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"rpHE ARION" (Eight-Part-Choir).—The members of

X this Society will meet until further no'iee every Thursday ovenin'j-, nt 8 o'clock, at 13, Bcniors-strect, Oxford-street. Conductor, Mr. ALFRED GILBERT.

P. F. REILLY, Hon. Sec.

Persons doslr-us of joining the choir are requested to address the Secretary.

CAUTION to Musicsellers, Booksellers, and others whom it may concern.—•' AM I NOT FONDLY THINE OWNT adopted to a German air, entituied " Du du lieg-t niir im herzen ;" the English version by Maria Hutchins Callcott, and music adapted by Willi tm Hutchins Callcott.

Notice Is Hereby Given that the copyright in the above-mentioned song is Tested in C. Lou&dale, of No. 26, Old Bond-street, music-publisher, and legal proceedings wftl be taken against any pereou who may found to have pirated, or shall hereafter be found pirating, such copyright in the before-named song. Dated this 1st day of March, 1860.

(Signed) CHRISTOPHER LONSDALE.

pAUTION TO MUSIC PUBLISHERS.—" Thou art

V-/ so near, and yet so far," Song, composed by Alexander Beichardt.— Notice is hereby gircu, that the above-named song Is copyright of Mossr*. Duncan Davison and Co., and that legal proceedings will bo taken against all

Eersous infringing tho same. The only publishers whose names and ad dree ave been printed on the titlc-isiue of the said song, by Messrs. Duncan Davi and Co.. ore Messrs. Boosey and Son. Cramer and Co., and Chappell and Co. London: 244, Regent-street, March 1, 1860.

WANTED, A GOOD TUNER—For particulars, address* M. N'., care of Messrs. Boosey and Son.

WANTED, immediately, a Pupil in a Musical Establish

ment, wh -re ho will have an opportunity of acquiring a tb rough

knowledge of the profession in all its branches. Apply to Herr Winzer, Now castle, Staffordshire.

TMPORTANT.— To be disposed of, immediately, a well

A established Music Practice, including New Organ at good salary, in a Town of upwards of 40.000 inhabitants, and surrounded by largo populations. The Advertiser is at>oii: to leave the kingdom. Apply, by letter onlv, to the care ol ViMM. Add sou and Co., 210, Regcut-street, London, W.

^0 INVESTORS.—CONSOLS CAPITAL STOCK is

. n medium for employing and improving huge or Small Sams of Money, in connection with Government Securities. Toe Stock i» Issued by tho Conjol« Insurance Association, 429, Strand, London. Incorporated pursuant to Act of Parliament. Investments bear Fivo per Cent, per Annum Interest, receivable Monthly, if desired. Full particulars may be obtained on application at the Chief Offices, 429, Strand, tu

THOMAS H. BATLIS, Managing Director.

O ORGANISTS AND CHOIR MASTERS.—

WANTED, an Organist and Choir Muter, for the Parish Cliurcb of tho Holy Trinity, in the Cit\ of Coventry. Salary, rfoO per annum. He must be in communion with the Church; must produce satisfactory testimoni la

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character and ability; and will have to 12 men and 16 boys, towards which jf'. Applications to be sent to William Coventry, on or before W< dnesday, the Goveutrv, 8,h March, I860.

provide a choir consist In • of not less than i will be allowed by t he Vestry. Accountant Churchwarden,

rpo VOLUNTEER RIFLE CORPS.—Boosey and Sous

A military band instruments, reed and brass, as well as bugles, drums and fifes, have been used and approved of by almost every regiment in the service, at home and abroad. Those regiments that contemplate the formation of a band, are invited to apply to the firm, who wib be happy to recommend them compcU-nt bandmasteis, and render any further assistance that may be required.—Boosey and Sons, Holies-street, London.

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EYERBEER'S DINORAH AND STERNDALE

BENKETT'S MAY QUEEN, are suug nightly at the CANTERBURY HALL CONCERTS. Comic vocalists—Messrs. George H"ds n (the Irish comedian and mimic). W. J. Critchfleid iin.l E. W. Mackney. Several interesting pictures aro added to the Pino Arts Gallery. The suite of H:ills have been rc-d. corated and beautified, and constitute ouo of tho most unique and brilliant sights of the metropolis.

MUSICAL UNION.—Members who have not received the RECORD. 1860. containing a Portrait of Spohr. and a Sketch of Miiaic In Paris, Ac, to notify the same to the Director. Subscriptions are now due, and

before '""

ticket* will be issued "before Easter. Extra copies of " Record," 1859. to be 3 each, on applying by letter to J. ELLA, Director.

TWO EVENING SERVICES IN A MAJOR: Cantate and Dens, Mtgtincate, and Nunc Dimittis, with Onrsn Accompaniment. Cond by £. Bunnett, Mus. Rac, Cantab. Assistant Organist ol Norwich Cathedral. Price (to Subscribers) 8s. Subscriber's names will be received by the Author, Upper Clone, Norwich, and by the Publishers, Messrs. Cocks bud Co., New Burlington-street, London, W.

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THERE'S NOTHING LIKE A FRESHENING BREEZE," nc-v song by Alberto Randcgger, composed for and sung with the greatest success by Mr. Thomas, when on his last tour, and always encored. Boo*cy and Sons, 28, Holies-street.

EVANS'S ENGLISH HARMONIUMS.—Full particularsof these unrivalled instruments to be had of the manufacturers, Boosey and Sons, 24 and 2$, Holies-street, London. Manufactories at Wells-street and Davies-street.

pASE'S PATENT CONCERTINAS, as used by

\J Sknor Regnudi aud Mr. George Case, arc rcmarkablo for their superior tone, and being less liable to get out of tuue than any other English Concertinas. Prices from four to twelve guineas each. Manulacturid by Boosey and Soum,

HoHes-strcot.

ALBERT DAWES* "AULD LANG SYNE," witk

x\- Variations for the pianoforte, is just published, price 5s., by Dime Davison and Co., 244, Regent-street, where the popular "South Down" Poika, pianoforte, may be obtained, price Is.

EEVIEWS.

"The Quadroon Girl"—words by Longfellow, music by Balfe. "Magenta," music by Balfe (Boosey and Sons). Mr. Balfe has bestowed unusual pains upon the fortunes or misfortunes of the poor Quadroon Girl, set forth with such eloquent impressiveness, accompanied by so revolting an insinuation, in the poetry of Professor Longfellow, who, in the last stanzas, plainly intimates that the planter sells his own daughter to become the slave and minion of the slavedealer :—

"'The soil is barren, the farm is old,'

The thoughtful planter aaid;
Then look'd upon the slaver's gold,

And then upon the maid.
His heart within him was at strife

With such accursed gains,
For he knew whose passions gave her life,

Whose blood ran in her veins.
Bnt the voice of nature was too weak,

He took the glittering gold;
Then pale as death grew the maiden's cheek,

Her bands as icy cold."

"The heart within " the bosom of this planter must have been a heart of slow "beat"—not such a heart as Longfellow ordinarily delights in pourtraying, not such a heart as the heart of his "Blacksmith." In all respects the position of •the unfortunate Quadroon was deplorable—for, sings the poet:—

"Her eyes were like a falcon's, gray, « '2. Her arms and neok were bare;

No garment she wore, save a kirtle gray,
And her own long raven hair."

(If she had a hawk's nose and a swan's neck, she must have been a most bird-like Quadroon, and was purchased, peraunter, by the slaver for his legitimate wife's aviary). More puritanical than the American verse maker, Mr. Blatchley (who embellishes the song with a striking pictorial frontispiece) has clad her decently in a long white gown, with blue girdle, and scarlet dressings, besides placing bracelets on her arms, and red and pink roses in her "raven" hair. Mr. Balfe's music—assuming the form and dimensions of a scena, with recitatives and movements in varied tempi—is eminently dramatic and expressive. It would suit any contralto or bass singer now before the public, and, delivered earnestly, could not fail of producing a marked sensation. Our prolific composer has no doubt felt deeply for the miserable Quadroon, whose beauty might excite the compassion of even a less sensitive son of Orpheu3 than the author of "The power of Love."

Of "Magenta" too—where the words (anonymous?) repre sent the solitary grief of a bereaved girl (whose true-love has been slain in battle), alternated and, at times, combined with the shouts of victory and demonstrations of joy, to which the inhabitants of a disenslaved country give vent outside— Mr. Balfe has (less ambitiously) made a species of dramatic tc&na. His martial touches are confined to imitations of trumpets and reproductions (" transcriptions ?") of trumpetcalls, assigned to the peaceful Benedict or Jules de Glimes of the piano; but with the tender complaints of the unhappy girl, his melody is entirely and appealingly sympathetic Here, again, we have a song fitted alike for contralto or bass, its highest note being D on the fourth line, while the highest note in the " Quadroon-girl" is F on the fifth, of the upper Stave.

"The Poor Orphan Child"—written by R. Lincoln Cocks,

composed by F. Campana (Boosey and Sons). An arietta in the pleasantest and most unlaboured manner of its agreeable and unlaborious composer—a simple ballad, in short, giving real musical charm to a poetical appeal on belialf of the friendless orphan, from the pen of Mr. Cox, which, if sung to Sig. Campana's melody, at the door of an asylum, would be pretty sure of obtaining admission for any pitiable protege' (or gee) either, or both, of them might adopt.

"Adieu, dear Home"—words by Richard Bennett, music by E. J. Loder (Boosey and Sons)—is another unpretending ballad, superior even to the one just criticised, combining a graceful and easily-remembered melody with an accompaniment the neatness and propriety of which are alike eminent. The lines of Mr. Bennett, although on a liacknied theme, are simple, healthy, and unaffected.

"Tlie Dew-drop and the Rose, song /or voice and piano "— poetry from the German, music by G. A. Osborne (Duncan Davison and Co.)—is remarkable alike for expression without exaggerated sentiment, and for cleverness without pedantry. (Dr. Johnson, or Mr. Chorley might here interpose— "Sublime without whiskers 1—melancholy without a white waistcoat?" but the "withouts" in this instance are not to such carping.) Not only is Mr. Osborne's song

open

decided

well written and expressive; it is marked by
character, and character well sustained throughout, which
in a composition or so little pretence is a quality that at
once arrests attention. The words, moreover, are so nicely
exhibited in their English costume—by a poet (ess ?) who
need not have adopted the anonymous—that we are tempted
to quote them :—

u 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 fell 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 sun's brisht ray,

As be called the rose his bride.
Those words the dew-drop heard him say,
Then droop'd his he«d and died."

LETTERS TO THE EDITOR.

MOZART'S TRIOS.

Sir,—Can you inform me how many original violin t rios, by Moiart, are in existence besides the well-known Grand Trio in E flat, Op. 19. My object in asking this is to complete my collection of origintl violin trios, quartets, and quintets. J3y publishing this in the Musical World, you will oblige, Sir, ycur obedient servant,

Brighton, March 1st.

FAIR PLAY.

Sih,—I take the liberty of addressing you, hoping you will allow me a space in your columns, for which I shall feci much obliged.

I played at the competition for the situation of organist at St. Luke's, Chelsea, which took place on Monday the 6th instant, and was returned by the umpires (three in number) as the best player; notwithstanding the organ is not my principal instrument. It would be out of place to repeat the umpire's report here, as it could do no one but myself any good. However, three were selected for election—No. 8, first; No. 2, second ; and No. 9, third. The election took plnce on Monday the 20th instant, when Mr. Carter (a resident ol Chelsea), the worst of the three, was elected by a large majority Ts it not a most shameful proceeding to bring a dozen men fron elsewhere, to play for an appoiutment that was virtus given to Mr. Carter long before the playing P I, for day's teaching, Monday being one of my busy days.

One thing, I have not yet mentioned, I think deserves more than

Ahtist.

Is it not a most sh

from different parte of London and virtually, if not actually', one, lost a whole ordinary condemnation; that is, the fact of several of the trustees telling me that they had made up their minds to vote for the bett man. I (from the judgment of the umpires) thought they would vote for me, and, in consequence, made sure of my election. I should not take this ■tep, were this the first time I hare been thus treated in a like affair. I never played in a competition but once before, and being returned by the umpires as the best, and not being elected, I made up my mind never to play in competition again, which resolution I kept until the time that Chelsea became vacant. Should Mr. Carter refer to a competition that took place for St. Helen's, Bishopgate, years back, I answer him in the following terms, "I did not play for it j" that is to •ay, I played one piece, but finding that there was something to play at fight, I declined going on further (having at that time very imperfect sight, which is now, thanks to Mr. Bowman, of Clifford-street, quite perfect). Hoping that you will not find this letter too long, and that you are of my way of thinking—that is, that auch things should be made known, for the good of organists as well as of congregations—I remain, air, yours respectfully, F. Scotson Cube.

4, Union-grove, WandsKorth-road, S., Feb. 29M, 1860.

P.S.—The trustees have not thought 'fit to write to inform me of their decision. "How very business-like I" but what is one to expect? Perhaps they are ashamed of their conduct—and well they may be.

THE BROTHERS HOLMES. Sir,—Having had the great pleasure to make the acquaintance of the English violin virtuosos, the Messrs. Alfred and Henry Holmes, I ought to write yon some lines on this occasion.

Believing it will be interesting for you and the musical public to know the artistical movements of your praiseworthy countrymen, I beg to inform you that they have been for the last two weeks staying here amongst us, during which time they have played at the Court with the greatest success. They so enchanted the King, that after hearing them the first time, he begged them to stay for some days longer, that they might play again at the palace ; and further, by his wish a concert was arranged for them in the Opera-house, which went off most brilliantly. They were recalled with the greatest enthusiasm, after each of the solos and duets which they performed.

Previous to their arrival here they were two months in Copenhagen, where they created a great sensation by their concerts and by their performances in the Society of the Musik-verein. They also gave several concerts in the provinces of Denmark with the greatest success. Therefore the youug artists have sufficiently confirmed the great praise which my cousin the happy deceased senior of the violists Mr. Spohr often had ■pent them ; and on that account my sincere interest for the two brothers will excuse this letter and my bad English therein.

I am, sir, yours truly,
Arnold Wkhner,

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Kapellmeister of his Majesty the King.

MR. RANSFORD'S CONCERT. Sir,—In a letter addressed to you last Monday, I called your attention to several errors in the account civen by one of the morning papers of Mr. Ransford'* annual concert. I now trouble you again to point out that in the Musical World rf last Saturday you have, in your report of this concert, printed the same errors with some additional ones.

Your reporter says: ** The beneficiaire sang, with great spirit, Dibdin's 'Tom Tough,' with other of hif popular ballads, and, with his daughter, the duet,'Oh, tell mc, gentle stranger,' " Ac. Mr. Ransford fang only "Tom Tough" and the duet, not any "other of his popular ballads." 0

Miss Ransford did not (aa stated) sing "an Italian aria," and one or two English songs, but one solo only and the duet. The,fantasia by Ascher, played by Miss Goddard, was not on the "Shadow'song" only, but on several airs from Dinorah; and, finally, Mr. Lazarus did not execute a solo on the clarinet—iu fact, he did not make his appearanoe •t the concert at all.

Your reporter (like he of the morning paper previously alluded to) makes no mention of the fracas caused by the non-appearance of Mr. Sunt Reeves, and of which I gave an account in my previous letter.

I am, Sir, your obedient servant, H. T. A.

[Our reporter has not been dismissed.]

ROYAL SOCIETY OF MUSICIANS.

The one hundred and twenty-second anniversary festival, which took place on Thursday evening, at the Freemasons' Hall, was the most successful in our remembrance. In the first place, the assembly was larger than on any former occasion ; in the next, Mr. Charles Dickens, one of the most entertaining and accomplished of chairmen, presided; and lastly, the donations, if they did not exceed that of any previous year, were more liberal than ordinary. The concert, too, was on an unusually ambitious scale, and the dinner, served by Mr. Elkington, a bond fide Freemasons' Tavern repast. The utmost hilarity prevailed throughout the evening, in a great measure due to the president, who was the sun of the festival, and shed a light on all around, and infused warmth into every bosom. Mr. Charles Dickens, to speak in theatrical parlance, made a decided hit. He was voted nem. con. the very best chairman who ever occupied the seat of honour at one of the Society's dinners; and, we have little doubt, if he was installed "perpetual president," it would enhance the prosperity of future festivals, to say nothing of the effect it might have on the general state of affairs. Mr. Dickens is not personally mixed up in musical matters, but on behalf of charity no more appropriate president could be found. No bad specimen of Mr. Dickens's oratorical powers will be found below; but even this admirable impromptu display can convey but a remote idea of his readiness to seize upon a point for illustration, the fertility of his imagination, his piquant style, his logical acumen, and his wonderful powers of accommodating himself to his particular hearers. Moreover—and this is the rarest virtue in a public speaker—he is never diffuse, and consequently never wearies. If copious at times, it is because his matter is abundant and thought flows freely; and, to crown all, we never knew a chairman or president who knew better the exact moment when to speak and when to refrain.

If there was any drawback to the enjoyment of the evening, it was that the first part of the concert was much too long. The practice of giving more than one musical performance after each toast is, we fancy, a mistake. If, instead of fifteen pieces in the first part of the programme, there had been ten, no one would have complained, although ten would have been too many, more especially with such long operatic pieces among them as the recitative and aria, 'Ah! tors' d lui," from the Traviata. The fact that the first part was not over until near eleven is enough to Bhow that the system is wrong. Fortunately there was but one encore (to M iss Arabella Coddard, in Stephen Heller's Improvisation on Mendelssohn's air, "On song's bright pinions, for which "The last rose of summer," of Thalberg, was substituted), or there's no knowing at what unusual hour the concert would have terminated. A good selection, on the whole, was provided, and justified the announcement that "the festival should be considered more in the light of a musical entertainment than a public dinner." This will be at once granted, after perusing the following list of artists, all of whom gave their gratuitous services : — vocalists — Misses Augusta Thompson, Lascelles, Haywood, and Rachel Gray, and Mad. RieHer Schlumberger (soloists) ; with Messrs. R. Barnby, H. Buckland, W. Coward, J. Coward, W. Distin, W. J. Fielding, A. G. Ferrari, Handel Gear, Donald King, F. Kinkee, E. Land, T. Whiffin, T. Williams, Whitehouse, and T. Wallworth, for the madrigals, glees, and chorus ;—instrumentalists—Miss Arabella Goddard, M. Paque, Mr. John Thomas and Mdlle. Sophie Humler—who, at the last moment, volunteered a solo on the violin, and played it capitally in the bargain, and pleased all the amateurs by-her choice of the music. The band was under the direction of Mr. Lazarus, and consisted of sixteen wind and brass players. And to conclude our catalogue, Messrs. James Coward and W. Gr. Cusins presided at the pianoforte.

The royal toasts having been proposed and duly honoured by the company and the musicians, the next on the list was "Prosperity to the Royal Society of Musicians."

Mr. Charles Dickens rose and said: Ladies and gentlemen, I suppose I may venture to say that it is pretty well known to everybody, that all people, whenever they are brought together at a dinner in private society, for the declared purpose of discussing any particular matter or business, it has invariably happened that they never can by any ingenuity be brought to approach that business, and that they invariably make it the one «ole subject and ground on which they could not be rapped into the utterance of a syllable. This being the curious concurrent experience of all mankind, it is the cautious custom of this particular public dinner, to place its business in the very front of the evening's engaeements. It commits it to paper, and places it in black and white before the unhappy chairman whilst he feasts (Laughter.) It guards him with a long row of distinguished gentlemen on either hand, to keep him up to the mark, and force him to approach the thing from which everybody knows he has a secret tendency to retreat, and there is a voice in his ear—a sonorous voice—which, like the warning voice of the slave of old, reminds him in all stages of the pageant, that he is but a mortal chairman, and that it is the common lot of all his race to be commanded to " speak and to die." This, ladies and gentlemen, is the one hundred and twenty-second anniversary festival of the Royal Society of Musicians. (Loud cheers.) One hundred and twenty years have passed since the casual contemplation by two gontlemen, standing at a coffee-house door, of two poor boys driving a pair of milch asses through the London streets, within half-a-mile of the place where we are now assembled, led to its establishment. These two poor boys were the sops of a deceased musician, and the two rich hearts that took pity on them were the hearts of two deceased musicians, and the noblest soul that came spontaneously to their aid was the soul of a deceased musician, known amongst the natural nobility of the art but by one "Handel" to his name—(Great cheering) —and that a very glorious one, and derived, as I venture to take it, directly from God. (Hear, hear, hear.) Xow, ladies and gentlemen, that " harmonious blacksmith" hammered so soundly upon the iron of his order, while it was hot, that he struck out of it the sound of self-respect, independence, and prosperity, which are present in this society at the moment while I speak. During the remaining nineteen years of his musical life he wrought for it at the forge of his art with a truth, faith, and vigour belonging only to a great nature; and when he died he left it the princely bequest of £1,000. (Loud cheers.) We now see what good seed is, and we see what good music is. One hundred and twenty-two yean have gone, the ruffles and powder have gone, the lace and buckles have gone, the white-cape great coats and the huge cravats and top boots have gone; but the 'good seed is here, in the shady and flourishing tree under which we sit to-night, and the good music is here, ever young, and the young ears, the young fingers, have it every new generation. (Cheers.) Ladies and gentlemen, it is my custom, when I have the honour to hold such a position as this, to offer to those amongst the company who may not be personally acquainted with the society under consideration, those recommendations in its behalf which have been most powerful with myself. Will you allow me to sum up, under a few heads, the reasons that I have for regarding with particular sympathy and respect this Royal Society of Musicians. First, because it is a real thing—(Hear, hear)—because it is, in fact, as well as in name, a society of musicians—not a heterogeneous concourse of nondescripts and toadies, with here and there a musician smuggled in to justify the misuse of an art; but a society of professional men bound together in a love of their common art, and with the object important to their art. (Cheers.) Because these gentlemen come toge'hrr, as they only usefully and independently could come together, as a benefit society—(Hear, hear)—making timely provision, if not for their own old age, distress, or infirmity, certainly for those casualties in the life of their brethren, and for their widows, and for their orphan children. Because it not only grants money for the education and apprenticeship of those children, but afterwards preserves a parental care over them in this way, that when they have done well in their apprenticeship, it encourages them to come back and be rewarded for having done well, and to stimulate them to continue to tread the paths of truth and duty. (Applause.) Because it ■ not an exclusive sooiety.but concedes to its youngest members the privileges of its oldest, and freely admits foreigners as members who are really domiciled in England as practitioners of music. Because it manages its own affairs—(Hear, hear)—and manages them in a manner so excessively unnationol and unpopular that it pays only two small salaries for real services, while the governors actually pay the expenses of their own meetings out of their own pockets. (Loud applause.) Ladies and gentlemen, you have no notion what confusion would be carried into a certain literary society if the ferocious person who now addresses you were in his own plain way to get up there, and propose the mu-icians in these respects as an example for imitaiion. (Laughter and cheers.) Lastly, ladies aud gentlemen, I recommend this society to such of this assembly as do not know it,

because it is a society of artists who begin by putting their own shoulders to their own wheel. Every member of this body stands pledged to every other to exercise his talents gratuitously at any performance whatsoever and whensoever given in aid of the society'l objects. Every member is formally and distinctly reminded on his enrolment that he accepts the responsibility of a great work connected with the labour of his art, and to that he is understood to pledge himself thenceforth. Now these, ladies and gentlemen, are the main features of the body of professional men that pass to night the ono hundred and twenty-second milestone on the road of its life—'he main features, except one—and that is that the annual income derived from the one source, the annual subscription of its members, is not much more than a tithe of the money annually expended in the execution of its excellent objects. Turning over this book just now, with the words "one hundred and twenty-second night" printed on its outside. I feel in a half kind of fancy—remembering the wonderful things whioh music has, of course, suggested to me from my earliest childhood; I feel a kind of fancy that I might have gone back to the one hundred and twenty-second of the Great Arabian Nights, and have heard Dinarzade • Saying, about half-an-hour before daybreak, "Sister Schehrazade, if you are still awake, and my lord the Sultan will permit, I pray you to finish the story of—the British musicians"—(Laughter and cheers)—to which Schehrazade replied that she would willingly proceed, but that to the best of her belief, it was a Btory without an end—(Cheers)— because she considered that so long as mankind lived and loved, and hoped, so long music, which draws them upwards in all their varying and erring moods, could never possibly cease out of the world. (Cheers.) So the Sultan, who changed his name for the purpose for the time, girded on, not his scimitar, but a scythe, and went out, graciously resolving that the story should have its oue hundred and twenty-second night, and that the brotherhood should live for ever. (Loud applause.) Ladies and gentlemen, these may appear to you vagrant ideas, but music is suggestive ot all fancies. You know it can give you back the dead; it can place at your side the congenial creature dear to you who never lived. You know that the blind see in it; the bedridden have hope in it; the dead hear it. We all hear it, from the sounds of the varying seasons to the beating of the waters upon which our Saviour walked. Let me, in conclusion, entreat yon to listen also to one strain which will certainly be heard through all the sweet sounds of to-night, and which wrll be simply this—no'less, no more. The hand cannot always keep its hold upon the bow, the strings, the keys; the breath will sometimes fail. It is the inevitable result of the skdful combination of many instruments, that there mutt have been some players who never can Lope to attain a great success or great reward, but who are nevertheless quite inseparable from, and necessary to, your delight; and so the strain will say, and, if you ltste* to it, it will say, "I am one of those; I have been young, and Bow am old; my hand has lost its mastery; my breath has failed. Now, for the love of the much that musio has done for you, do that little for me." I beg to proposo to yon to drink, " Prosperity to the Royal Society of Musicians."

Mr. Dickens resumed his seat amidst loud applause from all parti of the room.

The other toasts were "The Patrons of the Society," "The Army and Navy," "Charles Dickens, Esq., President of the Day," "The Ladies who honoured the Festival with their presence," "The Chaplain and the Honorary Officers of the Society," "The Professional Ladies and Gentlemen who assisted at the Festival," and "Prosperity to the Royal Society of Female Musicians and other Musical Societies." In giving the toast of the " Army and Navy," Mr. Dickens drew a graphic picture of the influence of music as exercised in every phase of the life of a soldier or sailor; and in proposing the health of the ladies, he created infinite merriment, by remonstrating against the separation of the sexes at the dinner table.

At the commencement of the second part, Mr. G. F. Anderson, honorary treasurer, read a list of the donations, which is too long to insert in this place. We may,however,mention that Messrs. Broadwood and Sons gave £50 (the seventeenth donation, making the entire sum bestowed on the charity by that eminent firm £2050); Mr. Collard, £50; Messrs. Addison and Lucas, 10 guineas; Miss Arabella Goddard, 10 guineas; Mr. Benedict, 5 guineas; Mr. Bowley, 5 guineas; Signor Ferrari, 2 guineas; Mr. Gruneisen, 2 guineas; Mr. Metzler, jnn, 5 guineas; Mr. Handel Gear, 1 guinea, &c, &c. The entire amount had not been made up when we left, but we have every reason to suppose it will be considerable.

MONDAY POPULAR CONCERTS.

Probably a larger audience was never assembled in St. James's Hall—which, though calculated to admit two thousand persons, was by no means sufficiently spacious to accommodate more than three-fourths of the amateurs of classical musio who applied for admission at the doors—than at the eleventh concert. Many hundreds were unavoidably denied admission, and almost as much money was "returned" as would have made an ordinarily successful evening. The programme was as follows: Pabt t

Quintet, in A, stringed instruments and clarinet ... Mozart.

Song, 'Soft and bright" H. Smart.

Song, "I quit my pillow" (Don Quixote) Marfarren.

Sonata, in A flat, pianoforte, " Plus Ultra." ... Dussek.

Pabt II.

Sonata, in E flat major, for pianoforte and elarinet Weber.

Song, " Adelaide" ... ... BeethoTen.

A Lullaby, "Golden slumbers kiss your eyes" ... 17tli Century.

Quartet, in D major, Op 18... Beethoven.

Conductor—Mr. Benedict.

The Quintet of Mozart was repeated by desire. Its manifold beauties, atid the faultless execution of the clarinet part by Mr. Lazarus, were dwelt upou in appropriate terms some weeks ago, when Herr Becker took the principal violin part. Herr Molique was now at the head of the stringed instruments—as much as to say that both reading and execution were masterly. In the quartet of Beethoven (in which, as in the quintet, the other players were Herr Bies, Mr. Doyle, and Signor Piatti), Herr Molique exhibited the same artistic qualities that have long constituted him one of the foremost "classical" violinists of the day.

The pianoforte sonata—Dussek's Plu* Ultra, or, as the composer himself entitled it, Le Retour a Pari*—is one of the most magnificent, no less than one of the most difficult, ever contributed to the repertory of "the universal instrument." Dussek wrote it when, after a life of unprofitable excitement and artistic vagabondage, he had settled down quietly in Paris, as pianist and concert-master, in the residence of the famous Talleyrand, with whom he seems to have enjoyed other intimate sympathies besides those springing from a mere community of musical tastes. A piece occupying more than forty minutes in performance may be regarded by those who are sceptical about the influence of what is denominated "high art" as something beyond the endurance of an audience of considerably beyond 2,000 persons ; but there appear to be no sceptics among the patrons of the Monday Popular Concerts. At any rate, neither the lovers of Dussek's music nor the admirers of Miss Arabella Goddard's playiug could have been otherwise than satisfied with the attention bestowed on the sonata, and the hearty appreciation of the efforts of the performer, who, though she had more than once previously introduced the Plus Ultra in public, had never before essayed it in presence of so vast an assembly, and whose task became, therefore, doubly arduous, while its successful accomplishment was doubly honourable. Equally well received was the beautiful duet of Weber, for pianoforte and clarinet, in which Miss Goddard enjoyed the co-operation of that unrivalled master of his instrument, Mr. Lazarus. Every movement of this genial inspiration of the author of Der Freischiitz was heard with unequivocal delight.

Miss S. Cole gave the the graceful ballad of Mr. H. Smart, and the charming "Lullaby" from Mr. Wm. Chappell'sPopular Mutic of the Olden Time, with irreproachable taste; and to the plaintive romance from Mr. Macfarren's opera of Don Quixote, Mr. Sims Reeves imparted such heartfelt tenderness, that no Quiteria would have hesitated for an instant to abandon however wealthy a Camacho in answer to such an appeal. Beethoven's "Adelaida," in which Mr. Reeves was accompaniedon the pianoforte by Miss Goddard, and which he never sang to greater perfection, was encored with such enthusiasm and unanimity that there was no alternative but no repeat it from the first note to the last. The other vocal pieces were accompanied by Mr. Benedict in that refined and artistic manner to which he has always accustomed the musical public.

BartL

dementi. Clari. S alien.

Rossini.

At the twelfth and final performance of the first series (» season), the programme included Mendelssohn's quintet in A, Beethoven's quartet in D, Weber's pianoforte sonata in A fiat, and Beethoven's rarely heard variations on "See the conquering hero comes," for pianoforte and violoncello—all " for the first time." A more rich and varied selection could not have been made; and that ample justice was awarded may be guessed from the names of the performers—Messrs. Molique, Ries, Doyle, and Piatti in the quartet, with the addition of Mr. Schreurs as second viola in the quintet, Miss Arabella Goddard in the sonata, and the same pianist, associated with Signor Piatti, in the variations. The singers were Miss Susanna Cole, Miss Fanny Rowland (who introduced, with eminent success, a very fine air from Glnck'i Iphigenia in Aidide), and Mr. Sims Reeves. The ladies were encored in "Sull' aria," Mr. Sims Reeves being similarly complimented in "I arise from dreams of thee" (H. Glover), and in "Adelaida" (accompanied by Miss Goddard), the last of which composer created a furor.

The concert of Monday week (the first of the new series, the 13th of the second season), was one of the greatest possible interest. It was composed entirely of works, vocal and instrumental, of the Italian masters. The selection was as follows:— Pabt I.

Quintet, in A major, for two violins, viola, and two

violoncellos ... ... ... ... ... Boocherini.

Aria, "Reata in pace, idolo mio" (Gl' Orazi ed i

Curiazi) ...

Recitativo e Rondo, "Ah non sai qual pena"
Seen a Traeioa—Grand Sonata, in G minor, for

pianoforte alone (Didone Abbandonata)

Duetto, "Cantando un' dl" ... ...

Aria, "Com' ape ingegnoea" (Tarara)

Quartet, in E flat (No. 5), two violins, viola, and

violoncello

Pabt II.

Grand Quartet, in E flat major, for two violins, viola, and violoncello ...

Grand Aria, "Se il ciel mi divide" (Didone Abbandonata) ... ... ... ... ... ...

Capriccio (Moto Continuo), violin alone

Aria—Almaviva—"Jo son Lindoro" (Barbiere di
Siviglia)

Duetto—Almaviva and Bartolo—" O ohe umor"
(Barbiere di Siviglia) ... i

Terzetto—Bosina, Almaviva, and Bartolo—"Ah

chi A questo suo foglio" (Barbiere di Siviglia) Paesiello.

Trio, in for violin, viola, and violoncello ... Correlli.

Conductor—Mr. Benedict.

We may at once state, that the concert was eminently successful.

The grand features were dementi's sonata and Cherubim's quartet. These created the profoundest impression. The sonata is the work of a poet as well as of a great musician, and sets at nought the idea entertained by some modern amateurs, that Clementi was a pedant Whoever heard Didont Abandonata, executed as it was magnificently and with kindred feeling by Miss Arabella Goddard, and did not feel his spirit bowed before genius, must have been hard to please indeed, or hard of hearing. The quartet of Cherubim is one of three, which, with a sonata for two organs and a pianoforte fantasia, are all he is known to have dedicated to the chamber. The quartet is a work of large proportions, written with peculiar breadth and dignity of style, increases in interest from the second movement to the end, and gradually captivates the hearer. It was superbly executed by Herr Ries, Mr. Doyle and Signor Piatti, and, like dementi's sonata, received with enthusiastic plaudits from all parts of the hall. Correlli's sonata is by no means devoid of interest, if for no other reason than that it shows the kind of instrumental music which attained popularity some century and a-half ago in England. Rossini's quartet, an amusing bagatelle, was (together with four others) written at the a e ot sixteen, and published without the consent or knowledge of the master.

Herr Becker's performance of Paganini's Variations on " Nel cor piu," took everybody by surprise. That he was a first-rate

Piecini. Pagan in i.

Paesiello.

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