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JULLIEN FUND.

THE illness of M. Jullien having, with fatal rapidity, terminated in death. It has been resolved i hat the donations to tho JULLIEN FUND shall be applied in the manner which would liave been most iu accordance with the wishes of the deceased, had it been permitted him to express them, viz , to the relief of his widow and family, who, by his loss, are left totally unprovided for.

Cominitteo tor the distribution of the Jnllien Fund.
Mr. John Mitchell; Mr. R W. Sams; Mr. Thomas Chappoll; Mr. W. Duncan
Davison; Mr. Robert K. Bowley; Mr. Jules Benedict.

Honorary Treasurers.
Mr. John Mitohell; Mr. Thomas Chappell; Mr. W. Sams.

Bankers,

Messrs. CouttaandCo., Strand ; Heywood, Kennards, and Co., Lombard-street; London and County Bank, Hanover-square ;—who, as well as the Honorary Treasurers, havo kindly oonsented to receive subscriptions.

Subscriptions already advertised, jetT? 7s.

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TO CORRESPONDENTS.

The performance at the Royal Italian Opera, in aid of the fund* of the Dramatic College, and the third concert of the London Quintet Union, will be noticed next week.

B. W.—Next week.

NOTICE."

The Musical World may be obtained direct from the Office, 28, Holies-street, by quarterly subscription of five shillings, payable in advance; or by order of any Newsvendor. Advertisements are received until Three o'clock on Friday Afternoon, and must be paid for when delivered. Terms:

Three lines {about thirty words) ,.. 2s. 6d.

Every additional line (ten words) ..„ ... 0*. Gd..

THE MUSICAL WORLD.

LONDON, SATURDAY, March 31st, 1860.

The new lessee of Her Majesty's Theatre has issued his prospectus, which will be found at length in our advertising columns. All we can undertake in this place is to point out some few of its more important features.

The engagement of Mad. Alboni is one of the most satisfactory announcements which the document contains. This incomparable artist is to appear about the middle of May, as Arsace in Semiramide, with Mdlle. Titiens as the Babylonian Queen. Arsace is not only one of Mad. Alboni's greatest parts, but doubly interesting as the one in which she made her first appearance before the English public, when old Covent Garden Theatre, enlarged and remodelled for the occasion, was first opened as the "Royal Italian Opera, under the management of Messrs. Persiani, Galetti, and Beale, on the 6th April, 1847. Since then Madame Alboni has become famous and rich; Madame Grisi has taken her "farewell" (1854), and come back again, to take another in 1860 ; the theatre has been burned down, and a new one has risen from its ashes! Rossini's fine and recently too-much-neglected opera will be further supported by Signor Everardi as Assur, Signor Belart as Idreno (who, wo trust, will be induced to restore the tenor air, almost invariably omitted), and Signor Vialetti, as Oroe. We may further expect to see Madame Alboni in La Cenercntola, the Barbiere., and perhaps, La Donna del I.ago—all of which are operas at once worth producing on their own account, and as vehicles for the favourable display of the lady's magnificent talent.

Madame Borghi-Mamo — the quasi-rival of Madame Alboni, in the Parisian world, if nowhere else—is also engaged. Madame Borghi-Mamo will fill the place vacated by Mademoiselle Guarducci (not yet, we hope, forgotten by Mr. E. T. Smith's patrons), and make her first appearance before an English audience as Leonora, in La Favorita. Subsequently Madame Borghi-Mamo will appear as Azucena in the Troratore, and Desdemona in Otello; the first a part in which she has already reached eminence; the second, in which she will find more difficulty in attaining it—at least on tliis side the Channel.

Mademoiselle Lotti, who made so favourable an impression last season at the Royal Italian Opera, is next on the list of engagements. This promising lady will find her best place in the operas of Verdi, whose music suits her peculiar talent better than that of other masters; but whether RigoleUo or Kriiani will be her new point de depart, we are unable at this time to predict.

Madame Marie Cabel—the celebrated Belgian, who occupies the post of premiire chanteuse at the Opera-Coniique in Paris, and was the original Dinorah in Meyerbeer's Pardon de Ploermel—is also one of the company. Whether Mad. Cabel, who made such a deep impression on John Bull at the St. James's theatre, in several operas of Auber, Adam, <tc, will be equally successful on the Italian stage, which she has never yet tried, remains to be seen. Report says she is to appear in a new Italian version of Dinorali, but report is not always a truth-teller; and Manager Smith has not been explicit on this head. Here, by the way, would be a good chance for the often-asked-for Domino Noir—or, as it, has long threatened to become, Domino Nero.

Last, not least, the universally popular Mdlle. Titiens will not only reappear as Valentine, Norma, Lucrezia, &c, but with other operas, in which, though famous abroad, she is unknown here—such for instance as Fidelio, Der Freischiitz, and Oberon. Weber's Oberon, which though of English birth, has been little cared for in England, will, in all probability, constitute the "special novelty of the season; and upon its production, we hope, as we are given to understand, no pains or expense will be spared. Mr. Benedict (Weber's favourite pupil) is composing recitatives for the Italian version, and his name is a guarantee for the fidelity and talent with which this difficult task will be accomplished.

Last, and least (in proportions), Mdlle. Piccolomini has accepted an engagement, and, in six farewell performances of six of her most popular parts, will take her final leave (unless her aristocratic future husband should change his mind) of the English public, and—it is said (on dit)—public life. The muses will weep and put on sackcloth.

About the other lady-singers we say nothing beyond stating that Mdlle. Brunetti is reported (reported) a talented vocalist of the Persiani school. A pupil of M. Dnprez, Mdlle. Brunetti made her debut some time since at the Grand-Opera of Paris—the reason of her abandoning which great lyric temple, where now they sacrifice to Poniatowski, has not transpired.

The list of tenors includes Signors Giuglini, Mongini and Belart, besides some of lesser—or, speaking in the Palace of Truth—no note. Signor Giuglini intends confining his exertions to his old repertoire, while Signor Mongini will make a first attempt at several characters, the most important of which are Otello, Florestan (Fidelio), and Sir Huon (Oberon). God speed him! These arc up-hill parts for a quondam Elvino.

No new name of consequence appears among the barytones and basses except that of Signor Everardi, who now enjoys, at Vienna and St. Petersburg, and formerly in Paris, at the Italian Opera, a high reputation as a singer of Bossini's music, which commodity, with such artists as we have enumerated, will, it is likely, be more generally in request than has been the case of recent years. M. Gassier, too—an adept in the same line, as English amateurs well know—is also not merely on the. books, but prepared once more to challeuge public opinion.

The list of the band has appeared, and in stating that, to officiate at the head of the first violins, are appointed Herr Molique and Mr. H. Blagrove, and at the head of the second violins, M. Tolbecque, we cannot refrain from adding a strong hope, that all the rest may be as efficient in proportion. Mr. Benedict is not a likely man to undervalue the immense importance of a thoroughly good orchestra, both in numbers and in talent, and will doubtless be on the alert. Meanwhile, all we know about the chorus is, that a new

chorus-master, Signor Vaschetti, has been summoned from Bologna (where Rossini fed pigs, ate sausages, and turned fishmonger), and that he will obey the summons.

The ballet arrangements, even for her Majesty's Theatre, look unusually powerful and complete, and in perspective bring us back to the days of the Pas de Quatre and the triumphs of Esmeralda-Carlotta, when Terpsichore was worshipped, danseuses were deified, and even danseurs (thanks to the illimitable little Perrot) admired by one sex (the " beau "); and tolerated by the other (the " laid "). We may point emphatically to Marietta Pocchini, one of the most accomplished of living danseuses; to Amalia Ferraris, idol of the French and Russian capitals/ and to Claudina Cucchi, who has jilted her Parisian adorers to turn the heads of the Viennese. These make a splendid trio to begin with. The promised new ballets, and the period for the expected rising of each "particular star," may be ascertained by a reference to our advertising columns; we canuot enumerate them here. Enough to add that M. Pettit is at the head of the ballet department, a pledge for its efficiency.

The theatre has undergone thorough renovation within and without. The old frequenters will hardly recognise the interior. The pit-vestibule, the lobbies on the grand tier, and the crush-rooms, are lined with mirrors. The walls have been papered, the ceilings painted, the floors and stairs carpeted, the chandelier glossed and burnished, the stalls newly arranged, &c., &c. A conservatory is, we understand, projected, on the balcony overlooking the I lay market, which, being on a line with the grand tier, will cause no inconvenience to promenaders. The Concert-room, too, is to be "freshened," and converted into a lounge-room. In fact, Her Majesty's Theatre, in point of anything excepting its outward and inward conformation, its "power of sound," and its amber curtains (Lumleyan legacy), will be a new edifice. Much more might be said of what is in progress, but enough has been adduced to show that the new manager emphatically intends "business."

What would Her Majesty's Theatre before the curtain be without Mi-. Nugent? N'importe—Mr. Nugent is once again before the curtain, or, more properly, behind the mahogany desk in the Box-office, whence he will dispense boxes, stalls, and good humour, with his accustomed placidity and gentlemanly bearing.

John, the waiter of the Edinburgh Castle, never very florid, was ten times paler than usual at the hubbub made by the three Anabaptists, who had rushed from the Royal English Opera, each armed with a book of Lurlirie, and who, occupying the choicest seats, and giving no orders whatever, were making the coffee-room ring with their noisy aesthetics.

"Ye thick-headed children of Belial !" bellowed Knipperdolling, "the sense is as clear as the sun at noon-day, or the light of the blessed John of Leyden. 'Offended skies are demons lashing,' that is to say, demons are lashing the offended skies,—offended either on account of things in general, or because the demons are lashing them."

"Shut up thine heretical mouth, accursed Manichee!" roared Matthias, /' or rather woi-se than Manichee, for thou makest tho powers of darkness triumphantly smite the powers celestial. The natural order of the words, too, should teach thee,—apart from theological considerations—that the skies lash the demons,—not the demons the skies."

"Both utterly false and utterly perverse," growled the third Anabaptist. "Our poet doth not merely state a fact of the moment but inculcateth an. irrefragable dogma. 'Offended skies are demons lashing,'—that is to say the skies, or the celestial powers, are themselves lashing demons —evil having no independent origin, but merely representing the worth of the good principle."

Now these three opinions were all knocked and jostled and banged together, to the infinite annoyance of everybody, and the special horror of John, whose face at last beamed with hope, when he saw Epistemon walking up the passage, looking infinitely placid and benignant.

"Oh, sir," Baid John, "pray make them stop their noise, and persuade them to order something."

"I will do my best," replied the sage. "Thanks to the power of your lungs, gentlemen," he continued, turning to the Anabaptists, "I heard all your views, while I was taking the air in Clare-market; and I think I can, as it were, tie them together in a knot of concord. The sentence is curiously composed, as it is doubtful which of the two, the skies, or the demons, are in the nominative case, or whether indeed both may not be in the nominative, according to the hypothesis of Mr.—Monsieur—Herr—

"I have no name," murmured the third Anabaptist.

"Then," said Epistemon, "Thou shalt be called Nixmydolly, which is a name, moreover, that harmoniseth, to some extent, with that of thy friend Knipperdolling. But to revert to our theme: May we not suppose that our poet had a deep purpose in this seeming ambiguity i Oracles, ye know, were obscure, and I trust we all agree that our Fitzball is an oracle."

"Else had we not quarrelled about his meaning," chorused the three Anabaptists in unison.

"And perhaps might have ordered something," suggested John, but his hint was disregarded.

"I, for my part," proceeded Epistemon, " should give the line what I may call a reciprocal force, by making a nominative, first of the "Bkies," afterwards of the "demonsso that the skies lash the demons, while the demons lash the skies—thus indicating that state of doubt and suspense in which things remain at the end of the first act."

The three Anabaptists all folded their arms, and with solemn faces chewed the cud of this subtle interpretation.

"Let us avail ourselves of the present opportunity," said Epistemon, getting upon the table, "of descanting on the merits of this last work of our inspired Edward. It aboundeth with beauties that escape the vulgar eye, but amply reward the search of the curious and refined. How exquisitely beautiful, for instance, is the exclamation of Rudolph, when he first receiveth the ring from Lurline.

1,11 Behold! a magio band—
This ruby ring of her a part.'

Now if he were speaking of a mortal, the expression would be incorrect. We should not call a ring a part of a woman, any more than we should call that white choker a part of John; but such is the nature of spiritual beings, that their individuality extends even to their outward ornaments."

"Then a part of himself were John of Leyden's breeches," observed Knipperdolling.

"Perhaps, thou subtle expounder!" said Matthias with a meekness he had never felt before in his abominable life, "perhaps thou canst explain the force of*Rudolph's expression in the third act:

'A jealous rival's art
Tore the solemn gift apart.'" }

"Thy question is shrewd," said Epistemon, blandly; "as the lady called Ghiva simply took the ring off, there is something odd and even round about in the statement that she tore it apart. Let us believe that the poet here sports with the recondite, to show his aptitude for dealing with the world of spirits, I may say that this word 'apart,' placed as an equivalent for 'off,' hath on me the effect of a spiritrapping. "We know not exactly wliat the rapping means, but it indicateth the approach of another nature."

"Be apart !" said John sternly, to some one on the other side of the door."

"What say'st thou, John the Blond," said Epistemon.

"Only -telling a beggar-boy to be off," said John, with considerable dignity.

"Dost thou put the same spiritual interpretation on the distich

'The billovr swell
Rings out thy knell.'

sung by the spirits in the finale to the first act 1" asked the third Anabaptist, with marvellous solemnity. "The bellringer of Notre Dame, whom they called by the popish, and therefore repulsive name Quasimodo, was an odd sort of personage, but methinks the swell of the sea placed in a similar office would be more extraordinary."

"What," said Epistemon, "dost thou really think that by the billow-swell is meant that rise of the waters that so much troubleth weak stomachs on the way to Ostend ?—not at all; the ' billow swell' is the gnome, played by Mr. Corri, who, profusely adorned with all sorts of supernatural trinkets, is a 'swell' in the most modern sense of the term—blessings on his long hair! and a billow-swell because he abideth among the billows. Our poet could not always be recondite, else would he destroy that sympathy between the actual and the spiritual world which is necessary for the enjoyment of his work. The incredulous can no longer marvel that a mortal falls in love with a naiad, when a smart gnome is called a 'swell' by his fellow-spirits. Truly the passage has puzzled thee by its excessive clearness, as the sun dazzles by too much light. Thou wilt therefore the more readily applaud those verses in which our poet is manifestly inspired by the Delphic Apollo. Thus, when Lurline singeth

"' My wild chords pierce tho gale,
And distract the mariner's sail,'

one begins to marvel at the sensitiveness of the canvas that
was so much annoyed by an unprepared fourth.
"When again she saith:

"' My fairy Bpell shall breathe thy call,'

the mind seemeth to be brought before the veiled figure of Isis, and indulgeth in fantastic permutations. Would the spell that breatheth a call be very different from the call that breatheth a spell, or the spell that calleth a breath, or the breath that spelleth a call. Thus sporteth the mind, I say, till it becometh faint and weary from its own gambols. Moreover, observe"—

Here Panurge sprang into the room, playing a hurdygurdy, and singing the following song, while he danced about like a wild Indian:

"Oh, nothing shall from memory blot
My childhood's home, that pleasant cot
More happy than a fairy's grot;
For tied to mem'ry by a knot
Is that incomparable spot.
Whether a store of gold I've got,
Or miserably go to pot,

I do not care a single jot,
So loDg as 'tis my wretobed lot
To miss creation's fairest dot.
Ob, if but homewards I could trot,
I would encounter—I know what."

Having finished this wild lay, Panurge danced out at the door, furiously playing his hurdy-gurdy, and followed by Epistemon and the three Anabaptists, who disported themselves as if they had been bit by a tarantula. When he had arrived at Bow-street, Panurge gave himself and his followers into the charge of the nearest policeman, who safely locked them up in the station-house for the rest of the night.

Not one of them had laid out a brass farthing; and when John the waiter went to bed, he reflected that he had never heard so much wisdom, or taken so little money, in the course of his life.

WILLIAM LOVELL PHILLIPS.

In Out obituary last week we briefly recorded the death of this lamented and highly respected musician, whose loss is as sincerely regretted by the profession of which he was so long a member, as it is deeply deplored by his family and friends.

Mr. Lovell Phillips was born at Bristol, December 26th, 1816, and at an early age entered the Cathedral choir of that city, subsequently proceeding to London, where he occasionally sung as Master Phillips, the beauty of his voice being greatly admired, and particularly attracting the approbation of Miss Stephens, afterwards Countess of Essex. He became a student at the Royal Academy of Music, where he was a pupil of Cipriani Potter and class-fellow of Sterndale Bennett, both youths distinguishing themselves by the highest promise, and eventually becoming professors of that Academy from which they had derived their instruction. For some time Master Phillips took lessons on the violoncello from Robert Linley, who looked upon him as one of the most talented and promising of his pupils, and gave him his portrait with an inscription to that effect. He soon became a member of the leading orchestras in London, the Philharmonic, Ancient Concerts, Her Majesty's, and afterwards the Royal Italian Opera, the Sacred Harmonic, Arc, dsc, besides being regularly engaged at the Festivals of three Choirs, Birmingham, Norwich, Bradford, and for many years holding the appointment of organist at St. Katherine Church, Regent's-park. At different times Mr. Phillips was musical director at the Olympic and Princess's Theatres, composing the music to Gwynnelh Vaughan and a variety of pieces; and at one time conducting a series of concerts at St. Martin's Hall. His songs, &c., are very well known, and it is not long since we had occasion to commend one of his latest productions in that way, "The Christmas Rose." An opera founded on a Rosicrucian story, and a cantata on a Welsh subject, had, for some time prior to his illness, engaged his attention, and, from his thorough musical knowledge, would no doubt have achieved a success, had he lived to complete them. Among the earlier compositions of Mr. Phillips was a grand orchestral symphony in F minor, which was performed with great success at the concerts of the Royal Academy and of the Society of British Musicians. He also attained great proficiency on the pianoforte, and played more than once at the concerts of the Royal Academy, his last public performance being the fifth concerto of Moscheles, in C major.

Always ready in the cause of charity, for many years past Mr. Phillips had given his services at the General Theatrical Fund Dinner, organising and conducting the musical portion of the entertainment, and had made all the necessary arrangements for the forthcoming dinner, to be held next week. So anxious indeed was he on the subject, that, even during the last few days of his illness, he gave directions for all the correspondence and necessary preparations, hoping to be sufficiently recovered to attend personally; but the hand of death frustrated these expectations. His last moments were eminently calm and peaceful; and he retained full possession of his faculties until his latest breath. Surrounded by his family, he passed away with a placid smile on his countenance, and a conscience guiltless of wrong. The immediate cause of his death was disease of the heart, from which he had long been suffering.

Few men in the profession were better known than Lovell Phillips, none more beloved. His genial, good-tempered manner and kind heart endeared him to all with whom he was brought in contact. The loss to his widow and two children is irreparable, for his domestic qualities were as endearing as his professional talents were remarkable. His mortal remains were interred at the Highgate Cemetery on Saturday last, some of his oldest and most attached friends following to pay him the last sad tribute of respect.

The Jullien Fund, as will be seen by the advertisement, is progressing steadily; and the shilling subscription, as we anticipated, has proved signally successful. We may here state that the publishers of this journal (Messrs. Boosey and Sons) have opened a book to the JULLIEN SHILLING FUND, at 28, Holies-street, Cavendish-square, and that, for the convenience of those residing in the country, and who may be anxious to contribute, will be happy to receive the amount in postage stamps, and give an acknowledgment in the columns of the Musical World.

Mdlle. Piccolomini.—We understand from the best authority, that this popular artist will take her final leave of the stage on the boards of Her Majesty's Theatre on the 30th of April, and on the following day be united in matrimony to a noble compatriot.

Mr. And Mrs. Howard Paul, on Monday next, resume their entertainment, with new songs and characters, at the St. James's Hall, Piccadilly, for a brief farewell season.

JULLIEN.

(Translated expressly for the Musical World, from the Paris Figaro, of the 22nd inst.)

Jullien, the celebrated Jullien, died last week. He was one of the most extraordinary men it is possible to imagine. Born in a little town in the Basses-Alpet, and the eon of a poor musician, at the age of sixteen he reached Peris, unable to read, but with such a marvellous musical organisation that he played almost every instrument.

Jullien subsequently had lessons from Raimondi, and became a truly talented instrumentalist, conductor, and composer.

Jullien possessed a real genius for the puff and the canard, or English "shave." At Paris, thanks to his talent, and thanks to the art with which he excite 1 public curiosity, he was named the Napoleon of Music. At the Jardin Turc, at the balls of the Opera, and at the Casino Paganini, in the Rue de la Chaussee d'Ant in, he discovered the secret of attracting and captivating the masses. He invented a great many things; he invented pyrotechnical music; he invented also, a style of street-posters bnt slightly respectful towards the constituted authorities.

M. Delessert, the Prefect of Police, having insisted that the Casino Paganini should be closed, Jullien conceived the notion of giving a grand monster festival, which he announced by advertisements and bills. By means of an ingenious combination of large capitals, six inches in height, with type of a microscopic size, he managed to make the ^posters express something very different from what expressed ostensibly. Whon near tbem, you read the announcement of the concert; but, at a distance, the small type disappeared, and only the large capital letters were visible. These largo letters apostrophised the authorities with a word which may have been sublime, from tho energy, on the hostile field of Waterloo, but which was grossly impertinent in a Parisian poster.

To avoid the consequences of being condemned in a criminal court, Jullien left France and settled in London. In England ho invented things far more extraordiuary than those of which he had dreamt in France. Thanks to his promenade-concerts, his provincial tours, and his really great talent as a composer of dance-music, as well as of serious compositions, and to his skill as a performer on the flageolet, he made and lost a fortune two or three times. By the word fortune, too, I do not mean a composer's fortune, but a banker's fortune—a fortune of sixteen or twenty thousand pounds.

The London concerts are interminable. I have at this moment before my eyes a programme containing, for a single concert, five trios, twelve airs, six ballad*, three melodies, three fantasias, a caprice, four duets, and five conoerted pieces. The first thing by which Jullien brought himself into notice was the composition of his programmes.

By the way, no one can be more fantastic than an English amateur. A short time after his arrival in England Jullien was engaged to play the flageolet at the mansion of one of the principal members of the English peerage. His Lordship, supposing that Jullien did not understand English, approached the accompanyist and said in a low voioe:

"Tell the gentleman not to play anything too long. I do not like long pieces."

The accompanyist did not know what to do, but Jullien said to him with a smile: "Stop when I stop, and close the book."

Every one was silent, and listened. Jullien plaved twenty bars and stopped. The accompanyist did the same, The audience were in raptures. His Lordship, running up and pressing the artist's hand, said:

"Ah! Monsieur, the piece you have plaved is admirable. But it is too short, you must give us another."

"With pleasure, my Lord, but you must pay me double."

His lordship consented enthusiastically. Quietly opening the musicagain, Jullien went on from the passage where ho had left off, and concluded tho piece amidst thunders of applause.

The influence exercised by Jullien over the London amateurs was something immense. The following is an instance of this. It is impossible to convey an idea of the excesses of monomania to which an English lover of music will go. There are, in London, musical amateurs who possess admirable instruments which they zealously guard, day and night, like so many dragons, for fear an artist should get at then). Thus Mr. Plnwdcn has, in his collection, two Stradivarii, and three Quarnerii worth an empire; Mr. Livingston owns oneand-twenty Stradivarii; and Mr. Goding, a brewer, boasts of four Joseph Guarnerii, one And. Guauerius, four Stradivarii, three Bergonzi, one Amati, and violoncellos of Stradivarius, Bergonzi, and Gaspare de Salo, besides a magnificent harpsichord, which belonged to Louis XIV. Every morning the worthy brewer takes a violin out of its case, extracts from it two or three chords, which make the passers-by shudder, and then puts it back again. When he has thus tasted all the instruments, ono after the other, as if they samples of ale or porter, he rubs his hands, and breakfasts with an Englishman's appetite.

Jullien conceived the idea of giving a coucort in which all the instruments belonging to Messrs. Plowden, Livingston Goding, Sir John Lambton, Sir Arthur Cook, and many others should play their parts! These ferocious amateurs who would not haveallowed Beriot,Vieuxtemps, or even Paganini himself to try their instruments, actually consented to trust them to Jullien, who distributed them among the members of his band. The concert created a great sensation. The placo where it was held was crowded to suffocation, and the price of admission was four guineas.

In 1851 a formidable rival seemed likely to deprive Jullien of his monopoly of winter music. Mr. Balfe, the composer aud conductor at Her Majesty's Theatre, got up a series of magnificent concerts. He engaged all the soloists on whom Jullien relied to carry out his usual enterprise. It was impossible to maintain the contest with the ordinary resources. It is true that Jullieu might have crossed over to the Continent, and engaged soloists as skilful as those who had been snatched from him. But this would not have been doing more than his rival, and the chances would have been equal. Jullien was too well acquainted with the musical taste of the English not to know what

would suit them best. He sent over to Paris for thirty drummers of the National Guard, with a magnificent drum-major. On their very first appearance at Jullien's Concert, the fate of Mr. Balfe's concerts was sealed. How was it possible for anyone to stand his ground with the symphonies of Beethoven and Mozart against thirty drummers of the National Guard? Then, too, the evolutions of the drum-major invariably exoited the enthusiasm of this eminently musical people. The town was in a delirium, a perfect fury. Everyone must hear and see them. The rub-a-dubs of these virtuosi on asses' skins turned everyone's brain, and London was nearly going mad with pleasure and admiration. •

When he had well worked out the Metropolis, Jullien took all his band to the principal towns of the United Kingdom. Ah! what Bplendid bills he composed for his concerts. The following is a fragment of one of them.

"M. JULLIEN'S* "Gbeat Exhibition Quadbillb "Will be performed. "The band will execute M. Jullien's Great Exhibition Quadrille, allowed to be the best quadrille ever written by the composer, and performed thirty nights running with unprecedented success. To add to all that has been announced above, and to contribute to the better execution of the quadrille, M. Jullien has obtained from Gen. Pebbot, Pbinck Louis Napoleon, Pbesident De Fbance (sic), as well as from the Minister of the Interior, leave of absence for

"THE FEENCH DRUMMERS "of the 12th Logion of the National Guard of Paris, who will appear in grand uniform, and be conducted by

"M. Babbieb, "their Dram-Major." Is not this the ideal of its kind, and what are our modest advertisements, our innocent bills, compared to the noble and pompous style employed by the nation whom Voltaire styled a people of thinkers, because they possessed a constitution? What would he now say of us, who have since had so many?

Jullien had a passion for fine shirts. He had some which cost him forty, sixty and eighty pounds. On one occasion, when he was going to give a concert at New Orleans, the bill contained the following paragraph:

"The shirt M. Jullien will wear, while conducting his orchestra, will represent the Falls of Niagara."

At New York, after a concert at which forty-two thousand persons were present, he was offered the title of an American citizen.

"In spite of his eccentricities, Jullien was a man of great merit and talent. Ho was very fond and proud of his art. He was conductor at Her Majo-ty's, Drury Lane, Covent Garden, and the Lyceum. He was also conductor of the Court Balls. The Queen and Princo Albert liked him very much.

Ono day, Prince Albert said to him :—

"Well, M. Jullien, are you getting on in your business?"

"Your Royal Highness," replied Jullien, "I am not in business; I am in music."

While in London, Jullien composed a large quantity of danoe-music, as well as symp' onies, maritime symphonies, Le Corsaire2?oir, RosiSa, Le Nuits de Rome, Ac., Ac. He composed, also, a grand five-act opera, Pietro il Grande, the subject of which is the same as that of L'Etoile du Nord. The great reputation of Tamberlik dates partly from the performance of the former opera.

Jullien had been all over the world, and everywhere made theatres and concert-rooms his study. He conceived, and had the plan, of a hall formed to scat ten thousand spectators comfortably, and enable them to hear a quatuor by Beethoven as easily as if they were in ■ drawing-room. He erected a building, the Royal Surrey Gardens* Hall, which combined these conditions of space and acoustic excellence. Unfortunately, this ruined him. He returned to Paris, where, despite his failure in London, he wanted to erect an immense hall, which, according to his plan should be equally adapted for summer or for winter; in which chandeliers should bo done away with, and the light bo supplied through a ceiling composed of opaque crystal, mellowing the rays of the four thousand gaB-burners. The plans of this hall were executed by himself and M. Galvani, a young Italian architect, grandson of the inventor of galvanism.

Shortly after his arrival in Paris, Jullien was arrested and confined

* As we have not the original, we give a version of the French transition.—Ed. M.W.

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