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THE WOBTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT MATTER, WHOS2 EFFECT VOST
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.
SONG, “Night” .. Nadame Sainton Dolby.
SONG, " Adelaido"
Ź ST. JAMES'S HALL,
- REGENT-STREET AND PICCADILLY. UNDER THE MOST DISTINGUISHED PATRONAGE OF
MONDAY POPULAR CONCERTS.
H.R.H. THE PRINCE CONSORT,
THE NINETEENTH CONCERT OF THE SEASON,
MONDAY EVENING, APRIL 23rd, 1860,
His Grace tho DUKE of LEINSTER,
MR. SIMS REEVES' RENEFIT.
The Programme will be selected from the works of
M. Sainton, Herr Ries, Mr. Doyle, and Signor Piatti
SONG, “Deeper and deeper still"
Handel. Organised in 1848, and developed at THE ROYAL COLLEGE OF MUSIC
,,Mr. Sims Roevos." ". BRIDGE STREET, MANCHESTER, established by him expressly as a Great SONG, " Frühlingslied "
Mendelssohn. National Institution to facilitate the Encouragement and Promotion of NATIVE
Mrs. sims Reeves: . MUSICAL TALENT. and tho GENERAL ADVANCEMENT OF MUSIC
Beethoven AMONG THE RISING GENERATION. upon his new and effective system, also as a NORMAL SCHOOL for the training of masters to conduct CONSERVATOIRES SONATA, in F. Major:
Miss Aräbella' Ġoddard · Mozart.
PART II. of music shall become a branch of education in the humblest of schools of this
SONATA, in G Major, Pianoforte and Violin
Dussek. country. To illustrate and to rouse an interest in every town and city for these
Miss Arabella Goddard and M. Sainton. institutions, Dr. Mark travels with a number of his pupils occasionally through
SONG, “False friend, wilt thou smile or weep? (Cenci) J. W. Davison. the country-giving lectures, and introducing bis highly approved and pleasing
Madame Sainton Dolby. Musical Entertainment, entitled DR. MARK AND HIS LITTLE MEN, who SONG, " Dalla sua pace"...
Mozart, number upwards of Thirty Instrumentalists, and a most Efficient Chorus, the
Mr. Sims Reeves, whole forming a most unique and complete Juvenile Orchestra, composed of
DUET, “Pray leave me but a moment"
Spolr. LITTLE ENGLISH, IRISH, SCOTCH AND WELCH BOYS, FROM FIVE TO
Mrs. Sims Reeves and Madame Sainton Dolby. SIXTEEN YEARS OF AGE, who play Operatic Selections, Solos, Marches,
SONG, “The Stolon Kiss"
" . Beethoven. Quadrilles, Galops, &c., and sing Songs and Choruses in a most effective manner,
Mr. Sims Reeves." and to whom Dr. Mark gives a gratuitous General and Musical Education.
· QUARTET, in E flat, No. 4.
. Rossini. APPOINTMENTS OF MASTERS AND ARRANGEMENTS OF CLASSES IN
M. Sainton, "Herr Ries, Mr. Doyle, and signor Piatti.
Stalls, 103, 6d. and 58.; Balcony, 3s. ; Unreserved Seats, 18.-Tickets to be had of Master of the General Educational Department:
Wr. Austin, at the Hall, 28. Piccadilly : Messrs. Cramer and Co., Hammond, AddiWriting, Reading, Arithmetic, Grammar, Dictation,
son, and Co., Schott and Co., Ewer and Co.. Simpson, Carter, and Oetzmann and
and Two History, Geography, Practical Geometry, and Book. | Assistant Teachers.
Co., Regent-street: Brooks, 24, Old Cavendish-street: Bradberry's London Crystal keeping
Palace, Oxford-street; Duff and Co., 65, Oxford-street; Prowso, Hanway-street; "PRACTICÄL ASSISTANT TEACHERS.
Chidley, 195, High Holborn; Purday, 50, St. Paul's Church-yard; Keith, Organ .. .. .. .. .. .. .. .. Mr. BAKER.
Prowse, and Co., 48, Cheapside; Turner, '19, Corphill; Cook and Co., 6, Pianoforte
Herr SIEMERS. .. ..
Finsbury-placo, south; Humfress, 4, Old Church street, Paddington-green; .. ..
Mitchell, Leader and Co., Ollivier, Campbell, and Willis, Bond-street; and Chappell
| Mons ROGUIER, Violin .. .. .. .. .. ..
and Co., 50, New Bond-street.
.. .. MO BEND E Violoncello, Double Bass, and Viola
nRCHESTRAL UNION.-MR. ALFRED MELLON Flute, Piccolo, Oboe, and Clarionet
begs to announce that he will return to London about the middle of June, Cornet and other Brass Instruments
Mr. H. RUSSELL.
when he will be open to any engagements for the Band of the Orchestral Unins Concertina (German and English) ..
which he has reconstructed. Principal Artistes-MM. Sainton, H. Hill. W. Vocal Classes ..
Messrs. POWELL and ..
Watson, E. Payton, Doyle, Trust, G. Collins, Aylward, Howell senr, White, P. 8. .. ..
Pratten, Barret, Lazarus, T. Owen, Hausser. C. Harper, Standen, T. Harper, Dr. Mark has also made provision for the Orphans of the Musical Profession Stanton Jones, W. Winterbottom, Cioffi, Hughes, and F. C. Horton. Applications possessing musical talent, who will find the above institution a happy home, and respecting engagements to be made to Mr. George Dolby, 2, Hinde-street aureceive a most effective general and musical education,; board, and clothing, free chester-square, W.
NA of all expense. Little Boys, from five to nine years of age, apprenticed for three, five, or seven
3195 years by paying a moderate entrance fee to cover the expenses of instrument and
MHE MUSICAL SOCIETY OF LONDONA The Third books.
I CONCERT, on Wednesday Evening, April 25th, at St. James's Hall Twelve appointments ready for Masters.
Programme-First Part :-Overture, the Isles of Fingal, Mendelssohn Bartholdy Fils For Prospectuses, apply direct to the Royal College of Music, Bridge-street, Air, Jours de mon enfance (Pré aux Clercs), Miss Augusta Thompson, Herold Manchester.
Symphony concertante, for two pianofortes and orchestra, Mr Charles Salaman Dr. Mark is also open to Engagements with his Little Men.
and Mr. Lindsay Sloper, Dussek : Scena, (MS.). Mr. Santley Benectot. Overtaro Dr. MARK begs to invite the Parents and Friends, and all those interested in (Lurline). Wallace,Second Part:Sinfonia Eroica. Beethoven : Duo, D gua his Enterprise and in the Education of the Youths of this country to visit his città sei tu (L'Etoile du Nord), Miss Augusta Thompson and Me Santley establishment. Visiting hours:- From Nino to Eleven, a.m., and Two and beer: Overture (Gustave), Auber. Conductor, Mr. Alfred Mallon, Four, p.m. Saturdays and Sundays excepted.
CHARLES SALAMAN, How Seen
CRYSTAL PALACE—Friday, May 4th.—Tickets for THE GREAT FESTIVAL PERFORMANCE OF ELIJAH, cm tho occasion of the Inauguration of the Bronze Memorial Statue of Mendelssohn, are now on sale at the Crystal Palaco; at No. 2, Exeter Hall; or, by order, oftheusua Agents.
Admission tickets. 5s (if purchased before 1st May); Reserved stalls in blocks.l as arr.nged nt the Handel Festival, in the area, 5s. extra; or in the corner g&ller es, 10s. 6d. extra.
T >•- new Season Tickets will admit, subject to the usual regulations.
NOTICE.—Immediate application is requisite for Central Blocks. Post Office Orders or Cheques to be payable to George Grove.
CRYSTAL PALAC E.—June 25th, 26th, and 28th, 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 distiuct Oil oral Societies, and numbering between Three nnd Four thousand performers, who will visit England expressly** 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 Hub ; or by order of the usual agents.
The prices of admission will be as follows:—The set of Transferable tickets (one admission to each of the 8 days) 12s. 6d. ; Reserved seats (fur the 3 days) 12s. 6d. extra; or in the co nor gaUV-ries, 25s. extra
The new Season Tickets will admit on tho above occasion, subject to tho usual regulations.
MR. MELCHIOR WINTER -will sing at Myd lebon Hall, Islington, on the I7tn instant; Chatham, 23rd; Hanovcrsquiro Room3, 26th; Romford. May 3rd; Hanover-square Rooms, 26th. Address, 17, St. Jamoa's-square, Notttng-hui, W.
MISS LOUISA VAN NOORDEN and Mr. F. E. Van NOORDEN'S ANNUAL CONCERT a' tho Queen's Concert Rooms, Hanover-square, on Thursday evening. April 26th, 18ti0, commence at 8 o'clock. Artists already engaged: Madlle. Parepa, Miss M. Yuu Noord> n, Mr. Saut ey, Bb(i>or Luigi. C'-nduetors : Mes-rs. Francesco Berger and P. E. Van Noordon. SUlls numbered, 10*. Gd.; icservcd scats, 5s. ; unreserved seats, 2s. To be had at Mr. Van Noorden's residence, 115, Gn at Russell-street. Bedford-square; of the principal west-end niusicsellcrs, aud ol Messrs. Keith and Prowse, Cheapsido, City.
MR. LANGTON WILLIAMS begs to inform Lis friends and the public, ti<at his Anuual Oraud 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 BENNETTS MAY QUEEN, are suug nightly at tho CANTERBURY HALL CONCERTS. Comic vocalists—Messrs. George Hodson (the Irish comedian aud mimic), W. J. Critchnoid and E. W. Mackney. Several interesting pictures are added to tho Fine Arts Gallery. Tho suite of Halls have been re-decorated and beautified, and const ituto ono of the most unique and brilliant sights of the metropolis.
THE ARION" (Eight-Part-Choir).—The members of this Society will meet until further noiice every Thursday evenimr, at 8 o'clock, at 13, Bernors-strcot, Oxford-street. Conductor, Mr. ALFRED GILBERT.
F. F. BEILLT, Hon. Sec. Persons desirous of joining the choir are requosted to address the Secretary.
MISS MARGARET Mo A LPINE (Contralto), reqnea s that lottors respecting engagements for Oratorios, Concerts, and Pupils, be addressed to her residence, 63, Burton-crescent, New road.
R. TENNANT has returned to town. All communications respecting engagements fur himself and Mrs. Tennant to be addressed to Messrs. Boosey and Sous, 28, Holies-street, Cavendish-square; Messrs. ChappeU and Co, 50, New Bond-street; or to their residence, 807, Oxford-street, New Bond-street, W.
MISS ELLEN LYON, Vocalist (Soprano). Letters respecting all public and private engagements to be addressed 26, Charlesstroet, Berners-street, W.
MRS. TENNANT (Sister of Mr. Sims Reeves), begs to acquaint her friends and the public that she continues giving lessons in singing. For terms, apply to Messrs. B»«ey and Sons 28. Uolles-Btreot. Given-dsh-square; Messrs. Ch »p; ell aud Co., 60, New Boud-Btrcet; or at her own resi iouce, 307 Oxford-street, N«w Boud-strout, W.
MR. WALLWORTH'S engagement with the Pyne and Harrison Opera Company being terminated, ho is now at liberty for coucert«, pupils, Sic.—30, Edwardes-strect, Portman-squaro, W.
MADAME BORCHARDT having returned to Town from her Operatic Tour with Madlle. Piccolomiui, Is at liberty to accept engagements for Concerts, 4c, fur tho season. Address to tho core of Hessn Duncan Datison aud Co., 244, Kegent-stre.t, YT.
BOROUGH OF LEEDS.—The Council of the Borough of Leeds arc prepared to appoint an ORGANIST for the Town Hall Organ,
at the salary of £200 per annum. The appointment will be made subject to public competition. '■ rinted conditions may be obtained by application at the Town Clerk's Office, on and after tho 21st Instant.
Leeds, 11th April, i860. JOHN A. IKIN, Town Clerk.
]?OR THE ORGAN .—SANTA MARIA and
L MARCIA RELIGIOSO.—Tho celebrated Coro and Marcia In Mey Opera DINORAH, arranged from the full score for the organ, with Pedal O1 by J. T. Stouo, price 3s.
Boosey and Sons, Holies-street.
Second Edition, Folio, pp. 40, stitched. Price, complete, 7s. 6d.
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. Loudon: J. A. Novcllo.
DR. CALLCOTT'S PIANOFORTE GRAMMAR — Arranged for beginners and teachers in schools, by TFilliam Hutchina Callcott, cloth, 4s. "It is not possible to name a treatise so copious in information as this.'*—C. Lundales Musical Circulating Library, 20, Old Bond-street
"pLUCKLICHE STUNDEN," Song for Soprano or
Tenor voice, with German and Ita ian words, composed by 11. S.Oakeley, Esq. A'so, (by the same), THREE- KOUR-PART SONGS, (No. 1, Morgonlied; No. 2. Abcudiicd; No.3, Nacbtlied OwiihGermanaudEuglish words. Ewer & Co., 87, Regent-;troct.
Just Published, price 3s. 6d.
"T3 0MANZA," for the Violoncello and Piano, composed
A* and dedicated to Frederick Charles Pawlo, Esq., by Edward Thumam. Robert Cocks and Co., New Burlington-street, London.
MEYERBEER'S NEW WORK—" ASPIRATION"— CANT1QUE. (Short i Anthem.} The words from the orrtginal latin of Th-mas a Ktrnpis, "Do imitatlouo Christi." Composed for SIX VOICES (three sopranos, two tenors, and bass), with Recitatives for a BASS SOLO, an t Organ (or Harmonium) accompaniment ad libitum, by GIACOMO MEYERBEER. Price, in score. 4s. London: Duncan Davison and Co., 244, Regent-street, where Meycrbcer*s setting of tho Lord's Prayor, for four voices, 3s., and the Serenade, for eight voices, "This house to love is holy," 4s., may be obtained.
lVTEW SONG FOR THE VOLUNTEERS.—"The Good
11 Old Day•," Patriotic song, composed by J. L. tlatton, price 2s. Gd. Published thin day by Boosey and Sous, llolles-strect'
fiHEAP EDITION OF MOZART'S TWELFTH
\J MASS and ROSSINI'S STABAT MATER, arranged in the most effective manner for the Piauofore, by Henry Smart, price 3s. each, complete, or somely bound, 6s. each. Boosey nnd Sons, Holies-street.
ARTISTS' VOLUNTEER RIFLE CORPS.—
-TV (38th Middlesex), Viscount Bury, Captain Commandant. This corps, composed of Artists, Amateurs, and others interested in auy branch of Art, drill-*, at the Argyll Rooms, on Monday, Wednesday, and Friday, at Five o'clock; Tuesday. Thursday, and Saturday evonings nt Half-past Six; and at Burlington House on Wednesday mornings at Eight. Officers appointed to First Company: Captain, Viscount Bury; Lieutenant, H. W. Phillips; Ensign, J. E. Mdbus, A. R. A. Third and Fourth Companies aro now forming; gentlemen wishing to join the corps can bo enrolled nt the hours of drill, or on application to F. P. Cocker©!!,, Esq., Honorary Secrotary, 8, Regent-street.
rPO VOLUNTEER RIFLE CORPS.—Boosey and Sons*
JL military band instruments, reed and brass, as well as bugles, drums and fifes, have been used and approved of by almost every regiment in the service, at home and abroad. Tho&o regiments that contemplate the formation of abtnd, arc invito*! t>> apply to the firm, who will be happy to recommend them competent bandmasters, and render any further assistance that may be required.—Boosey and Sons, Hollee-strcot, London.
"Summer Gladness"—song, words by the Rev. Horatius Bonar, music by Mrs. Sampson (Cramer, Beale & Co.). The poetry, of a purely devotional character, is excellent, and if the music were as new as it is expressive (and well written, by the way), we should have to congratulate the fair composer at all points. In paying her this compliment, we are not disposed to quarrel with the sympathy she exhibits for Schubert, in the symphony, and for Spohr (Jessonda ?) in the melody and harmony of her really charming song.
"Grace"—by Handel Gear (J. A. Novello). Mr. Handel Gear sings grace with appropriate solemnity and at the same time in an artistic spirit. We append the form of his thanksgiving:—
"For these and all thy mercies given.
We bless and praise Thy name, O Lord j
Ever trusting in Thy word. To Thee alone be honour, glory, Now and henceforth for evermore. Amen." The above words are set in very correct and effective fourpart harmony—first for alto, two tenors and bass, next for soprano, alto, tenor and bass, the latter being merely a transposition of the former, from F to A.
"Lea Naiades du Rhin\ premUre fatUaisie pour piano"— J. de Grenier (Robert Cocks & Chappell). As a "premiere fantoisie" the above piece may be recommended. It is neatly written (a point we are always inclined to insist upon as of the highest importance), and though somewhat monotonous, the first three pages of the moderato (3-4 time) are not inelegant. The episode, besides a nice feeling for harmony, shows a more earnest wish to avoid tho beaten track. We do not like, however (for the same reason, probably, that some one objected to Dr. Fell), the subjoined progression :—
—which, though a thought tame (and for a reason to the expounding of which Dr. Fell can in no way help us), we, nevertheless, prefer.
"Queen of Fresh Flowers"—duet, words by Bishop Heber, music by Mrs. Sampson (Cramer, Beale and Chappell). The words of Bishop Heber are beautiful, and had we space we should quote them, even though they proceed from a mitred poet. The music is hardly worthy of the authoress of "Summer Gladness," being both trivial and commonplace. In " Days past long ago"—words by James Onions, Esq., music by Mrs. Sampson (same publishers)—the fair composer triumphantly wins back her laurels. The words, though on a used-up theme, are of more than average merit, and were it not for the insertion of a. superfluous "but" (which might advantageously be metamorphised into "and") would be irreproachable. The melody with which the music of Onions has inspired Mrs. Sampson is extremely graceful and expressive; nor is a word of hostile criticism called for by the accompaniment, which is in equal degree neat and appropriate.
"' Charms'—Hude a la valse"—for pianoforte, by P. E. van Noorden (Van Noorden and Co.) Why this piece should be called etude is as difficult to explain as why it should be entitled *' Charms." The principal theme consists chiefly of an ordinary distribution of the chords of the tonic and dominant into arpeggio, during a temporary departure from which Mr. Van Noorden plunges head and ears into consecutive octaves between extreme parts moving in the same direction:—
The point deserves consideration.
"Niyht Watc/ters"—song, words by J. F. Waller, LL.D., music by Joseph Robinson (Cramer, Boale, and Chappell). The words of this song are conceived in a poetic spirit, and the music with which they are associated, in addition to the grace and expressiveness of its melody, is harmonised in a thoroughly musician-like style.
"/ wish I were a child again"—song, words by Annie Bentley, music by G. A. Macfarren (Cramer, Beale, and Chappell)—but for its marked originality might be mistaken for one of those exquisite melodies (from Mr. W. Chappell's Music of tlte Olden Time), of which Mr. Macfarren has harmonised so many. Nothing can bo more unobtrusive, pretty, and even tender than the melody, nothing more finished and unaffected than the accompaniment. Placed in the third act of an English opera, this little ballad would produce a "furore."
"The memory of lliee"—ballad, sung by Miss Leffler, composed by John W. Morgan (Cramer, Beale, and Chappell). "The Warning of the lios"—ballad, written and composed by M. Rophino Lacy (same publishers). "Hound the corner wailing"—ballad, composed by William Walker (Robert Cocks and Co.) There is nothing remarkable to notice in
any of these songs. The first is on tne extremest verge of common-place. The second has more attempt in it, and is not without a certain grace. The third has an ordinary melody, and is generally well harmonised; but at page 3, line 4, bar 4, the chord of E comes in so awkwardly as to derange the cadence altogether. The whole page, by the way, wants revision, the signature at the beginning of every line (an engraver's error) having one sharp instead of three.
LETTER TO THE EDITOR.
A CHAMBER-ORGAN WITH THE GERMAN AND ENGLISH SCALES OF PEDALS.
An instrument on the following plan I am not aware has been built, and although the German scale of keys and pedals is well enough for fugues, choruses, &c, in solo playing on the swell, or soft stops in the choir, it is not so well suited, on account of the pedal-notes reaching so high, and the pedal-pipes being too loud lor the fundamental bass, to a swell solo, with a soft left-hand accompaniment. To provide for both, I recommend the following arrangement, that if carried out would, I trust, satisfy the advocates for either the German or English G organ, as follows:— Plan—1'wo Sets Op Kets. Upper Set, from CCC to A, six octaves and three-quarters. Lower do., from CC to A, four octaves and a sixth.
Stops In The Upper Set—Swell.
Stopped Flute, ditto to ditto.
Hautboy (organ) ditto to F, continued with harmoniums.
Clarionet, ditto to the top (liarmouium flute-notes).
BaBsoon, from B below tenor C to CCO (liarmouium.) ., .
German Pedals from CC to middle C. English Pedals from GGG to A, a ninth above. The English uppermost, the GGG in a line with the CC below, both to slide in and out.
To the English scale add five soft stop diapason note?, from BB to GGG, to speak on the lowest octave of the upper keys as a continuation of the Btop diapason in the lower set.
N.B.—These pipes complete the ninth of pedal bass to a soft solo in the treble.
To draw on the lower keys, the open diapason, principal, open flute, fifteenth, twelfth, and chorus: pedal to the right. Next pedal (close enough to enable the foot to press down both at one time) to draw the reeds in the lower set and the swell coupler.
A third pedal (to the left) to reverse the preceding.
The one that draws the reeds to open the swell-box to be closed when the third pedal is pressed down.
The lowest octave of German pedals to pull down the keys of the lowest octave in the upper set, on which must speak an octave of bourdon pipes attached to a draw-stop.
Having given a full description of the instrument, I will now turn to its utility, first apprising my readers it is intended for a concert or drawing-room, and its high scale in the swell is to afford players pleuty of scope for light playiog, in which they may treat the swell as a violin and display what the organ is capable of producing, by such as desire to advance and not tread the one old worn-out path as some prefer, till the school is fairly become stale and insipid to the advanced taste of musicians.
Suppose I want the proper combination for one of Bach's pedal fugues. I draw all the stops of the lower key-board, the German pedals aud the bourdon. Here I have the German pedal organ; aud if I desire more power, I can add the swell coupler without the bassoon, or it, to add brilliancy to the pedal notes.
• If again, I want a proper accompaniment to a solo on the swell, I push in the German pedals and draw out the English with the five-stop diapason notes, by which I have a pedal scale of soft notes from GGG to A, the ninth above, with either a stop diapason or dulciaua left-hand accompaniment, or, I can use the vox humana for the solo, and accompany it on the swell with a soft pedal bass. I am aware the chief novelty in this plan is the two sets of pedals, but I may be allowed to observe, an organ on the preceding arrangement would possess all that can be desired for a concert or drawing-room performance.
Haydn Wilson, Professor of the Organ, Pianoforte, and Theory, London.
PASSAGES FROM SPOHR'S LIFE.
(Translated from Alexander Malibran's "Popular Biography.") In January, 1821, Spohr performed for the first time at a p\iblic concert in Paris. He had prevailed upon the management of the Grand-Opera to give an evening entertainment, the first part of which was to consist of a concert, and the second a ballet—an arrangement which was new in Paris, and saved him the troublesome task of getting up a concert himself. He gave his overture to Alrwna, a new violin concerto, and the Pot-Pourri on Mozart's duet in Don Juan; between the pieces Mdlle. Cinti sang a cavatina, and Bordagni and Levasseur a duet by Rossini. The approbation of the public at his efforts was unmistakeably expressed in warm applause and cries of "Bravo." Not so favourable, however, were the criticisms of the majority of the newspaper critics, to whom Spohr had neglected to pay his court. It is true that all the papers mentioned the concert, and some with unqualified praise; most of them, however, did so with the addition of a "but," and all with self-complacent vanity. One writer said :—" Si M. Spohr Teste quelque temps a Paris, U pourra perfectionner son goUt, et retourner, en suite, furrner celui dts bons AUemands /"
Spohr played frequently at private houses, and had the satisfaction of finding that his compositions and play were greeted with enthusiasm by professionals and amateurs. The quintet for piano, flute, clarinet, horn, and bassoon, a piece which he had written for his wife, who had given up the harp by the advice of her medical attendants, was especially popular. An offer was made to take all the business arrangements of a second concert quite off his hands, and to secure gratuitously for him the best orchestra in Paris, but he did not avail himself of the offer.
The following judgment pronounced by Spohr, on the relative merits of Baillot (1771—1842), Lafont (1781—1839), Kreutzer, jun.,* and Habeneck, will have, on account of the practical remarks it contains, an especial value for violinplaj-ers:—
■ If yon ask me which of these four violinists please me most, I answer, unhesitatingly, if we look merely at execution, Lafont. He combines, in his play, a beautiful tone, the greatest purity, strength and grace, and would be a perfect violinist, if, to these admirable qualities, he united deep feeling, and had not accustomed himself so much to the practice, quite peculiar to the French school, of dwelling on the last note of a phrase. He
* Jean Nicolas Augu9te Kreutrer, brother of Kudolf Kreutzer, and his junior by fifteen years. He died in the summer of 1831, a few months after his brother, who had been ailing ever since 1826.
appears, however, to be deficient, like most Frenchmen, in feeling, without which a man can neither compose a good adagio, nor play one well, for, although he decks out his slow movements with many elegant and pretty ornaments, he is rather cold himself, and leaves his audience so. The adagio seem? to be generally considered here, both by artists and the public, the most unimportant movement in a concerto, and is probably retained ouly because it is useful in separating the two quick movements from each other, and heightening their effect.
"It is to the indifference of the French for this, as well as, generally, to their unsuscpptibility for everything that touches the feelings, that I ascribe the fact of my adagio, and the manner in which I render it, producing less effect here than the brilliant allegro passages. Being spoilt by the applause bestowed, especially on my execution of the andante, by Germans, Italians, Dutchmen, and Englishmen, I'felt at first offended at finding so little attention paid it by the French. Since, however, I have observed how seldom their own artists give them an opportunity of hearing aserious adagio, and how little the taste for it is awakened in them, I have grown calm on tho point. The practice of bringing out the last note of a period by increased pressure and a rapid upward motion of the bow, is moreorlesspeeuliar to all French violonists, and of no one is this more strikingly true than of Lafont. It is incomprehensible to me how such unnatural accentuation, which sounds exactly as if a speaker were to let out strongly the short final syllables, can have arisen. If players, when executing the cantabi/e, had always taken the human voice for a model (as, in my opinion, every instrumental performer ought to do), they would not have thus gone astray. The Parisians, however, are now so accustomed to this unnatural fault, that the play of a foreigner, who is not equally eccentric, strikes them as far too simple, or as Herr Sievers expresses it, far too straightforward.
"That Lafont's virtuosity is always confined to only a few pieces at a time, and that he practises the same concerto for years before he performs it in public, is well known. Since I have heard what perfect execution he attains by the plan, I will not blame this devotion cf all his powers to one single end, but I feel myself incapable of imitating him; 1 cannot even understand how anyone can make up his mind to practise tho same piece of music four or six hours every day, aud, still less, how a man manages, when pursuing so mechanical a course, not to become totally insensible to all true art. Baillot is nearly as accomplished in the technical part of his play, while his diversity proves that ho is so without being compelled to have recourse, to such desperate means. In addition to his own compositions, he plays nearly all the works of ancient and modern times. On the evening in question, he treated us to a quintet by Boccheriui, a quartet by Haydn, and three compositions of his own: a conceito, an 'air varie,' and a rondo. All these things he played with perfect correctness, and with the expression peculiar to his manner. This expression struck me, however, as being more artificial than natural, just as his style is marked by mannerism on account of the too great prominence of the means by which his expression is produced. His bowing is clever aud rich in delicate touches, but not so free as that of Lafont; consequently his tone is not so fine, aud the mechauical art of moving his bow upwards and downwards too audible. His compositions are distinguished from those of almost all other Parisian violinists by their correctness, and it cannot be denied that they possess a certain originality; but something artificial, antiquated, and marked with mannerism in the style, makes him exceedingly fond of playing the quintets of Boccherini very often. I was anxious to hear these quintets, of which I know about a dozen, played by him, in order to see whether, by-thc-way ho executed them, he could succeed in making me forget their emptiness. Highly successful, however, as was his performance of those he selected, the frequently childish character cf the melodies and the poverty of the harmony, nearly always only three-part, struck me no less disagreeably than on every occasion that I had heard the same pieces before. It is hardly comprehensible how an educated artist like Baillot, acquainted v/ith our treasures iD the way of compositions of this kind,