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ORCHESTRAL UNION.—MR. ALFRED MELLON begs to announce that he will return to London about the middle of Juno, when ho will be open to any engagements for the Band of the OrcheBtral Union, which he has reconstructed. Principal Artistes— M M. Sainton, H. Hill, W, "Watson, E. Paytou, Doyle, Trust, G. Collins, Aylward, Howell, senr, White, P. ft. Pratten, Barret, Lazarus, T, Owen, Hausser, C. Harper, Standen, T. Harper, Stanton Jones, W, Winterbottom, Cioffi, Hughes, and F. C. Horton, Applications respecting engagements to be made to Mr. George Dolby, 2, Hiudo-street, Manchester-square, w.

MISS ELEANOR ARMSTRONG begs to announce tliat her grand Evening Concert will tak.3 place on Wednesday, May 10th, when tho following Eminent Artists will appear: Miss Eleanor Armstrong, Madame Laura Baxter, Mr. William Cuminings, and Herr Elbonschutz, Mr. Charles Salamau, and Herr Adolphe Bies. Ilerr Louis Ries, Herr Lidol, and Mr. Ellis Roberts. Conductor, Mr. Frank Mori Tickets, 7s.; Reserved scats, 10a. 6d.; to bo had of Miss Eleanor Armstrong, .at her residence, 36, Osnaburgh-street, Uepent'spark; and of the principal niuaic-scUcrs.

THE LONDON GLEE AND MADRIGAL UNION.— Miss J. Wells, Miss Eyles, Mr. Baxter, Mr. W. Cummings, Mr. Land, and Mr, Lawlor, respectfully announce tliat arransrements have jbeon made to resume their successful Entertainments, on Wednesday next, at the Royal Gallery of Illustration, Regent-street, to be continued every Wednesday and Friday afternoons, at 3, and on Saturday evenings at 8.16. Conductor, Mr. Land. Literary Illustrator, Mr. T. Oliphant. Tickets at Mitchell's Royal Library, Old BondBtreet.

MISS FANNY CORFIELD (Pupil of Professor Sterndalo Bennett) will give a Matinee Musicale, at 14, Montaguo-place, BryauBtou-sqnare (by kind permission of Mr*. Chapman), on Saturday, the 19th of May, when she will be assisted by the following eminent artists: Violin, M. Sainton; Violoncello, M. Paque; Vocalists, Mndanio Sainton-Dolby and Mr. Rcdfeam. Single Tickets, half-a-guinea; family ticket", to admit three, one guinea. To bo had of Miss. F. Corrield, 29, Burton Street, Eaton-square, and of Messrs. Leader, and Cock, 63, New Bond-street."

MISS LEFFLER'S GRAND CONCERT at St. James's Hall, on Tuesday evening, Juno 5, at 8 o'clock. Vocalists—Madame Lemmens Sherrington, Miss AuguBta Thomson, Miss Poolo, Miss Rose Herseo, Miss Leffier, Madame Woiss; Mr. Weiss, Mr. Santloy, Mr. Brandon, Mr. Johu Morgan, and Mr. Sims Reeves. Pianoforte—Miss Arabella Goddard. Violin— Mdlle. Sophio Humler. Harp—Mr. Kills Roberts. Harmonium—Mr. Scotson Clark. Distln's Ventil Horn Union. Conductors—Mr. W. G, Cusins, Mr. J. G. Calcott. Mr. Sidney Naylor, Mr. Kingsbury, and Mr. J. L. Hatton. Sofa stalls, 5s. ; balcony, 3s.; area, 2s.; gallery and orchestra. Is. May be obtained of Miss Lefficr, 71, Oxford-street; Mr. Austin, St. James's Hall, 28, Piccadilly; Keith, Prowse, and Co., 48, Cheapside ; Messrs. Cramer, Beale, and Cu., ana Addison and Co, Regent-street, Davios's Library, 34, Porfcman-placa, Maida-hill; F. B. Garty, Esq., 4, Elizabeth-place, North Brixton, and Chappell and Co., 50, New Bond-street.

THE ENGLISH GLEE AND MADRIGAL UNION.— Miss Bauks, Mrs. Lockey, Mr. Forster, Mr. Lockcy, Mr. MoutemSmith, Mr. Winn, and Mr. Lewis Thomas, have the honour to announce that their ANNUAL SERIES OF CONCERTS will take place by the kind permission of Messrs. Collard and Collard, at the New Concert and Pianoforte Saloon, 16, Grosvcnor-street, Grosvcnor-square, on Wednesdays. Juuo 6, 13, 20, aud 37, to commence at Threo o'clock. Stalls, 6s. ; unreserved seats, ;.b.; subscription to stalls, numbered and reserved, for tho scries, jfc'l Is. Tickets may be obtained at Chappell aud Co.'s, 50, New Bond-street (where a plan of tho stalls may bj seen); Cramer, Beale, and Co.'s, 201, Recent-street; Leader and Cocks, New Bond-street; Ollivier'a, Old Bond-street; Keith, Prowse, and Co.'s, 48, Cheapside; and at Addison, Hollier, and Lucas's, 210, Regent*trqet.

HANOVER-SQUARE ROOMS.—MR. MELCHOR WINTER ftenore), and Mr. BENJAMIN WELLS (flautistl, beg to announce that their GRAND EVENING VOCAL AND INSTRUMENTAL CONCERT will take place on the 28th of May at the above rooms. Artists:—Madame Weiss, Miss Muhlah Uomer, Miss Chipperfield, aud Madame Sainton-Dolby; Mr. Weiss, and Mr. Mclchor Winter; Harmonium, Mr. Scotsou Clark, and Flute, Mr. Benjamin Wells, who will perform on Carte's silver cylinder flute, on which lio had tho honour of playing beforo the Queen and tho Prince Consort. Conductor, Herr Wilhclm Gauz. Stalls, 7s. 8d, ; Resorvod scats, 5s.; Unreservod, 2s.: and Orchestra, Is. Tickots to he had of Messrs. Cramer and Co.; Chappells; Boosey; Keith, Prowse aud Co.; and also of Mr. Benjamin Wells, 23, and Mr Mclchor Winter, 17, St. Janios'saquare, Nottiug-hill, w.

MDLLE. MARIA DE VILLAR, Court and Concert Binder t" tho Triuco of Hohenzollern, bogs to announco that her first Evening Concert will take placo on Friday tho ISth of May, at the Queen's Concort Rooms, Hauovsr-squaro, at ualf-past Eiglit, under thoinimO'Hatepaironago of The Marchioness of lirciwbilbane, Jane Countess Dowager Somcrs, ITho Cmintess of Haddington, Tho Lady Clurenco Paget, The Lady Theresa Lowis, The Lady Manners. Lady Knatchbull, and Mrs. Philip Yorke. Artistes: Miss rainier, Miss E. Wilkinson, Madlle. Maria do Villar, Mr. George Pencil, and Mr Bantlcy. Iiistrmiien^ajijit|^ MadJle. Mario Wieck, Herr Louis Ries, Herr I.idcl, Mr. J. B. Cli it«*t*a(>*i<ist »fi*r Majesty tho Queeu. Conductor*: Mr. Benedict and Herr WfiMwrtMas-.. y^cacrvtd seats, numbered, 10s. (id.; resorved family tiokets, £1 IjJUMMtMim; unreserved, Tickets to be had at Madlle. do Viil.ir* rosW»n««. 1'\ ManenestCT-sv el, Manchester-square; Messrs. A l lison, Ilnllier.

.essrs, Woasd tt Co., Hanover-square, and of (lie

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pRYSTAL PALACE.—TONIC SOL-PA ASSOCIA

W TION,—The Juvenile; Festival of tho Tonic Sol-fa Association will take place in tho Great Orchestra, on Wednesday next, May 16th, the ehoir numbering 4000 children and 1000 adults, instructed in the Tonic Sol-fa method. ConductorsMr. John Sarll aud Mr. W. B. Young. Miss Elizabeth Stirling will perform ou tho Groat Organ at Intervals. Open at 10; performance to eomuienco at 2. Admission, One Shilling; children under 12, Sixpence. Reserved seats (in the galleries only^ Ilalf-a-crown extra.

CRYSTAL PALACE.—MR W. VINCENT WALLACE'S GIUND MORNING CONCERT.—Selections from tho Operas of Lurliuo, Maritana, Ac, on Saturday, May 10th at 3 o'clock. Vocalists—Mdlle. LernmonB Sherrington, Madame Weiss, Miss Augusta Thomson, Madame faun Baxter, Miss Fauuy Huddavt, Miss Poolo, aud Miss Parepa; Mr. Sims Reeves, Mr. Sautley, 'Mr. G. Perren, Mr. Ramadan and Mr. Weiss. Pianoforte—Miss Arabella Goddard. Violin—Herr Becker. Flute—Mr. Pratten. Coudactors—Kr. Manns and Mr. V. Wallace. Tickets, Half-a-crown; resorvod seats, Half-a-crown extra. To bo had at the Crystal Palace; 2, Exeter Hall; Messrs. Cramer, Bea*.e, and Co., 201, Regeut-strcet; Messrs. Chappcll's, 60, New Bond-street; and at the Libraries. *

THE ENGLISH GLEE AND MADRIGAL UNION.(Mis^a Banks, Mrs. Lockey, Mr. Foster. Mr. Lockey, Mr. Montem Smith, Mr. Winn, and Mr. LowtB Thomas). All applications for Evening Parties and Concerts, in town or country, to be made to Mr. Winu, 114, Camden-roadvillas, N.W.

MR. AGUILAR respectfully announces that he will give a Morning Concert, at the HauoYer-squr.ro Rooms, on Monday, June 4th, Vocalists: Madlle. Parepa, Miss Litido, nnd Signor Belletti. Instrumentalists: Messrs. Alfred and Houry Holmes, Herr Lidel, Mr. Pratten, Mr. Nicholson, Mr. Lazarus, Mr. C. Harper, Mr. Waotzig, and Mr. Aguilar. Conductor, Mr. Frank Mori. Ou this occasion will-be performed for the first time iu public, Mr. AgaiLiri new jSestet, for piano, flute, oboe, clarionet, horn, and bassoon. Reserved scats, 10s. 6d. • tickets, 7s.; to be had at the principal music warehouses, aud of Mr. Aguilar, 1 <, Weatbourne-square, W.

MR. BENEDICT'S ANNUAL MORNING CONCERT AT HER MAJESTY'S TIIEATttE, is fixed for Monday 18th June,under the immediato patronage of Her Most Gracious Majesty the Queen; H.R.H. the Prince Consort; H.R.H. the Duchess of Kent; aud H.R.H. tho Duchess of Cambridge. Tho programme will be on the same scale of former years ; early application for tho few remaining stalls and boxes is respectfully solicited st Messrs. Chappell; Messrs. Leader and Oock, New Bond-street; Messrs. Cramer, Beale, and Co.; Hamni"ud's, late Jullien, Regont-street; Mr. OUivier's and Mr. Mitchell's, Old Bond-street; Mr. Austen's Ticket-offico, St. James's Hall, Piccadilly; and Mr. Benedict's, 2, Manohester-squaro, W.

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The last would be better thus ;-

would be as irreproachable as it is spirited. Va, donc, pour Kiko.

The Winter being over,' part-song”-composed by Ellen Avery (Charles Jefferys). The words of this part-songwritten in 1653, by one Ann Collins, offer a quaint mixture of matter-of-fact and poetry,

The music is melodious, characteristic, and remarkably well written. Miss Avery should be encouraged to proceed ; her feeling and taste being alike unquestionable.

The Singer's Library of Concerted Music”- edited by John Hullah (Addison and Hollier). No. 23 of the Secular Division contains a part-song, the words by Charles Swain, the music by Maria Tiddeman--" If thou speak'st though snows surround thee.This is quite as neatly written as the partsong of Miss Avery ; but the melody is hardly so attractive. In addition to the foregoing, the same number includes Samuel Webbe's catch, " Zephyr, I can tell you where," which was scarcely worth reviving.

Though even that might be purified. The Galop deserves reconsideration, for it is a right spirited and vigorous Galop of its measures. We have adduced enough to show that Kiko has something to acquire in the way of technical proficiency; on the ' Sea-Wave Waltzwe shall therefore not be critical. The theme of the first figure is quite enough to prove that its composer is not ungifted with melodic invention. We can only find room, however, for eight bars :

HER MAJESTY'S THEATRE.

The first performance of Bon Giovanni, on Saturday, was, in more than one respect, a remarkable one. The discovery of even a tolerable Don Giovanni was an nnlooked for event, so many had been the failures since the retirement of Tamburini. Signer Everardi, who now impersonates the libertine nobleman at Her Majesty's Theatre, if not a perfect representative of the character, is by many degrees the best we have seen of late years. Ilia voice is rich, mellow, and flexible, and, although not an Italian, sings like a genuine Italian artist. Signor Everardi looks the part, moreover, extremely well, aud acts with great intelligence. His deportment is natural and graceful, and his movements and gestures are easy and unconstrained. That Signor Everardi has something yet to acquire before he can be thoroughly pronounced master of the most exacting character in the whole range of the lvric drama, is unquestionable ; but that time and experience will perfect what has been so well begun, there is good reason to expect. However, at any rate, viewed even as it stands, the Don Giovanni of Signor Everardi is entitled to very high praise. It is gentlemanly, spirited, and free from all exaggeration as an histrionic portraiture, while as a display of vocal art it is irreproachable. The duet, " La ci darora," (with Madame Borghi-Mamo), and the serenade, " Deh vieni alia finistra," both given with infinite taste and propriety of expression, was unanimously redemanded. Madame BorghiMamo has added materially to her reputation by her performance of Zerlina, which has hardly been surpassed in our recollection. More exquisite singing could not be heard than the incomparably beautiful air, " Batti, batti," and " Vedrai carino," the latter of which was encored with acclamations, and the former only escaping an encore through an injudicious departure from the text, in order to " round off" the cadence (we suppose) in accordance with Mad. Borghi-Mamo'a (not Mozart's) idea of finiih. Such singing requires no clap-trap to recommend it. In the duet with Don Giovanni (encored, as we have said), Mad. Borghi-Mamo was admirable. Of Madlle. Titiens' Donna Anna we can only reiterate the high encomiums expressed last year. It is, perhaps, his grandest performance. Signor Vialetti sang the music of Leporcllo with remarkable vigour and correctness. Madlle. Vaneri gave that of Elvira carefully, but exhibited little acquaintance with the business of tho stage, Signor Castelli surprised everyone in the Connnendatoro, which must have satisfied the manager that his talents have heretofore been underrated. Signor Giuglini sang "Delia sua paco" to perfection, and would have been as successful in " II mio tesoro" but for certain alterations (by no means improvements) of the text of Mozart. The house was crowded to suffocation.

On Tuesday, Norma was given for the first time, and attracted an overflowing audience. Madlle. Titiens, as the High Priestess, and Signor Mongini, as Pollio, achieved their accustomed success. The other characters call for no especial notice.

Don Giovanni was repeated on Thursday, and to-night Rigoletlo will introduce Madlle. Brunetti as Gilda, and Signor Sebastiani Ronconi as the jester.

Mrs. Mathews' Friends For Thb Fireside.—Any book from the widow of tho celebrated Charles Mathews would be favourably received by tho public. , This work will take its stand upon higher ground than personal respect—it will be esteemed one of the most valuable additions to literature that has for a long time appeared. It is rich in anecdote—it is replete with wit— its fund of recollections of men and things is unsurpassed—its notingg and selections evince a refined mind and good taste—its gravities will be appreciated by all thinking people. In fact, the book will prove a mine of wealth to every class—to tho wit —to the men of the world—to the clergy—to the politician— to old and young of both sexes—above all, to tho literary man. —Globe.

Organist ApronrraENT.—Mr. J. M.Koberts, orgnnist and choirmaster of Chapeltown and Moornllerton Churches, and formerly articled pupil of Mr. Spark, has been appointed organist and choir-master of the Parish Church, Think. The selection was made by competition, the candidates having their abilities tested in various ways by Dr. Monk, orgnnist of York Minister.

ROYAL ITALIAN OPERA.

One of the best representations of the Trovaiore ever witnessed at this theatre took place on Thursday night week, when the zeal and energy exhibited on all hands were the more remarkable, inasmuch as the audience, though numerous and fashionable, was, in a great measure, one of the most frigid and apathetic of the season. The third of Madame Grisi's "farewell appearances," it seemed the fixed resolve of the unequalled lyric tragedian to persuade the house of the difficulty of ultimately replacing her. From the opening air, "Tacea la notte"—the slow movement of which was rendered with genuine pathos, and the "allegro" with wonderful brilliancy—to the final scene, where the self-poisoned Leonora succumbs in the presence of her lover, just at the moment of convincing him that she is innocent, her performance was admirable alike from a dramatic and a musical point of view. Signor Mario, too— who has now recovered from the temporary indisposition that, year after yoar, memorializes his passage across the Channel— was quite himself, and, as a natural consequence, his Manrico was as nearly faultless as could be imagined. Tho song of the Troubadour (behind the scenes) j the graceful apostrophe to Leonora (" Ah, si bien mio") and its fiery sequel, "Di qnella pira," where Manrico hastens to the rescue of Azucena; the plaintive appeal from the prison (" Ah! che la merte") in the scene of the "Miserere;" and last, not least, the concluding duet, in which the indignant malediction, "Va, ti abboraino, ti maledico," yields to a burst of tenderness when the fatal effects of the poison begin to show Manrico how cruel and unjust had been his suspicions, were, without reservation, displays of the highest excellence. Only once during the evening was there even a hint at failure ; and this happened in the "cadenza" at the close of "Ah, si ben mio" (not a very striking ornamental passage, by the way), which somewhat weakened the impression that otherwise would have been produced by a thoroughly perfect example of cantabUe singing. When Grisi and Mario, thus well disposed, are encouraged by an unrestricted command of physical resources into a resolute determination to gratify their hearers, it is not easy to over-estimate the value of their combined exertions. Anything more splendid, anything more touching and appealing, than the duet between Leonora and Manrico, has rarely Deen witnessed on the Italian stage. Madame Csillag, by the manner in which she sang the melodious phrase," Ai nostri monti ritorncrerao," materially enhanced the artistic effect, her skilfully subdued tones in the dream of tho sleeping gipsy contrasting exquisitely with tho accents of the hero and heroine, whoso passionate aud absorbing grief makes them altogether oblivious of tho presence of a third person. This lady's Azucena has not been equalled as a picturesque and vigorous conception since Madame Viardot first impersonated the character in London. The scene in which, while narrating to her pretended sou the story of her former life, the gipsy gives utterance to the despair that accompanies her remembrance of its most terrible and fatal incident, was a masterpiece of vocal declamation, made doubly impressive by its dramatic truthfulness. Here and there a vestige of Teutonic exaggeration may have possibly been detected, but the whole was too intensely real, too vividly and poetically portrayed, not to extort the liveliest and most unanimous sympathy. Without touching on other points—in their way no less entitled to praise—we may add, that by her performance of Azucena, Madame Csillag has entirely justified the favourable opinion solicited by what was, of course, a far higher intellectual effort—her Fidelio. The first appearance of Signor Graziani—whose Conte de Luna chiefly resolves itself into the most musical, and in all respects satisfactory delivery on record of the popular air " II balen del sao sorriso," was another event which contributed to the general attraction of the performance. This gentleman's voice—neither absolutely barytone nor absolutely tenor, but an agreeable fusion of the two—is as fresh and as beautiful as ever. His method of singing reveals no sign of modification; but that it was as acceptable as on previous occasions was evidenced in the warm reception accorded to "II balen," which gained one of the two encores of the evening—the other being awarded to Madame Grisi and Signor Mario in the "Miserere." After bestowing such unqualified commendation, it would be superfluous to speak of '■ recalls" and such-like manifestations of courtesy on toe part of the public, which the habit of the age having made conventional, are too often indiscriminately awarded.

On Saturday, instead of Fra Diavolo, which had been announced, Dinorah was substituted, by desire of Her Majesty, who with the Prince Consort visited the theatre for the first time this season.

On Tuesday the first representation of // Barbiere for two years attracted the most brilliant audience of the season. The fact of Mario having resumed his old part of Count Almaviva— his most finished and admirable impersonation in the opiniou of many—gave additional interest to the performance ; while the first appearanco of Madame Miolau-Carvalho, in Rosina, was anticipated with general curiosity. On no former occasion have we heard the great Italian tenor sing the music so exquisitely. So thoroughly docs it suit him, that it is unaccountable how, under any circumstances, Mario should have resigned the part of Almaviva to another. As well might Tamburini in his best days have resigned the part of Don Giovanni to a barytone of less renown. The secession of Mario robbed the Barbierc of the chief among its very many attractions, and this, no doubt, was the reason of its being abandoned last season, for the first time since the institution of the Eoyal Italian Opera. The subscribers and public may be thankful for any cause which brought him back to his post, for he positively never sang better than on Tuesday, and never produced a greater effect. From "Ecco ridente," to the trio, ■ Ah, qual colpo," his voice not only displayed its unrivalled quality, but his vocalisation that case, grace, and flexibility which have made him perhaps the most accomplished singer of Bossini's music the stage has seen. Another powerfulattraction was Eonconi's Figaro, a masterpiece of a different kind, but no less incomparable than Mario's Almaviva. The singing and acting of the two in the famous duet, "All idea di quel metallo," could not have been surpassed; and without entering into further details about the performance of the prince of Figaros> we may say that Ronconi was in the true vein, and sustained the character of the mercurial barber with wonderful animation and esprit from "Largo al factotum," to the end. Madame Miolan-Carvalho was a charming Rosina, acting with infinite naivete', and singing with wonderful brilliancy; but her voice being a high soprano, she was scarcely so much at home with the music as with that of Dinorah. The transposition of " Una voce" from E to G is by no means without precedent, but the ornaments in many instances were far more elaborate and redundant than Rossinean, Mad. Carvalho's success in Rosina, nevertheless, was decided. Signor Tagliafico ave a bold and vigorous sketch of Don Easilio, and M. Zclger '\ his utmost to render Bartolo amusing. The overture was 3 with acclamations, and the same compliment paid to Bt.fr. "Zitti, zitti," in the last sceno.

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MUSICAL SOCIETY OF LONDON.

At the fourth concert of the second season, which took place on Wednesday night in St. James's Hall, this new and flourishing society—which counts among its members nearly all the chief professors and amatenrs of music, foreign and native, residing in the metropolis—furnished a programme in strict consonance with that element of its constitution which principally distin"uishes it from other associations of tho kind. It will be seen, the following, that a new work of importance, from tho pen fan eminent living composer, was one of the prominent features i the selection :—

Pibt I.

... .,. Mozart.

'(First time of porformanco) G. A. Macfarrcn.
1'abt II.

Concerto in G, Pianoforte, Mr. Charles IlalM ... Beethoven.
Aria, "Cangio d'aspetto" (Admeto), Madame

Sainton-Dolby ... ... ... ... Handel.

Grand Air, "Jo suis sauvtfe enfin" (Lo Domino

Noir), Madame Lemmens Sherrington ... Auber. Overture (Guilhrame Tell) ... ... ... Boesini.

Conductor—Mr. Alfred Mellon.

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A finer execution of Mozart's incomparable symphony in G minor (the minuet and trio of which was encored), or more faultless indications of the times of each movement than those expressed by Mr. Alfred Mellon, we do not remember. The introduction of a symphony by Mozart was a happy idea, and never was perfect music more thoroughly appreciated. Another rich treat was the masterly performance of Beethoven's superb and romantic pianoforte concerto by M. Charles Hall6, who played his part without book, with a readiness for which ho is proverbial, and achieved a brilliant success. The orchestral accompaniments, so original, so elaborate, and so overflowing with rare fancy, were given by the baud to perfection. The least admirable .featuro of tho evening was the overture to OwiUaumc Tell, in which tho noise of tho wind instruments completely drowned the stringed instruments.

To the execution of Mr. Macfarren's new cantata, and of the work itself, we have alluded in another page.

The aria of Handel (though admirably given by Madame Sainton), and the song from the Domino Noir, did not create any particular impression. Madame Lemmens was by no means so perfect in Auber's florid as in Mr. Macfarren's legato music, and wo doubt very much if bravura is her forte, notwithstanding the flexibility and compass of her voice.

PHILHARMONIC CONCERTS. The Hanover-square Rooms were crowded on Monday night, at the second concert, and yet the programme contained scarcoly a new feature, as the following will show :— Pakt I.

SInfonia, "So. 7 Haydn.

Rccit., Aria (Figaro), Mr. Santley Mozart.

Concerto, No. 1, pianoforte, Herr Ernst Lubeck Mendelssohn.

Scona (Oboron), Millie. Parepa Weber.

Overture (Euryanthe) , Weber.

Past II.

Sinfonia Pastorale ... Beethoven,

Aria (Siige de Corintlic), Millie. Parepa Kossini.

Berceuse, Torantelle, pianoforte, Herr Lubeck ... Ernst Lubeck.
Duetto (Acrneee), Mdlle. Parepa and Mr. Santley Paer.

Overture (Pre1 aux Clcrcs) Herald.

Conductor—Professor Sterndale Bennett, Mus.D.

If any proof were wanting that the Philharmonic Concerts owe their fame, and must be indebted for continued longevity, to the influenco of a certain series of acknowledged great works, the success of last night's entertainment would suffice. Haydn, Mozart, and Beothoven, Cherubini, Weber, Spohr, and Mendelssohn—with proportionate examples from the vocal music of the Italian masters, and occasionally, where incontestable merit warrants the innovation, an instrumental or vocal piece by one of our best English writers—would suffice to sustain the Philharmonic Society for another half century. The Musical Society of London and the New Philharmonic Concerts may find it in their interest to produce novelties, while the Monday Popular Concerts—the most remarkable institution of the kind ever established in this country—can afford to be universal, and to ransack the libraries of chamber-music, both ancient and modern j but the Philharmonic Society has an exclusive mission —that of periodically affording its subscribers the opportunity of hearing, well executed, tho most unblemished masterpieces of the art. And, after all, it is hardly too much to listen to the symphonies of Mozart and Beethoven (not to go further into particulars) once a year, or once In four-and-twenty months.

Haydn's No. 7 (of the Saloman set)—the finale of which is one of its composer's most genial, characteristic, and spontaneous effusions—was played somewhat roughly, somewhat— as the French significantly express it—" en robe de chambre." On the other liand, Beethoven's magnificent musical poem was given to perfection, the second movement especially (tho Rivulet), with a scrupulous exactness of detail which, amid their many striking qualities, is not often observed in our English orchestras. The times of every movement—thanks to the refined musical taste of the conductor—were irreproachable. Another grand performance was that of Weber's overture to Euryanthesn inspiration which appears on all occasions to exercise as potent a sway over the executants themselves as over the audience. The orchestral prelude to Le Prt atix Clercs is one of the feeblest specimens of its school that could possibly have been selected—not to travel back to M6hul, or oven to Boieldieu, Auber has composed at least a dozen overtures to ■which this pale essay of Herold's is in no way comparable.

The new pianist, Herr Lubeck, was well received. Nevertheless his execution of Mendelssohn's familiar concerto was not altogether satisfactory. The first movement was loud (louder playing, indeed, we do not recollect), but had little of the vigour, less of the poetry, which other pianists, imbued with the spirit of the composer, have known how to impart. Strange to say, too (the prevailing fashion of " hurrying borne in mind), it was taken too slow. The same reproach applies to the finale, which, however, was in other respects more to the purpose, and while devoid of that indefinable something which goes by the appellation of " charm," did not fail to impress by its force and brilliancy. 'ITie slow movement was the least attractive feature of Herr Lubeck's performance. In his own music the new pianist Bhone to much greater advantage. His Berceuse and Tarantella are both fair specimens of the peculiar modern school now most in vogue, and were both admirably played. In short, if not (to judge him by this one performance) a strictly " classical" pianist, Herr Lubeck is at any rate a "virtuoso" of the first rank.

The singing was excellent—that of Mr. Santley in the splendid air of Figaro (too frequently omitted from the operatic representations) more particularly. Mademoiselle Parepa was wonderfully successful, not only in "Ocean, thou mighty monster," but in the florid bravura from Rossini's Siege do Corinthe, which hardly comes within her means so readily as its companion.

CONCERTS.

Monday Popular Concerts.—The entire programme of last Monday was devoted to Mendelssohn, and as the musical public but a few days previous had been presented with a performance of the immortal master's Elijah, on by far the most important scale that has yet been attempted, so the selection of this evening formed, as it were, an appropriate pendant, by affording an opportunity of listening to some of the choicest selections from the chamber music of the ever-to-be-lamented musician. The instrumental portion comprised, among other things, two quartets, E flat major (Op. 44) and F minor, No. 6 (posthumous) —the latter for the first time at the Mouday Popular Concerts; together with the trio in D minor, for pianoforte, violin, and violoncello, also for the first time. Sainton, Goffrie, Doyle, Piatti, and Charles Halle' (pianoforte), as executants, were a guarantee for a performance of the highest excellence, and the hearty applause of the audience bore testimony to the thorough appreciation of their efforts. In addition to this, Mr. Charles Halle gave two solos in his most masterly and finished manner— the fantasia in F sharp minor, dedicated to Moscheles, and a selection from the Lieder ohnc Wdrte, played so exquisitely that the second and last were unanimously redemanded. Mr. Sims Reeves was also encored in " The Garland," and " The Hunter's Bong," both, we need hardly say, sung to perfection. A like compliment was also paid to Miss J. Wells and Mr. Cumming in the duet, "Zuleika and Hassan." The London Glee and Madrigal Union, under the direction of Mr. Land, contributed "The Lark's Song" and "The Nightingale," and, the former being encored, most unaccountably substituted a glee by the late Mr. Horsley. Mr. Benedict, as usual, showed himself a first-rate accompanyist. On Monday, May 21st, the selection will be from various composers, when Herr Ernst Lubeck, the new pianist, is to make his first appearance at these concerts.

Sacred Harmonic Society.—Haydn's Creation was given last night for the first time this season. The principal solo singers were Miss Parepa, Mr. Sims Reeves, and Signor Belletti.

The Vocal Association.—At the performance of the "Vocal Association on Wednesday evening next, May 16th, St. .James's Hall, the principal artists from Her Majesty's Theatre will appear, by the kind permission of E. T. Smith, Esq.

Woodford (essex). — A concert was given in the Lecture Room on Thursday week. The following artists assisted:— Miss Clari Fraser, Miss Leffler, Mr. John Morgan and Mr.

Allan Irving, vocalists; Mr. Langton Williams, pianist, the last named gentleman also officiated as conductor. Miss Clari Fraser created a marked impression in her two solos, Mr. Balfe's song, "There is a name we never breathe," and the old Scotch ballad, "Huntingtower," both of which were encored, and both, repeated. Encores were also awarded to Miss Leflier in the jacobite song, "Bonnie Dundee," and to Mr. Allan Irving in "The White Squall." Mr. Glover's duet, "The Cousins," sang by Miss Clari Fraser and Miss LefBer, was also bissed and repeated. Mr. Langton Williams played Madame Oury's sparkling fantasia on airs from Itigoletto with good effect.

Mtddelton Hall, Islington.—A concert was given at the above hall on Wednesday evening week, at which there was byno means a large attendance. The programme was of the tedious miscellaneous kind, and all vocal except one pianoforte performance. The artists were Miss Clari Fraser, Miss Chipperfield, Miss Grace Delafield, Madame Laura Baxter, Mr. Gadsby, Mr. Suchet Champion, Mr. Barrett, and Mr. Weiss. Among the pieces worthy of mention were Beethoven's song, "Know'st thou the land," and the Irish comic song, "Barney O'Hea," by Miss Clari Fraser—the former charmingly sung, the latter given with great point and rapturously applauded ; the canzonetta from Dinorah, "Ye maidens in spring-time," and the popular ballad from Lurline. " Gentle troubadour" (encored), by Madame Laura Baxter—botn sung to perfection; and Mr. Weiss'a song, "The slave's dream," rendered by himself with great power and redemaaded. Mr. George Lake presided at the pianoforte, and with musician-like ability.

Dublin—{From a Correspondent).—-Most of the amateurs of music who come to Ireland pay an early visit to the two cathedral establishments whioh Dublin contains: to such, folks it may be matter of interest to know that one of these buildings, the cathedral and collegiate church of St. Patrick, is about to be restored, at the cost of .£18,000 or £20,000, all of which ia in the gift of one individual, the present Alderman Guinness, an inhabitant of the city. The building (a fair specimen of the earlyEnglish style) has been under repair for some time; it ia computed that at least four years additional will be required to carry out the proposed restorations, which are to be in accordance with the plans of Mr. Carpenter, a distinguished English architect. However, what more nearly concerns the Musical World and its readers, are the repairs and additions to the organ of the Cathedral, an old specimen of Renatas Harris, and an organ which ill deserved the high repute it long enjoyed ; these additions, which were entrusted to Mr. Bevington, of Greek-street, Soho, comprise some three or four newstops to replace the damaged or out-of-date portions of Harris's instrument. The removal of the old swell (itself an extension of an " echo ") and the erection of a new one to double C,- containing the following stopsr:—1. Double open diapason and Bourdenbass; 2. Open diapason; 3. Stopt ditto; 4. Principal;

6. Clear mixture (2 ranks); 6. Sharp mixture (3 ranks); 7. Oboe ; 8. Cornopean; 9. Clarion. The great organ has been reinforced by a new claribel (8 feet pitch in place of a huge mounted cornet) ; a wald-flute (to replace a tierce) and a bellcramba (in place of a twelfth of colossal scale, which was indeed of larger dimensions than similar pipes in the open diapason). The great organ, thus amended, now contains :—1. Open diapason; 2. Small ditto; 3. Stopt diapason (metal); 4. CJlaribel (wood) to middle C ; 5. Bell-gamba (throughout); 6. Wald flute j

7. Principal; 8. Fifteenth; 9. Sesquialtera (3 ranks); lo. Tourniture (2 ranks); 11. Trumpet. The choir organ, after the manner of Harris, borrows 3 stops from tho great organ, namely, 2 diapasons and principal; and contains, in addition, a small-scaled stopt diapason, a dulciana, a flute and a fifteenth. The pedal organ (added some 30 years ago, by Fleetwood, of Liverpool) consists of 2 open diapasons of 8 and 16 feet pitch, respectively: Couplers—1. Swell to G; 2. Ditto sub-octave; 3. Ditto to pedal; 4. Great to pedal. A tremulant to the swell completes what is now a very effective instrument. Messrs. Bevington are considered to have added to their reputation on this side of St. George's Channel, by the above works, an account of which will perhaps be acceptable to your organ amateurs.

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