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"rriHE AKION" (Eight-Part-Choir).—The members of

A this Society will meet until further notice every Thursday eveninar, at 8 o'clock, at 13, Berners-streot, Oxford-street. Conductor, Mr. ALFRED GILBERT.

f. P. REILLY, Hon. Sec.

Persons desirous of joining the choir are requested to address the Secretary.

MI? 3 ARABELLA GODDARD'S SOLOS.

LEOPOLD DE METER'S TROVATORE, as performed by Miss Goddard at the

Bradford Festival, 5s.
BENEDICT'S TWO NEW FANTAISIES:

ERIN, on Irish Aire .. 4 0 | CALEDONIA, on Scotch Airs 4 0

Composed expressly for Miss Goddard, and performed by her throughout

England, Ireland, and Scotland. N3 PLUS ULRA. by W03LFFL.—A new edition of this celebrated Sonata as

Kjrformed by Miss Goddard, with a very interesting Introduction by J. W. avison, Esq,, containing an account of tho Composer's Life and Compositions, Price 5s.

THALBERG'S THREE FANTASIAS on "Homo Sweet Home/' "The Last Rose of Summer/' and *' Liliie Dale," in one book (large size), prioe 2s. 6d. Boosey and Sons, Holies-street, London,

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NEW PIANOFORTE MUSIC.

s. d.

Adolphe Rics—Fantasia on Rigoletto .. 3 0

„ Fantasia ou Linda di Chamouni 3 6

„ Fantasia on Der Froischutz 30

,, Fantasia on II Don Giovanni SO

,, Fantasia on German Airs 2 6

Jules Brissae's Fantasia on Lcs Huguenots 3 0

,, Fantasia on Le Prophcte 8 0

,, Fantasia on Martha' 30

„ Fantasia on Lucia di Lammermoor ..30

„ Fantasia on L' Etoite du Nord 4 0

„ Fantasia on La Trnviata 3 0

London: DUFF & HODGSON, 66, Oxford street.

BALFE'S NEW AND CHARMING COMPOSITIONS.
"SO LONG AS MY DAUGHTER LOVES ME." Prico 2s.
"I AM THE SPIRIT OF LIGHT." Priee2s.ua.
"THREADS OF GOLD." Price 2s.
"ONE SMILE FROM THEE." Price2s.
"I'M LEAVING HAME, MY WILLIE." Price 2s.
"SUNSET' (words by Ellison): Price 2s.
London: Addison, Hollier, and Lucas, 210, Regent-street.

"C\ THE JOY OF TRULY LOVING. Sung by Sims

V_/ Reeves. From "The Dream," aSeronata, composed by M. Costa. Prioe 2s. Original key, E flat; transposed key, C. London: Addison, Hollier, and Lucas, 210, Regent-street.

HENRY FARMER'S highly successful Ballad, "THE LUCKY STARS." Sung by Miss Mascall, in Mr. J. E. Carpenter's popular entertainment. Price 2s.

"WINNING THE GLOVES," and "THE LOVER OF

VV SEVENTY-TWO." By the author of "The Wishing Gate." Mr. J. E. Carpenter lias, in these, produced two comic ballads that will rival that far-famed song in popularity. The music by Charles Glover. Prico 2s.

"T LOVE TO SING." Edward L. Hime's much admired

J- Song, sung by Miss Mary Mascall, in Mr. J. E. Carpenter's new entertainment, and invariably encored; also his now ballad, '' I FORGIVE HIM," sung in the same. Price 2s. each.

CHARLES W. GLOVER'S NEW DUETS.—" Music's Mission." "The Return of The Flowers," ." To the fields, to the fields," and "Night and Day." Price 3s. each.

"l\TATRIMONY," or "MR. AND MRS. BROWN."

1VX Comic duet, tho great hit of tho season; and "COURTSHIP," comic duet, sung by Miss Mascall and tho author. Words by J. E. Carpenter. Music by Charles Glover. Price 2s. Gd. each.

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

BLACK NET DRESSES, for Evening Wear, made after patterns of tho latest mode, but not expensive.

THE LONDON GENERAL MOURNING WAREHOUSE.

247, 249, and 251, Regent-street.
JAYS.

BLACK FRANCOIS I«- HEAD DRESSES, Gold and
Velvet. Messrs. JAY have just imported a ease of these novelties.
THE LONDON GENERAL MOURNING WAREHOUSE.
247, 249, and 251. Regent-street.
JAY'S.

BLACK FRENCH MANTLES.—Messrs. JAY respectfully announce that they have a few of this season's pattern mantles left on hand, which they are now selling considerably undor cost price.

THE LONDON GENERAL MOURNING WAREHOUSE,
247, 249, and 251, Regent-street.
JAY'S.

JAY'S MOURNING WAREHOUSE—The proprietors respectfully announce that the London General Mourning Warehouse offers advantages both to families of the highest distinction, and to those of limited means. Appointments for Ladies Mourning attire of every requisite quality, and suited to any grade or condition of society, maybe had, and made up if required, on the most reasonable terms, and the shortest notice, at

THE LONDON GENERAL MOURNING WAREHOUSE,
247, 249, and 251, Regent-street.

pn n$. WHEATSTONE'S 5-OCTAVE HARMO

ab\J \J NIUM (New Patent) has double pedals, with soft, agreeable quality of tone. n

PO OS. WHEATSTONE'S PATENT CONCER

3jO O TINA. 3J Octaves (48 Keys), rosewood. Wheatstone and Co., Inventors, 20, Conduit-street, Regent-stoect.

20

rpHE MUSICAL SOCIETY OF LONDON CONVER

X SAZIONE.—NOTICE.—Thf* First Conversazione of the present season will be held at St. James's Hall, on Wednesday evening next, the 18th iuat., at halfpast eight o'clock. Fellows, Associate*, Lady Associates, and Nominated Annual Subscribers (escorts to Lady Associates) are aWie privileged to attend. No person will bo admitted without a*ticket for 1800. Tickets are not transferable, except to tho Five Concert* of the Society. The Annual Subscription of Members is now payable at Messrs. Cramer and Co.'s, 201, Regent-street, W., and should be paid ou or before tho 1st February. N.B. Entrance in Regent-street.

CHARLES SALAMAN, Hon. Sec., 30, Baker-street, Portman-square. St. Jamos's Hall, 28, Piccadilly, W.

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'• T HAVE ALWAYS A WELCOME FOE THEE."

JL New Ballad, by Laugton Williams. "One of the sweetest ballads of the day."—Review. Price 2s. Free for stamps. W. Williams and Co., 221, Tottenham Court-road, London.

EFFIE SUNSHINE." New Ballad, by Langton William*. Sung by MUs Poole, with the (greatest success. Beiutifully illustrated. Prico 2s. 6d. Free for stamps. W. Williams and Co., 221, Tottenham Ci»Urt-road, London.

MUSIC—A NEW CATALOGUE OF DRAWINGROOM MUSIC, for the Pianoforte and Voice, just issued, may be had, gratis and postal* froe, by addressing as under.

NOTE.—litis Catalogue, intended for the drawing-room table, embraces a choice selection of the most elegant and fashionable novelties recently published.

rpHE most infallible and expeditious Guide to a knowledge

JL of music and pianoforte playing is HAMILTON'S MODERN INSTRUCTIONS for the PIANOFORTE. 242nd Edition. Price 4s.

MUSIC.—Professors and the Retail Trade are (in consequence of important alterations in terms) invited to apply for ROBERT COCKS AND CO.'S NEW CIRCULAR OF TERMS. A Card must accompany such application.

London: Robert C-jeks anil Co., New Burlington-street, Regent-street, W., Publishers to Her Majesty.

MEYERBEER'S "SHEPHERD'S SONG (Dea Schafers Licl), sung by Mr. Sims Reeves, at the Monday Popular Concerts (with clarionet obbligato) is published, price 4s. (extra violin or violoncello, in lieu of clarionet. 1-. each), by Duncan Davison and Co., 244, Regent-street, London, W.

LAURENT'S CHRISTMAS WAITS COMIC QUADRILLE, illustrated in colours by Brandard. Price 3s. B wscy and Sons, Holles-Atroct.

LAURENT'S MISTLETOE POLKA. Illustrated in colours. Price 8s. Booscy and Sons,-Holies-street.

LAURENT'S DONNA JULIA VALSE. Illustrated in colours. Prico 4*. Boosey and Eons, Holies-street.

LAURENT'S BELOVED STAR WALTZ (companion to the Maud Valse). Illustrated in colours. Price 4s. Boosoy and Sous, Hoi lea-street.

MADAME OURY'S CHRISTY'S MINSTRELS' GRAND GALOP DI BRAVURA. Prico 8s. Boosey and Sons, Holiesstreet.

rpHE SERPENTINE QUADRILLE, by Bitrckhardt,

A splendidly illustrated by Brandard, in colours, with a comical view of skating on the Serpentine. Hyde-park. Price 3s. This popular quadrille is founded on tbu following favourite airs :—

Who shall bo fairest?

Come into the garden, Maud.

Nelly Gray.

Phusbe dearest.

Tho green trcr?s.

The Village Blacksmith, &c., »fec.
BOOSEY AND H0.NS, Holies-street.

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When I was in my teens,

I loved dear Margaretta.. I know not what it means,

1 cannot now forget her. That vision ot the past

My head is ever crazing, Yet when I saw her last,

I could not speak for gazing. Queen of rural maids,

My dark-eyed Margaretta, The heart the mind upbraids,

That struggles to forget her.

My love I know will seem

A wayward, boyish folly; But, ah; it was a dream

Most sweet, most melancholy. Were mine tho world's domain,

To me 'twere fortune better To be a boy again,

And di cam of Margaretta. Oh ! inem'ry of the past,

Why ling«r to regret her? My first love was my last,

And that is Margaretta.

Price 2*. Otf.

Boosey and Sons, Holies Street.

rPHE JUVENILE PIANOFORTE ALBUM. Twelve

JL Pieces for Pianoforte, bound, with Illustrations. Price .Os. Boosoy and Sons, Holies-street.

BALFE'S ALBUM FOR 1860, price One Guinea, superbly bound and illustrated, containing 14 entirely new Songs, Duct*, Ac. Booscy and Sons, Holies-street.

BALFE'S NELLY GRAY, by BRINLEY RICHARDS. Just published, price 3s.. Ealfo's celebrated Song, Nelly Gray, arranged for tho Pianoforte by Brinley Richards. Order Balfe's. Booscy ana Sons, Holiesstreet.

"TJAIL THE SUNSHINE, WARM AND LOVELY."

Jlx Song. The poetry by Richard Neal. Published tills day. Price 2s.

Boosey an'! Sons, Musical Library, £8, Holies-street.

REVIEWS.

"Lea Arquebusiers;" "La Fandango;" "Srise Mystirieuse;" "Hymne d la Vierge "Air de Danse;" "La Ronde des Clocliettes;" pour pianopar Felix Godefroid—Ops. 82, 83, 84, 85, 86, and 87—(Cramer, Beale, and Chappell). Mozart and Beethoven used to make six elaborately-contrived quartets stand for a single opus. M. Felix Godefroid (the Belgian Parish Alvars) here allows six little bagatelles to pass for six opera. Not much lamp oil, or sweat of the brow, can have been wasted on them. N'importe; these six bagatelles have the merit of being original as well as pretty. They are not hashes, concocted of the leavings of the Opera, nor glasses of punch mixed from the rinsings of Meyerbeer's bottles, Such as they are, they belong exclusively to M. Godefroid. Though all of them are comparatively easy, not one of them is, in a strictly musical sense, uninteresting. Besides being well composed, there is a certain freshness of thought about every one of them which alone would render them acceptable. Lea Arquebusiers is a spirited march, with a thought timidly stolen from Auber—at the top of page 3. La Fandango, less new in its allure, while styled Danse Peruvienne, is so Spanish in character as to yield presumptive evidence, were presumptive evidence needed, that the Spaniards had set foot in Peru. Brise Mystdrieuse is styled a caprice, the "caprice" seeming to be involved in the following direction :—

*' Ce morceau doit 6tre execute* tres legerement, et constamment avee la pedale soitrde,"—

which, as we have no great faith in a perpetual employment of the deaf pedal, and as the caprice is attractive enough without having recourse to any such expedient, we recommend the player to disregard, if not wholly, at any rate in part. Hymne d Ui Vierge is in some respects the best morceau of the six; nevertheless, the following progression is objectionable (we have transposed it an octave higher) :—

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The Air do Danse is a tolerably happy (but not so happy as we should have expected from M. Godefroid) imitation of the ordinary theatrical pas de—no matter how many—of which Rossini, Auber, and Meyerbeer have produced the most faultless and genial examples. The Ronde des Clocliettes —of course in B minor, with F sharp for the clocltettes— though not by any means so good as the rondo from Paganini's famous concerto, is, for a piece of such moderate difficulty, both brilliant and effective. In conclusion, though not quite so sterling as some pieces of similar pretensions from the same pen which were reviewed about two years since in these columns, these new compositions of M. Godefroid are so much superior to the ordinary run of such trifles that they may be conscientiously recommended to masters and students.

"Psalmodia, simplex et selecta"—" consisting of a very choice selection of psalm-tunes, adapted for four voices, with an accompaniment for piano; interspersed with numerous interludes and preludes, attached to each tune respectively, and a double set of words In Large Print" (Tallant and Allen). The preface appears to us the most valuable feature of this compilation. That others are not of the same mind, however, may be gathered from the following advertisement (puff?) which the publishers have printed on the back of the cover :—

"The following critical remarks on Psalmodia have reached the author through the medium, and great kindness, of the printer. They are of the most disinterested nature, and were never intended to meet the public eye, haviDg been elicited spontaneously, from the pen of a gentleman (who is utterly unknown to the author, except by name and reputation) on his perusing a copy of the prospectus prior to ita publication :—

"' I may be mistaken, but I fancy this work must become a popular one. The whole arrangement, which is at once novel, interesting, and useful, strikes mo ns being 'just the thing that i.f wanted* An organist, or pianist, has before him (or her), the tune itself, a prelude, and interludes, (containing, in my humble opinion, really lovely bits of harmony), and, on the opposite page, two sets of words in most unmistakeable characters. So excellent an arrangement has certainly never come under my notice before. The truth is, I could look upou this book as upon a pet child of my owu, in which I should have much hope of a fine career.

Regent t Park:"

"We also "may be mistaken" (who among mortals is infallible ?); but surely the following prelude would not be lightly put forth (even "through the medium and great kindness of the printer") by ever so spontaneous and disinterested a gentleman, as either a "lovely bit of harmony," or as "just the thing that is wanted :"—

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If so, we own that Psalmodia, simplex et selecta, would not be "a pet child of ours," nor could we reasonably predict for it "a fine career."

In "selections," from Dinorah, Martha, and Satanella, M. Emile Bcrgcr has culled, with great industry, all the flowers of tune from each opera, and arranged them in so familiar a manner as to come within reach of even the most amateur aspirant to honours as a drawing-room pianist. M. Berger has not missed a single favourite bit; so that each of his selections may fairly be likened to a Christmas pudding gorged with sweets, the most luxurious pudding of the three being unquestionably the Dinorah, which is so full of plums and spices of all kinds that you can scarcely believe that it has been made up of anything else.

MUSIC AND THEATRES IN PARIS,
{From our own Correspondent.)

January \2th.

Last week very few novelties occurred in the lyrical world. At the Italian Opera the Puritani was revived with complete success. Signor Giuglini was charming as ever, and surpassed himself in the air of " Cerca il sonno." He was ably supported by Madame Fenco, Signors Qraziani and Angelini. He will, however, soon be missed by his admirers, if it be true that he is only engaged for twelve performances, as he has already sung seven times in the Trovatore and three times in the Puritani. The curiosity with which the public have been waiting for the new opera by M. G. Braga has at length been gratified. But whether the opera itself has afforded much gratification, I doubt. The first performance was given on the 2nd January. The libretto is written by M. Viave. The principal parts were filled by Mesdames Borghi-Maiuo, Nardi, and Leva; and Signors Gardoni, Graziani, Zucchini, and Casaloni. Although the great expectations that had been raised concerning this new composition have only been partially realised, that it possesses merit and is the work of a man of talent, no one can deny. But it is wanting in those brilliant flashes that raise the man of genius at once out of the crowd of ordinarily talented men, and place him, like Meyerbeer, far above his compeers. Marguerita la Mendicant e, the title of M. Braga's work, is a lyrical melodrama in three acts. The principal defect of the piece is that it has no striking or dramatic situations. The interest of the work is concentrated in one person, and that of course renders the piece monotonous. It has evidently been the object of the authors to create a part in which Madame BorghiMaiuo can display her talent in all its fulness ; and they have dune it in such a manner that but little is left for the others. There is uo doubt that, to a certain extent, to compose on such a system must result, as experience has ever shown, in failure. The favourite operas are those in which there are several good parts, and in which the interest is kept alive in all the varied details of the piece. In the first act, the opening chorus of the journeymen armourers, " Armajuolo canta e ridi," and the air, sung by Othon (Signor Graziani), "Fu perfido con noi troppo il destino," gave fair promise of what the opera would be in the hands of such artists. The second scene, which passes in the Palace of Mulrose, between Rodolphe Berghen and his wife Marguerite, is also good. In the second act Signors Gardoni and Graziani did their best, but all their efforts could not throw into it that fire and passion which a melo-dramatic work demands, not having the materials to work upon. The second Beene in the act is the^best. It is the fair at Leipsic: the chorus of the miscellaneous crowd of people who compose the attendants of a fair is well and tellingly written, and the entrance of Margherita, as a mendicant aillicted with blindness, is a very striking situation. Madame Borghi-Mamo sang the air (in which she asks alms) "Tit nome del Signore, udite I miei Bospiri," in a highly artistic manner. Zucchini sang a buffo air very well. The finale of this act obtained a wellmerited encore. The third act, which brings about the dinoAment of the piece, is the weakest and least interesting of the three. That M. Braga can compose, various parts of this opera prove, and also that he is capable of something superior.

At the Grand-Op6ra the Trouvire, Guillaume Tell and Sulphide succeed each other, and the rehearsals of Prince Foniatowski's opera go on actively.

The Opera-Coiuique gives us nothing new. At the Theatre-Lyrique, the Heine Topazc will be revived, in which Madame Miolau-Carvalho obtained such a brilliant success. Meyerbeer's Dinorah, now making a continental tour, with ever-increasing success, has just made its appearance at Rennes, and will shortly visit various other great French towns.

In the drama little of any importance has taken place lately. A piece, called the Marcliand de Coco, in five acts has been brought out at the Ambigu—but brought out from where, or brought out from what, it were difficult to say. The trash and refuse of the present literature of fiction, which even tho least particular of authors have left in its native mire, MM. Denn'ejy

and Duqu6 have served up, without any of those condiments that help to disguise the equally nasty dishes of MM. A. Dumas, &c Another drama is shortly to be brought out at the Theatre du Cirque Imperial. It is said to be one of great interest. The title is L'Histoire cVun Drapeau. Of course the victories of "La Belle France" will occupy a very prominent part—indeed, form the basis of the piece. While the rehearsals are actively going'on, the theatre is being re-decorated and improved in a very superior style.

The concerts here aro numerous, and some of them well attended. It is a source of general regret that those of Sivori and Bitter have come to an end. Sivori is called to London; Ritter has left for Marseilles. Their concerts here, however, will recommence on the 1st of February.

1 think I told you some little time since of the great displeasure the King of Naples had manifested at seeing how badly the theatre of San Carlos was managed. It has been going on from bad to worse; and a correspondent of L'Europe Artiste, gives a rather absurd account of its proceedings. All confidence has been lost in the Duke de Satriano, the manager, and he has been obliged to resign his post. For a long time a system perfectly ruinous to the interests of the theatre has been pursued, and so great was the mistrust of each other exhibited by the members of the committee, that none were sent to other countries to Bee and judge for themselves of the merits of the various artists they eugaged. A rather curious scene took place some little time since at the San Carlos According to L'Europe Artiste, Signor Negrini forgot for a moment the respect due to the public, during the first act of Norma, which he sang in a very unsatisfactory manner; he was hissed, and replied to the hisses by bowing ironically to the audience in a manner expressing the utmost indifference to their opinion. Upon this, there were redoubled hisses and cries of disapprobation. The tumult was at its height, when fortunately the arrival of the Court put an end to the disgraceful Bcene. Their Majesties were warmly received; their arrival had not been expected, and now came another scene. In the programmes sent to the Court, it was announced that the principal performers in the ballet would be Millie. Boschetti and M. Walpot. The play-bills, on the contrary, had announced Mdlle. Salvioni and M. Baracana, who accordingly appeared. The displeasure of the King, on the appearance of these second-rate artists, was so great that he rose and left the theatre, after expressing great displeasure to the Duke of Satriano. The audience applauded this mark of the King's disapprobation in the most enthusiastic manner; and when the Duke de Satriano appeared in his box, the hisses and groans gave him to understand that his reign was over. He sent in his resignation, which has been accepted. It is not yet known who is the new manager.

M. Roger is engaged at the Italiens, and will make his first appearance as Don Giovanni, in Mozart's opera.

Cologne.—The third GesollschafU Concert, under the direction ol Herr Ferdinand Hiller, took place on the 22nd ult, in the Giirzenich Hall. The programme was as follows :—

First Part.—1. "The Naiads," overture by W. Stcrndalo Hennett.

2. Aria, from La Donna del Lai/o, Rossiui, Mad. de Luigi, from Purls.

3. Symphony, No. il, by J. Rieti (first time).

Second Pakt.—4. Concerto for the violin, by Beethoven, played by Herr J. Grunwald. 5. "PruUlingsbotsclialt, concert-snick for chorus und orchestra, by W. Niuls Gade (first time). (1. Variations front Rossini's Cenerentola, Mad. de Luigi. 7. Overture to Spontini's Cortex.

This concert offered two novelties, which the public here, though, as is well known, not very eager for anything new, received very favourably, welcoming Gade's charming idyll with manifest pleasure and fond applause, and greeting ilietz's symphony with marks of appreciative admiration of the whole, the second movement (scherzo) being more especially distinguished. Tho same may be said of the adagio. The work haB all the merits of an interesting and clever composition, as was to be expected from such a master as ltietz; there is, however, we think, more thought than " dash" in it, so that it may, perhaps, be pi-operly classed among those works which improve upon acquaintance.

The gem of the evening was Beethoven's violin concerto, and the beautiful manner in which it was rendered by Herr Grunwald. This gentleman possesses a peculiar strength of tone, which is capable, however, of all the more delicate touches, without becoming effeminate, and this quality is necessary in order to do justice to the noble style of the concerto. Correct conception, perfectly pure and sterling play, and beautiful, feeling expression, very rightly gained for the artist thunders of applause, especially in the adagio.

Mad. de Luigi, by the mere choice of the pieces she selected, carried us back to an antiquated period of art, though out of the varied crop it produced we still admire some magnificent and lasting shoots; we need mention only Guillaume Tell and the Barbiere di Siviglia. But the two pieces this lady sang in no way belong to the cheques upon immortality which the muse of music has drawn for her favourite, Bossini. It is possible that Mad. de Luigi was a popular singer, when the above period was at its best, but, in her performance on this occasion, there were only a few faint indications which could justify such a supposition. Unfortunately so evident and general a feeling of dissatisfaction as that excited among the audience, is often not to be pacified by the best productions of a different kind. This should not be, it is true, but, as men are constituted, it cannot be prevented.

The chorus had but little to do. It sang, however, the "Fruhlingsbotschaft," by Geibel and Gade, very beautifully; the audience would willingly have had the piece repeated. The orchestra was excellent in the two overtures and the symphony; the last, especially, had been rehearsed with great care.

The fourth concert of this series was given on Thursday, the 6th inst. The following was the programme :—

First Pabt.—1. Beethoven's overture to Coriolanus. 2. Air of Clytemnestra from Gluck's Iphigenia in Avlis (Mdlle. Emilie Genast). 3. Concerto for the violoncello by Molique (andante and finale), played by Alfred Piatti. 4. "O weint um sie," words from liyron, for eolo, chorus and orchestra, composed by P. Hiller. 5. Fantaisie on a theme from J.a Sonnambula, for violoncello (A. Piatti). 6. Cavatina, "Una "Voce," by Eossini (Mdlle. E. Genast).

Sscosn Past.—Symphony, No. v., in C minor, by Beethoven.

The existing telegraphic arrangements now render it possible to send an intimation of an artist's being indisposed fourand-twenty hours before a concert, even from Berlin to the Bhine. The directors of these concerts were on this occasion reminded of the above fact, seeing that the singer engaged for the baritone part in Hiller's Ver Sacrum begged to be released from his engagement on the score of sudden hoarseness. However, a chorus and orchestra such as ours valiantly go through their task, when such a course is absolutely necessary, without any long preparation. We were obliged, it is true, to forego the performance of the Ver Sacrum at this concert, but, instead of it, we had the short, though exceedingly beautiful and popular vocal piece by Heller, "O weint um sie," and Beethoven's Fifth Symphony. As the solo performances, also, were very favourably received, the concert proved one of the most successful and satisfactory of the season.

This could be the case only with an audience which, fortunately, is always inspired aud carried away by works like Beethoven's overture to Coriolanus and the C minor symphony; which follows with the most anxious attention the excellent performance presented to it; and, by tho interest visible on every countenance, is raised to that elevated frame of mind which such productions cause in persons possessed of an undepraved feeling for what is really beautiful and lofty in music.

Mdlle. Genast, from Weimar, manages with skill and science her voice, which, though not powerful, is very pleasing. The consequence is that her execution in the kind of song to which Rossini's air belongs, as well as of the German Lied—of which we have heard some very praiseworthy specimens in private circles—possesses a certain charm and nobleness of character, rendered still more captivating by a natural manner and an absence of pretension.

Besides hearing Herr Alfred Piatti at the Gesellschafts Concerts, we heard him several times at the first concert of the Mannergesang-Verein, on the 8th inst, besides listening to him at private houses, where he played in Beethoven's A major sonata, in a sonata by Hiller (Op. Ji2), for pianoforte and violoncello, and in quartets by Mozart and Beethoven. His most eminent technical skill, his certainty in every possible case, his magnificent purity, etc., call forth the admiration both of the general mass and of professional judges; but wo place his rendering of the melody, his way of singing on the strings, which sounds'as of the best period of the Italian vocal school, and which every Binger now-a-days should take as a model, and, combined with this, his peculiarly fine quartet play, far higher than his mere technical skill, although the latter is certainly most admirable. In his quartet play the manner in which he devotes his energies to the success of the composition as a whole is truly artistic. Never does he show us with an air of contempt what a virtuoso ho is ; but he proves himself to be really a master, capable of embodying in tune, most nobly and purely, the spirit of Mozart and Beethoven, and of rendering it manifest in the most beautiful form. There is, probably, no one equal to him for modern virtuosity and classical play, in the whole sphere of stringed instrumentalists.

Stdttoardt.—Meyerbeer's Dinorah has been produced here with immense enthusiasm. The composer was present at the first performance, and was called before the curtain several times.

MUSIC AND MYSTERY.
(From Punch.)

Persons who like puzzles might often find amusement in the" musical advertisements which are put forth in some of the weekly prints. Here is one, for instance, which contains so hard a nut that even Notes and Queries would find it difficult to crack:—

EWER'S ROYAL PAVILION, SHAFTESBURY, DORSET.— WANTED, Three Musicians to join immediately, double-handed would be preferred. For particulars, &c, addrois as above.

Does the advertiser mean to say, that musicians with two hands are so seldom to be met with, that he thus avows his preference for those who are so gifted? If it be true that as a rule musicians have one hand more commonly than two, the College of Surgeons should be acquainted with the fact, and should set their wits to work in some way to account for it. As far as our experience and memory will carry us, we cannot call to mind that we have ever seen a one-handed musician, and this makes us the more curious to hear, if we can do so, some statistics on the subject.

In the same paper we find another nut to crack, which, for hardness of its shell, compared to the foregoing, is as a Brazil nut to a Kentish filbert:—

TO PIANOFORTE PLAYERS.—WANTED, in a first-class establishment, in the North, for a Spirit Bar-parlour, a good pianoforte player who can also sing. A lame man would be preferred, the salary being moderate. The party suiting the engagement would be permanent. Address, &c.

Why a lamo man should be here preferred because the salary is moderate, is a problem of more puzzlement than we have brains to solve. A lame man might indeed find it hard to use the pedal, and his piano-playing therefore might be somewhat imperfect. But this does not account for the preference professed for him; because, however moderate the salary might be, one would fancy that the advertiser would wish to get as good a player as ho could for it; and might just as well have tried to get an able-legged performer, supposing one were not more expensive than a lame one. If we wished to please the public we should certainly not choose a lame performer for so doing; for however good a hand he might be with his fingers, he never could make much of a quick running accompaniment.

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