we are particularly delighted with those passages in which the author dwells on and explains the peculiarly German character of the music. As a specimen, we select the following:"The part of Sarastro was, in a different way, a new creation, like that of Osmin. If the latter possessed a model in the buffo of Italian opera, the part of Sarastro is without any predecessor properly so called, for the dignified parts" (Anstandsrollen) "which fell to the lot of the basses in the Italian operas, are as little to be compared with it, as barytone parts, like those of Almaviva and Don Giovanni. Directly opposed to the passionate character of such parts is the manly dignity and grave calm of the sage and the ruler, as represented in Sarastro, and which would be much less thankful in musical representation had not Mozart, who here manifests his genuine German nature, fallen back upon their source in the heart. Most unmistakeably is the strongly marked kindliness of nature, which, in many respects, is capable of injuring a high degree of idealism, a peculiar manifestation of the German character, and one which is not essentially changed even by the foreign-like symbolism. For the simple, heartfelt expression of this passionless but warm appreciation of benevolence and confidence, such as is cherished in the mind of a man matured by the seriousness of life, Mozart developed a musical organ in the strong, sonorous bass voice, and gained a new and essential element of dramatico-musical characterisation. "A pair of lovers like Pamina and Tamino, so ideal and so enthusiastic, cannot disguise their German origin and character. We shall find nothing like them in Mozart's Italian operas, and even Belmont and Constanze, although essentially of similar nature, display more humad passion. It is true that Mozart has found for them another mode of expression, not alone in the greater freedom of the forms but, principally, by hitting upon that tone which, simply and truly, renders German feeling, with all its still, calm fervour and warmthwhich expresses the idealistic element of that same feeling without false sentimentality or mawkishness. "Papageno is, it is true, only a jester, far removed from delicate wit and genuine humour, but his jokes, despite their great simplicity, are healthy and natural, and unmistakeably connected with one aspect of German feeling and sentiment, which, in its limited sphere is exceedingly powerful, and explains how it is that Papageno became, and still is, the favourite of a great part of the public. Although Schikaneder, who made the part exactly to fit himself, and subsequently represented himself as Papageno, on the front of the new theatre in the Wieden, a theatre he erected with the money he made by Die Zauberflöte, had some share in this success, the principal merit even here falls to Mozart, who succeeded in imparting to the good humoured jollity peculiar to our nation, such a happy musical expression in an artistically developed form, that what he had learnt by studying the people was readily welcomed back by them. "If there is a personage in Die Zauberflöte who displays German character it is Papageno. Despite his feather-dress, this child of nature is, from the crown of his head to the sole of his foot, a German. The essential difference between him and the comic personage of the Opera buffa, especially Leporello, who, outwardly considered, appears to come nearest to him, is good nature and feeling, which, under all circumstances, bursts out frankly and naïvely. The musical characterisation which produced, in Papageno, a completely new creation, altogether removed him from that subordinate region in which the Casperles used to move, by falling back exclusively on the heart, and standard of the universal laws affecting musical shape, and the requirements of the situation in each case. "This genuine German nature of the mental and musical conception, as well as the consequent freedom in the treatment of the form, the result of which, by the way, is the closest adherence to the dramatic movement, has struck us, even when considering most of the principal characters, the Queen of Night alone being a partial exception, and, finally, appears to be that which constitutes the peculiar character of Die Zauberflöte as a genuine German opera. "Mozart did not seek content alone in Freemasonry, the universal and profound interest in which was a characteristic sign of the period and its movement, and German feeling and German heart are plainly displayed in the manner in which Freemasonry was conceived, developed and applied. Here, also, then, Mozart stood upon national ground; it is precisely what, in intention, is noblest and best, and, in artistic delineation, highest and most significant, which is conceived in a truly German way; and the more profoundly the artist was moved in the recesses of his heart, the more strongly and the more directly has he stamped the musical impression with a German character. It is not, therefore, merely by accident that, in order to pourtray a moment of the most solemn gravity, he selected an old German choral melody, and made up his mind to treat it in a way which, also, was peculiar to Germany. It is a fortunate thing that musical delineation, from its nature, was obliged to leave on one side the characteristic elementwhich produces so chilling an effect in allegory-and derives its im pulses from the deeply-moved and solemnly excited feelings alone. Here is clearly the foundation of musical creation! hence proceeds a higher spirit through the whole, a spirit which imparts even to what is in itself unimportant, to what is naïve and merry, an expression that causes us to feel that these elements, also, are part and parcel of the whole. "Whenever the mystic element is brought prominently forward, the orchestra assumes a totally different character. Not only are unusual expedients, such as trombones and basset-horns, employed, but, by means of various combinations, a strange description of sound is pro duced, which, in conjunction with the richest light and shade, and the most delicate gradations from heavy sorrow to dazzling brilliancy, always preserves its fundamental tone of solemnity and elevation, so that the hearer fancies himself transported to some sphere removed from the every-day world. Not only are unsuspected capabilities of the orchestra brought into play, but justice was first done, on a large scale, to the power possessed by the orchestra to characterise by colouring; and Die Zauberflöte is the starting-point for everything which our music-so inventive in this particular-has since done. We must not forget, however, that, with Mozart, instrumental colouring is merely one means in conjunction with others, to do full justice to the artistic idea, and never by itself pretends to repress the latter, far less to replace it." "The fact that Die Zauberflöte, in its whole musical conception, is truly German as to tone, treatment and form, and that, on it, German opera first employed, in the domain most peculiar to it, all the resources of developed art with freedom and mastery, gives it a most particular importance and position even among the operas of Mozart. If, in his Italian operas, he has assumed the inheritance of a long tradition, and, by peculiar development, brought it, in a certain degree, to a conclusion, with Die Zauberflöte he steps on the threshold of the future, and unlocks the sanctuary of national art to his countrymen. The latter understood him, for Die Zauberflöte forced its way, immediately and by presenting us, in all their cordial simplicity, with the involuntary, universally, among the people, as no musical work of art had ever done immediate manifestations of a natural, if not a noble, feeling, just as the situation called them forth; thus the musical expression came to be, in the best sense of the word, a popular one, because not founded upon accidental and detailed traits, at least, not on such as conceal the true nature of the character, but upon what is genuine and true in the heart and disposition of the people, and which, through the soul and by the hand of the artist, has now been born again, and is a living thing. The German stamp already mentioned on the musical form is, therefore, most palpably manifest in Papageno; in no other part is the relationship, already alluded to between the formation of the melodies and that which most obtains to Mozart's instrumental compositions, so strikingly plain. In addition to this, with the exception of the character of Songiness" (des Lied haften) "necessitated by the nature of the subject, we nowhere discover any need of obtaining material means of characterisation by dragging in definite form, such, for instance, as the generally favourite waltz or other dances, or sharply marked turns of national vocal melodies. Everything that calls to mind old forms, developed by Italian opera, is avoided, and every foreign influence cut off, and then, completely out of German feeling, the form is freely developed, according to the before, and it still maintains its place even at the present day. What an influence Die Zauberflöte has excited upon the progress of German music is something which can escape no one who has an eye for the development of art." ST. MARTIN'S HALL-Messrs, Griffiths and Perkins gave a concert on Thursday night. The conductor was Mr. H. Matthews, late director of the Islington Choral Society; and the chorus was composed of members of the Handel Festival Choir. Miss Charlotte Tasker played a fantasia on English and Irish melodies, and Beethoven's "duet concertante," for flute and pianoforte, in D, the flute being taken by Mr. J. Sander. Miss Banks sang an air by Balfe, and was encored in the "Bailiff's Daughter of Islington" (from Chappell's collection of English airs), which she had given with much expression, Zingara." but which she did not repeat, substituting for it the “Merry We are coming Sister Mary; and Wait for the Waggon. Nelly Gray. Hard Times. I'm off to Charlestown. Ma Brunette (Arnaud) Summer Bloom is past (Miss Hay.) Annie Laurie (Scotch Air.) La Sirène de Sorrente (Arnaud.) Partant pour la Syrie. Cradle Song (Mendelssohn) When the Swallows (Abt.) Old Folks at Home (American.) Bonnie Dundee (Scotch Air.) Home, Sweet Home (Swiss Air.) Les yeux bleues (French Soug.) In the Greenwood Free (Richards.) Bright Things can never Die (Rimbault.) Consiglio a Nice (Guglielmo.) Trab, Trab (Kücken.) Io te voglio bene assaje (Neapolitan Air.) THE CROWN DIAMONDS. Complete for the Pianoforte, in cloth. Price 6s. Forming the 20th volume of Boosey and Sons' Series of Operas. DUSSEK'S PLUS ULTRA and WOELFFL'S NE PLUS ULTRA. Edited by J. W. Davison, with Critical and Biographical Introductions. In one volume. Price 4s. CHOPIN'S MAZURKAS, Complete in one volume. Edited by J. W. Davison, with Introduction and Portrait. Price 8s. ROSSINI'S STABAT MATER, Complete for Pianoforte. By Henry Smart. Price 3s. DE BERIOT'S AIRS FOR THE VIOLIN, Complete with all the Variations, Nos. 1 to 7, in one book. Price 18. ** Pianoforte part (ad. lib.), price 3s. 6d. ONE HUNDRED GERMAN WALTZES FOR THE VIOLIN. By Strauss, Lanner, and Labitzky. Price 18. BRINLEY RICHARDS' ARRANGEMENT Of Balfe's "Riflemen, form," as a March for the Pianoforte, Price 2s. 6d. Hatton Sweetheart, by Balfe Bird of Song, by Hatton s. d. Janet's Choice, by Claribel 26 When you and I were young, by Allen 260 tender shadow, by Meyerbeer.. 80 20 Margaretta, by Balfe 2 0 8 0 20 The maid I love hath many a 2 0 grace, by Hatton You chide me for loving, by Berger The Quadroon girl, by Balfe 22 2 0 6 The song of love and death, by Balfe O live, or let me die, by Meyerbeer Sister Mary, by Meyerbeer It was fifty years ago, by Hatton 2 0 Sweet Katie, by Calicott .. Magenta, by Balfe .. London: Boosey and Sons, Holles-street. THE CLASSICAL ORGANIST, A SELECTION OF CELEBRATED COMPOSITIONS FROM THE WORKS OF HANDEL, MOZART, BEETHOVEN, MENDELSSOHN, MEYERBEER, &c. In Three Vols., oblong folio, 15s. each; or in Eighteen Numbers, 3s. each. MESSRS. D'ALMAINE & Co. in announcing to the professors and accomplished amateurs of the Organ, the publication of the above important Work, beg to state that they have been induced to publish the same, in order to supply the requirements of the Modern School of Organ-playing. The CC scale being now universally recognised as the only true and legitimate compass for the Manuals and Pedal-clavier of an Organ, it is evident, that most of the former arrangements of classical compositions for the GG instrument -with its incomplete and defective Pedal-board-are inadequate to the capabilities of the CC organ. For instance, in previous arrangements for the GG scale, not only the position of the different instruments, but also the vocal parts, have often been reversed, in order to facilitate the execution of certain passages; thereby violating established theoretical rules, and producing a totally different effect to that intended by the composer. The Editor, having arranged the celebrated compositions contained in the present work from the full scores, has endeavoured to represent, as far as practicable, the orchestral effects capable of being produced upon the grandest and most majestic of all musical instruments. This work is engraved in the first style, on large plates, oblong folio size, and printed on a thick superfine paper, which has been made expressly for the purpose. The publishers confidently state, that they have spared no expense in rendering the present work for the organ truly worthy of the "King of Instruments." The copyright of "The Classical Organist" is the sole and exclusive property of Messrs. D'Almaine and Co. LONDON: D'ALMAINE & CO., 104, NEW BOND STREET, W. Published by JOHN BOOSEY, of Castlebar-hill, in the parish of Ealing, in the County of Middlesex, at 28, Holles-street. Printed by WILLIAM SPENCER JOHNSON, "Nassau Steam Press," 60, St. Martin's-lane, in the Parish of St. Martin-in-the-Fields, in the County of Middlesex, Saturday, April 7, 1860. "THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT MUST BE DEDUCTED. IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES."-Göthe. SUBSCRIPTION:-Stamped for Postage, 20s. per annum-Payable in advance, by Cash or Post Office Order, to BOOSEY & SONS, 28, Holles Street, Cavendish Square. VOL. 38.-No. 15. SATURDAY, APRIL 14, 1860. R. UNDER THE MOST DISTINGUISHED PATRONAGE OF THEIR ROYAL HIGHNESSES THE PRINCESSES AND PRINCES OF THE ROYAL FAMILY, The Most Worshipful the Grand Master of Ireland, And Several other Distinguished Freemasons; The LORD BISHOP OF MANCHESTER, The Right Worshipful the MAYOR OF MANCHESTER, His Worship the Mayor of Salford, W. HARVEY, Esq. SIR FREDERICK GORE OUSELEY, Bart., Director of Music at the And many of the Nobility, Gentry, Clergy, and distinguished Families of the Empire DR. MARK'S GREAT NATIONAL ENTERPRISE Organised in 1848, and developed at THE ROYAL COLLEGE OF MUSIC BRIDGE STREET, MANCHESTER, established by him expressly as a Great National Institution to facilitate the Encouragement and Promotion of NATIVE MUSICAL TALENT, and the GENERAL ADVANCEMENT OF MUSIC AMONG THE RISING GENERATION, upon his new and effective system, also as a NORMAL SCHOOL for the training of masters to conduct CONSERVATOIRES OF MUSIC to be established throughout the United Kingdom, for LITTLE CHILDREN, the whole comprising an entirely new scheme of NATIONAL EDUCATION, by blending music with general instruction, so that the study of music shall become a branch of education in the humblest of schools of this country. To illustrate and to rouse an interest in every town and city for these institutions, Dr. Mark travels with a number of his pupils occasionally through the country-giving lectures, and introducing bis highly approved and pleasing Musical Entertainment, entitled DR. MARK AND HIS LITTLE MEN, who number upwards of Thirty Instrumentalists, and a most Efficient Chorus, the whole forming a most unique and complete Juvenile Orchestra, composed of LITTLE ENGLISH, IRISH, SCOTCH AND WELCH BOYS, FROM FIVE TO SIXTEEN YEARS OF AGE, who play Operatic Selections, Solos, Marches, Quadrilles, Galops, &c., and sing Songs and Choruses in a most effective manner, and to whom Dr. Mark gives a gratuitous General and Musical Education. APPOINTMENTS OF MASTERS AND ARRANGEMENTS OF CLASSES IN Little Boys, from five to nine years of age, apprenticed for three, five, or seven years by paying a moderate entrance fee to cover the expenses of instrument and books. Twelve appointments ready for Masters. Manchester. ST. JAMES'S PRICE 4d. HALL, CONDUCTOR-MR. BENEDICT. Stalls, 10s, 6d. and 5s.; Balcony, 3s. ; Unreserved Seats, 18.-Tickets to be had of CONCERT, on Wednesday Evening, April 25th, at St. James's Hall Programme-First Part:-Overture, the Isles of Fingal, Mendelssohn Bartholdy For Prospectuses, apply direct to the Royal College of Music, Bridge-street, Air, Jours de mon enfance (Pré aux Clercs), Miss Augusta Thompson, Hereld Symphony concertante, for two pianofortes and orchestra, Mr. Charles Salaman and Mr. Lindsay Sloper, Dussek; Scena, (MS.), Mr. Santley, Benedtot Overtaro (Lurline), Wallace. Second Part :-Sinfonia Eroica, Beethoven; Dug, D qual città sei tu (L'Etoile du Nord), Miss Augusta Thompson and Mr Santley, beer; Overture (Gustave), Auber. Conductor, Mr. Alfred Mellon Dr. MARK is also open to Engagements with his Little Men. Dr. MARK begs to invite the Parents and Friends, and all those interested in his Enterprise and in the Education of the Youths of this country to visit his establishment. Visiting hours:-From Nine to Eleven, a.m., and Two and Four, p.m. Saturdays and Sundays excepted. 15 CRYSTAL PALACE Friday, May 4th.-Tickets for "THE ARION" (Eight-Part-Choir).—The members of FESTIVAL PERFORMANCE OF ELIJAH, on the occasion this Society will meet until further notice every Thursday evening, at of the Inauguration of the Bronze Memorial Statue of Mendelssohn, are now 8 o'clock, at 13, Berners-street, Oxford-street. Conductor, Mr. ALFRED on sale at the Crystal Palace; at No. 2, Exeter Hall; or, by order, of the usua GILBERT. Agents. F. F. REILLY, Hon. Sec. Persons desirous of joining the choir are requested to address the Secretary. Admission tickets, 5s (if purchased before 1st May); Reserved stalls in blocks,1 as arranged at the Handel Festival, in the area, 5s. extra; or in the corner galler es, 10s. 6d, extra. T new Season Tickets will admit, subject to the usual regulations. RYSTAL PALACE.-June 25th, 26th, and 28th, CRYS GREAT ORPHEONISTE MUSICAL FESTIVAL. Vouchers for tickets for this great combination of the French Choral Societies, comprising deputations from nearly every Department of France, representing 170 distinct Choral Societies, and numbering between Three and Four thousand performers, who will visit England expressly to hold a Great Musical Festival at the Crystal Palace on the above days, are now on issue at the Crystal Palace; at No. 2, Exeter Hal; or by order of the usual agents. The prices of adinission will be as follows:-The set of Transferable tickets (one admission to each of the 3 days) 12s. 6d.; Roserved seats (for the 3 days) 12s. 6d. extra; or in the corner galleries, 258. extra The new Season Tickets will admit on the above occasion, subject to the usual regulations. HANOVER-SQUARE ROOMS.-MR. MELCHIOR WINTER (teno. e), and Mr. BENJAMIN WELLS (flautist), beg to announce that their GRAND VOCAL AND INSTRUMENTAL CONCERT, will take place at the above rooms on the 28th of May, (Whit Monday) Full particulars will shortly be published.-17, St. James's-square, Notting-hill, W. MT ISS LOUISA VAN NOORDEN and Mr. P. E. Van NOORDEN'S ANNUAL CONCERT at the Queen's Concert Rooms, Hanover-square, on Thursday evening. April 26th, 1860, commence at 8 o'clock. Artists already engaged: Madlie. Parepa, Miss M. Van Noorden, Mr. Sant ey, Signor Luigi. Conductors: Mes-rs. Francesco Berger and P. E. Van Noorden. Stalls numbered, 10s. 6d.; reserved seats, 5s. ; unreserved seats, 2s. To be had at Mr. Van Noorden's residence, 115, Great Russell-street, Bedford-square; Second Edition, Folio, pp. 40, stitched. Price, complete, 7s. 6d. R. R. ROSS'S Useful Morning and Evening Full Service in F, for four voices, with organ accompaniment. Separately, Te Deum and Jubilate, 3s.; Magnificat and Nunc Dimittis, 3s. London: J. A. Novello. DR. CALLCOTT'S PIANOFORTE GRAMMAR.— Arranged for beginners and teachers in schools, by William Hutchins Callcott, cloth, 4s. "It is not possible to name a treatise so copious in information as this."-C. Londale's Musical Circulating Library, 26, Old Bond-street. Just Published. GLÜCKLICHE STUNDEN," Song for Soprano or of the principal west-end musicsellers, and of Messrs. Keith and Prowse, Cheapside, Esq. Also, (by the same), THREE FOUR-PART SONGS, (No. 1, Morgenlied; City. M R. LANGTON WILLIAMS begs to inform his friends and the public, that his Annual Grand Concert will take place at St. Martin's Hall, on Wednesday Evening, April the 25th, when the most eminent artists will appear. MEYERBEER'S DINORAH AND STERNDALE BENNETT'S MAY QUEEN, are sung nightly at the CANTERBURY HALL CONCERTS. Comic vocalists-Messrs. George Hodson (the Irish comedian and mimic), W. J. Critchfield and E. W. Mackney. Several interesting pictures are added to the Fine Arts Gallery. The suite of Halls have been re-decorated and beautified, and constitute one of the most unique and brilliant sights of the metropolis. Tenor voice, with German and Ita ian words, composed by H. S. Oakeley, No. 2. Abendlied; No. 3, Nachtlied ;) with German and English words. Ewer & Co., 87, Regent-street. 66 Just Published, price 33. 6d. ROMANZA," for the Violoncello and Piano, composed and dedicated to Frederick Charles Pawle, Esq., by Edward Thurnam. Robert Cocks and Co., New Burlington-street, London. MEYERBEER'S NEW WORK-" ASPIRATION”— CANTIQUE. (Short, Anthem.) The words from the orriginal latin of Thomas a Kempis, "De imitatione Christi." Composed for SIX VOICES (threa sopranos, two tenors, and bass), with Recitatives for a BASS SOLO, ani Organ (or Harmonium) accompaniment ad libitum, by GIACOMO MEYERBEER, Price, in score, 4s. London: Duncan Davison and Co., 244, Regent-street, where Meyerbeer's setting of the Lord's Prayer, for four voices, 3s., and the Serenade, MISS MARGARET MCALPINE (Contralto), for eight voices, "This house to love is holy," is., may be obtained. reques s that letters respecting engagements for Oratorios, Concerts, and Pupils, be addressed to her residence, 63, Burton-crescent, New-road. JEW SONG FOR THE VOLUNTEERS.-" The Good MR. TENNANT has returned to town. All communica-lished this day by Boosey and Sons, Holles-street tions respecting engagements for himself and Mrs. Tennant to be addressed to Messrs. Boosey and Sons, 28, Holles-street, Cavendish-square; Messrs. Chappell and Co. 50, New Bond-street; or to their residence, 307, Oxford-street, New Bond-street, W. НЕАР EDITION OF CHEAP REDITS SMABAT MATEM ZART'S TWELFTH manner for the Pianofore, by Henry Smart, price 3s. each, complete, or hand MR RS. TENNANT (Sister of Mr. Sims Reeves), begs to somely bound, 5s. each. Boosey and Sons, Holles-street. acquaint her friends and the public that she continues giving lessons in singing. For terms, apply to Messrs. Bousey and Sons, 28, Holles-street, Caven tish-square; Messrs. Chapell and Co., 50, New Bond-street; or at her owu residence, 307 Oxford-street, New Bond-street, W. RTISTS' AF VOLUNTEER RIFLE CORPS.(38th Middlesex), Viscount Bury, Captain Commandant. This corps, composed of Artists, Amatours, and others interested in any branch of Art, drills at the Argyll Rooms, on Monday, Wednesday, and Friday, at Five o'clock; Tuesday, MR. WALLWORTH'S engagement with the Pyne and Thursday, and Saturday evenings at Half-past six ; and at Harrison Opera Company being terminated, he is now at liberty for Wednesday mornings at Eight. Officers appointed to First Company: Captain, Concerts, pupils, &c.-30, Edwardes-street, Portman-square, W. Viscount Bury; Lieutenant, H. W. Phillips; Ensign, J. E. Millais, A. R. A. Third and Fourth Companies are now forming; gentlemen wishing to join the Esq., Honorary Secretary, 8, Regent-street. ΜΑ ADAME BORCHARDT having returned to Town corps can be enrolled at the hours of drill, or on application to F. P. Cockerell, from her Operatic Tour with Madlle. Piccolomini, is at liberty to accept engagements for Concerts, &c., for the season. Address to the care of Messrs. Duncan Davison and Co., 244, Regont-street, W. MR. TO VOLUNTEER RIFLE CORPS.-Boosey and Sons' military band instruments, reed and brass, as well as bugles, drums and R. PATEY begs to announce that he has returned to home and abroad. Those regiments that contemplate the formation of a band, fifes, have been used and approved of by almost every regiment in the service, at Town, and will be open to accept engagements for Orotoris or Concerts are invited to apply to the firm, who will be happy to recommend them competent on and after the 16th inst. All communications to be addressed to 9, Cambridge-bandmasters, and render any further assistance that may be required.-Boosey street, Hyde-park. and Sons, Holles-street, London. |