "thou knowest that my esteem for thee is of the smallest—that I would not give a farthing to see thee hanged, simply because the sight of thee, under any circumstances whatever, is to me intensely repulsive and disagreeable. Nevertheless, I humbly own, that on this occasion, I am proud of thy good word."

"' The man who so innocently caused all this mischief, is a M. Francois 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 1" asked Panurge, with half-closed eyes.

"Madame Reynold, dolt," bawled Pantagruel.

"Mad. Reiuhardhalt," 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."

"Very well, I grant the hypothesis," said Panurge, impatiently.

"'Married to M. Duchamp, and she has a grown-up daughter. The vetemn soldiers being here disbanded, and passing through Nismes, are insulted by the now Bourbon mob, and amoug 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.'"

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

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

"Go on," said Panurge, mournfully.

"' He does not own his child, nor claim his wife, magnanimously preferring to give her up rather than to reduce her to misery by proclaiming her a bigamist'—but, thou scurvy knave! 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."

"Listen, listen, master mine, at this glorious specimen of English composition, and cheer the cockles of thy heart," said Panurge, "and then, if thou wilt, chop me into small pieces, and vend me in the form of kidney-dumpliDgs. Listen to the inscription on this humble looking scrap of paper." So, leaping on to the table, Panurge read as follows :—

"POBTEY AND PoBTi. "Pitzball has a poetio miud, it does not follow that he is a-poet; for to write poetry, the composition must be faultless. Choice in words nad expressions; perfect in imagery; and original. Many think poetically, and feel poetically, but few write poetically, there being but one step from the sublime to the ridiculous,"

Loud was the mirth of Pantagruel, shrill was the laughter of Epistemon; John the waiter rushed out of the room in convulsions, and repeated the composition to the bar-maid, who instantly fell into hysterics. Customers at the bar carried the joke into the street, and the broad Strand echoed with the sound of mirth. Father Thames was heard to chuckle in his muddy bed, and a dignified smile illumined the statue of Charles I. at Charing-cross.

"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 on'y 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 —in fact, as a sort of primaeval Sax. Like a great many other theories, that of our ingenious friend had the disadvantage of being untenable. Instead of being all 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 thelanguage of musicians—more especially those of England. Melody and harmony, wherever originated, find a response all over the world. Music from all parts of Europe— which, as far as music is concerned, it 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 tow 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 make use of the same language for the few directions to the player or singer which every piece of music requires, and naturally that of the oldest musical country in Europe was chosen. Gradually, however, French terms have been introduced—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 ought to elect one of two courses—either they should write their indications in Italian, or they should write them in the language of the country to which they belong—and in these cases the country to which they belong is that in which they publish. What i3 the use of writing "main droite," or M. D.," on a pianoforte piece addressed to English young ladies who may, or may not, but certainly do not invariably, understand French? Why are so many pieces advertised "a quatre mains," instead of "for two players," which, though an English, is not, like its French equivalent, an absurd expression 1 -What is the meaning of "pressez le mouvement," and of a dozen other phrases that are engraved on the music issued by London music-publishers as though it were impossible to give the meaning of the words in English t

At our operatic performances we have often wondered why the English, when they wish to hear an air a second time, cry out encore, which is never used in that sense in France; whereas the French, desiring to have a song repeated, exclaim "bis,"—which was never so applied in Rome.

But the polyglot character of our programmes chiefly amuses us. The other day, in looking over the names of certain orchestral performers, we found that some were to play on an instrument or instruments called "violini, primo," others on "violi," others simply on English "trombones," while one gentleman, with quite an Anglican name, was to perform on the "grosse caisse." Without insisting on the employment of the word "riddle," may we inquire why musicians are no longer allowed to play on the "violin," and why a big drum is to be called a "grosse caisse." If it be considered vulgar to say big drum in England, it ought to be thought equally vulgar to say "grosse caisse " in France, and there would then be nothing left but to exchange of languages, as it is proposed we should exchange produce for manufactures.

In certain departments of industiy, in which the superiority of England is undoubted, the French have adopted certain English words, from sheer want of suitable equivalents. Thus, on their railways, they say "stuffingbox," which they pronounce "stufain-boase" and on their steamers they endeavour to say "stop her," and succeed in saying " stopaire." But we cannot admit that the French are so far before us in music as to render it becoming on our part to write their language on our music sheets, as if overcome by their superior attainments in that art.

Probably the subject we have been discussing is not of my great importance, but small evils must be attacked from time to time, if only to prevent them becoming great ones; and we confess that we were very much struck a few days since by the appearance of a piece of music, of which the title was in German, the description in Italian, and the dedication in French—while the author was an Englishman.

Her Majesty' Theatke.—" Yesterday an agreement was signed which constitutes Mr. E. T. Smith, the Drury Lane manager, future lessee of Her Majesty's Theatre, on a lease of seven, fourteen, or twenty-one vears."—(Times, Friday, Feb. 24.)

Organist or St. Mahy's, Aldermanburt(Communicated).— Tbe organistehip at the beautiful City church of St. Mary, Aldermaubury, will be shortly vacated by the present occupant, and a new election will take place before Easter. The orgau is a not uninteresting specimen by Russell, England, aDd Green; and a trial we made of its merits some time Bince, impressed us on the whole considerably iu its favour. For many previous years it had, we believe, been much neglected, and on the occasion of our trying the orgau, various repairs and additions had been effected iu it by Messrs. Gray and Davison. The instrument is better located in the church than any other iu the City, in this respect contrasting most favourably with modern instances in regard of the position of organs in churches.

ROYAL ENGLISH OPERA.

The long-announced and much-expected opera, Lnrline, by Mr. W. Vincent Wallace, was produced on Thursday evening, and with an amount of success hardly anticipated by the warmest admirers of the composer. We can recall, indeed, no more enthusiastic reception awarded to an English lyric work for years, and the excitement of the audieuce remiuded us of the first night of the Mountain Sylph, the Siege of Rochelle, Maritana, &c. A peculiar interest attached to the production of a new work from the pen of Mr. Wallace, since he had written nothing for the stage since 1846, when Matilda ol Hungary was produced; and everybody was jinxious to ascertain whether his talent had been invigorated by time and study, or cessation from his accustomed labours had rusted his powers. We believe we may, without fear of contradiction, assert that Mr. Wallace has written his best work in Lurline; that he has not only exhibited a finer instinct for pure original melody, but has proved himself a better musician in every sense of tho word, and has added largely to his reputation as a dramatic composer. This, as far as we are enabled to judge, is the universal opinion. Some may like the music better than others, but all agree that it is the composer's most admirable work.

Lurline is a grand opera, according to the French acceptation of the term. There is no spoken dialogue. The orchestra is always employed. Of the libretto, by the veteran, Mr. Edward Fitzball, the hero of a hundred dramatic victories, we wish to speak affectionately. The general construction of the plot is not without merit, and some of the scenes and situations are striking; but here all absolute eulogy must end. Mr. Wallace, however, like his compatriot Mr. Balfe, does not seem to attach any great importance to technical excellence in lyrics, and, if the words only involve an idea, is satisfied. Doubtless, in many instances, the composer of Lurline has drawn from his own inspiration, and become his own poet, Of the plot of the new piece it is sufficient to say, that it is founded on one of the popular legends of the Rhine, concerning Lurline, a Naiad, or Water-Nymph, who falls in love with a mortal. It is divided into three acts. In the first act, the mortal is lured away by the Naiad to her home under the waters; in the second she allows him to ascend to earih, trusting that alter a time he will return ; in the last, the Naiad is permitted to assume mortality and wed her lover. For details, we refer the curious to Mr. Fitzball's book.

There were seven encores—t^ie overture; chorus, "Drain this cup of pleasure;" "Take this cup of sparkling wine;" song, by Ghiva (Miss Pilling), " Troubadour euchanting ;" air, by Rhineberg (Mr. Santley), The nectir cup may yield delight;" song, Rudolph (Mr. Harrison) "My heart's first home;" and unaccompanied quartet, "Though the world with transport bless me." But these were not the only pieces entitled to the hono'ira; nor among them do we always find what we consider the "gems" of the work. For instance, we do not hesitate to pronounce the romance, iu A minor, " When the night-winds sweep the wave," sung by Lurline (Miss Louisa Pyne), the most strikingly beautiful and original piece in the opera; while the duet between Ghiva and the Baron, (Mr. G. Honey), "Oh! Rudolph, haughty Rudolph, tell," recalls, almost more vividly than any English composition we can remember, the felicity of invention and freedom of treatment of the best Italian buffo school. The grand sceua, too, "Sad is my soul," for Lnrline, is, in the serious line, highly impressive and most skilfully developed in the different movements. We have said enough, at present, however, to prove that the opera was au undeuiablc success, aud shall enter further into the merits of the music next week.

Miss Louisa Pyne has seldom had music better suited to her style than that of Lurline. Mr. Wallace, nevertheless, has not fatigued his audience with a surplus of bravura, wherein he equally shows his tact as a musician and his knowledge of the prima donna, who shines no less in cantabile than in florid music. Mr. Harrison sang with his wonted power and effect, and acted the part of Rudolph in a highly spirited and impressive manner. Mr. H. Corri scarcely satisfied us in the music of the Gnome, more especially in a very fine and original brindisi, "As in this

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