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ANOVER SQUARE ROOMS.- Mr. MELCHOR

nounce that their GRAND EVENING VOCAL and INSTRUMENTAL CONCERT will take place on the 28th of May at the above Rooms. Artists:-Madame WEISS, Miss MAHLAH HOMER, Miss CHIPPERFIELD, and Madame SAINTON-DOLBY; Mr. WEISS, and Mr. MELCHOR WINTER; Harmonium, Mr. SCOTSON CLARK, and Flute, Mr. BENJAMIN WELLS, who will perform on Carte's Silver Cylinder Flute, on which he had the honour of playing before the Queen and the Prince Consort. Conductor, Herr WILHELM GANZ. Stalls, 7s. 6d.; Reserved Seats, 5s.; Unreserved, 2s.; and Orchestra, 1s. Tickets to be had of Messrs. Cramer & Co.; Chappells; Boosey; Keith, Prowse, & Co.; and also of Mr. Benjamin Wells, 23, and Mr. Melchor Winter, 17 St. James's Square, Notting Hill, W.

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

MA

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 precisely), when he will play a Selection from the Works of Himmel, F. Hiller, H. Herz, J. Field, C. Potter, W. S. Holmes, and W. S. Bennett. Master Allison will be assisted by Miss MARIAN Moss, Miss THERESA JEFFERYS, Mr. LEONARD, Mr. WALWORTH, and Mr. J. BALSIC CHATTERTON, Harpist to Her Majesty. Accompanyist, Mr. HAMMOND. Tickets, 10s. 6d. each, or 3 for £1 1s. (all seats reserved) to be had of Master Allison, 143 Marylebone Road, N.W.

A

GRAND 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 RUDERSDORFF, Madame LAURA BAXTER, Miss E. WILKINSON, Miss MAHLAH HOMER, Miss LEFFLER, Miss ANNIE GODDARD, Miss ST. CLAIR, MISS TOPHAM, and Madame LEMMens-SherringTON; Signor BElletti, Mr. GEORGE PERRIN, Mr. JOHN MORGAN, Mr. F. ELMORE, Signor OLIVA, and Mr. LAWLER; Miss ARABELLA GODDARD, Mr. F. CHATTERTON, Mr. V. COLLINS, Master DREW DEAN, Conductors- Mr. F. MORI, Signor CUNIO, and Signor RANDEGGER. Sofa Stalls, 10s. 6d.; Balcony, 5s.; Area, 2s. 6d.; Gallery and Orchestra, 1s. Tickets to be had of Miss Lytton, No. 30 Bloomsbury Street; and of all the principal Music-sellers; and at Keith, Prowse, & Co's.

T. MARTIN'S HALL-MISS PALMER'S GRAND PAREPA, Miss MINA POOLE, Miss PALMER, Mr. SIMS REEVES, Mr. WILBYE COOPER, Mr. LEWIS THOMAS. Instrumentalists: Solo-Pianoforte, Mr. CHARLES HALLÉ, Solo-Violoncello, Mr. GEORGE COLLINS. Conductors, Mr. J. L. HATTON and Mr. WALTER MACFARREN. Doors open at half-past Seven, Commence at Eight. Stalls, 58.; Galleries, 2s. 6d.; Area, Is. Entrance to the Stalls in Wilson Street.

H
ERR LIDEL'S MATINÉE MUSICALE will take

place (by kind permission of Messrs. Collard & Collard) at 16 Lower Grosvenor Street, W., on Thursday next, May 31st. Vocalists, Madame CATHERINE HAYES, Miss MESSENT, Madame LAURA BAXTER, and Mr. ALLAN IRVING. Instrumentalists, Messrs. SALAMAN, ADOLPH RIES, REGONDI, OBERTHUR, LOUIS RIES, and LIDEL. Conductors Messrs. SALAMAN and RIES. Tickets 10s. 6d. each, at the Music Warehouses, and of Herr Lidel, 42 Mornington Place, Hampstead Road, N.W.

PROFESSORS CONCERT UNION.—Mr.

BLAGROVE begs to announce FOUR QUARTETT CONCERTS, in conjunction with other Professors, on Friday evenings, June 1, 15, 22, and July 6, at the Beethoven Rooms, 76 Harley Street, at 9 o'clock. 1st Concert: Performers-Miss AUGUSTA THOMSON, Messrs. WILBYE COOPER, H. BLAGROVE, CLEMENTI, COLCHESTER, DAUBERT, and SIDNEY SMITH. Subscription Tickets (Reserved), £1 1s.; (Unreserved), 10s. 6d. Single Tickets (Reserved), 7s. or 4 for £1 18.; (Unreserved), 3s. 6d. or 4 for 10s. 6d. at Messrs. Leader & Cock's, New Bond Street.

MR

R. W. G. CUSINS will perform at his Matinée Musicale, at Willis's Rooms, on Saturday, June 2, at half-past Two, Pianoforte Compositions by Mozart (Violin, Mr. H. Blagrove), Beethoven, Mendelssohn (Violoncello, Mr. Payne), and Chopin. Stalls, 10s. 6d. each, to be had only of Mr. Cusins, 53 Manchester Street, W. Tickets, 78., at all the principal Music Warehouses, and of R. W. Ollivier, 19 Old Bond Street, W.

MR. HAROLD THOMAS'S MATINÉE MUSICALE,

on Monday, June 4th, will take place at Collard's New Pianoforte and Concert Rooms, 16 Lower Grosvenor Street, W., commencing at 3 o'clock. Artists, Miss AUGUSTA THOMSON, Miss POOLE, Mr. WILBYE COOPER, Mr. SANTLEY, Messrs. HENRY and RICHARD BLAGROVE, Signor PEZZE, Mr. LAZARUS, Mr. LINDSAY SLOPER, Mr. W. G. CUSINS, and Mr. HAROLD THOMAS. Professor STERNDALE BENNETT has kindly consented to accompany a selection from his Cantata, "The May-Queen." Tickets, 108. 6d. each; or Family tickets (to admit three), £1. 1s. ; at the Music Warehouses, and of Mr. Harold Thomas, 37 Maddox Street, W.

MUMBAIRINLEY RICHARDS' ANNUAL CONCERT will take place at the St. James's Hall, on Tuesday evening, June 8th, at W Ghid SARABELLA GODDARD, Mr. SIMS REEVES, and the most eminent Artistes of day will appear. -Sofa Stalls, 78.; Reserved Seats, 5s.; Balcony, 3s., to be had of Brinley Richards, 4 Torrington Street, and at the principal Music Shops.

TER MAJESTY'S THEATRE. —Mr. BENEDICT 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.R.H. the Duchess of Kent, and H.R.H. the Duchess of Cambridge. Principal Vocalists, Mesdames TITIENS, BRUNETti, Lotti, DELLA SANTA, BORGHI-MAMO, LEMAIRE, VANÉRI, PAREPA, and ALBONI; Signori GIUGLINI, BELART, CORSI, GASSIER, RONCONI, EVERARDI, VIALETTI, and MONGINI. The Instrumental Artistes will be duly announced. Early application is solicited for the remaining boxes and stalls, which may be secured at the Box Office, the principal Libraries and Music-sellers, and at Mr. Benedict's, 2 Manchester Square. W.

FRENCH Director, THEATREsday,

RENCH PLAYS.—ST. JAMES'S THEATRE.—

May 28th and 29th. Malle. DuVERGES.-M. BRINDEAU.

PAR DROIT DE CONQUETE.
LE CHEVEU BLANC.

LES ETOILES DE PARIS.

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RCHESTRAL UNION.-Mr. ALFRED MELLON begs to announce that he 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 he has reconstructed. Principal Artistes:-M M. SAINTON, H. HILL, W. WATSON, E. PAYTON, DOYLE, TRUST, G. COLLINS, AYLWARD, HOWELL, sen., WHITE, P. S. 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 Hinde Street, Manchester Square, W.

THE LONDON GLEE AND MADRIGAL UNION.

Mr. LAWLER, will have the honour of giving their 100th Performance of Glees, Madrigals, and old Ballads, on Friday, June 1, at the Royal Gallery of Illustration, 14 Regent Street, and continue these Entertainments for a short period every Wednesday and Friday at 3, and on Saturday evenings at 8.15.

"THE ARION" (Eight-Part-Choir).-The Members of

8 o'clock, at 13 Berners Street, Oxford Street. Conductor, Mr. ALFRED GILBERT. F. F. REILLY, Hon. Sec. Persons desirous of joining the Choir are requested to address the Secretary. YANTERBURY HALL CONCERTS.-Westminster Faust-Faust, Mr. HENRY HERBERT; Mephistopheles, Mr. C. BERNARD; Siobel, Mrs. ANDERSON; Marguerite, Miss RUSSEL. Conductor, Herr JONGHMANS-and Selec tions from Dinorah, Trovatore, and Macbeth. Several interesting Pictures have been added to the Fine Arts Gallery. The suite of Halls have been re-decorated and beautified, and constitute one of the most unique and brilliant sights of the metropolis.

TO a NO BANDMASTERS.-Wanted immediately, a BAND

C. Thurnam & Sons, Music Warehouse, Carlisle.

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DOU

OUBLE BASSES for sale, six fine-toned Instruments by good Makers; a VIOLONCELLO by Banks, in Case; TENORS by Foster and Fendt; VIOLINS by Straduarius, Guarnerius, Steiner &c.; also a self-acting ORGAN, in a Carved Mahogany Case, plays 74 tunes. For Particulars apply to J. Moore, Buxton Road, Huddersfield.

The Entire Stock of Engraved Music Plates (63,000), Copyrights, &c. ESSRS. PUTTICK & SIMPSON, Auctioneers of

by Auction, at their house, 47 Leicester Square (formerly the Western Literary Institution, in July, the entire, very extensive, and highly valuable STOCK of Messrs. WESSEL & CO., of Hanover Square, who are retiring from business. Further Particulars of this Important Sale will be announced. Applications for Catalogues, which are preparing, may be addressed to the Auctioneers.

"ELIJAH" AT THE CRYSTAL PALACE.

THE principal topic of conversation among musical 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 were 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 brought them so efficiently under the guidance of Mr. Costa's bâton, 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, &c. 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 dulness 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 bâton, 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 more 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 if ever, goes well, and this time formed no exception to the rule, being in it. The double quartet, "For he shall give his angels charge," rarely,

as usual nnsteady and wavering. The scene between the widow and Elijah introduced Miss Parepa, who sang her music with ease 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 even 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 the 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 finest 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 age 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 Miss The Parepa, Mdme. Sainton Dolby, Messrs. Reeves and Thomas. 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 The "Thanks be to God" chorus, however, made some amends, and brought the first part of the oratorio to a grand close.

area.

Half an hour's interval enabled singers, players, and audience to recruit their energies, and the second part went with decidedly more spirit than the first. Miss Parepa was much applauded in "Hear ye Israel." Miss Dolby (Mdme. 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 upon an audience. There was no encore, and the 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 your 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.

Of

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. the casting of the bronze we some time since gave an account; but there is much division of opinion as to the 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 the 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.

as we were wont to esteem them, escaped the appreciation of the
Paris professor. This effort of the young aspirant failed to con-
vince 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"
such genuine musical feeling, and such singular promise, that
from Mozart's Mass in F, in her performance of which she displayed
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 eccle-
siastical 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 unproportionable 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.
(To be continued).

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.

In 1824 her family was residing at Paris, where she received musical instruction from M. Fétis, 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. Fétis 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 MENDELSSOHN AND BEETHOVEN'S SYMPHONY instruction being entirely gratuitous, there is a limit to the number of students; and as vacancies arise they are filled up by the most 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 Artaxerxes, "The Soldier tired." Time was, but is now no more, when this song 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 Artaxerxes, the only English opera which till then had held manent 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 as they are, and its elements of vocal display, such

per

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'œuvre 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 a 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 afterwards, through Mendelssohn's interference, and in consequence

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

of the above-mentioned interrogation, the publishers of the score of this symphony, Messrs. Breitkopf and Hartel, inserted in the Leipzig Musical Gazette, July 1846, Nr. 27, the following communication:

"In comparing the original manuscript of Beethoven's Symphony C minor with the one published by us, a scruple with regard to the 2nd and 3rd bar, page 108, has arisen. We have, therefore, been induced to look over the correspondence with Beethoven, and the following letter, dated August 21, 1810, will give the explanation on the subject. The subjoined part of Beethoven's letter in fac-simile relates to it."

Beethoven writes:

"The following errors I find in the Symphony C minor, viz.: 3rd movement time, where after the major the minor commences again, standing as follows:

I take only the bass part; the two bars which are crossed are too much, and must be blotted out, and let it be well understood, also, in those parts which have rests."

The subject wants no further explanation. The mistake arose partly through the engraver, partly from the manuscript of Beethoven's score, from the reason that he intended, in this symphony, as in some of his others, to have repeated the minor parts three times, and the major parts only twice.

In the original score are those two bars which are crossed, figured with I, and the two following ones with II. This, and also the term "Si replica con trio allora II," which has been written with a red pencil on the top of the page, have been overlooked by the engraver.

The discovery and regulation of this error is the merit of Mendelssohn, to whom we are indebted; and but for him most likely we should have remained in the dark even to this day. There is another error in the same symphony, in the first movement, and also in the symphony B flat,

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F major, Nr. 8, Pastorale,

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MOZART AND JELIOTTE THE SINGER.* THE Duke de Rohan-Chabot possesses, in his magnificent château at Reuil, a dozen leagues from Paris, a small picture, forming part of a rich collection of family portraits.

It represents Mozart, as a child, seated at a harpsichord, in a saloon of the château de la Roche-Guyon, in Normandy, and formerly the property of the Duke de Rohan-Chabot. Mozart is playing or singing, and Jeliotte, the actor of the Opera, is accompanying him on the guitar; the Prince de Beauveau, in a scarlet surtout, and decorated with the blue cordon, is seated behind the young musician, reading, with a careless eye, a paper he holds in his left hand; the Chevalier de Laurency, a gentleman in the suite of the Prince de Conti, dressed in a black velvet coat, is standing behind the arm-chair in which Mozart is seated; the Prince de Conti is chatting with M. de Trudaine, the son of him for whom David painted his celebrated picture of the "Death of Socrates;" while Mdlle. Bargoty, in front of a group formed of the Maréchale de Mirepoix, Mme. de Viervelle, Mdlle. de Boufflers, afterwards Duchess de Lauzun, and the Prince de Henin, is making tea, though listening attentively at the same time to Mozart's beautiful playing. In another group we perceive M. Dupont de Velse, brother of M. d'Argental, the Countess of From the Brussels Guide Musical.

Egmont, senior, the Countess of Egmont junior, formerly Malle. de Richelieu, and the President Hénaut, seated on one side of the fireplace. The last group shows us the Countess de Boufflers standing before a table luxuriously laid out, and by her side the Count de Chabot, afterwards Duke de Rohan, talking to the Count de Jarnac, while the Marshal de Beauveau is pouring out a glass of wine for the Bailli de Chabrillant, who is opposite M. de Meyrond, the famous geometrician.

It is astonishing how these noble and intelligent faces appear to acknowledge the ascendancy of the young genius, who charms and captivates them! All eyes are fixed upon him; every one is listening to him with surprise and ecstacy. Even the family portraits let into the panels of the apartment seem to share the sensations of this brilliant audience.

The picture contains many illustrious heads, and many women celebrated for their birth as for their beauty. Yet that which rivets us, that which attracts and interests us more than aught besides, is the sublime child, not yet eight years old, and nevertheless the equal of the greatest masters.

Mozart is represented in an apple-green coat and knee-breeches. He is so small that his feet, which dangle in the air, scarcely reach below the fingerboard of his harpsichord. He has a round face, rosy lips, a broad projecting forehead, and a meditative eye, while his little powdered wig gives him quite an amusing magis

terial air.

Up to the present time we know nothing more about Mozart's first visit to Paris than what is reported in the chronicles of the period. He performed three times; at Versailles before the king, the queen, and the court; and at two public concerts. This is all we knew; but respecting his relations with the society and artists of the period, nothing worth mentioning had reached

us.

The picture which I have just sketched, as faithfully as I could, proves that Mozart went out visiting; that he played in private houses in Paris and the country; and that, when he was only celebrated singer of the Opera, to cause the latter to accept the seven years old, he had excited sufficient interest in Jeliotte, the modest post of his accompanyist.

As Jeliotte's name comes naturally under my pen, let me relate a few facts concerning him.

Jeliotte was born in the neighbourhood of Toulouse in 1711. Gentle, good-natured, and wearing on his countenance the serenity of happiness, he inspired others with it, while he enjoyed it himself. He was a man completely happy. In the first place a chorister, and then counter-tenor at Toulouse Cathedral, an excellent musician, and an adept on several instruments, he possessed a voice of incomparable beauty. His provincial fame reached the ears of the Prince de Carignan, Inspector-General of the Opera. Jeliotte was summoned to Paris, made his first appearance at once at the Opera, and passed through the ordeal with enthusiastic applause. From that moment he enjoyed the favour of the public, whose idol he was for twenty years. The audience trembled with delight when he appeared on the stage; they listened to him with intoxicating pleasure, and their applause was always ready when he concluded. His voice was full, admirable, sonorous, of a pleasing quality, and reaching, without the slightest effort, the highest notes of the counter-tenor.

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Jeliotte was neither handsome nor well-made; but he had merely to sing and he was superb. It seemed as though he charmed the eye at the same time as the ear. Being a good musician, his talent cost him no trouble, and his profession was only a source of pleasure. Cherished and esteemed by his comrades, he led the life of a man of the world, welcomed and longed for everywhere. At first, what people wanted was to hear his singing, and his complaisance in acceding to their wishes was as charming as his voice. He made it his especial study to pick out and learn our prettiest songs, which he gave to perfection, accompanying himself on the guitar. But people soon forgot in him the singer in their appreciation of him as an amiable man. His wit and obliging disposition procured him as many friends as he had numbered admirers: some belonged to the middle classes, while others moved in the very highest society. Invariably simple and modest, he accumulated, by his talent and the favours bestowed on him, a small fortune, which he employed in placing his family

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ON the 10th November, 1859, the public journals brought news from Munich that Sophie Schroeder, at the age of nearly eighty years (her maiden name was Bürger, her first married name Stollmers) had excited such a jubilee by her recitation of Schiller's Bell as would have been possible to few of the younger notabilities of the stage. And now (February 9, 1860) we read of the decease, in Coburg, of her equally renowned daughter, Wilhelmina Schroeder-Devrient, by second marriage, Madame Bock. Five and twenty years younger then her mother, her shorter career was not less eventful, not less rich in triumphs. Born in 1805, at Hamburg, in her fifth year she figured on the stage in a ballet: thence she went with her mother to Vienna, where she first appeared as an actress at the age of fifteen, and in such parts as Alicia in Phädra, Louise in Kabale und Liebe, Beatrice in Der Braut von Messina, did honour to the teaching and example of her mother. At the same time she received musical instruction from Grünwald and Mozatti, and already, in the year 1821, turned her attention to opera. Emmeline in Weigl's Swiss Family, Maria in Grétry's Blue Beard, and Eleonore in Fidelio, were her first most prominent parts. If the story that it was she who first caused the world to recognise the power and beauty of Beethoven's opera is untrue, inasmuch as Fidelio had maintained its place in the répertoire of the Vienna Opera since 1816, it is true that in her study of the part of Eleonore, Wilhelmina Schroeder, at sixteen, did enjoy the personal instruction, and, by her performance, obtain the hearty applause of the composer. Thus equipped, she went first (in 1823) to Berlin; and thence to the Court Theatre at Dresden, with which she remained connected, notwithstanding her artistic tours, until her retirement from the stage (in 1848). Here she never tired of making progress in her art; but even when she had long shone as a model, she repeatedly began anew at the foundations, availing herself of the instructions of the celebrated singing-master, J. Miecksch. At Dresden she laid the foundation of her fame, which, after her journeys to Paris in 1830 and 1831, and to London in 1832, 1833, and 1837, spread over the greater part of cultivated Europe.

Should we undertake to recall all the parts in which Wilhelmina Schroeder appeared during a period of twenty-seven years, we should not wander far from the truth in maintaining that she represented all the leading characters in all the operas written and produced before and during her theatrical career. While she revealed to us the perennial freshness of Gluck, Grétry, Mozart, Beethoven, Cherubini, Spontini, she understood how, at the same time, to make Rossini and Bellini, Auber and Donizetti, Halevy and Meyerbeer exceedingly enjoyable; and any one who has admired her in German works of later times, the operas of Weber, Spohr, Marschner, and Richard Wagner, - will find it hard to tell how much these masters owed to her, and how much she to them. We shall not see such another Armida, Iphigenia, Donna Anna, Fidelio, Euryanthe, Rebecca, or Adriana; we shall not see again that perfect harmony between composer and interpreter which we enjoyed in her creations. But perhaps the highest thing was the soul with which she quickened and ennobled weaker and even weak forms. To the end of her career she was on this account besieged by an uninterrupted series of artists, who, not knowing how to find the true and shortest way to glory, found it convenient to bespeak the mediation of the disinterested artiste. Schroeder-Devrient was always glad to help where she

*From the Leipzig Zeitung.

was able. Most glad when it would really serve the cause of Art. She had sincere joy in her art; for her it had nothing mechanical, nothing slovenly, nothing aiming at mere applause or gain. When she made pilgrimages to Paris, London, Vienna, and Berlin, it was no Barnum raid, but to test the correctness of her efforts before new and perhaps severer judges; not the desire to take her talents to richer markets. Hence we do not see her seeking an uncultivated public of backwoodsmen, but going to the places where all her great predecessors had been; where she found living rivals, where the public had seen and appreciated the highest and best. In fact, her artistic journeys were more productive of fame than of any material advantage.

The same zeal for Art she always showed towards other talents striving in the same direction. If it was not possible to carve, as she said, a Schroeder-Devrient out of every piece of wood, yet there were a great number of younger talents which she helped to develope, or at least carried along with her. We must not imagine her instruction to have been systematic schooling; lessons to be learned and said by rote. Where no real soul for art betrayed itself, where the capacity to understand and follow her was wanting, her influence could not of course avail; but where there glimmered any spark of native fire, she knew well how to quicken, sustain, and cause it to shine out. From Agnes Schebest to Johanna Wagner, a whole list of singers could be named, who, if just and candid, would ascribe the best they have ever done to her example and her teaching.

Her zeal for the aspirations of more recent composers has been alluded to. There has hardly been one of any importance who, living at the same time with her, did not seek her acquaintance, and, if deserving of it, win her friendship. She was one of the first to recognise Wagner; she belonged to that prophetic circle, who, not led astray either by the unmistakable excrescences in the first works of that master, or by the fault-finding criticism of the day, foretold the rising of a new star; she it was who in the parts of Adriano and of Senta, decided the victory. Nay, for the first representations of the Tannhäuser, she undertook the part of Venus. This was the last creation of her genius. The part in many respects was not suited to a woman of forty; but we shall not see such another Venus. It was her unmistakable enthusiasm that lent a colouring to her performance, which those presen never can forget, and which those who have only seen the opera without her, can never understand.

For all who knew her, there is and can be no description even remotely corresponding to the impression she left; and it is hardly possible for one who has not seen her, to form any conception of her performances. Who can imagine a Fidelio, who, with the first words she uttered seized upon every public, and in the prison scene moved even the actors on the stage to tears? or a Donna Anna, who, in the brief words of the introduction: "Padre mio!" thrilled every nerve of our being? or a Euryanthe, who could breathe an ecstacy of love into the duet: "Hin nimm die Seele mein?" who, if he has not seen or heard,-nay, if he has not lived it,-can form any idea of the cry with which Rebecca was wont to greet the trumpets of Ivanhoe.

We shall again see Clytemnestra rage, and Marie toy in Blue Beard, and perhaps an Emmeline smile amid tears; we shall often hear" Adelaide" and the "Erlkönig" sung, and again be thrilled by their imperishable beauty; but the highest enjoyment we shall feel in them can only be, that the singer falls not too far short of the ideal which has been realised for us once and cannot be again. Such identity of the artiste with her part, such faultless dramatic expression, such a union of splendid resources, of most highly cultivated singing with complete impersonation, we shall never witness again. The happy instinct with which Schroeder-Devrient saw and caught the spirit of every part, and the peculiar signification of its every moment, has often been a theme of wonder. This was native to her. But the reason of it was, that she had perfected her taste to the finest degree, and was never weary of probing the task set before her, and never ceased to study it until she had found its truest expression.

As Schroeder-Devrient was always great and noble in her performances, so she always set herself the highest tasks in her art. Thus she worked for her own time, and her name will live for

ever.

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