Oldalképek
PDF
ePub

BOOSEY'S PART-SONG MISCELLANY,

A COLLECTION OF

ORIGINAL PART-SONGS, CHORUSES, &c.

BY CELEBRATED COMPOSERS.

PRICE THREEPENCE EACH NUMBER.

[ocr errors]

Welcomo, Heavenly Peace," Four-part Song .. .. Frank Mori.

The Bud is on the Bough," Four-part Song—(Malo Voices) Frank Mori.

And were they not the Happy Days?" Four-part Song .. Frank Mori.

Beauty ia dead," Four-part Song Frank Mori.

Who shall bo Fairest t" Four-part Song Frank Mori.

'O spnro my Tender Flowers," Four-part Song .. .. Frank Mori.

Ripe Strawberries," Five-part Song J. L. Haiti n.

Smile, O Heaven, upon the Day," Chorus (Satanella) .. M. W. Baife.

'Sancta Mario," Chorus (Dinorah) Meyerbeer.

A Legend of tho Rhino," Part Song (Male Voices).. .. Henry Smart.

'The Hostess's Daughter," Part Song (Malo Voices) .. Henry Smart.

The Rover," Part Song (Male Voices) Henry Smart.

The Threo Wishes," Part Song J. Pcch.

O'er tho calm and Sparkling Waters," Chorus(Les Vepros) Verdi.

Lowly wo do bond beforo Thee," Quartet (Dinorah) .. Moyerboer.

'A Capstan Chorus," Chorus (Male Voioes) Henry Smart.

The Roturn from the Tavern," Chorus (Dinorah) .. .. Meyerbeer,

1 Good Night," Quartet (Martha) Flotow.

Boosey and Sons' Musical library, Holies-street.

[blocks in formation]
[blocks in formation]

CHOPIN'S MAZURKAS, Edited by J. W. Davison. Published this day, price Ss., music size, CHOPIN'S MAZURKAS FOR PIANOFORTE, complete with Portrait and Biographical Critical Preface l<s J. W. Davison. This edition is very beautifully engraved, and printed on the best paper.

Boosey and Sons, Hollos-street.

DUSSEK AND WOELFL, Edited by J. W. Davison, Published this day, in 1 vol., price 4s., music size, uniform with Chopin, Dussek's Plus Ultra and Woelfl's Ne Plus Ultra Sonatas for Pianoforte («s performed by Miss Arabella Goddard), with a Biography of each Author, and a critical account of their works, by J. W. Davison.

Boosey and Sons, Hollos-street.

"JANET'S CHOICE," by Ckribel.—Boosey and Sons

if beg to announce that this popular Song (as sung by Madame Sainton-Dolby) is now ready for delivery.

Boosey and Sons, Holles-stroet

BRINLEY RICHARDS' "RIFLEMEN FOKM MARCH," performed by the Band of tbo Royal Horso Guards. Arranged for Pianoforte by Briuley Richards, price 2s. 6d.

Boosey and Sons, Holles-strcet.

KUHE'S "DOMINO NOIR," new brilliant Fantasia for Pianoforte. Price 3s.

Published this day by Boosoy and Sons, Holles-strcet.

BRINLEY RICHARDS' "THOU ART SO NEAR." Relchart's celebrated song arranged for Pianoforte by Brinley Richardi Price 4s. Boosey and Sons, Holies-street.

CZERNY'S ETUDE DE LA VELOCITE; Boosey's Cheap Edition, in threo parts, Is. each. Czerny's 50 Exercises (from the set of 101), prico Is. Bertini's 26 Studies (Op. 29), in two books, 1s_mc1i.

All muaii

Boosey's Shilling Pianoforte Tutor, 86 pages, and Sons Holies-street.

[ocr errors]

CHEAP EDITION OF MOZART'S TWELFTH MASS and ROSSINI'S 8TABAT MATER, arranged in the moat eftctiw manner for the Pianoforte, by Henry Smart, price 3s. eacb, complete, or handsomely bound, 5s. each. Boosey and Sons, Holies-street.

TO VOLUNTEER RIFLE CORPS.—Boosey and Sons' military band instruments, reed aud brass, as well as bugles, drums and fifes, havo been used and approved of by almost every regiment in the servieo, home and abroad. Those regiments that contemplate the formation of a band, are invited to apply to the firm, who will be happy to recommend them comp'tc^t bandmasters, and render any further assistance that may bo required.—Boosey and Sons, Holies-street, London.

Published by John Boosey, of Castlebar-blll, in the Parish of Ealing, in tho County of Middlesex, at the office of Boosey & Sons, 28, Holies-street

Printed by William Spencer Johnson, "Nassau Steam Prees," 60, St Martinslane, in the Parish of St. Martin-in-the-Fields, in tho County of Middlescx.Saturday, May 19, 1860.

[graphic][graphic]

»The Worth Op Aet Appears Most Bmiotnt In Music, Since It Requires No Material, No Subject-matter, Most Be Deducted: It Is Wholly ^oem And Fowek, And It Raises And Ennobles Whatever It Expresses"Oothe

SUBSCRIPTION—Stamped for Postage—20s. PEE ANNUM Payable in advance by Cash or Post-Offlce Order to B00SEY & SONS, 28 Holies Street, Cavendish. Square, London, W.

[ocr errors][merged small][ocr errors][graphic]

UNDER THE MOST DISTINGUISHED PATRONAGE OP

HER MOST GRACIOUi MAJESTY THE QUEEN, H.R.H. THE PRINCE CONSORT, THEIR ROYAL HIGHNESSES THE PRINCESSES AND PRINCES OF THE HOYAL FAMILY, The Most Worshipful the Grand Master of Ireland, Hit Grace the DUKE of LEINSTER, And several other Distinguished Freemasons; Hil Excellency the Lord Lieutenant of Ireland, the EARL of EGLIN I ON and WIN TON, The LORD BISHOP OF MANCHESTER. The Right Worihiprul the Ma.or of Manchester, IV IK MACK IK, Eiq. Hit Worship the Mayor of Sallbrd. W. HARVEY, Esq. SIR FREDERICK GORE OUSELEY, Bart., Director of Music at the University of Oxford.

And many qf the Nobility, Gentry, Clergy, and Distinguished Families of the Empire.

DR. HARE'S

GEEAT NATIONAL ENTERPRISE

THE ROYAL COLLEGE OF MUSIC, established by him expressly as a Great Encouragement and Promotion of NATIVE MUSICAL TALENT, and the GENKRAL ADVANCEMENT OF MUSIC AMONG THE RISING GENERATION, upon his new and effective system, al*o as a Normal School, for the training of masters to conduct Conservatoires or Munc to he established throughout the United Kingdom, Tor Littlb Children, the whole comprising an entirely new icheme of NATIONAL EDUCATION, by blending music with general Instruction, so that the study of music shall become a branch of education iu 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 his highly approved and pleasing Musical Entertainment, entitled DR. MARK AND HIS LITTLB 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
THE ABOVE INSTITUTION.
Principal of the Royal 'College of Music; Director, Composer, and )
Conductor; Lecturer to both _Private and Public, Theoretical J-Dr.

Organised In 1MB, and developed at Tl BRIDGE STREET, MANCHESTER, National Institution to facilitate the Enc

and Practical Instrumental and Vocal Classes Master of the General Educational Department; Writing, Reading Arithmetic, Grammar, Dictation, History, Geography, Practical Geometry, and Bookkeeping

PRACTICAL ASSISTANT TEACHERS.

Mr. Powell and Two Assistant Teachers.

[merged small][graphic][ocr errors][merged small][merged small][merged small][merged small][ocr errors]

REGENT STREET AND PICCADILLY.

[merged small][ocr errors][merged small][merged small][merged small][merged small][merged small][merged small]

for two voices, "Puro ciel tranquilla notte" Parr

Madlle. PAREPA and Madame LAURA BAXTER.
Grand Quartet, in D minor, for two Violins, Viola, and Violoncello

Herr BECKER, Herr RIES, Mr. DOYLE, and Signor PL4TTL
PABT XX.

Quartet, "Comeohime! partir" (Nina) Paetiello

Madlle. PAREPA, Madame LAURA BAXTER, Mr. TENNANT and
Mr. SANTLEY.

Selection from "Harpsichord Lessons" (including the Cat's Fugue)
MISS ARABELLA GODDARD.

Aria, " Alia larga Signore" (La Buona Figliuota) Pacini

Madams LAURA BAXTER.

Aria, "Com' ape ingegnosa" (by desire) (Tarrart) Salieri

Mr. SANTLEY.

sonata, in G, for two Violoncellos Boccherini

Signor PIATTI and Mr. SCHROEDER. Venetian Air, " La Biondina in Gondolctta," with Variations by ..Paer Madlle. EUPHROSYNE PAREPA.

Hotturno for two voices, "Per Valli per Boschi" Blangini

Madame LAURA BAXTER and Mr. TENNANT. Quartet, in E flat major, for two Violins, Viola, and Violoncello...Rossini Herr BECKER, Herr RIES, Mr. DOYLE, and Signor PIATTI..

Conductor Mr. BENEDICT. |

Stalls, 5s.; Balcony, 3s.; Unreserved Seals, Is.

MISS EMMA BUSBY'S MORNING CONCERT, Hanover Square Rooms, on Monday, May 28, at 3 o'clock "precisely. Artists, Miss Augusta Thomson, Miss Mahian Moss, Mile. Jenny Meyer, Mr. Santlky,

Mnns. Sainton, Signor Putn. Mils Emma Busby. Conductor, Mr. Cusins. Tickets half-guinea, family ditto (to admit three), one guinea, at the Music-sellers' f and of Miss Busby, No. 42 Blandford Square.

ITALIAN NIGHT.—MONDAY POPULAR CONCERTS St. James's Hall—On Monday evening. May 28, the programme will,

bv particular desire, be selected from the works of Italian composers. Pianoforte, Miss Arabella Goddard; Violin, Herr Broker; Violoncello, Signor Fiatti. Vocalists—Mile. Parkpa, Mile. Latjra Baxter, Mr, Tehnant, and Mr. Santlry. Conductor,'Mr. Benedict. Full; particulars may be obtained at Chappell ft Co.'s, 50 New Bond Street.

HANOVER SQUARE ROOMS. —Mr. MELCHOR WINTER (Tenore), and Mr. BENJAMIN WELLS (Flautist), beg to announce that their GRAND EVENING VOCAL and INSTRUMENTAL CONCH RT will take place on the 28th of May at the above Rooms. Artists:— Madame Weiss, Miss Mahlah Homer, Miss Chipperfibld, and Madame Sainton-dolby; Mr. Weiss, and Mr. Melchok Winter; Harmonium, Mr. Scotson Clark, and Flute, Mr. Benjamin Wills, who wilt perform on Carte's silver Cylinder Flute, on which be had the honour of playing before the Queen and the Prince Consort. Conductor, Herr Wilhelm Ganx. Stalls, 75. &/.; Reserved Seats, 6r.; Unreserved, 2s.; and Orchestra, Is. Tickets to be had of Messrs. Cramer ft Co.; Cbappells; Boosey; Keith, Prowse, & Co.; and also of Mr. Benjamin Wells, 23, and Mr. Melchor Winter, 17 St. James's Square, Notting Hill, W.

[ocr errors]

ASTER HORTON C. ALLISON, Pupil of Mr. W. H.

. Holmes, will give his SECOND PIANOFORTE PERFORMANCE, at Willis's Rooms, St. James's, on Tuesday evening, May 29 (to commence at 8 o'clock

Srecucly), when he will play a Selection from the Works of Himmel, F. Hiller. H. Hen, . Field, C. Potter, W. S. Holmes,and W. S. Bennett. Master Allison will be assisted by Miss Marian Moss, Miss Thbrbsa Jepferys, Mr. Leonard, Mr. Walworth, and Mr. J. Balsic Chattbrton, Harpist to Her Majesty. Accompanyist, Mr. Hammond. Tickets, I0». Gd. each, or 3 for stl If. (all seats reserved) to be bad of Master Allison, 143 Maryleboue Road, N.W.

AGRAND EVENING CONCERT, at St. James's Hall, on Tuesday, May the 29th, for the benefit of a family in distress. Artistes, Madame C. Hayes, Madame Rudersdorfp, Madame Lauba Baxter, Misa E. Wilkinson, Miss Mahlah Homer, Miss Lekclkr, Miss Annie Goddard, Misa Sr. Clair, Miss Topham, and Madamo Lbmmbns-shrrringTon; Signor Belletti. Mr. Georob Pbrrin, Mr. John Morgan, Mr. F. Elmore, Signor Oliva, and Mr. Lawlbr; Miss Arabella Oodoard, Mr. F. Chattbrton, Mr. V. Collins, Master Drew Dean. Conductors—Mr. F. Mori, Signor Cunio, and Signor Randbggbr. Sofa Stalls, 10s. 6d.j Balcony, 5s.; Area, 2s. Gd.; Gallery and Orchestra, Is. Tickets to be had of Miss Lytton, No. 30 Bloomsbury Street; and of all the principal Music-sellers; and at Keith, Prowse, ft Co's.

ST. MARTINS HALL.—MISS PALMER'S GRAND CONCERT, Thursday next, May 31. Vocalists, Mrs. Sims Reeves, Miss Parepa, Miss Miha Poole, Miss Palmer, Mr. Sims Beeves, Mr. Wilbve Cooper Mr. Lewis Thomas. Instrumentalists: Solo-Pianoforte, Mr. Ch.rles Halle, Solo-Violoncello, Mr. George Collins. Conductors, Mr. J. L. Hatton and Mr. Walter Macfarren. Doors open at half-past Seven, Commence at Eight. Stalls, 6s.: Galleries, 2s. Gd.; Area, Is. Entrance to the Stalls in Wilson Street.

HERR LIDEL'S MATINEE MUSICALE will take place (by kind permission of Messrs. Cnllard & Col lard) at 16 Lower Grosvenor

Street,'W., on'Thursday next. May 31st, Vocalists, Madame Catherine Hatbs, MUs Messent, Madame Latjka Baxter, and Mr. Allan Irving. Instrumentalists, Messrs. Salahan, Adolph Ribs, Rbgondi, Ohbrthur, Louts Ribs, and Lidbl. Conductors —Messrs. Salauan and Ries. Tickets 10s. 6d. each, at the Music Warehouses, and of Herr Lldel, 42 Mornington Place, Hampstcad Road, N.W.

PROFESSORS' CONCERT UNION—Mr. BLAGROVB begs to announce Four Quartett Concerts, in conjunction with other Professors, on Friday evenings, June I, 15, 22, and July 6, at the Beethoven Rooms, 76 Harlcy Street, at 9 o'clock. 1st Concert: Performers—Miss AUGUSTA Th Imson. Me.srs. Wilbve Cooper, H. Blagiove, Clemenii, Colchester, Dacbert, andSiuNET Smith. Subscription Tickets (Reserved), «!! Is,; (Unreserved), 10j. (id. Single Pickets (Reserved), 7s. or 4 for 11 Is.; (Unreserved), 3*. Gd. or 4 for 10a. 6rf. at Messrs. Leader & Cock's, New Bond Street.

MR. W. G. CUSINS will perform at his Matinee Musicale.at Willis's Rooms, on Saturday, June 2, at half-past Two, Pianoforte Compositions by Mozart (Violin, Mr. H. Biagrove), Beethoven, Mendelssohn (Violoncello, Mr. Payne), and Chopin. Stalls, I0s.6d. each, to be had only of Mr. Cusins, S3 Manchester Street, W. Tickets. ».. at all the principal Music Warehouses, aud of R. W. Ollivier, 19 Old Bond Street, W.

MR. HAROLD THOMAS'S MATINEE MUSICALE, onWIonday, June 4th, will take place at Collard's New Pianoforte and Concert Mourns, lS Lower Grosvenor Street, W., commencing at 3 o'clock. Artists, Miss Aiiousta Thomson, Miss Poole, Mr. ttn.ni. Cooper, Mr. Santlev, Messrs. Hbkry and Unman Blaorove, Signor Pezze, Mr. Lazarus, Mr. Lindsay Slopeii, Mr. W, G. Cusins, and Mr. Haruld Thomas. Professor Sterndalb Bennett has kindly consented to accompany a selection from his Cantata, "The May-Queen." Tickets, 10s. Iki. each; or Family tickets (to admit three), «H. Is.; at the Music Warehouses, and ol Mr. Harold Thomas, 37 Maddox Street, W.

[ocr errors][graphic][merged small]

HER MAJESTY'S THEATRE.—Mr. BENEDICT begs to announce that his ANNUAL MORNING CONCERT, at H>r Majesty's Theatre, is fixed for Monday, June 18, under the immediate patronage of Her Most Gracious Majesty the Queen, H R.H. the Prince Consort, H U H. the Duchess of Kent, and H.li.H. the Duchess of Cambridge. Principal VocaliiU Mesdnmes Titibns, Brunbtti. Lotti, Dell A Santa, Borohi-haho, Lemuee, Vaneri, PiHSjpA.nnd Alboni; Sigoort Gicguni, Brlart, Cursi, Gassier, Iopcob, Everardi, Vialbtti, and Mongini. The Instrumental Artistes will be duly announced. Early application is solicitedTor the remaining boxes and stalls, which may be secured at the Box Office, the principal Libraries and Music-sellers, and at Mr. Benedict'., 2 Manchester Square. W.

[merged small][merged small][merged small][merged small][merged small][ocr errors][merged small][merged small]

ORCHESTRAL UNION. — Mr. ALFRED MELLON begs to announce that lie will return to London about the middle of June, when he will be open to any Engagements for the Band of the Orchestral Union, which be has reconstructed. Principal Artistes: —M M. Sainton, H. Hill, W. Watsos, E. Payton, DoVlb. Trust, G. Colli M>, Aylward, Howell, sen., Write, P S, Pratten, Bahrbt. Lazarus, T. Owen, Haussbr, C. Harpbr, Standi*', T. Haiws, Stanton Jones, W. WintkrBottom, Cioppi, Hughes, and F. C. Morton. Appliations respecting engagements to be made to Mr. George .Dolby, 2 Hinde Street, Manchester Square, W.

[ocr errors]

HE LONDON GLEE AND MADRIGAL UNION.

Miss J. Wells, Miss Eylks, Mr. Baxter, Mr. W. Cummings, Mr. Laud, tod Mr. Lawler, will hare the honour of Riving their 100th Performance of Wm, Madrigals, and old Ballads, on Friday, June 1, at the Royal Gallery or UluMMtion, 14 Regent Street, and continue these Entertainments for a abort period every Wednesday and Friday at 3, and on Saturday evenings at 8.16.

THE ARION" (Eight-Part-Choir) The Members of tins Society will meet until further notice every Thursday etatng, tt 8 o'clock, at 13 Hi-men Street, Oxford Street Conductor, Mr. AiritD Giuist.

F. F. HEILLV. n<m. Sec

Person, desirous of Joining the Choir are requested to address the Secretary.

CANTERBURY HALL CONCERTS.—Westminster Road—Lessee, Mr. C. MORTON.—Bverv Evening.—C. H. Gocnoo's Open, FauM—Faust, Mr. Hen By Herbert; Mcphlstbvheles, Mr. C. HtsNASD; Siobrl, Mrs. Anderson s Marguerite, Miss Russel. Conductor, Herr Jonohsisrs—and Selections from Dmorah, Ttrotalore, and Macbeth. Several Interesting Pictures hi" t"«| added to the Fine Arts Gallery. The suite of Halls have been re-decornlfd «M beauti6ed, and constitute one of the most unique and brilliant tights of uie metropolis.

TO BANDMASTERS.—Wanted immediately, a BANDMASTER for the Second Cumberland Volunteer Artillery Corps.-Applf to C. Thumam & Sons, Music Warehouse, Carlisle.

TO ORGANISTS. — The Advertiser (who has some knowledge of Music) wishes to take Lessons on the ORGAN, and in HABMONY—Address, stating terms, &c, '* Diapason," 4a Tottenham Court Road, "t.

TO PROFESSIONAL PIANISTS.—To be sold, a magnificent-toned GRAND COTTAGE PIANOFORTE, quite nev, *T Dumilatre * Co. Warranted genuine. It has three strings to a note, and a double check action; the touch Is equal to a Grand, and has nearly the same P0**1, . price £60, but to an immediate purchaser tt is to be sold for 30 Guineas. To be seen at Mr. J. Day's. 02 Gloucester Street. Plmlico.

DOUBLE BASSES for sale, six fine-toned Instruments by good Makers: a VIOLONCELLO by Banks, In Case; TENORS bv Foster and Kcndt; VIOLINS by Straduarius, Guamerius, Steiner *c. ; alio a lelf-aetmf ORGAN, In a Carted Mahogany Case, plays 74 tunes. For Particulars apply w J. Moore, Buxton Road, Huddersfield.

The Entire Stock of Engraved Music Plates (GS,000). CopjTlghts, ftc

MESSRS. PUTTICK & SIMPSON, Auctioneers of Music and Literary Property, beg to announce that they will submit for sal*, by Auction, at their house, 47 Leicester Square (formerly the Western Literary In*"* tittion, in July, the entire, very extensive, and highly valuable STOCK of "ffc,r|* WKSSKL tic CO., of Hanover Square, who are retiring from business. Kurtm* Particulars of this Important Sale will be announced. Applications for Catal^Suc'. w hich are preparing, may be addressed to the Auctioneers;.

"ELIJAH" AT THE CRYSTAL PALACE.

The principal topic of conversation among mnsical circles |during the last few weeks has been the Mendelssohn Festival. As we have heard a variety of opinions expressed, we propose offering a few remarks respecting the performance, which we wero unable to do in our necessarily imperfect first report.

The preliminary Handel Festival of 1857 was an experiment, and a bold one, involving an enormous expense, and the possibility, after all, of its turning out a failure. Fortunately, the success was so great as to warrant the authorities; of the Crystal Palace and Sacred Harmonic Society in keeping their promise of repeating the Festival on a still larger scale, this time being the real anniversary of the composer's death. The result of the meeting of 1859 is too fresh in our readers' minds to require further allusion. Having organised such a gigantic body of executants, and bronght them so efficiently under the guidance of Mr. Costa's baton, it seemed a pity that they should be allowed to disperse, and it was therefore resolved that as far as the London contingent was concerned, they should be brought occasionally together for the purpose of rehearsals, with a view to future performances of similar magnitude. There was little fear that the country choristers would suffer their voices to rust for want of practice, as, from the frequent repetition of oratorios in provincial towns, to say nothing of the Festivals of the choirs — Birmingham, Norwich, Leeds, Bradford, tc — they are generally kept as well up to the mark as their metropolitan coadjutors. Next to Handel, there is no composer of oratorios so popular as Mendelssohn, and no work, except the Messiah, is held in greater esteem than Elijah. It was natural then that this, the last great completed composition of the illustrious master, should have been selected for the next grand performance at the Crystal Palace. Fitting opportunity was afforded by the fact that some years since a monument was projected to the memory of Mendelssohn, which had been recently completed; and it was proposed that the statue should be inaugurated by the performance of Elijah with 3000 executants.

Various expectations were formed as to the result, the general opinion being that the impression would be unequal, and the consequence was as anticipated.* Much of the effect of these monster performances at the Crystal Palace necessarily depends upon where the auditor is placed. The best spot for hearing the choruses is the farthest point from the orchestra, the raised platform en face; but here the solos are almost inaudible. Nearer the orchestra, and within range of the soloists, one hears distinctly only that portion of the chorus which is opposite; hence the diversity of opinions to which such performances must necessarily give rise. As with the apologue of the knights who quarrelled and fought as to whether the shield was gold or silver, each seeing only one side of it; and the still more famous chameleon dispute, each must be content to take his own impressions without trying to convert his neighbour.

For some days beforehand the weather was not very promising. The long continued and constantly prevailing cold east winds had deterred all pleasure seekers from out-door enjoyment, and no doubt prevented many from securing tickets. Happily a decided change for the better set in, and a more lovely day than the 4th of May could not be desired. There was sufficient sun to give warmth and light up the gay colours of the spring toilets, without putting any one to inconvenience from an excess of heat, and, after the first dulncss of the morning had cleared off, a degree of certainty about the general aspect, which set one's mind at rest on the question of umbrellas, and a possible scarcity of cabs.

At 3 o'clock the Palace presented a brilliant sight. Some 18,000 people were gathered under its vast transept The huge orchestra was crowned by a gigantic bust of Mendelssohn, surrounded by laurels, and occupied by the 3,000 who were to display their powers. In front of the orchestra was exhibited a portrait of the composer, kindly lent by Mr. Benecke, of Denmark Hill, and underneath a copy of the inscription written by Prince Albert, in Mendelssohn's copy of Elijah, on the occasion of his first hearing the work. Punctual to the moment, the principals all in their places, Mr. Costa waved his baton, and the first solemn strains were heard, the prophet foretelling the drought— ■ As God the Lord of Israel liveth "—delivered by Signor Belletti with that clearness of enunciation for which he is so remarkable. The overture produced but little effect, and it was immediately felt that, almost any body of instrumentalists alone would fail to bring forth

* In addition, Mendelssohn's music of all others requires great attention, the exquisite light and shade, and wondrous delicacy of the accompaniments being unfitted for so very large a building as the Crystal Palace, where the broad massive effects of Handel are alone calculated to produce the desired impression.

sufficient volume of sound to be clearly understood in the vast area. The first chorus, "Help Lord," with its two subjects, "The harvest now is over, the summer days are gone," and the episode, " Will then the Lord be no moro God in Zion," was given with precision. The duet, "Lord, bow thine ear to our prayer," was smoothly sung by Miss F. Rowland and Madame Sainton, the succeeding recitative, " Ye people, rend your hearts," being given by Mr. Sims Reeves with masterly feeling and expression, and eliciting the first applanse that had any warmth in it. The double quartet, " For he shall give his angels charge," rarely, if ever, goes well, and this time formed no exception to the rule, being as usual nnsteady and wavering. The scene between the widow and Elijah introduced Miss Parepn, who sang her music with case and fluency, if not with all the judgment to which we have been accustomed. The beautiful and soothing chorus which follows, "Blessed are the men," was very successful.

In the music of Elijah, Signor Belletti fulfils the requirements of oven the most exacting, by his thoroughly artistic and musician-like method, never straining his voice, and yet always producing the desired effect. In the recitative, with chorus, where the prophet urges the idolaters to test who is the true God, this was especially noticeable. And here we must protest against the time at which Mr. Costa took tho choruses of the priests of Baal. The beginning of their first invocation is marked Andante grave maestoso, finishing Allegro non troppo, the second time they appeal, " Hear our cry, O Baal," allegro vivace, and the third time, "Hear and answer," presto. In each of these instances, however, the tempo was accelerated to such a degree, that the gradual working up into fury of the priests was entirely lost sight of, to say nothing of the beauty and clearness of the music being sacrificed.

In 1855 the;fincst performance of Elijah ever heard, was given at Birmingham, under Mr. Costa. In 1858 the same oratorio was given under the direction of the same gentleman at the same town; but the "tempo" of every piece was so unduly accelerated, that, however it might show the mastery over band and chorus, imperilled the safety of the work. In 1860 we have these faults repeated to a greater degree; and it should be a grave matter of consideration whether it is advisable in music to keep pace with the " fastness" of the ago for the sake of obtaining what is supposed to be increased brilliancy, but frequently tends only to confusion. We have frequently had occasion to find fault with some provincial conductors for their constant tendency to drag the time; but there is a medium in all things. We have nothing but praise to award to the quartet, "Cast thy burden," admirably sung by Misi Parepa, Mdmc. Sainton Dolby, Messrs. Reeves and Thomas. The chorus "The fire descends" wanted clearness from reasons already mentioned, and to which we need not further advert The duet between Elijah and the youth, sustained by Signor Belletti and Miss Parepa, did not produce the marked sensation it ordinarily does in a more limited area. The "Thanks be to God " chorus, however, made some amends, and brought the first part of the oratorio to a grand close.

Half an hour's interval enabled singers, players, and audience to recruit their energies, and the second part went with decidedly moro spirit than the first. Miss Parepa was much applauded in " Hear ye Israel." Miss Dolby (Mdmc. Sainton rather) was encored in " O rest in the Lord," which she took slower than usual, to the manifest improvement of the effect. Mr. Sims Reeves was also compelled to repeat " Then shall the righteous," which he gave with all that energy and expression of which he is so complete a master. The unaccompanied trio "Lift thine eyes," ordinarily allotted to two sopranos and a contralto, was rendered by Miss Parepa, Mdme. Sainton and Miss Palmer, one soprano and two contraltos, the effect (no disparagement to the ladies named) being by no means enhanced thereby; indeed we hardly ever remember its falling so flatly upou an audience. There was no encore, and tho delicious chorus " He watching over Israel," followed consequently in its right order without interruption. The choruses " Woe to him" and "Behold God the Lord," were particularly satisfactory— more so than the last "And then shall yonr light," which was not altogether steady. In the little that was set down for them, Miss F. Rowland, Miss Palmer, and Mr. Thomas did excellent service in aiding the general effect.

At the conclusion of the oratorio the band of the Coldstream Guards joined the orchestra, and the National Anthem was given, Miss Parepa taking the 1st and 3rd verses solus, the 2nd being sung as a trio, in which she was joined by Madame Sainton and Mr. Reeves. A general rush was then made to see the unveiling of the statue, which, however, took place while there were yet some thousands in the building. Of the casting of the bronze we some time since gave an account; but there is much division of opinion as to tho likeness, the diversity in the existing portraits and busts greatly tending to increase the difficulty of producing a correct resemblance. We have not yet seen anything that has done justice to the features of Felix Mendelssohn Bartholdy,— nor do we think that this work will increase the correctness of notion as to the personal appearance of the great musician.

The patience of those who waited for the torchlight procession was sorely tried, as it was long after dusk before any symptoms were shown. When it did come, however, those who waited were more than amply gratified by the really fine effect produced by the moving lights which glimmered in the distance through the trees and shrubs like stars which had come on earth and lost their way. As they neared (he spectator and stood round the large basins of the upper plateau, the fountains playing at the same time, loud shouts of applause burst forth, and all agreed that the sight was as beautiful as it was uncommon. When the bearers gathered round the statue, the torches were thrown into a heap, and by the lurid light the" figure of him, in whose honour the crowds had assembled that day, stood out in strong relief, the whole forming a wonderfully impressive spectacle and appropriate conclusion of a day that will be long remembered by those who had the good fortune to assist at the brilliant inauguration of the Crystal Palace Season of 1860.

MADAME CLARA NOVELLO.

(Continued)

The circumstances by which the infancy of Madame Clara Novello was surrounded, were singularly propitious for the development, if not for the germination, of the true artistic spirit for elevation of the mind to the comprehension of lofty subjects, and thus for her qualification to the special position she holds as a singer of sacred music. We have dwelt at some length upon the associations of her childhood, because, however indirectly, these must have influenced her entire career, and thus constitute an essential, though perhaps an undesigned, portion of her intellectual education. It would have been of comparatively small value that she was gifted with a voice of such loveliness and power,— that her mind was prepared for the perception of the subtlest beauties in the art to which she was devoted,—had not her natural organ been brought, by training, so completely under control as to enable her fully to realise her own conceptions. In this respect her advantages were as great as in the other two; for her scholastic education was fully as fortunate as the general circumstances from which her mind received its first bias.

In 1824 her family was residing at Paris, where she received musical instruction from M. Fetis, at present director of the Brussels Conservatoire, author of the Biographie Universelle de Musiciens, together with many didactic works, and composer for the church and the theatre. M. Fetis was at that time professor in the Conservatoire of Paris. By his advice his young pupil became a candidate for admission into that institution, where instruction being entirely gratuitous, there is a limit to the number of students; and as vacancies arise they are filled up by the mos,t promising candidates who may compete for the advantage. It was somewhat adventurous to bring forward a child of six years old to contend with girls of double or threefold her age, at an election in which physical and mental powers, voice and intellect, were the qualifications for success. Choran was the head of the department to which the friends of little Clara desired her to be admitted; and to this eminent master she was accordingly taken for examination. The piece chosen for the display of her ability was a bravura from Arne's Arlaxerxes, "The Soldier tired." Time was, but is now no more, when this Bong was regarded as the infallible test of vocal proficiency in England; the pretensions of any singer were acknowledged who could pass the ordeal of the volleys of triplets she had to fire through in "The Soldier tired;" and whosoever ventured not to essay the voluble divisions of this proof of skill was classed derogatorily as a ballad singer, and esteemed accordingly. Twenty years having elapsed since Arlaxerxes,— the only English opera which till then had held permanent ground through successive generations of singers and listeners,—has been witnessed on the stage, they whose memories extend not farther back have no chance of recollecting "The Soldier tired," except through the trumpet of Mr. Harper, whose remarkable execution, while it proves what he can do as a trumpeter, shows also how much (or how little) was expected of a prima donna in London, previous to the year 1840. Now "The Soldier tired" appears to have been admired in England alone; its merits, such oa they are, and its elements of vocal display, such

as we were wont to esteem them, escaped the appreciation of the Paris professor. This effort of the young aspirant failed to convince the commentator on Albrechtsberger of her precocious talent, and he required another specimen of her ability in a style with which he was more familiar. Clara, who was not to be discomfited by Choran's anti-Anglican predilections, now sang the "Agnus" from Mozart's Mass in F, in her performance of which she displayed such genuine musical feeling, and such singular promise, that she was unhesitatingly preferred over nineteen competitors. You may, if you will, suppose her success in this beautiful air to have been, in some degree, due to her life-long familiarity with ecclesiastical music, the practice of which constituted her father's chief professional avocation, since its style must have become, from constant association, as a second nature to her. You may, if you will (and, though not fatalists, our will must coincide with yours, if you be thus willing), regard this infantine triumph as an augury of the distinction as an interpreter of the greatest works of the-first masters of sacred music, which the little girl, who had not then cut her wisdom teeth, was destined to attain.

Clara Novello's studies in the Conservatoire were principally directed to sacred music, in which her rapid progress won the admiration of all who witnessed it. Here we trace a cause, as we have just supposed a prognostic, of her excellence in that department of her art in which she will be especially missed when she retires from public life. Such was her early proficiency that she was soon capable of sustaining a part in the performances of the students; but as it was out of all propriety that so small a person should be ranked with her unproportionoble associates, accordingly, as the only means to fit her to take her stand beside them, she took it on a stool, and thus was raised to an elevation of stature approximating to her elevation of talent. For six years she continued the course of instruction afforded by the Conservatoire, whence she derived that solid foundation in the principles of the vocal art which may well be supposed to have secured her first success and enabled her not only to maintain, but consolidate it. In 1830, however, occurred the famous July revolution, which, while it changed the dynasty, greatly disturbed the arrangements of all institutions dependent on the monarchy, and, among others, the Conservatoire de Musique. This fact, combined with other circumstances, induced the removal of Clara Novello to London, and here, in her native city, began a new epoch in her education.

(2*o be continued').

MENDELSSOHN AND BEETHOVEN'S SYMPHONY
IN C MINOR.
A leaf from my Musical Diary.

The Rhenish musical festival, celebrated at Aix-la-Chapelle, in 1846, will be remembered with delight by those who were present, not only with regard to the selection of the masterpieces performed on the occasion, but also from the presence of two leading stars in the musical world of the 19th century—Mendelssohn as conductor, and Jenny Lind as prima donna.

One of the principal instrumental compositions performed at the festival was Beethoven's Symphony in C minor. In the third movement (the scherzo) of this symphony, Mendelssohn, to the surprise of the admirers of this chef-d ceuvre of Beethoven, cancelled two bars*, but nobody doubted, by the well-known veneration of Mendelssohn for Beethoven and his immortal genius, that a reason, not to be disputed, would be at the bottom, for cancelling these two bars alluded to.

At that time, engaged as reporter for the well-known Cologne Gazette, I was present at the festival for the purpose of rendering the critical musical report, and felt it my duty, on behalf of & great number of Beethoven's admirers present, and the musical public at large, to address myself to Mendelssohn, to learn the reason why those two bars had been cancelled. Not long after« wards, through Mendelssohn's interference, and in consequence

* The 2nd and 3rd bar, page 108, in the score published by Messrs. Brcitkopf and Hartel, Leipzig; and in the French edition, page 98, the last, and pago 99, the first bar. Paris, E. Girod.

« ElőzőTovább »