Oldalképek
PDF
ePub

having to sing in Sonnambula at Covent Garden, but not too late to achieve a triumph, which she did in a most unmistakable manner, both her songs being applauded with enthusiasm.

The attendance was very large, and Dr. Wylde was honoured at the beginning and at the end with the customary ovations.

CRYSTAL PALACE.

Two concerts have been given since we last wrote about musical doings at the Crystal. One took place on Saturday, the 18th ultimo, and was signalised by the first appearance this season of Mdlle. Piccolomini, whose attractive power appears as great as ever. Nearly five thousand people went out on a raw uncomfortable day, to hear the popular little lady warble some of her pet tunes. The new music hall was besieged at every point of access, and hundreds were content to remain standing during the entire performance, within reach of the faintest echo of the singer's voice. Mdlle. Piccolomini sang six times, and was encored four, all her solos being repeated. She gave "Vedrai carino;" a new valse "Il bacis," written for her by Signor Arditi; the brindisi from La Traviata; the duet ci darem," with Signor Aldighieri; the duet, "Sulla tomba" (Lucia), with Signor Belart; and Martini's laughing trio, "Vadasi via di qua," with Signor Belart and Aldighieri. Signor Belart, in addition, sang the romanza "Maria Sperando" from the Figlia, and the air "Ecco ridente" from the Barbiere." The first was charming, the latter wanted more breadth and power of voice. Signor Aldighieri does not overflow with humour. His "Largo al factotum" is not humorous. The band, under the direction of Signor Arditi, played the overture to Martha; and Signor Giraldoni played a fantasia on the

contra-basso.

[ocr errors]
[ocr errors]

La

At the concert last Saturday, Mdlle. Parepa, who had not appeared at the Crystal Palace since she was a member of Mr. Gye's Italian troupe, was the vocal star. She sang a scena by Benedict, and the "Shadow song," from Dinorah, both with great brilliancy. The latter was encored, and Mdlle. Parepa repeated the coda. Miss Lascelles sang the contralto song from Dinorah, "Fanciulle che il core," and joined Mdlle. Parepa in Mendelssohn's two part-songs, "I would that my love" and "May Bells," both of which were taken too slowly.

Miss Lascelles was announced to sing Balfe's" Reaper and the Flowers," but Mr. Manns apologised for the lady, who was suffering from hoarseness. The symphony was Haydn's in G,

one of the best. The minuetto contains as bold and extraor

dinary syncopation as anything which Beethoven has written, and the work generally has less of the antique about it than many of the composer's orchestral compositions of this class. It was well played, as, indeed, were the accompaniments throughout the programme. The brothers Louis and Adolph Ries (violin and pianoforte) joined in a duet by Wolff and Vieuxtemps on Don Giovanni, and each played the first movement of a concerto, that for the pianoforte by Ferdinand Ries, and that for the violin by Félicien David. M. Hector Berlioz's fanciful "Carnaval Romain" overture brought the concert to a conclusion, to quote a Sunday contemporary, with due clangour. To-day, Mendelssohn's operetta, Son and Stranger, will be performed entire.

MR. HENRY LESLIE'S CHOIR.-The second concert took place on Thursday evening week, when, notwithstanding the counterattraction at Covent Garden-it being the first night of Mr. Wallace's new opera-St. Martin's Hall was crowded in every part. The selection comprised-madrigal (Dowland), "Fine knacks for ladies;" part-song (S. Reay), "The clouds that wrap the setting sun;" madrigal (Weelkes), "Welcome, sweet pleasure;" madrigal (T. Morley), "What saith my dainty darling;" part-songs, for small voices, "Evening" (Henry Leslie), and The arrow and the song (Macfarren); solo and chorus (Purcell), "Come, if you dare;" madrigal (G. Croce), "Cynthia, thy song and chaunting;" glee (W. Horsley), "See the chariot at hand;" madrigal (Wilbye), "Stay, Corydon;" part-song (Benediet), "Home, sweet home;" glee (J. Elliott), "The bee, when varying flowers are nigh;" part-song (F. Mori), "Welcome,

heavenly peace;" part-song, for male voices (Mendelssohn), "Eastern drinking song" cradle-song (H. Smart), "Lullaby, the winds are singing;" and madrigal (Saville), "The Waits." A more admirable selection Mr. Leslie never gave at any former concert. Every piece was applauded, and encores were awarded to Weelkes' fine madrigal, "Welcome, sweet pleasure;" to Mr. Leslie's part-song for male voices; to Horsley's glee, "See, the chariot at hand;" to Mr. Benedict's part-song, "Home, sweet home;" and to Elliott's glee. Mr. Macfarren's part-song, "The arrow and the song"-one of the most beautiful and masterly things in the selection-was loudly applauded, and might have been repeated without any strain on the inclinations of the audience. Several of the pieces were given for the first time by the choir, whose performance was entitled to the highest praise in almost every instance. In the course of the first part Mr. J., C. Ward executed Spohr's fugue in C on the organ.

66

MR. RANSFORD'S ANNUAL CONCERT.-That old favourite of the public, Mr. Ransford, gave his annual concert on Tuesday evening, at St. James's Hall, to one of the most crowded audiences of the season. It was his first appearance in public since the severe accident which so disabled him from giving his nautical entertainment, announced some time back under the title of "The Tales of the Sea." The bénéficiaire sang, with great spirit, Dibdin's "Tom Tough," with other of his popular ballads, in his usual vigorous and manly style, and, with his daughter, the duet, Oh, tell me, gentle stranger," which was loudly encored. Mr. and Mrs. Weiss sang solos each, and a duet. Miss M. Collins gave the ballad of "Tripping down the lane." Miss Ransford afforded her admirers an opportunity of hearing her sweet and powerful voice in an Italian aria, and one or two English songs. Miss Palmer, Miss Leffler, Mad. Vinning, Miss Laura Baxter, with several other singers, likewise gave specimens of their vocal abilities. Miss Arabella Goddard performed Benedict's fanShe aftertasia, "Where the bee sucks," with brilliant success. wards played a new and brilliant fantasia, by Ascher, on the "Shadow song" from Dinorah, which was one of the gems of the concert. It was unanimously encored. Mr. Viotti Collins gave Messrs. Lazarus on the "La Clochette" in first-rate style. clarinet; Pratten, on the flute; and Blagrove, on the concertina, executed solos. A portion of the band of the Coldstream Guards, under the direction of Mr. C. Godfrey, performed several popular morceaux. The concert afforded great satisfaction to Mr. Ransford's numerous patrons.

The members of the

LONDON QUINTET UNION.-This new society, under the direction of Mr. Willy, gave the first of a series of four concerts, at St. Martin's Hall, on Tuesday evening. Union comprise, in addition to Mr. Willy, Mr. Westlake (second violin), Mr. Webb (tenor), Mr. Pettit (violoncello), Mr. Reynolds (contra-basso), and Mr. Maycock (clarinet). The instrumental part of the programme of Tuesday's concert included two quintets by Onslow-A minor, Op. 34, and D, Op. 18; Mozart's pianoforte quartet in E flat; and Weber's clarinet quintet in B flat. One of the quintets of Onslow might have advantageously made way for Beethoven, Spohr, or Mendelssohn. Mr. Willy, probably, has some special object in view which inclines him to favour this semi-Gallic composer. We infer this, not merely from the two quintets of Onslow given at the first concert, but from two others being announced for the next. "Verily," as a morning contemporary observes, in an execrable pun, "this favour shown to Onslow is not the way for the London Quintet Union to get ' on fast.' Mr. Willy and his coadjutors did their utmost to recommend them to the hearers. There was applause certainly, but the applause was bestowed rather on the excellent playing than on the music. Weber's quartet is brilliantly written for the clarinet, but by no means an inspiration. Mr. Maycock played capitally, exhibiting fine execution and a clear sound tone. Mozart's quartet was the instrumental gem of the evening, and executed à merveille by Miss Arabella Goddard, Messrs. Willy, Webb, and Pettit. The last movement elicited a round of applause. Miss Goddard also performed Benedict's sparkling and admirably effective fantasia, "Where the bee sucks,' " with wonderful brilliancy and delicacy, and was honoured with a tumultuous recall. The vocal music, in consequence of the sudden indispo

[ocr errors]

sition of Miss Lascelles, was restricted to two songs by Mr. Sims Reeves, "Adelaida," and "The last rose of summer," both of which he sang with consummate beauty of voice, and a taste and expression entirely his own. He was encored in both, but only returned to the platform to bow. We doubt if we ever heard Mr. Sims Reeves sing "Adelaida" more admirably. Miss Goddard accompanied him on the pianoforte, and by her expressive and perfect playing added materially to the effect. It was, indeed, a duet between two consummate singers. Mr. Lindsay Sloper accompanied Mr. Reeves in the Irish song, how well we need hardly say. The hall was well attended.

MR. HOWARD GLOVER'S CONCERT.-Mr. Howard Glover's Annual Morning Concert at Drury-Lane Theatre (crowded to the roof) was almost as long as the speech in which the Chancellor of the Exchequer unfolded, one by one, the items of his budget for 1860; but, as in the instance of that remarkable and eloquent address, the many things to be said were perfectly well said, and, moreover, as in Mr. Glover's case there was no "opposition," his success was unequivocal. The programme comprised upwards of 40 pieces, in the elucidation of which the majority of the musical talent now in London was called into request. To attempt anything like a description of such an entertainment (which required no fewer than four eminent conductors-Messrs. Benedict, Lindsay Sloper, F. Berger, and Alfred Mellon, besides Mr. Glover himself, to direct) would be out of the question. Enough that the regularity and skilful management which invariably distinguish these enormous musical "pasticcios" were as apparent as at former anniversaries. The only disappointment experienced was in the unavoidable absence, on account of indisposition, of Signor Belletti. We cannot even record the names af the singers, with Mr. Sims Reeves, Mr. Weiss, and Mr. Wilbye Cooper at the head of the head of the gentlemen, and Madlle. Parepa, Madame Rudersdorff, and Miss Palmer (our most rising " contralto") at the head of the ladies, much less glance, however rapidly, at the innumerable pieces set down for them. In addition to the plaintive and beautiful song to Shelley's stanza, "I arise from dreams of thee" (Mr. Sims Reeves), and two graceful and thoroughly charming new ballads, "A sweet good night," and "The violet" (Madame Rudersdorff), from the pen of the concert giver, the programme included his dramatic and vigorous overture to Comala. An efficient band being thus at disposal, one of Haydn's genial and masterly symphonies was also put down. There was several instrumental displays, among the rest a solo on the violin by Herr Molique, and another on the clarinet by Mr. Lazarus. Especial mention, however, is due to Mr. Glover's youthful and very clever pupil, Miss Emma Green, who, in Beethoven's first (and too much neglected) pianoforte concerto in C (with a masterly cadenza composed expressly for her by her instructor), exhibited a marked advance both in style and execution. Miss Green's talent is worth serious cultivation.

DEATH OF MR. HAYDN CORRI.-With regret we announce the demise, on Saturday, the 12th ult., of the above well-known and clever artiste, both as a composer and teacher of music, in Dublin, where he had been settled for many years. Mr. Corri was son of the celebrated Domenichino Corri, who composed the once popular opera of The Travellers, in which the elder Braham, in days of yore, used to excite the utmost enthusiasm by his splendid singing of "He was famed for deeds of arms," and was brother-in-law of Dussek. Mr. Haydn Corri held the responsible post of organist to the Cathedral in Dub lin, Great Marlborough-street, for years, where many of his sacred works were performed. Cherubini was said, with what truth we will not vouch, to have intrusted Mr. H. Corri to arrange for the organ from the great score for orchestra, his famous Mass in D, composed for the Coronation of Charles the Tenth, and to supply an additional voice part, which he did to his entire satisfaction. Mr. Corri has left a numerous family, some of them occupying important positions in the musical world. His talented sons, Henry, Pat, and Master Corri, are well known to the theatrical and musical world. Mr. Corri died at the advanced age of seventy-five. He was beloved and respected by his numerous friends and pupils, who have heard of his death with deep regret.

MUSIC AND THEATRES IN PARIS.
(From Our Own Correspondent.)

PARIS, February 29th.

IF some old Roman had been thrown into a lethargic state for a few centuries, like the Sleeping Beauty, and by the stroke of some magician's wand suddenly transported to Paris, were he to wake up in one or other of the principal lyrical theatres, his astonishment would not be as great as we might expect; for he would find himself surrounded with all the splendour of the pagan ages. At the Théâtre-Lyrique alone, he could one night descend with Orpheus into the dark regions of the lower world, and wander with him in search of his Eurydice; and the next night he could, in the same Théâtre-Lyrique, sup, in company with Philémon and Baucis, in their humble cot, with the great chief of the Olympian deities. The libretto of M. Charles Gounod's new opera is written by MM. Jules Barbier and Michel Carré. It is in three acts. Instead of a grand overture there is a simple introduction, worthier of a classical subject and in accord with the subdued tone of the first act, the more striking and brilliant efforts of the composer coming in the later parts of the opera. This introduction is a pastoral, in F, and on its last notes, the curtain rising, we find ourselves in the cottage of Philémon and Baucis, which, poor as it looks, is rendered a pleasant spot by the happiness of the good old couple. In a duet these happy beings celebrate their love, which has resisted time and poverty and age. While they are softly singing this, sounds of quite a different kind are heard in the distance. The other inhabitants of the village, who have lost all fear of the gods, are giving themselves up to their impious saturnalia. The effect of this ensemble is striking. Soon, however, the rising sounds of a tempest are heard, and while the storm is raging round the little cottage, two strangers knock at the door, asking shelter. Philémon, who is for the moment alone, receives them. These two strangers are Jupiter and Vulcain. There is here a very good trio, after which Vulcain sings a few stanzas with a very characteristic accompaniment, to represent the strokes of a hammer on the anvil. The air sung by Jupiter which next follows, "Allons, Vulcain," is also good. Baucis makes her appearance, and, after a long speech, sings in a manner that proves she can sing as well as she talks. But as Vulcain says, Supper, not singing, is now the object," and to supper they accordingly go, when Jupiter, by changing their humble fare into a more recherché repast, declares himself, and promises to reward Philémon and Baucis for their virtue and piety, but, wishing them to avoid seeing the vengeance he intends taking on the impious villagers, he throws them into a deep sleep, and a melange of horns, arpeggios on the harp, and the tremolo of the violins, is a pleasing termination to the first act.

[ocr errors]

The second represents the people of Sybarites reclining in gala attire, under the portico of the Temple of Cybele. Here the requires. The stanzas sung by Madile. Sax (a bacchante), "C'est composer strives to assume all the passion and fire such a scene le vin," are not, however, worthy of the rest of the score. In the midst of the dances to which they are giving themselves' up, Vulcain appears, and upbraids them. They wish to drive away dramatic finale, destroys this sacreligious people. All this time this bird of ill-omen, when Jupiter appears, and, in a grand and the curtain rising to the refrain of the pastoral in the first act, Philémon and Baucis have been sleeping, and, in the third act, Baucis is discovered in all the splendour of youth and beauty, Philémon, to whom his youth and good looks have also been and in festive attire. Still in a trance, starting up, she seeks restored. Hardly knowing each other at first, the truth then breaks on them, but for a moment their felicity threatens to be troubled, for Jupiter, like Pygmalion, is very nearly falling in love with his own work. Baucis, however, rather than listen to any other voice than Philémon's, implores her gray hairs and like a gentlemanly deity, withdraws his suit, but leaves the happy wrinkled features may be restored to her. Jupiter, thereupon, pair in the enjoyment of their renewed youth. Battaille WHY is Mrs. Howard Paul like a twenty pound note? and Madame Miolau-Carvalho that of Baucis, and M. Balanqué performed the part of Jupiter, M. Froment that of Philémon, Because she is the "double" of a "tenor."-Punch. Vulcain.

A slight accident occurred on the first night: a bouquet, thrown to Madame Carvalho, fell on the foot-lights and took fire; after a few minutes' suspense, a fireman advanced, and bore the bouquet off to a watery doom.

"

[ocr errors][merged small][merged small][merged small][merged small][ocr errors][merged small]

3 0

3 0

2 6

20

3

3

2

2 0

20

3 0

T. B. Chilty, Esq.

The St. Andrew's Quadrille, dedicated to Miss Baron
The Wardour Mazurka
The Vancouver Quadrille
The Valentia Polka
The Augusta Mazurka
The Avondale Schottische

The Helena Polkas
The Pauline Valses

The Castellon Polka
The Cotham Polka
The Promenade Polkas

[ocr errors]
[ocr errors]

George Griffiths, Esq.
Miss C. A. Thistlewayte

Miss Barron

The Misses Northey..

[merged small][merged small][merged small][ocr errors]

Addison, Hollier and Lucas, 210, Regent-street, London.

CHARLES LUDERS' COMPOSITIONS.

FOR THE PIANOFORTE.

SIX ROMANCES ANGLAISES, Op. 27

LA CAPRICIEUSE, Grand Valse, Op. 31
LA DANSE DES SORCIERES, Op. 33

GALOP, Composé pour le Roi de Prusse, Op. 34
LA TARENTELLE, Op, 41 (Dediée à Ferdinand Praeger)
LE CORSAIRE, Op. 42, Mélodie historique (Dediée à Edouard Roeckel)
VOICE AND PIANOFORTE.

L'EMIGRE IRLANDAIS, Ballad, translated from the English poem of
Lady Dufferin by the Chevalier de Chatelain. Suug by Miss Dolby ..
LONDON: DUNCAN DAVISON, 244, REGENT-STREET.

[merged small][merged small][merged small][ocr errors][merged small][merged small][ocr errors][ocr errors][merged small][merged small][merged small][merged small][merged small]

The concerts are going on still. The one given by Kruger on the 10th of February, in the new salons of Erard, was one of the best. Kruger played the grand sonata (Op. 57) of Beethoven, and the duet in D major of Mendelssohn, with the violoncellist, Rignault. He also La chanson du chasseur," "Guitare gave et marche nocturne." Kruger had just returned from Stutgardt, were he had gone to be present at a festival given in The Salopian Quadrilles honour of his father, on the occasion of the latter's completing the fiftieth year of his membership of the Chapel-Royal. The violinist, M. Servais, has just arrived here (Paris); he proposes making some stay here. The third concert of the Société des Concerts gave the symphony in E flat of Félicien David, the benediction of the flags from the Siège de Corinthe, and fragments from the ballet of Promethée, the Berceuse de Cherubini, the Symphony in D of Beethoven completed the programme. The Société de Jeunes Artistes, under the direction of M. Pas de Loup, pursues its course with success. At their third concert some fragments, never played before, of Meyerbeer's opera of Struensee were given; the "Revolte des Gardes" and "Le bal et l'arrestation" were the titles of these pieces; the overture was also given, but it is well known here. The rest of the concert was equally well composed. To-morrow a concert that is looked forward to with the greatest interest will be given in the salons of the Louvre, M. and Mad. Sainton (late Miss Dolby) being the great attraction. Mad Pleyel will perform on the 7th. M. Jacques Bauer also gives a concert to-morrow at the Salle Erard. A banquet was given the other day at the Café Véfour, at which many English and French writers assisted. M. Delaporte presided. He is the clever director of the concerts of the French Orpheonists. The object of the banquet was to publish the project that has been decided on, and which will be accomplished in the month of June. At that period 3,000 French Orpheonists will go to England to, renew at the Crystal Palace the festival held by them in Paris in 1859. Twelve steamers will convey these artists over. Every one seems to think the company of the Crystal Palace have behaved in the most liberal manner. 200,000 francs is the sum said to have been given to defray the expenses. The Orpheonists stay one week in England, and they will give three concerts. This enterprise has been welcomed in the warmest manner here, and will doubtless prove successful. These are some of the choruses that will be sung: "Le Septuor des Huguenots," "Le Cimbres et Teutons," "Le Psaume de Marcello," "Le Veni Creator," " ," "La Retraite, le Départ des Chasseurs,' "Le Chant des Montagnards," and "Le Choeur des Prêtres des Mystères d'Isis." Paris has been making up this last week for the tranquillity of the winter; three masked balls, one at Colonel MA Fleury's, one at M. Fould's, and one at the Comte Tascher de la Pagerie's, have all been remarkable for their elegance and brilliancy. The Emperor and Empress, of course, were at them, though masked as the others. A great French artist has just died at Genoa-Raffet-as much beloved for his amiable character as admired for his talent; his two most remarkable paintings are, "La Revue passée aux Champs Elysées," and the 'Dernière charge des lanciers rouges à Waterloo." An Indian instrument, called "The Xilo," composed of wood and straw, has been performed on with success by M. Henri Spira. He played national airs on it, and also the Carnaval de Venise.

[ocr errors][merged small][merged small][ocr errors][merged small]

20s.

Do.

of extraordinary quality and age Two gallons of either of the above sent to any part, or sample forwarded for 12 postage stamps. Terms cash. 4, Burleigh-street, Strand, W.C.

MUSICAL DIRECTORY, REGISTER & ALMANAC

FOR 1860.-Contents: Almanac with musical data; list of musical societies throughout the kingdom; musical transactions of the past year; names and addresses of professors, music-sellers and instrument makers; and list of music published between the 30th November, 1858. and 30th November, 1859. Price 1s. 6d. ; per post, 1s. 8d. Publishers: Rudall, Rose, Carte and Co., 20, Charing Cross, S. W.; and Keith, Prowse and Co., 48, Cheapside, E.C.

[ocr errors]

ERRARI'S WORK ON THE VOICE AND SINGING, price Ss., may be had at his residence, Devonshire-lobge, Portland-road, Portland-place, and at all the principal music-sellers. "Of all the treatises on the cultivation of the voice that have appeared for many "There is more sense in this work than we find in nine out of ten publications of a similar kind."-Athenæum.

years, it is the most sensible, concise, and useful."-Daily News.

"Here is a really sensible work."-Musical World.

ARCH OF THE VOLUNTEER RIFLES, By W. VINCENT WALLACE. Inscribed to Lieut.-Colonel the Hon. C. H. Lindsay, commanding the St. George's Rifles (11th Middlesex). 3s. HAMILTON'S DICTIONARY OF 3,500 MUSICAL TERMS. Edited by JOHN BISHOP. 60th Edition, carefully revised, 1s. "There are many hundreds of words in this Dictionary that I cannot find in others which cost me ten times

more money; and what is more to the purpose, they are words or terms,which are daily used in the higher musical circles."-Cheltenham Looker-on.

CLARKE'S CATECHISM OF THE RUDIMENTS OF MUSIC, 60th Edition, 1s.; Clarke's Alphabet of Music, 6d.; Hamilton's Modern Instructions for the Pianoforte, enlarged and fingered by Czerny, 249th Edition, 4s.; Hamilton's Modern Instructions for Singing, 15th Edition, 5s.

THE DREAM OF THE WANDERER. By BRINLEY RICHARDS. Romance for Piano. 2s. 6d. "A very graceful and striking melody, the work of a true musician."-Preston Guardian. As a

BRINLEY RICHARDS' "CHIME AGAIN, BEAUTIFUL BELLS." piano duet, 3s.; piano solo, 2s. 6d.

RRINLEY RICHARDS' "WARBLINGS AT EVE." Arranged as a duet for two performers, on one pianoforte, by the same popular composer, 3s.; piano solo, 2s. 6d. London: ROBERT COCKS and CO., Publishers to Her Most Gracious Majesty the Queen; and of all music-sellers.

CAUTION TO MUSIC

PUBLISHERS.-" Thou art

so near, and yet so far," Song, composed by Alexander Reichardt.Notice is hereby given, that the above-named song is copyright of Messrs. Duncan Davison and Co., and that legal proceedings will be taken against all persons infringing the same. The only publishers whose names and addresses have been printed on the title-page of the said song, by Messrs. Duncan Davison and Co., are Messrs. Boosey and Son, Cramer and Co., and Chappell and Co. London: 244, Regent-street, March 1, 1860.

BOOSEY AND SONS' LIST OF POPULAR SONGS GOLLMe pianoforte. Third Edition, price 3s. One of the most popular GOLLMICK-DRIPPING WELL, Morceaux Fantastique

OF THE

PRESENT SEASON,

BY FAVOURITE COMPOSERS.

[blocks in formation]

original pieces of the day. Boosey and Sons, Holles.street.

"THERE'S NOTHING LIKE A
NOTHING LIKE A FRESHENING

sung

with

BREEZE," new song by Alberto Randegger, composed for and the greatest success by Mr. Thomas, when on his last tour, and always encored. Boosey and Sons, 28, Holles-street.

Now Ready (March), Part I., Price One Shilling,
(To be published in Eight Monthly Parts)

[merged small][merged small][ocr errors][ocr errors][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small][merged small]
[blocks in formation]

Messrs. BOOSEY and SONS beg to announce that they will publish, in twelve monthly numbers (commencing April 1st, 1860), an entirely New Edition of the following Twelve Popular Overtures, arranged expressly for Large and Small Orchestra, by M. LAMOTTE, the celebrated composer and conductor. Each Overture will be 8s. for full orchestra, and 5s. for septet. Subscribers to the Series will receive the same post-free, at half these prices by forwarding their names to the Publishers in advance. Those Subscribers who have not an account with the Firm are requested to forward a remittance for the Twelve Overtures in advance, or a reference to a friend in London.

Lately published,

THREE

NEW SONGS

[blocks in formation]

1860.

No. 1. (April)

[ocr errors]

2. (May)

3. (June)

4. (July)

[merged small][merged small][merged small][ocr errors][merged small][merged small][merged small][merged small]
[ocr errors]

5. (August) FRA DIAVOLO

Auber.

"

6. (September) DER FREISCHUTZ.

[ocr errors][merged small]
[ocr errors]

7. (October) DOMINO NOIR

[merged small][ocr errors]

"

8. (November) GAZZA LADRA

Rossini.

[ocr errors]

9. (December) DAME BLANCHE

Boieldieu.

[merged small][ocr errors][merged small][merged small][merged small][merged small][merged small][ocr errors][merged small][merged small][merged small][merged small][merged small][merged small][merged small]

BOOSEY AND SONS' NEW CATALOGUES.URLINE-The following are the favourite pieces in

[blocks in formation]

WALLACE'S new and successful Opera, LURLINE;-" Under a spreading coral," "Take this cup of sparkling wine," "Flow on, oh, silver Rhine," "When the night winds," "Sweet Spirit, hear my prayer," sung by Miss Pyne; "Gentle troubadour," sung by Miss Pilling; "Our barque in moonlight beaming," "Sweet form that on my dreamy gaze," The chimes of home," sung by Mr. Harrison ; "A Father's love," "Love, transient passion," sung by Mr. Santley.

Cramer, Beale, and Co., 201, Regent-street.

NEW SONGS

MESSRS.

PUBLISHED BY

DUNCAN DAVISON & CO.

"OH! TAKE ME TO THY HEART AGAIN!”

Poetry by JESSICA RANKIN.

Composed by M. W. BALFE.
Price 2s.

Oh! take me to thy heart again!
I never more will grieve thee:
All joys are fled and hope is dead
If I indeed must leave thee.
Forgive the wild and angry words
This wayward heart hath spoken;

I did not dream those cherished chords

So lightly could be broken.

Oh! take me to thy heart again.

I think how very sad and lone

This life would be without thee;
For all the joys my heart hath known
Are closely twined around thee.
Oh! teach me to subdue the pride
That wounded thee so blindly;
And be once more the gentle guide
Who smiled on me so kindly.

Then take me to thy heart again.

"THE SULIOTE WAR SONG,"
Sung by Mr. SANTLEY.

Composed by BRINLEY RICHARDS.
Price 3s.

Rouse ye Palikari,

Men of Suliote, rouse ye,

See on yonder mountain's brow,

Glows the beacon light!

Warlike songs are singing,-
While the trumpets ringing
Call the valiant Palikari,

To the coming Fight.

What though foes surround us,

Though their chains have bound us,
We will live as freemen live,

Or die as warriors die.

Come with weapons gleaming-
Come with banners streaming,
Raise your glorious battle cry,
Suliote shall be free.

"SYMPATHY,"

POETRY BY ELLIS BELL,
COMPOSED BY E. AGUILAR,
Price 2s.

There should be no despair for you,
While nightly stars are burning;
While evening pours its silent dew,
And sunshine gilds the morning.

There should be no despair, though tears
May flow down like a river:
Are not the best-beloved of years
Around your heart for ever.

They weep, you weep, it must be so;
Winds sigh, as you are sighing,
And winter sheds its grief in snow,
Where autumn's leaves are lying.

Yet, these revive, and from their fate,
Your fate cannot be parted;
Then, journey on, if not clate,
Still, never broken hearted.

"AWAKE LITTLE PILGRIM."

Poetry by the Rev. D. T. K. DRummond.
Composed by MAURICE COBHAM.
Price 2s. 6d.

Awake, little pilgrim, the day is at hand,

The rays of the morning appear on the land;

O, haste with thy burden to life's narrow gate,

Ere the night shadows falling proclaim thee too late

Knock, little pilgrim, it shall not be vain,

Thy feeble entreaties admittance shall gain;
Thy Saviour is waiting to bid thee God speed,

He turns none away from his door in their need.

"THE DEW-DROP AND THE ROSE."
Poetry by ISABELLA HAMPTON.
Composed by G. A. OSBORNE. Price 2s. 6d.
A dew-drop reclined on a beautiful rose,
And whispered soft vows of his love,
When near that sweet flower, to seek soft repose,
A sunbeam feli down from above!

The dew-drop instinctively felt there had come
A rival-his loved one to prove,

A shelter he sought next the heart of the rose,
And whispered soft vows of his love.

Still nearer came that sunbeam gay,

As he called the rose his bride,

Those words the dew-drop heard him say,
Then drooped his head and died.

"THE CHRISTMAS ROSE."

Poetry by M. A. STODART.

Composed by LOVELL PHILLIPS. Price 2s. 6d.
"The Christmas Rose! The Christmas Rose !
'Mid wintry frost and snow it blows;

And opes its portals pure and fair,

When winds have swept the gay parterre.

Just like a true and constant friend,

Whose faith no storms of life can bend;

Not the mere friend of summer day,

But firm when joy hath passed away.

This flower is like the joys that shine,
In sorrow's hour and life's decline,

When youth hath passed and pleasure flown,
And sad the spirit sighs alone;

Then marvel not that thus I twine

My thoughts around this gift of thine,

And muse on hopes and joys that last,

And bloom through life's most piercing blast."

"I'M NOT IN LOVE, REMEMBER."
Poetry by JESSICA RANKIN.

Composed by M. W. BALFE. Price 2s.
Prithee tell me, gentle air,

Why my heart is full of care,

And why no pleasures charm me?

It is not Love torments me so:

I scorn the wily urchin's bow,

His arrows cannot harm me!

I try to sing-my voice is sad!

I sleep! but then 'tis just as bad-
Such gloomy things I dream on!
Can you not tell? nor you? nor you?
Oh then I know not what to do
To charm away the demon.

I sometimes think, if "I know who"
Were here, he'd tell me what to do,

To bid the demon slumber!

Could I but hear his voice again,

I'm sure 'twould cheer my heart-but then
"I'm not in love, remember!
!"
I'm not in love, remember.

"ARE THEY MEANT BUT TO DECEIVE ME."

Poetry from the Polish.

Composed by A. REICHARDT. Price 2s. 6d.
Are they meant but to deceive me,

Those fond words that tell of love
Ah! for ever it would grieve me

If their falsehood I should prove.
Though my heart would trust them gladly,
Though belief, alone, is bliss,
Yet I still must ponder sadly,
Ah! what bitter pain is this.
All my inmost soul concealing,
Shall I sternly answer "No?"
Or each secret wish revealing
Shall my words unfettered flow.
Ever lingering, never speaking,
Here my thoughts shall I express
For my heart if you are seeking,
Strive to find it by a guess.

LONDON: DUNCAN DAVISON & CO.,

(DEPOT GÉNÉRAL DE LA MAISON BRANDUS DE PARIS),' 244, REGENT STREET, CORNER OF LITTLE ARGYLL STREET.

« ElőzőTovább »