[ocr errors]


THE "APOLLO AND MARSYAS." Sir,—I enclose for publication a translation of a document •which has been forwarded to me by order of His Excellency the Governor of Venice, and signed by him. So high a tribute to genius cannot but prove of great interest to every man of refinement. I am! Sir, yours obediently,

Morris Moore.


"We hare the pleasure to communicate to you that in consequence of your having with immense success publicly exhibited in Paris,* Munich, Dresden, and Vienna, in furtherance of pious and philanthropic objects, the picture of 'Apollo and Marsyas' in your possession, and of this picture liavrog been every where acknowledged to be not only an undoubted original by Raphael, but one of singular interest; and in consequence, moreover, of your having desired to exhibit the said picture in this Accademia di Belle Arti, side by side with the corresponding original drawing by Raphael, the Supreme Ministry of Worship and Public Instruction, in reply to the petition which you had addressed to it, and in consideration that the exhibition of your famous picture side by side with the original drawing belonging to this Academy would be of the deepest interest to all artists and lovers of art, forwarded orders to the government of this Luogotenenza, not only to grant you the public exhibition of your picture of 'Apollo and Marsyas' side by side with the corresponding drawing belonging to this Academy, in a suitable place in the same, but in every possible way zealously to assist you towards this object. , ■ i | ■ / , ■

"At the same time, the Supreme Ministry of Worship and Public Instruction, in order to protect so great a treasure as an original picture by Raphael from every possible risk through inadvertont handling, enjoined the Government of this Luogotenenza to make arrangements that the usual Custom House operations be waived respecting the case containing it, especially on your quitting Venice, and that, above all, be omitted the opening of it or the placing of any seal upon it, lest its contents be endangered.

"In the orders given un -tbi» i.TMa to i\ ncy of tka Accademia di Belle Arti, and in the understanding entered into with the I. R. Prefecture of Finance, you will have recognized the ready zeal with wbieh the Government of this Luogotenenza has fulfilled the high behests of the Supreme Ministry,

"In the mean time, steps will at once be taken that the name of Monlagna be removed from Raphael's original drawing of'Apollo and Marsyas' belonging to the Accademia di Belle Arti of Venice, and that its authenticity be established in a way to cause all doubt to cease.

"Accept the assurance of my highest consideration, ..


"Vienna, March 1st, I860."


Sir,—I regret to see, by a report copied in the pages of the Musical World from the Express, that a feeling of doubt and dissatisfaction exists in Leeds regarding the new organ in your Town Hall. I had an opportunity of hearing nnd playing on it some weeks since, and, as an impartial observer, interested in the welfare of the art of organbuilding, I beg you will allow me to express my opinion concerning this magnificent instrument.

1 am acquainted with the finest organs in this country, as well as those in Paris and Germany, including those at Frankfort, Ulm, Weingarten, Haarlem, Sec, and still have no hesitation in saying that yours is a master-piece of art and science combined.

The design alone displays consummate knowledge of organ-building j whilst the more artistic portions, such as the choice i>f registers, voicing, Ac, reflect equal credit on the artists who planned the instrument, and the artificer who executed his share of the work.

It is essentially a concert-organ, adapted to the requirements of festivals, solo performances, 4c; and the general quality of tone, I consider excellent. The ensemble is superb. The groundwork, viz., the diapasons, are distinguished for breath and grandeur; and the voicing of the delicate wood flue-work, the free reeds, tuba and solo stops generally, I think very successful; whilst the Voix Humain certainly rivals that at Frtybourg, or rather the more celebrated one at

* The' "Apollo and Marsyas " was not so exhibited at Paris. At Munich and at Vienna it was exhibited in aid of the Artists' Benevolent Fund; at Dresden and Vienna in aid of the Schiller Foundation Fund.

the Madeleine. Nor should I omit to specify the Mixtures (that glorious and exclusive monopoly of the organ) which are each definite in character, and designed on a new and excellent principle. The amazing amount of combination movements affords greater variety s>i effect than has hitherto been introduced, I believe, in any other organ. Respecting the working condition of such elaborate mechanism, my visit was too brief to form a decided opinion on it, and I never tamper with any instrument. No one can reasonably object to the weight of a touch whioh offers a resistance of only half-a pound on each key; and if the delightful elasticity of the old action (well made) is wanting, when the pneumatic movement is applied, this addition was indispensable to counteract the high pressure of the wind.

The absence of a 32-fcet wood open in the pedal organ is to be regretted, although the Bourdon is very good of its kind. . ■. I

There can be no doubt that a most conscientious feeling has been displayed in the design and execution of the Leeds organ, and with doe allowance for slight and temporary imperfections, the skill of the builder, and a just regard for his own credit, will cause these drawbacks to disappesr. The external appearanoe is splendid, and in perfect keeping with your noble hall; and, with Mr. Best, I take the liberty of recommending some caution in placing the organ under the hands of every new comer.

I write only with the motive of upholding excellence in any organbuilder, of whatever nation; as although my experience has inclined me to a preference for the great German school of organ-building (to which we owe so much), I yet feel that candour and justice impel an acknowledgment of merit in our own countrymen, when deserved.

I am, Sec,

Northampton, Feb. 23,1860. Charles Mckobeell.

[ocr errors]

a Correspondent).—The seventy-fifth season of the announced to close on Tuesday evening, March 8th, the Apollonian Hall was crowded, notwithstanding the inclemency of the weather. The vocalists were Miss Louisa Jarrett, Miss Harcourt, and Mr. D. Lambert; and the programme excellent of its kind. Muss Jarrett's singing gained great applause, and in "I'll follow thee," she was encored; as also in the duets with Mr. Lambert, who justlyreeeived his share of approbation. Mr. Lambert sang "The Suliote War Song," and Bishop's, "Oh! firm as oak, and freo from care," and in both was encored. Miss Harcourt, in her songs, afforded great satisfaction, and was also more than once encored. The instrumental part

of the programme, consisting of overtures, galops, and valses, was well executed, and the entertainment concluded with "God save the »


MONDAY POPULAR CONCERTS. 'not the Germans henceforth imagine that they are the lie who can compose chamber-music. The concerts of '27th, and March 12th, are a convincing proof that iaus, at least, have invented combinations of harmony no leas attractive than the melody which is characteristic of the. "Sunny South." A programme, rich in gems, drew together on Monday last an audience which, braving (he inclemency of a miserably wet night, crowded every part of St. James's Hall, and remained, with few exceptions, to the end of one of the most delightful entertainments ever provided.

The instrumental selection comprised Boccherini's quintet in A major (Op. 20), Cherubini's grand quartet in E flat (second time), and Donizetti's quartet in D major. In the hands of Herren Becker and Kies, Mr. Doyle and Signor Piatti, with the able co-operation of M. Paque in the first piece, each of these compositions received more than justice, being indeed played to perfection. Especially noticeable was again the quartet of Cherubini, displaying a freshness, and geniality, and science alike admirable, at times reminding us of the vigorous of Beethoven, at others of the delicate fancy ofMenmn, and yet without a trace of plagiarism, the whole thoroughly original, fir. Charles italic contributed two solos—dementi's sonata in A major (Op. 25), and three of Scarlatti's harpsichord lessons (including the fugue in D minor). Both authors were given irreproachably, in a style uniting all requisite light and shade with, the most perfect mechanism, and both pleased unanimously.

Herr Becker once more distinguished himself as a soloist, and in Tartini's TriUo del Diavolo more than confirmed the opinion expressed of his powers recently. He has fairly taken his place in the front ranks of "virtuosi?' no less than quartet players. A hearty recall followed his really wonderful performance.

Mdlle. Parepa anJ Mr. Siroo Hoo\-oo ftgnin uliara.l tlio vooj

music, the lady repeating Sard's "Ah non sai qual pena," and the grand ana from Piccini's Didone Abbandonata, in both of which she was much applauded. The two airs allotted to Mr. Bims Reeves offered a great contrast, the first being "Pieta Signore," from an oratorio of Stradella's; the second, " Pria che spunti," from Cimarosa's Matrimonio Segreto. More exquisite singing never was heard, and in the last-named piece the voice and taste of our great tenor were displayed to such perfection that an encore/was inevitable, and he repeated the air to the delight of every one in the hall.

On Monday next the instrumental portion will be from the works of Beethoven; the grand Septet and the Kreutzer Sonata, by Miss Arabella Goddard and Herr Becker, being included in the programme, to say nothing of one of the latest sonatas (Op. 109) for the first time at the Monday Popular Concerts.


He, however, whom Hood, himself somewhat of a punster, called "punning Peake," always fortified his farces with a certain number of solid verbal jokes, and the great point in the Omnibus is the double meaning given to the word curacoa, which the Irishman should pronounce " cure a sow," and thereupon inquires whether it will also "cure a mare." The joke was so much relished in its time that it not only made the success of the farce, but attracted amateurs afjeux de mots from all parts of England, and we are assured that hundreds of families visited the metropolis solely in order to hear Mr. Peake's pun. On Tuesday night it was by some error omitted, and we expected that cries for "the pun! the pun !" would have been raised from all parts of the house, but the audience bore their loss very composedly. We must add, in all seriousness, that the acting throughout the evening was most creditable to the amateurs, who, we believe, had never until this occasion played together.

Before' tho comedietta, a capital prologue, written by S. H. G. Wright, the physician to the institution, in aid of which the entertainments were given, was delivered by the author. It contains some excellent lines on the subject of amateur acting, and in reference to the charitable object of the performance of Tuesday evening, and it was much applauded.

The same amateurs re-appeared at Campden House on Thursday evening, the proceeds of the sale of tickets being again devoted to the "Royal Benevolent Society."

THEATRICALS AT CAMPDEN HOUSE. (From our Kensington Correspondent, by Omnibus Express.) As interesting performance took place on Tuesday last, at Mr. Wolley's miniature theatre, in aid of the funds of that excellent institution the Royal Benevolent Society. The entertainment commenced with, Our Wife, or the Rose of Amiens, an adaptation from the French, by Mr. Palgrave Simpson; followed by Peake's farce of the Omnibus, and concluding with Betsey Baker, the work of Mr. J. M. Morton, and some French person or persons unknown. In the comedietta, the "Viscount Raynham, the Captain Mackinnon, the Sieur Wolley, the Lord Wallscourt, and the Ladies Colthnrst and Anne Sherson appeared: the Viscount Raynham and the Lady Colthurst particularly distinguishing themselves. In the Omnibus, the Honourable Evelyn Ashley, the Major Mackinnon, the Sieur Maitland, the Honourable Reginald O'Grady, the Lord Wallscourt, and the demoiselles Newton and Barker performed. Tho Sieur Maitland is an excellent representative of the comic Irishman, and was seen to much advantage in the part of Pat Booney. The fun of Peake's ancient farce turns upon the inconveniences likely to result to suburban residents from the invention of omnibuses.


Crtstal Palace.—The concert given on Saturday, the 3rd instant, was principally devoted to a selection from Mendelssohn's operetta Son and Stranger, including the overture and the most important pieces in the work. The singers were, Mad. Weiss, Miss Fanny Huddart, Mr. Wilbye Cooper, Mr. Sniythson and Mr. Weiss. Mr. Manns had evidently taken pains, and the result was an excellent performance, thoroughly enjoyed by all

niMWMit. Tl»» .gn~ ».j|),..,lj,r

biuugbt out in England in 1851 (the first time in public, although written in 1829), at the Haymarket Theatre, with Miss Louisa Pyne, Mr. Donald King, and Mr. Weiss. It obtained a great success, although by no means satisfactorily executed, the band and chorus being indifferent, and was pronounced by universal assent a masterpiece of comic music. It seems strange indeed, that after such a success none of our lyric theatres, Italian or native, should have contemplated its production. At the Crystal Palace'more than half (• its beauties were lost, as the music is eminently dramatic and the libretto spirited aDd amusing. The pieces which pleased most were the delicious romance of Herrmann, " When the evening bells are chiming," capitally sung by Mr. Wilbye Cooper; Ursula's song at the spinning-wheel; Lisbeth's air, "How oft the young have wandered , and, of course, the famous buffo song, "I'm a roamer," splendidly given by Mr. Weiss. The concerted music might in some instances have gone better. The artists seemed as though they were unwilling to ruffle their drawing-room placidities by any dramatic perturbations—all except Mr. Weiss, who proved himself, even remote from the stage, every inch a pedlar. The remaining pieces in the programme were Beethoven's overture to Promethtus; the splendid "War March" from Mr. Horseley's Gideon; the "Rataplan" duet from the Figlia, by Mr. and Mrs. Weiss; the ballad, "Three fishers went sailing," sung by Miss Fanny Huddart; and a new song composed by Mr. Hullah, " The doubting heart," given by Mr. Wilbye Cooper. The concert-room was tolerably full—not crowded.

On Saturday last the programme comprised, for the band, Schumann's symphony in E flat, Mendelssohn's overture to Ruy Bias, and Weber's " Invitation a la Valse," arranged for orchestra by M. Hector Berlioz—an especial favourite with Mr. Manns, and deservedly so, the beauty of the composition and the extreme brilliancy of the instrumentation considered. The symphony of Schumann in B flat was performed for the first time at the Crystal Palace—though not for the first time in this country, as the annals of the Old Philharmonic can tell. It is an eminentlycharacteristic work—that is, characteristic of its lamented author. The second movement, which is melodious and somewhat devotional in tone, could not fail to please. Mr. Manns, however, will no donbt afford a second opportunity of judging the symphony. Miss Arabella Goddnrd played Hummel's rondo in A mnjor, and Thalberg's ifose in Eqitlo. The latter was loudly encored, but Miss Goddard only returned to the platform aud bowed. We need hardly say with what incomparable brilliancy and grace both pieces were played. Miss Parepa, the favourite of the hour, sang Mr. "Wallace's new song "Hope in sorrow," the cavatina, "Oh, bright were my visions," from Victorine, and the aria, "Gia dalla ruente involasi," from Signor Alary's Tre Nosse. The florid cavatina from Mr. Alfred Melfon's opera was most favourably received, and Miss Parepa, we think, shines more in expression than in bravura singing. She gave Mr. Wallace's ballad admirably, bat was not so much applauded as in the cavatina and the vaUe.

To-day M. Sainton and Madame Sainton-Dolby will appear.

An engagement has been concluded with Millie. Piccolomini for a series of twelve concerts, commencing on Monday the 2nd and terminating on Saturday the 14th of April—the usual one shilling admission to the Palace to be retained.

London Quintet Union. — The second concert came off on Wednesday evening, at St. Martin's Hall. Again the music of Onslow predominated; not, however, exactly to the same extent as before, oDly one quintet, and a part of another, being given. Mr. Willy's admiration for Onslow mast indeed be great, s'.nce he has introduced in two concerts three entire quintets, and one movement from another, of that composer. The entire quintet performed at the last concert was that in B flat, Op. 33, and the one Which finished the single movement was the D minor, No. 3, Op. 1. The quintet in B flat was finely executed by Messrs. Willy, Westlake, Webb, Pettit, and Reynolds, and listened to with attention. The last movement of the quintet in D minor, Presto Finale, was heard by few, and therefore played to disadvantage. The remaining part of the selection was uuexceptiOn&bly good: The other instrumental pieces were Mozart's quintet in A major, Op. 108, for clarinet, two violins, viola, ana violoncello, «na n-ufeosui Bennett's chamber trio in A., Op. 26, for pianoforte, violin, and violoncello. These two masterpieces would have made amends for any amount of dryness, and their introduction must exonerate Mr. Willy from any design of rendering his concerts heavy. Mozart's quintet was the instrumental feature of the evening. Every movement awakened a new delight, and it was difficult to say which created the greatest sensation, the exquisitely beautiful and plaintive andante, or the deliciously quaint air aud brilliant variations of the finale. The performance was first-rate, Mr. Maycock especially distingnlshing himself on the clarinet. The pianoforte trio was hardly less admired, the-slow movement, in which the pixzicato for the stringed instruments is employed with so much effect, eliciting, perhaps, the greatest admiration. The vocal music was assigned to Miss Banks and Madame Sainton-Dolby. The last-named lady, who has lately been winning laurels in Paris, made her first appearance since her marriage, and was received with warm and genuine tokens of admiration. She sang two of her most popular songs— "Cangio d' Aspetto," from Handel's opera of Admetus, and Mr. Balfe's "" The green trees whispered low." Both were given to perfection, and the latter unanimously encored, Miss Banks gave Mozart's " Parto," from the Glemenza di Tito, and Mr. Henry Smart's song—a very charming one, by the way— "Love me, or love me not," and won the suffrages of the whole room, singing sweetly, expressively, and without ostentation. Mr. Lindsay eloper accompanied the vocal music, and played the pianoforte part in Professor Beunett's trio, which we should already have signalised as a very fine performance on the part of the accomplished pianist and his coadjutors, Messrs. Willy and Peitit. The attendance was but indifferent, the body of the ball being no more than half, and the galleries about twOthirds full.

Herr Wilhelji Ganz's Soikee.—In our notice of this young artist's Soirie Musicals, we should have stated that it took place at his residence, 15, Queon Anne-street, Cavendish-square, and not Queen-street. »

Theatre-italian, Paris.—Mad. Borghi-Mamo has created a great sensation in the character of Desdemona, in Rossini's OteUo.

Mr. Agtjilar's First Performance Of Classical PianoForte Music took place on Saturday evening, the 10th instant, at his residence, Westbourne-square. The following excellent programme was given :—

Sonata, in C, for pianoforte (Op. 2, No. 3), Beethoven.—Recitative and Aria, "Lascia eh' io pianga" (Rinaldo), Handel.—Prelude and Fugue, Gt minor, ditto in Q- major, J. S. Bach.—Caprice in B flat minor, for pianoforte (Op. 33, No. 3), Meudelesohu.—Recitative and Arin, " Deb vieni non tardar" (£e Nozze di Figaro), Mozart.—Sonata Quasi Fantasia, in E flat, for pianoforte (Op. 27, No. 1), Beethoven.— "Invitation a la Valse," for pianoforte, Weber.

The task Mr. Aguilar set himself was an arduous one for a single evening's performance; but his powers showed no abatement at the last, and Weber's sparkling "Invitation to the Waltz," the last piece in the programme, was played with as much facility aud vigour as anything which preceded it. The performance, however, which appeared to afford most unqualified satisfaction was the souata in £ flat of Beethoven, in which Mr. Aguilar displayed his thorough feeling for classic music no less than his mechanical dexterity. Mendelssohn's caprice, too, was a capital performance and pleased unanimously. The two vocal pieces were assigned to Miss Lindo, who exhibited considerable talent in both, and evidenced genuine taste and feeling in the air from Figaro, " Dove sono," one of the very loveliest Mozart ever wrote. There was a full attendance, aud the concert was of that reasonable length that, combined with its sterling character, must have satisfied everybody.

Society For The Encouragement Of The Fine Arts.—On Thursday evening last, the second trial of musical compositions in connection with this society took place, at the Architectural Gallery, Conduit-street. The members of tho "Arion,'' under the direction of Mr. Alfred Gilbert, gave the following programme :—Pater Noster, Meyerbeer; Contralto Hymn, Mendelssohn; "The Dream," Costa; Misericordias (double choir) Reichardt; "To love I wake" (double choir), Webbe; NewPart

Ouiigo (creowncl timc)j MbuUulasoliu.

Oxford{From a Correspondent).—The current series of Lectures and Concerts was brought to a termination on Tuesday evening with a miscellaneous entertainment of vocal music, in which Miss Emily Gresham, Mrs. R, Paget, Mr. George Tedder, and Mr. Horsley assisted, and Mr. W. Eingrode acted as accompanyist. It was but a dull affair to the real lovers of music, there being no instrumental performances. Not so, however, thought the good people of Oxford, who were enchanted beyond measure with everything, and would fain have every pieoe over again. The singers were not of the same mind, except Mr. Horsley, who being a townsman and volunteer to boot,. could not resist the onslaught made on him when he gave that warexcitiug soug, "Riflemen, form," but returned incontinently, and repeated it hilariously. There were fierce acclamations, too, when Miss Emily Gresham and Mr. George Tedder joined in the duet, "The Duke of Athol's Courtship," which tho audience would fain have over again. This constrained the tenor to come forward and apologise for non-compliance on the score of indisposition, which speech was hailed with even more plaudits than the duet. Miss Emily Gresham pleased immensely in her solos, more particularly in Flotow's "Ave Maria," and Bishop's "Bid me discourse; and Mrs. Paget was very effective in Mr. Hullah's song of "The Three Fishers," and "Kathleen Mavourneeu." Although the concert seemed to please everybody, I should strongly advise the manager of the City Public Lectures aud Concerts to think a little more of art next year aud less of pleasing the mob.

Edinbomgh(From a Correspondent).—The fifteenth of Howard's Saturday Evening Concert* took place in the Music Hall on Saturday evening last. In addition to bis usual stafl', Mr. Howard was insisted by the bands of the Kit h Light Dragoon* aud Wast York Rifles, by the Ediuburgh Orohestra, aud Mr*. Howard, Meear*. Kennedy, Bishop, aud D. Lambert (the last of unpin made his debut before an Edinburgh, audience as vocalist). Tho first part of the concert consUted of the overture to Weber's Oberon, and Handel's screnata, Acis and Qalatea, in which Mrs. Howard and Messrs. Bishop and Kennedy sustained their reputation. Mr. Lambert made a very favourable impression, and narrowly escaped an enoore in "O ruddier than tho cherry." Mr. Howard judiciously introduced between (he first and second parts of the programme, "The Garb of Old Gaul," composed by the late General Reid, in honour of whose memory this concert was announced to take place. In the second part Mr. Lambert sang, "Oh! firm as oak, and free from care;" and on being encored, gave the audience another specimen of his abilities. The crowded state of the hall attested the popular appreciation of Mr. Howard's services; as well as the fervid reoeption of his own Flora, &c, the Rifle Band's selection from Seotch airs. A more strict adherence in the programme to the national musio of Scotland would perhaps tend materially to the gratification of the olass—and a large one it is—for whom these con: designed, and by whom they are supported.

NORFOLK AND NORWICH MUSICAL FESTIVAL. (Communicated.) Preparations and engagements for the Festival, which will commence on Monday, the 17th September, under the conduct of Mr. Benedict, are already going on with activity. We understand that the services of Madame Clara Novello, Madame Weiss, Mr. Sims Reeves, Mr. Wilbye Cooper, Mr. Charles Santley, nnd Mr. Weiss, have been secured, and that other important engagements are pending. Upon this occasion, a lively and peculiar interest attaches itself to the name of Clara Novello, because it will probably be the last time that the public will have an opportunity of hearing that accomplished artist prior to her final retirement from the profession. Standing upon the pinnacle of an English vocalist, this gifted lady has determined to from it whilst she can do so with dignity and grace, is not one of those who would ever degrade her art, or ;r herself to be degraded by it, through a painful exhibition of incompetent efforts. Of Clara Novello it will never be said,— "Superfluous logs the veteran on the stage." Amongst the propositions about to be submitted by the subcommittee to the general committee, if not already accepted by the latter (a point on which we are not quite sure), is a performance of Haydn's oratorio of The Creation, on the Monday evening, at a greatly reduced price, instead of having cheap preliminary concerts. This will enable many lovers of music belonging to a class whose avocations will not allow them to attend morning performances, to enjoy a great work interpreted 'by first-rate voices and instruments. On the Tuesday evening it has been proposed to do Gluck's Armida, in either the first or second part of the concert. The success of Gluck's lphigenia in Tauris, produced under the auspices of Mr. Charles Halle, at Manchester,- was complete.

On the Wednesday morning it is proposed to do The Last Judgment of Spohr, in honour of that illustrious composer's memory; this will be preceded, or followed, by Handel's famous "Dettingen Te Deum." On Wednesday evening, a leading feature will be Professor Bennett's May Queen; and on Thursday evening, Mr. Benedict's Undine, composed expressly for this Festival; on Thursday morning, a selection, and Herr Molique's new oratorio of Abraham; and on Friday, The Messiah. Two symphonies have been proposed, namely, Haydn's Military Sinfonia, No. 12, and Beethoven's in C minor. It will be seen that the novelty of the Festival will be Molique's Abraham. Of this work we can say nothing of our own knowledge, but we have heard it highly praised by musical authorities.

(Abridged from La France Musicafo.)

Wb were not wrong in predicting that the names of Madame Sainton-Dolby and M. Sainton would excite the curiosity not only of all the English of distinction who reside in Paris, but also of those Parisians who love serious and high art. The grent room of the H6tel du Louvre was scarcely large enough to contain the numerous audience attracted by these two names jnstly popular in England, and which are beginning to be so among ourselves. Last year, M. Sainton proved himself, at a conceit given by Herz, one of the most correct and brilliant

violinists of the day. Such, too, he proved himself at the concert which he gave on Thursday last, with his wife, Mad. SaintonDolby. He played with incomparable maestria the violin part in Mendelssohn's famous trio in O minor,* and in Beethoven's sonata in A minor.+ We wish all the violinists in Paris had been there to hear him. They would, like ourselves, have been charmed by his neat and modest execution—as it ought to be in pieces where the violin is not alone—expressive without exaggeration, and, in a word, perfect. It was the first time Mendelssohn's trio had been played in Paris as it should be played. Sainton played it twice as quickly as it is always played here, and the work gained considerably in consequence. M. Sainton played, also, two delicious pieces of his own composition, which were warmly applauded—a "solo de concert," and a "valse brillante." Perfect correctness, sentiment, brio, nobleness, marvellous bowing, and, in a word, all the various qualities which constitute a concert virtuoso hors ligne, are possessed by M. Sainton in the highest degree. We can assure our readers that the success he achieved will be long and universally remembered.

We have reserved Mad. Sainton-Dolby as the " bouquet," not from mere gallantry, we beg our readers to believe, but because we thought so great a name and such marvellous talent ought to have a place by themselves in our appreciation, as they do in the hierarchy of fair concert-singers. As the interpretress of Handel, Haydn, and Mozart—of the sacred and profane music of those admired and venerated masters—Miss Dolby, now Mad. Sainton, has no rival in England. Her name is popular in all parts of the United Kingdom, and the fact of its appearing in the programme of a concert is sufficient to fill, as though by enchantment, the largest rooms, and Heaven knows there are plenty of them. We have heard her at Manchester, at the Sydenham Palace, and at Exeter Hall, sing before assemblies of from fifteen to twenty thousand persons, and never did they fail to salute her, on ner appearance, with the most enthusiastic cheers. The English adore Miss Dolby; she is their favourite singer, and as, in her case, the woman is, at least, as distinguSe as the artist, there is no mark of affection which this people, so jealous of its national glories, does not shower down upon her. We cannot describe with what joy she was welcomed, the other evening, in the rooms of the Hotel du Louvre, by the English, who constituted a good half, at the least, of the distinguished persons who had flocked to hear her. When she appeared, beaming with grace and beauty, and with that charming smile ana gentle look which fascinates and attracts one, the applause burst forth from all parts of the room, and lasted several minutes.

We will not mention all the pieces sung by this great artist. We must content ourselves with stating that her style of interpreting the thoughts of such masters as Haydn and Handel is quite new for us; that it is the true, the good style, and the only one which should be allowed. It is impossible to possess, at the same time, more grace, more grandeur, and more sensibility; it is impossible to identify one's self more intelligently and more truly with the musical idea, no matter how grandiose and profound it may be. A fact, too, which proves the suppleness of her prodigious talent, is that it adapts itself, without difficulty and with exquisite grace, to the forms of modern music, without ever sacrificing aught to the exigencies of a public spoilt by bad example. Madame Sainton sang in English an admirable melody of Haydn's; "L'Ame errante," a sublime air, from Handel's oratorio of Samson; a sceua admirable for its simplicity, "The Irish Emigrant," by Luders; an English serenade, and a Scotch ballaa. In all these pieces, varying in character and style, she displayed the admirable and extraordinary compass of her voice, a mezzo-soprano, peculiar in quality, which goes direct to the heart, besides exhibiting her rhythmical accentuation, her magistral phrasing, and, above all, her deep musical feeling. She was recalled, we cannot say how many times, and applauded with sincere enthusiasm. Among the entire audience there was not a single voice which did not

say to her mentally: "Au revoir 1"

• With M. Ritter (piano), and M. Rignault (violoncello),
t The "Kreutser"—piano, M. Ritter.

[From Our Own Correspondent.)

■■ " "Htttt, March 13M. At last the long-expected opera of Prince Joseph Poniatowski has teen brought out at the Grand-Op6ra, ana for same days the opinions "for and against" it will form one of the principal topics of conrersation. The first representation was given on Friday last, the Emperor and Empress, and all the beau monde of Paris, being present. Pierre de Medicis is an opera in four acts; the libretto is written by MM. de St.-Georges and Vanin. Frcin the title of this work, one would be led to thinly that it had! something, to do with the history of Tuscany. But it is not so, ^nd the authors have chosen the heroes of their drama in thejnoble and powerful family of the Medicis, to give room for the'gorgeouS sconery and decorations with which this opera has beep niotmted.'

Pierre and* Jullien de Medicis are sons of Laurent de Medicis, called the Magnificent. Pierre de Medicis, tired of the discontent of the Florentines, comes to establish his court at Pisa. Hii brother, Julien, who is the governor of the town, gives up willingly the command, and wishes for nothing better than to retire from the cares of state, and to marry the beantiful Laura Salviati, the niece of the Grand Inquisitor. But Pierre de Mepicis is Also in love with her, and,' when alone with the Grind Inquisitor, tellB him of his passion for his niece, and, of coqrse, ambition easily leads the uncle to second hi3 suit. Julien, however, who hears of this, goes to Laura's palace, and beJs lier to fly; this she refuses t<> do, and in a very expressive duet the first act . finishes. In the second, Pierre de Madicis, with his court, are'witnessing a splendid ftte, given in honour Sf Laura. The gorgeousness of this scene, in point of decoration, has rarely been rivalled. The scene represents gasdens, with every floral treasure; a fountain, from which veritable aqua pura flotrs over marble statues; aad beyond, the gardens, gradually ascending. The scene begins with daylight; and numerous Florentine peasants, in their picturesque costumes, are grouped about. Then, after the coiirt has , arrived, the ballet begins. It has for subject the1 loves'of Diana and Endyrnibn, and gives ample scope to Madame Ferraris to display her wonderful talents in choreographic art. Meanwhile the Inquisitor has told Pierre de Medicis of the affection of his brother for Laura, and to get rid of bis rivfeiL, Pierre create* him admiral, and orders him to leave with the fleet that is to set sail the next day. Julien contrives to speak to Laura, and they agree to meet in a fisherman's hut, and to fly together. Night has now come on, and suddenly the gardens are most brilliantly lighted up, and each of the peasants bearing in their hand an itttiminated tulip, while they dance about , the effect is very Hovel—this ends the second act. In the third wo find Laura waiting in the fisherman's hut for the signal that a devoted friend of Jalien's is to give her that all is ready, when the door bursts open, and the Inquisitor and Pierre de Merlicia enter. The latter offers Laura his hand and crown, which Laura refuses; and when told she will be shut up in a cloister if she persists in this refusal, chooses the latter alternative, and is half dragged away just as the barcarole is being sung under hef window that was to serve as signal for her departure. "We have next a very lovely moonlight view of the Campo Santo, with a'Mew of Pisa and the Leaning Tower in the distance. Julien de Medicis is praying at the tomb of his mother, when several conspirators enter, tell him of Laura's detention in a cloister, and of the revolution that is going on in the town. Julien determines to head it, and with a grand finale this act ends. The fourth opens near the ramparts of the town; the people are dancing and sitlgiDg, while further on fighting is going on. Suddenly Pierre de Medicis enters, mortally wounded, and repenting of his cruelty to Laura, wishes to save her from taking the veil. Julien enters, and, supporting his brother, they both go off together. The scene then changes to the most striking part of the opera—the interior of the convent,*filled with nuus, monks, and the freres de la misiricorde—monks covered in black and only their eyes showing. Laura in splendid wedding gar

ments is brought in; the Grand Inquisitor once more offers her freedom, on condition of her marrying the" Grand Dnke; she refufees.and aftervainly imploring mercy of heruncle, her wedding wreath is taken off, the black veil is thrown over her, when suddenly the doors burst open, the De Medicis and their soldiers enter, but it is too late. When Julien asks the Inquisitor, "What hnvb you done with her'!" he touches the veiled figure: "She belongs now," he says," to Heaven," and while Laura is dragged towards the steps of the cloisters,, and Julien bends, overwhelmed with sorrow, Pierre de Medicis expires. As music, this; opera, though it can never bear comparison with the more inspired works of the great masters, is a work Prince Poniatowski will add greatly to his laurels by. Mdlle. Gueymard wasj admirable in the part of Laura Salviati: dramatic and touching as her acting ever is, she surpassed herself. Obin, in the >part of the Grand Inquisitor, shared the honours of the evening with her. M. Gueymard, as Pierre de Medicis, and Bounehee, as Julien, did'their bestT The two most'striking morceaux in the wiiole, op?na are. the trio in the fisherman's, hut, andf the duet between Obin and Lfedra, 'wften she takes the veil.

4-t the Opera-Comique, Qalathit is still being played. At thej Italiens, Tambarlik has. been singing in OteUo. The Th4&tre-Lvrigue, has suspended for a short time PhUimon et Baucis, as Ma3ame "Mlolan-Carvalho has sustained asad loss— her mother having just died. Very little is going on in the way of :loyelty at the theatres: at the Vaudevilles old pieces are beifg performed, but soon M. Octave Feuillet's new work, which is to bear the title, I believe, La Tentation, will be given at the Thiatre de l'Ambigu. The Compere GuUIery drama, in five acts anc nine tableaux, has just been brought out. It were impossible to wade through, the tissue of nonsense and improbabilities contained iu a melodrama of this class. It turns on the wonderful > adventures of a wonderful gentleman brigaud, who is at last reclaimed by the affection of some young lady de granda /amide. Melinque of course plays well. "Various are the concerts going on, TiMit Wedadidfty Mndatue Pleycl gave a concert

at which she played the first concerto of Mendelssohn, and a concert piece by Littolf, in her most charming manner. Many are the improvements projected here in the architectural line, and projects about some of the theatres are going on. I hear that the Maritana of Wallace is to be performed at the The&treLyrique next season. The accounts of the termination of the season (the theatrical one) at Naples is deplorable. The management is even worse than under the Duke de Salarino.

Chekdbini.—Those artistes and amateurs who have a passion for works not printed or published of a great master, will learn with pleasure that the compositions of the renowned composer, Cherubim, the greatest contrapuntal writer that ever existed, are now for sale at Paris by his widow, in manuscript, consisting, in his own handwriting, of overtures in score, masses, operas, sacred pieces, cantatas, orchestral pieces, quartets, qujntets, solfeggi, &c., &c, consisting of nearly 300 works, composed between the years 1773 and 1841. Here is a field for musical societies, students, and directors of music to produce novelties, and study one whose works, hitherto known and printed, are patterns of excellence in every point of view, and held up as models of perfection to the student. The directors of the Philharmonic Societies, Musical Unions and Sacred Harmonics, &c, should look after the works. They will find overtures, chamber-music, oratorios, and choral pieces never produced before the public, and what better name conld they have than the renowned one of Cherubini to grace their programme. There are also the Psalms of Marcello, in four volumes, 1,540 pages; some of the works of Pergolese, Iomelli, Clari, Durante, Sarti; the canons of Padre Martine, with various other of the old Italian great masters, all arranged, and in the writing of M Cherubini. So varied and prolific a collection by one author has seldom or ever been offered for sale before. Madame Cherubini is now in her eighty-seventh year. The collection ought to be secured for some institution— the British Museum or Royal Academy of Music—as standard V works of art in every branch of music.

« ElőzőTovább »