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MUSIC AND THEATRES IN PARIS,
and Duqué have served up, without any of those condiments that (From our own Correspondent.)
help to disguise the equally nasty dishes of MM. A. Dumas, &c.
Another drama is shortly to be brought out at the Théâtre du
January 12th. Cirque Impérial. It is said to be one of great interest. The LAST week very few novelties occurred in the lyrical world. title is L'Histoire d'un Drapeau. Of course the victories of At the Italian Opera the Puritani was revived with complete 1 "La Belle France" will occupy a very prominent part-indeed, success. Signor Giuglini was charming as ever, and surpassed form the basis of the piece. While the rehearsals are actively himself in the air of « Cerca il sonno." He was ably supported | going on, the theatre is being re-decorated and improved in a by Madame Penco, Signors Graziani and Angelini. He will, very superior style. however, soon be missed by his admirers, if it be true that he is The concerts here are numerous, and some of them well only engaged for twelve performances, as he has already sung attended. It is a source of general regret that those of Sivori seven times in the Trovatore and three times in the Puritani, and Ritter have come to an end. Sivori is called to London ; The curiosity with which the public have been waiting for the Ritter has left for Marseilles. Their concerts here, however, new opera by M. G. Braga has at length been gratified. But will recommence on the 1st of February whether the opera itself has afforded much gratification, I doubt. I think I told you some little time since of the great displeaThe first performance was given on the 2nd January. The sure the King of Naples had manifested at seeing how badly libretto is written by M. Viave. The principal parts were the theatre of San Carlos was managed. It has been going on filled by Mesdames Borghi-Mamo, Nardi, and Leva ; and Signors from bad to worse ; and a correspondent of L'Europe Artiste, Gardoni, Graziani, Zucchini, and Casaloni. Although the great gives a rather absurd account of its proceedings. All confidence expectations that had been raised concerning this new composi- l has been lost in the Duke de Satriano, the manager, and he has tion have only been partially realised, that it possesses merit and been obliged to resign his post. For a long time a system peris the work of a man of talent, no one can deny. But fectly ruinous to the interests of the theatre has been pursued, it is wanting in those brilliant flashes that raise the man of and so great was the mistrust of each other exhibited by the memgenius at once out of the crowd of ordinarily talented men, bers of the committee, that pone were sent to other countries to see and place him, like Meyerbeer, far above his compeers. Mar- 1 and judge for themselves of the merits of the various artists they guerita la Mendicante, the title of M. Braga's work, is a lyrical engaged. A rather curious scene took place some little time melodrama in three acts. The principal defect of the piece is | since at the San Carlos. According to L'Europe Artiste, Signor that it has no striking or dramatic situations. The interest of Negrini forgot for a moment the respect due to the public, the work is concentrated in one person, and that of course during the first act of Norma, which he sang in a very unsatisrenders the piece monotonous. It has evidently heen the object factory manner; he was hissed, and replied to the hisses by of the authors to create a part in which Madame Borghi bowing ironically to the audience in a manner expressing the Mamo can display her talent in all its fulness; and they have utmost indifference to their opinion. Upon this, there were done it in such a manner that but little is left for the others. | redoubled hisses and cries of disapprobation. The tumult was There is no doubt that, to a certain extent, to compose on such at its height, when fortunately the arrival of the Court put an a system must result, as experience has ever shown, in failure. end to the disgraceful scene. Their Majesties were warmly The favourite operas are those in which there are several good received; their arrival had not been expected, and now came parts, and in which the interest is kept alive in all the varied another scene. In the programmes sent to the Court, it was details of the piece. In the first act, the opening chorus of the announced that the principal performers in the ballet would be journeymen armourers, “ Armajuolo canta e ridi," and the air, Mdlle. Boschetti and M. Walpot. The play-bills, on the consung by Othon (Signor Graziani), “Fu perfido con noi trary, had announced Mdlle. Salvioni and M. Baracana, who troppo il destino," gave fair promise of what the opera accordingly appeared. The displeasure of the King, on the would be in the hands of such artists. The second scene, appearance of these second-rate artists, was so great that he which passes in the Palace of Mulrose, between Rodolphe rose and left the theatre, after expressing great displeasure to Berghen and his wife Marguerite, is also good. In the second the Duke of Satriano. The audience applauded this mark of act Signors Gardoni and Graziani did tbeir best, but all their the King's disapprobation in the most enthusiastic manner; efforts could not throw into it that fire and passion which a and when the Duke de Satriano appeared in his box, the hisses melo-dramatic work demands, not having the materials to work and groans gave him to understand that his reign was over. upon. The second scene in the act is the best. It is the fair at He sent in his resignation, which has been accepted. It is not Leipsic: the chorus of the miscellaneous crowd of people who vet known who is the new manager. compose the attendants of a fair is well and tellingly written,
M. Roger is engaged at the Italiens, and will make his first and the entrance of Margherita, as a mendicant alllicted with appearance as Don Giovanni, in Mozart's opera. blindness, is a very striking situation. Madame Borghi-Mamo sang the air (in which she asks alnis) “Tu nome del Signore, udite I miei sospiri,” in a highly artistic manner. Zucchini COLOGNE.-The third Gesellschafts Concert, under the direcsang a buffo air very well. The finale of this act obtained a well- tion of Herr Ferdinand Hiller, took place on the 22nd ult., in merited encore. The third act, which brings about the dénor- | the Gürzenich Hall. The programme was as follows: ment of the piece, is the weakest and least interesting of the | FIRST PART.--1. “The Naiads,” overture by W. Sterndale Bennett: three. That M. Braga can compose, various parts of this opera 2. Aria, from La Donna del Lago, Rossini, Mad. de Luigi, from Paris. prove, and also that he is capable of something superior.
3. Symphony, No. 3, by J. Rietz (first time). At the Grand-Opéra the Trouvère, Guillaume Tell and SECOND PART.-4. Concerto for the violin, by Beethoven, played by Sylphide succeed each other, and the rehearsals of Prince Herr J. Grunwald. 5. “Frühlingsbotschalt, concert-stick for chorus Poniatowski's opera go on actively.
and orchestra, by W. Niels Gade (first time). 6. Variations from The Opéra-Comique gives us nothing new. At the Rossini's Cenerentola, Mad. de Luigi. 7. Orerture to Spontini's Théâtre-Lyrique, the Reine Topaze will be revived, in which Cortez. Madame Miolan-Carvalho obtained such a brilliant success. This concert offered two novelties, which the public here, Meyerbeer's Dinorah, now making a continental tour, with though, as is well known, not very eager for anything new, reever-increasing success, has just made its appearance at Rennes, ceived very favourably, welcoming Gade's charming idyll with and will shortly visit various other great French towns.
manifest pleasure and fond applause, and greeting Rietz's symIn the drama little of any importance has taken place lately. phony with marks of appreciative admiration of the whole, the A piece, called the Marchand de Coco, in five acts has been second movement (scherzo) being more especially distinguished. brought out at the Ambigu—but brought out from where, or The same may be said of the adagio. The work has all the brought out from what, it were difficult to say. The trash and merits of an interesting and clever composition, as was to be refuse of the present literature of fiction, which even the least expected from such a master as Rietz; there is, however, we particular of authors have left in its native mire, MM. Denpery think, more thought than “dash" in it, so that it may, perhaps,
be properly classed among those works which improve upon / Besides hearing Herr Alfred Piatti at the Gesellschafts acquaintance.
| Concerts, we heard him several times at the first concert of the The gem of the evening was Beethoven's violir concerto, and Männergesang-Verein, on the 8th inst., besides listening to him the beautiful manner in which it was rendered by Herr Grun- at private houses, where he played in Beethoven's A major wald. This gentleman possesses a peculiar strength of tone, sonata, in a sonata by Hiller (Op. 22), for pianoforte and violonwhich is capable, however, of all the more delicate touches, cello, and in quartets by Mozart and Beethoven. His most without becoming effeminate, and this quality is necessary in eminent technical skill, his certainty in every possible case, order to do justice to the noble style of the concerto. Correct his magnificent purity, etc., call forth the admiration both conception, perfectly pure and sterling play, and beautiful, feel of the general mass and of professional judges ; but we ing expression, very rightly gained for the artist thunders of place his rendering of the melody, his way of singing on the applause, especially in the adagio.
strings, which sounds'as of the best period of the Italian vocal Mad. de Luigi, by the mere choice of the pieces she selected, school, and which every singer now-a-days should take as a carried us back to an antiquated period of art, though out of model, and, combined with this, his peculiarly fine quartet play, the varied crop it produced we still admire some magnificent far higher than his mere technical skill, although the latter is and lasting shoots; we need mention only Guillaume Tell and | certainly most admirable. In his quartet play the manner in the Barbiere di Siviglia. But the two pieces this lady sang in which he devotes his energies to the success of the composition no way belong to the cheques upon immortality which the muse as a whole is truly artistic. Never does he show us with an of music has drawn for her favourite, Rossini. It is possible air of contempt what a virtuoso he is; but he proves himself to that Mad. de Luigi was a popular singer, when the above period be really a master, capable of embodying in tune, most nobly was at its best, but, in her performance on this occasion, there and purely, the spirit of Mozart and Beethoven, and of renderwere only a few faint indications which could justify such a ing it manifest in the most beautiful form. There is, probably, supposition. Unfortunately so evident and general a feeling of no one equal to him for modern virtuosity and classical play, in dissatisfaction as that excited among the audience, is often not the whole sphere of stringed instrumentalists. to be pacified by the best productions of a different kind. This STUTTGARDT.-Meyerbeer's Dinorah has been produced here should not be, it is true, but, as men are constituted, it cannot with immense enthusiasm. The composer was present at the be prevented.
first performance, and was called before the curtain several The chorus had but little to do. It sang, however, the times. “ Frühlingsbotschaft,” by Geibel and Gade, very beautifully ; the audience would willingly have had the piece repeated. The
MUSIC AND MYSTERY. orchestra was excellent in the two overtures and the symphony; the last, especially, had been rehearsed with great care.
(From Punch.) The fourth concert of this series was given on Thursday, the PERSONS who like puzzles might often find,
PERSONS who like puzzles might often find amusement in the 6th inst. The following was the programme :
musical advertisements which are put forth in some of the FIRST PART.-1. Beethoven's overture to Coriolanus. 2. Air of
weekly prints. Here is one, for instance, which contains so Clytemnestra from Gluck's Iphigenia in Aulis (Malle. Emilie Genast).
| hard a nut that even Notes and Queries would find it difficult to 3. Concerto for the violoncello by Molique (andante and finale), played
| crack :by Alfred Piatti. 4. “O weint um sie," words from Byron, for solo,
TWER'S ROYAL PAVILION, SHAFTESBURY, DORSET.chorus and orchestra, composed by F. Hiller. 5. Fantaisie on a theme
L WANTED, Three Musicians to join immediately, double-handed from La Sonnambula, for violoncello (A. Piatti). 6. Cavatina, “ Una
would be preferred. For particulars, &c., address as above. Voce,” by Rossini (Mdlle. E. Genast).
SECOND PART.-Symphony, No. V., in C minor, by Beethoven. Does the advertiser mean to say, that musicians with two
The existing telegraphic arrangements now render it pos. | hands are so seldom to be met with, that he thus avows his presible to send an intimation of an artist's being indisposed four-ference for those who are so gifted ? If it be true that as a rule and-twenty hours before a concert, even from Berlin to musicians have one hand more commonly than two, the College the Rhine. The directors of these concerts were on this occasion of Surgeons should be acquainted with the fact, and should set reminded of the above fact, seeing that the singer engaged for
their wits to work in some way to account for it. As far as our the baritone part in Hiller's Ver Sacrum begged to be released experience and memory will carry us, we cannot call to mind from his engagement on the score of sudden hoarseness. How-| that we have ever seen a one-handed musician, and this makes ever, a chorus and orchestra such as ours valiantly go through us the more curious to hear, if we can do so, some statistics on their task, when such a course is absolutely necessary, without the subject. any long preparation. We were obliged, it is true, to forego the | | In the same paper we find another nut to crack, which, for performance of the Ver Sacrum at this concert, but, instead of hardness of its shell, compared to the foregoing, is as a Brazil it, we bad the short, though exceedingly beautiful and popular nut to a Kentish filbert :vocal piece by Heller, “ o weint um sie," and Beethoven's Fifth
MO PIANOFORTE PLAYERS.-WANTED, in a first-class esta. Symphony. As the solo performances, also, were very favourably received, the concert proved one of the most successful and
1 blishment, in the North, for a Spirit Bar-parlour, a good pianosatisfactory of the season.
forte player who can also sing. A lame man would be preferred, the This could be the case only with an audience which, fortu
salary being moderate. The party suiting the engagement would be
permanent. Address, &c. nately, is always inspired and carried away by works like Beethoven's overture to Coriolanus and the C minor symphony; Why a lame man should be here preferred because the salary which follows with the most anxious attention the excellent | is moderate, is a problem of more puzzlement than we have performance presented to it; and, by the interest visible on brains to solve. A lame man might indeed find it hard to use every countenance, is raised to that elevated frame of mind | the pedal, and his piano-playing therefore might be somewhat which such productions cause in persons possessed of an unde- | imperfect. But this does not account for the preference propraved feeling for what is really beautiful and lofty in music. fessed for him ; because, however moderate the salary might be,
Malle. Genast, from Weimar, manages with skill and science one would fancy that the advertiser would wish to get as good her voice, which, though not powerful, is very pleasing. The a player as he could for it; and might just as well have tried consequence is that her execution in the kind of song to which to get an able-legged performer, supposing one were not more Rossini's air belongs, as well as of the German Lied-of which expensive than a lame one. If we wished to please the public we have heard some very praiseworthy specimens in private | we should certainly not choose a lame performer for so doing ; circles—possesses a certain charm and nobleness of character, for however good a hand he might be with his fingers, he never rendered still more captivating by a natural manner and an could make much of a quick running accompaniment. absence of pretension.
Manchester.—The annual oratorio, usually given at the Concert Hall, took place on Wednesday night, the composition chosen being the Creation of Haydn. There has been shown, of late years, a disposition on the part of certain critics to depreciate this beautiful music. Comparisons are made between Haydn and Handel, and between Haydn and Mendelssohn; but one thing is very certain, that so long as a taste exists for what is truly beautiful, in a simple form, so long will Haydn's oratorio hold its place. The directors of the Concert Hall showed much discrimination in their selection of the solo vocalists on this occasion. Madame Louisa Vinning essays everything, and every style. The music, however, of the Creation might have been written for her, so thoroughly does she enter into the spirit of the work. Mr. Cooper and Mr. Santley were the other vocalists. The band and chorus were excellent, and it may be added, that few representations of Haydn's Creation, in Manchester, have been more entirely satisfactory.
The Beale Tour.—Notwithstanding the contretemps, to which we need not allnde,the touring party, under the management of Mr. Willert Beale, have met with that eminent success which invariably attended their progress in former seasons. They have already visited several towns in the provinces, and the impression they created may be gathered from the following account of their doings at Manchester, which we glean from one of the local journals :—
"Free-trade Hall.—There has been no concert given in Manchester for many years past which has included a combination so varied in talent and novelty of character as that of Saturday evening last, at the Free-Trade Hall; and it was gratifying to find such enterprise so warmly appreciated, the applause, on mora than one occasion, rising to enthusiasm. Sivori, the genius of the violin, received quite an ovation on presenting himself to the audience. Striking as are all his accomplishments, he never lets you supposo for n moment that they are difficulties; he commands your attention rather with the music of his instrument than startles you with his skill, though the latter exceeds, perhaps, that of any other living violinist. Next to this talented player came the astounding Bottesini on the contra-basso, who was rapturously applauded in his solo, the people becoming wild with excitement, whilst the duet with Sivori could scarcely bo said to have been less fortunate in the pleasure it afforded. All who have listened to the very agreeable compositions of Mr. Brinlcy Richards, would bo glad to see him in such goodly company, and to find that he is a most accomplished pianist. He selected his own arrangement of 1 Cujus animun,' and a clever original composition, entitled 'The bird and the rivulet,' in which imagination, as well as the imitative art, are called into requisition. The style and touch of Mr. Richards arc elegant and brilliant, and we shall be glad to hear him again. Herr Engel contrived to bring out the qualities of the harmonium with remarkable skill. The audience were much pleased with his 'Operatic airs.' The vocalists were all of high character. Mdlle. Corbari, with her rich voice and legitimate stylo, won considerable applause for Vordi's * Sempro all' alba' (Oiovanna £Arco), and most deservedly, for it was most ably rendered. It is some years since Madame Fiorentini visited Manchester; wo feel disposed to think that her voice since that period has developed in volume, and found greater richness of tone. She gave tho grand scena from Her Freischutz, the Italian version, and brought down, loud plaudits. Madame Badia, the third lady on the list, is a novelty in this country. The Brindisi, 1 Viva la belle ainanti'.' is the composition of the husband of Madame Badia, and we venturo to think will become a favourite morceau. We regret it was not repeated for the encore. All know the value of Herr Reichardt in n concert room, and we have only to add that he sang his well-known and much-admired ballad, 'Thou art so near,' in a manner that delighted his auditors to the extent of a recall. The humour of Tagliafico is of the right order, and we never heard his voice tell so well as in tho Free Trado Hall, whore he sBng for tho first time. He gained a warm encore for Rossini's exquisite 'Tarantella.' The ensemble of the vocalists and instrumentalists in two or thrco pieces during the evening, and more particularly in tho finale, 1 Dal tuo stellato,' proved how much can be accomplished with first rate talent, however limited the group. Let us not overlook the ability of Mr. J. L. Hatton as conductor, nor refuse our thanks to him for adding to tho pleasure of tho evening by his facetious songs. Tho concert was a
great success, and the audience sufficiently large to show that good music is duly appreciated in Manchester."
Bristol.—(From a Correspondent).— Mendelssohn's Elijah was given at the Clifton Victoria Rooms, on Monday evening, the 26th inst., the principal vocalists being Mrs. P. J. Smith, Miss Julia Bleadon, Miss Dolby, Mr. W. Cooper, and Mr. Weiss; instrumentalists, Messrs. Blagrove, Reynolds, Nicholson, Hutchins, Mann, and T. Harper. The full band and chorus were supplied by the Clifton and Bristol Harmonic Society. The wnole performance was most excellent, the choruses being rendered with an effect seldom surpassed, and Miss Dolby, Mr. Cooper, and Mr. Weiss, as usual, were admirable in their respective parts. One of the most interesting features of the performance was the execution of the principal soprano music, by Mrs. P. J. Smith, wife of the conductor, who acquitted herself in such a manner, as to command the hearty applause and elicit the highest enconiums from amateurs and professors. Her reading and general conception of the music allotted to the Widow were of the most appropriate character, while the vocal ability with which the great song, " Hear ye, Israel," was delivered, met with unanimous and marked encomium.
Bath.—(From a Correspondent).—A grand performance of Handel's Judas Maccabcwi was given at the Assembly Rooms, on Thursday evening; the principal vocalists being Madame Weiss, Miss Dolby, Mr. Sims Reeves, and Mr. Weiss. A good band, led by Mr. Blagrove, and a small but efficient chorus, under the direction of Mr. Bianchi Taylor, materially enhanced the well-going of the oratorio. The room was crowded to excess.
Leeds.—Exciting Scene At An Oratorio Performance.—Tho Messiah has for many years past been given in this town on the Saturday evening nearest to Christmas Cay j and before our noble Town Hall was built, there was no room large enough to contain the thousands who were desirous of hearing that ever-fresh and glorious creation of Handel. Last year the annual performance was first given in the Town Hall, which was comfortably filled by about 2,000 persons. Last Saturday, however, a scene occurred of the most exciting description, and one plainly indicating the immense popularity of the Messiah, and its Yorkshire interpreter, Mrs. Sunderland. During tho week, a report was assiduously spread to the effect that Mrs. Sunderland (who was engaged for the Saturday performance) had died suddenly. This was discovered to be untrue; and it is thought that the report had its origin with some persons who had arranged an "opposition" performance of the Messiah on Wednesday. However this may be, the rumour re-acted in favour of the Christmas Eve oratorio, and coupled with the fact that the other artistes were our great English basso, Mr. Weiss, Mr. Wilbye Cooper, and Miss Crosaland, with Mr. Spark, the popular conductor, an immense demand for tickets sprung up. The doors of the Town Hall wore besieged for an hour before the time fixed for the opening, and the crowds extended across each street. Within a short time after the audience were admitted not a seat could be obtained; and ultimately, not only every inch of ground, but even the pilasters around the hall, the orchestra steps, and the organ recesses, were crowded with musicloving people. Still more room was required, and, to gain this, the doors at the south end of the hall were thrown open, and about two hundred persons were content to stand in the vestibule, where, by the bye, the effect of the choruses was truly magnificent. The number of persons crammed into the hall was no less than 3,300, being 1,300 more than were present at any of the grand festival performances, and at least 500 persons were unable to gain admission. Mrs. Sunderland and Mr. Weiss never sang better; and the choruses, rendered by the Leeds Madrigal Society's Concert Choir, aided by a few singers from Bradford, created immense enthusiasm. Mr. Spark performed his work admirably; and the band, led by Mr. Broughton, contributed to ensure success throughout.
Windsor—(From a Correspondent).—The second of the Concerts for tho People took place on Tuesday evening week, at the Town Hall, like the previous one, under the patronage of Thomas Nixon, Esq., Mayor. Notwithstanding the exceedingly unfavourable state of the weather, the hall was again well filled—the middle of the room and the sixpenny seats being much crowded, while tho stall scats were occupied by a large and respectable audience. There were several improvements effected in the arrangements and details, foremost of which was tho erection of a small platform for the performers. The instrumental part of the entertainment was also increased, being taken by Mr. Schroder, of Her Majesty's private band, on the violoncello, Mr. G. Pearson and Mr. Costard, pupils of Dr. Blvey, on the pianoforte. The vocalists were, Miss Hansford, Miss Louiso Jarrett, Mr. Dyson, and Mr. Lambert. The singing of Miss Ransford is entitled to much praise. Mr. Schroeder's execution on the violoncello was one of the chief attractions of the evening; while both pianists acquitted themselves in a highly creditable manner. The most attractive pieces of tbe evening were Adolph Adams' aria, "Love rules the palace;" the Scotch song, "Logie o' Buchan"—both of whioh were most spiritedly given by Miss Ransford; "The Tillage Blacksmith," and "All in the Rifle Corps," by Mr. Dyson; and the buffo duet, "The A B C," by Miss Ransford and Mr. Lambert. Sir Henry Bishop's well-known trio. "Maiden fair, a word I pray," by Miss Ransford, Messrs. Dyson and Lsmbert; Lover's Irish song, " I'm not myself at all," and "The bashful man," by Mr. Lambert; the song of "The two cousins," by Miss Ransford and Miss Jarrett; and the ballad, "Ayoung Lady's No!" by Miss Louise Jarrett, who accompauied herself on the pianoforte, were more or less applauded. The whole concert passed off in a moat satisfactory manner. .
Edinbubgh— (From our own Correspondent).—Among the recent musical doings to be chronicled, are a series of four classical chamber concerts, which were given in the Freemasons' Hall under the direction of Mr. G. Hausmann. No better proof could bo given of the rapid advance in musical taste here, than the manner in whioh these concerts have been supported. The audiences were large and fashionable, and listened with the deepest interest to the admirable selections provided for them by Mr. Hausmann. At the first, among other pieces, were performed Quartet (Mozart), No. 1, in G, for two violins, viola, and violoncello; Quintet (Beethoven), in E flat, for two violins, two violas, and violoncello; and sonata for violin by Tartini, " La Trille du Diablo." At the second, Quartet (Mendelssohn), in D, for two violins, viola, and violoncello; Larghetto, for violoncello, by Mozart; Duetto, for two violins, by Spohr j Solo, violin, by Sainton; and Double Quartet, by Spohr, No. 3, in £ minor. At the third, Quartet, by Haydn, No. 78, in B flat, for two violins, viola, and violoncello; Adagio and Fugue, for violin, in G flat, S. Bach; Quartet (Schumann) for pianoforte, violin, viola, and violoncello; and arrangement, by Gounod, of quintet from Mozart's Cosi fan Tutte, for pianoforte, harmonium, violin, and violoncello; and Quartet (Beethoven), No. 9, in C, for two violins, viola, and violoncello; and at the fourth, Beethoven's Quartet in D, No. 3, Op. 18 j Trio, for pianoforte, violin, and violoncello, by \V. S. Bennett; Duo, by Eummer, for violin and violoncello, "Sur Guillaume Tell" and Quintet (Mozart), in G minor, for two violins, two violas, and violoncello. Vocalist, Miss Witham, who sang "Vedrai Curino," "Die Post," by Schubert, and "Friihlingslied," by Mendelssohn. The talent engaged for these concerts was such as to cause the rendering of the various morceaux to bo highly satisfactory. The violins were M. Sainton, Herr Carl Deichmann, Mr. William Howard, and Mr. Otto Boothe; Violas, Mr. R. B. Stewart and Mr. Taylor; Violoncellos, Mr. G. Hausmann and Mr. F. Boothe; while Mrs. James Cotton and Mr. C. J. Hargitt officiated at the pianoforte. M. Sainton, who appeared at the Second Concert, was in splendid tone, and fully sustained his great reputation. Herr Carl Dei:hmann, who played throughout the series, made his first appearance in Edinburgh, and created a most favourable impression by his pure tone, his skilful execution and refined taste. His performance of Bach's Fugue, and his •hare in Spohr's Duet, won for him the highest encomiums. Mr. Hausmann has added to his great popularity, not only by organising these delightful concerts, but by the way in which he sustained his part in the performance. His playing of a Larglietto, by Mozart, was graceful and expressive, I cannot omit to mention the excellent, though unobtrusive, viola playing of Mr. R. B. Stewart, whose services were invaluable.
Among other events have been the Matinee Musicale of Miss De Fabeck, a voung pianist of much promise: and the First Lecture— Recital of Mr. J. Thome Harris, which I wos unfortunately prevented from attending. We have just had a performance of The May Queen, of which, more anon.
Toubridgk.—Tonbridge School.—The seventh annual ooncert by the school choir, given on Tuesday last, was in every respect a most successful affair. The chief applause fell to Estridgo's solo, the duet by H. and R. Bird, and Neville's solo, in Part I. j and to Smith's and Nusaey's solos, and "C'omo where my love lies dreaming," in Part II., all of which were encored; but we may also single out Horsley's "See the chariot at hand," and Stevens's glee, "Ye spotted snakes," and the two pianoforte solos, as remarkably well done. Indeed, the whole concert went off in such a manner as to reflect the highest credit on Mr. Gilbert, the conductor.
Under tbe management of Mr. George Ellis; and under the direction of Mr. W. B. Donne, her Majesty's Examiner of Plays.
The theatre arranged and the scenery painted by Mr. Thomas Grieve.
Shortly after eight o'clock the Queen and Prince Consort, with the Duchess of Kent, the Duchess of Cambridge, the Prince of Wales, Princess Alice, Prince Arthur, Princess Helena, Princess Louisa, Prince Leopold, attended by the Ladies and Gentlemen in Waiting, and accompanied by the dinner party, entered the theatre in St. George's Hall, when the performance immediately commenced.
The orchestra was composed of Her Majesty's Private Band,
MONDAY POPULAR CONCERTS.
At the seventh concert, on Monday evening, the instrumental pieces were by Mozart, and comprised his quartet in D minor (dedicated to Haydn), his quintet in A for clarionet and stringed instruments, his great sonata, for pianoforte alone, in F, and his little sonata (quite as beautiful as the great), for piano with violin. Herr Becker led the quartet, joined Mr. Lindsay Sloper in the violin sonata, and played first fiddle in the quintet; in all, giving satisfactory proofs that the praise which has been awardca him was not undeserved. Mr. Lindsay Sloper played the solo sonata in that finished style for which he is noted; and Mr. Lazarus executed the clarinet part in the quintet as only ha could have executed it. The second violin, viola, and violoncello, were, as usual, in the hands of Herr Ries, Mr. Doyle, and Signor Piatti—in better hands they could hardly have been.
The vocal music comprised, among other things, Meyerbeer's delicious "Shepherd's Song," and Spohr's no less delicious "Bird and maiden," both with clarinet obhligato (Mr. Lazarus), the forme* sung by Mr. Sims Reeves, the latter by Madame Lemmens Sherrington, who. together, gave Rossini's chaiuber-duet. "Mira la bianca Luna." Madame Lemmens also introduced " Ombre 16g£re," from Dinorah, while Mr. Sims Keeves repeated the " two lieder of Beethoven, "The Savoyard," and " The stolen kiss," which at a previous concert gained him so many laurels, and which, to judge from the enthusiastic encore bestowed upon the last named, lost nothing on more familiar acquaintance. Mr. Benedict accompanied the vocal music, and the audience, which filled St. James's Hall in every part, were evidently delighted with the whole entertainment.
Sacked Harmonic Society.—Last night Handel's oratorio, Samson, was performed, with Miss Banks, Miss Dolby, Mr. Sims Reeves, Signor Belletti, and Mr. Weiss as principal vocalists.
Concert At The New St. Pato's SonoOLg.—On Monday evening the Choir of St. Paul's, assisted by Miss E. Ward and Mr. P. Williams, entertained an audience of upwards of 500 persons with a performance of Glees, Madrigals, and Part-Songs, under the direction of Mr. Frederick Kinkee, organist. The programme was woll arranged, the music efficiently rendered, and thoroughly appreciated. "Here in cool grot" was amongst the pieces encored, and the laughing chorus by Miss Ward, Messrs. Williams and Kinkee, was repeated three times. Airs, and Mr. Kinkee presided alternately at the pianoforte and harmonium.
Organist At Brunswick Chapel.—(From a Correspondent) —The organist's situation at Brunswick Chapel, Upper Berkeleystreet, having become vacant by the sudden death of Mr. Abbott, was competed for on Thursday evening, the 5th inst. Each candidate played a chant, hymn tune, and a piece. At the conclusion of the trial the vc3try sat, and announced Mr. A. H. Lowe as the successful candidate. The organ is a very old one, but capable of very beautiful effects.
A Testimonial, in the shape of a valuable gold watch and chain, was presented by the Messrs. Broadwood, on Saturday, Jan. the 7th, to Mr. Alexander Finlayson, a foreman, and for many years employed in the establishment at Westminster. Mr. Finlayson's father had been a workman in the manufactory, and his son and grandson are in the Messrs. Broad wood's service. The following inscription is engraved on the inner case of the watch:—
"Presented to Mr. Alexander Finlayson, by Messrs. John Broadwood and Sons, as a mark of their appreciation of his integrity and worth, on his cntoring his 60th year in their employment, 1860."
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THE MUSICAL WORLD.
LONDON, SATURDAY, January 14th, 1860.
Mr. Charles Hallo's Manchester concerts are becoming the vogue with all classes, from the rich merchant and manufacturer to the middle-class tradesman and bourgeois, and from the middle-class tradesman and bourgeois to the respectable and thrifty, albeit humbler, artisan. His last essay, the Iphigenia in Tauris of Cluck, appears to have been a positive triumph. The fact of such a work producing so great an effect in a concert-room should put to shame the managers of our lyric theatres, Italian and English, who have so obstinately presented a "cold shoulder" to the Patriarcli of dramatic music—to Christopher Gluck, immediate predecessor of Mozart (though not of the same family), legitimate father of Spontini, and no less legitimate grandfather of Giacomo Meyerbeer.
The principal characters of the dramatis persona were thus sustained at Manchester:—
Iphigenia (High Priestess in Tauris)... Mad. Catherine Hayes.
The Goddess Diana ... Mdlle. Merei.
Priestess of the Temple Miss K. Thorley.
Orestes (brother of Iphigenia) ... Mr. Santley.
Pylades (his friend) ... ... ... Mr. Sims Reeves.
Thoas (King of tbe Scythians)... ... Mr. Thomas.
Minister of the Sanotuary ... ... Mr. Arnold.
From a very interesting account of the performance in the Manchester Guardian (of Thursday) we extract the following:—
"In our impression of Saturday last we gave a brief account of Gluck and his works, and a statement of the principal incidents of his Iphigenia in Tauris, tho opera performed last night. It will easily be seen what scope they afforded to a musician of Gluck's calibre. Tho emotional elements are many, and of the most interesting and exciting character. Iphigenia is alternately agitated by grief at her unfortunate position, the loss of her country, the anguish on learning the fate of her kindred, especially of her dearly-loved brother Orestes, pity for the unknown Greeks who have landed on the fatal shores of the Scythians, and misery at being called upon to sacrifice her new-found brother; Orestes is filled with remorse for the murder of his mother Olytemnestra, and by having led his friend into su<"h imminent danger j while tho heroic breast of Pylades is filled only with love for Orestes and a desire to save him at all hazards. Around these three principal characters are grouped tho Priestesses of the Temple, who reflect the feelings of Iphigenia; the superstitious and bloody Scythians, with Thoas at their head, and the dread avenging Furies.
"Tho Iphigenia, first produced at Paris in 1779, consists chiefly of airs, hut they are short, and while they carry on the action of the drama, express in the happiest and most striking manner the feelings of the soul. Thero is but one duct, and one trio, which are not concerted pieces, but rather dialogues. The choruses are several j indeed, they play an important part. The principals are named above; in addition to those, there was a chorus of about 180, Mr. Halle's own fine orchestral band being omployed in rendering the accompaniments. This was, strange to say, the first performance of Iphigenia in Tauris in England ;* and, considering how little Gluck and his works are known here, it must be a gratifying fact to Mr. Halle", who has been at infinito pains in getting it up, and to all acquainted with the transcendent character of the music, to find so very large an audience assembled to hear it, especially considering that itwas denuded of all stage accessories. The performance was entirely successful, principals, band and chorus exerting themselves to the utmost to do it justice. The whole being uniformly of the highest character, it is difficult to select special points for commendation. One of the most striking pieecs is a chorus supposed to be sung by the Scythians on learning that Orestes and Pylades are about to become their victims. The thing is savagely grand, and called forth warm plaudits from the audience. It was not a littlo heightened by what is called ' ballet music' being introduced. It is, however, very unlike what is understood by that in modern acceptation, being a series of war dances, of a Btrange but very exciting character. We may also refer to the invocation of Orestes to the gods to let loose their wrath upon the bloody Scythians, magnificently given by Mr. Santley—as indeed was the whole of the music allotted to him; the chorus of the Furies, in which the band accompaniments areappaling; tho entire third act, which embodies the struggle between Orestes and Pylades as to which shall be sacrificed; and a beautiful hymn to Diana—simplicity itself—which was enthusiastically re-demanded. The greatest enthusiasm was manifested by the immense audience, who paid Mr. Halle a perfect ovation at tho close of the opera; which will, wo hope, determine him to give another performance. The production of such a work for the first time in so complete a manner, very strikingly exhibits the musical resources of this city; and, if it have the effect of calling forth other performances elsewhere, with or without the aid of stage resources, it will be a benefit conferred on musioal art."
TJte Afancliester Examiner and Times, in the midst of a glowing and enthusiastic panegyric, transfers to its columns the narrative of the plot of Iphigenia in Tauris, from Boosey's Standard Lyric Drama,\ which, on another
* This is erroneous. Iphigenia in Tauris was given at the 8t. James's Theatre, in 1840, by a German company, which first mado Herr Staudigl known to the English public.
f "Iphigenia in Tauris is considered one of the finest productions of the classical drama of ancient Greeee. The libretto to which Gluck