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in the table, that is, not one sound in the table is an harmonic of d x bat it is an harmonic of entry sound therein. Bb b and d x may therefore bo called the positive and negative harmonic bases of the table, that is, they are the nearest sonnds which are harmonic bases of all the tounds in the table, other sonnds more remote, and consequently not exhibited, being also harmonic bases of the same scunds. As wo may curtail the table so as to commence or terminate with any sound, it is evident that the same sound has both its positive' and negative harmonics, thus C is the positive harmonic base of all the sounds within the double lines, and is the negative harmonic base of those within the waved lines; the remaining sounds are not in any way harmonics of C. It follows also that as C is an harmonic of all the sounds within the waved lines, all the harmonics of C are also harmonics of these sonnds, for as any of these sounds will produce C'as a positive harmonic, so also will they produce all the harmonics of C.
It is evident from the construction of the table, that any two adjacent sounds in either the vertical or horizontal columns are consonant, and that they aro also positively or negatively harmonics of each other; also that all sounds proceeding diagonally from the bases, or parallel with these diagonals, are harmonics, positively or negatively, of each other, but at the same time no two are consonant; thus C is a negative harmonic base of Db, and a positive harmonic base of B, yet neither oj these sonnds are consonant with C or with each other, as denoted by their ratios, so that nil major Tths are positive harmonics, and their inversions the minor 2ds (or minor 9ths) are negative harmonies. The diagonals, oc their parallels, proceeding in this direction may therefore be called harmonic diagonals. On the contrary, in the opposite diagonals, namely, those at right angles to the former, any two adjacent sounds are consonant, but arc not harmnnics in any way, of each other; thus in the diagonal passing through C, the sounds Eb and A arc both excluded from those portions having C for their base, but C is evidently consonant with either Of these sounds, as in the chords F, A, C, and Ab, C, Eb, therefore all minor 3ds and their inversions, the major Cths are not harmonics, these diagonals may be distinguished as the consonant diagonals. The reason of these facts is evident; from the slightest glance at the order of the sounds in the tabic it is seen that they proceed from the first sound, through all the keys gradually requiring a less number of flats in the scale, to C, and thence through the keys gradually requiring a greater number of sharps, so that from any given sound, no positive harmonic, distinct front the octaves of that sound, can be produced which shall also bo a sound contained in any primary chord, the basis of which is the tonic of a key requiring a greater number of flats, or a less number of sharps in the scale than the key of which the given sound is the tonic, for all such sounds, as compared with the given sound, are either negative harmonics, or harmonics of these: for instance, the subdominant and the dominant 7th are not positive harmonics.
Having thus far glanced at the general principles of harmonics, we may now proceed to enquire whether the harmonic bases are identical, or how far they are so, with what arc generally termed fundamental basses, a term, by the bye, not very appropriate, and has thus led to much confusion, but which wo may retain, being careful to distinguish it from the harmonic base until we ascertain how far one is identical with the other. In pursuance of this object, let us examine the annexed diagram of harmonic sounds.
C and B are the positive and negative harmonic bases, but forming the harmonic diagonal are not consonant sounds; C, the generating sonnd, produces G and Ej consonant with each other, and both consonant with C, the positive harmonic base, known also as the grave harmonic, that is the nearest positive harmonic base formed by the coincident vibrations of the two'sounds Eand G, and is in this cose also the fundamental bass or root of the perfect concord C, E, G. Now as a perfect coucord, excluding octaves, does not consist of more than three different sounds, the fundamental bass mast be one of these three ; this is so self-evident, that it may at once be accepted as an axiom. It is also clear from the diagram that the sounds B, G, E, reckoning from the negative harmonic base B, have exactly the same ratios one with another as the sounds C, E,G, reckoning from the positive base C, and consequently as they form a perfect concord, the fundamental bass is ono of the three sounds
B, G, E, therefore C, the positive harmonic base, is in this case not the fundamental bass or root of the chord B, G, E As in the chord C, E, G, we proceed in a direction from the fundamental bass, so in the negative chord, where the order of everything is reversed, we proceed in a direction to the fundamental bass, or E, as the root of the chord E, G, B, the sounds being arranged within the octave above the fundamental bass. E, G, being a minor 3rd, at seen in the diagram, the chord takes the ranie of the minor chord, heuco a minor chord is always negative, and has the ." th of the scale, or dominant, for its harmonic base, a major chord is always positive and has the 1st of the scale, or tonic, for its harmonic base. To illustrate this tttll further, take the following sounds:—
C as before is the positive harmonic base of the sounds E,'G,B, but Db, F, Ab, and an infinity of other sounds to which C is the negative base, are also positive harmonic bases, but more remote than C, of the same sounds, as well as to the major chord C, E, G; hence to assume that Db, F, Ab, &c are also fundamental basses to the chords C,E, G and E, G, B is simply absurd. Indeed the harmonic bases, in a general sense, have not that influential character, nor play the important part, which some theorists arc inclined to assign to them ; in the last diagram the harmonic bases Db and B are the only two sounds not consonant with C (evident from the construction of the table), and if these two sounds bo removed, those remaining aro the " System of Sounds" of which C is the unit sound, and F the primary basis ; by comparing these with the " System of Sounds" (Musical World, Jan. 28), it will be seen that the really important sounds arc F, C and G, the primary or central bases; these, and not the harmonic bases Db and B, being the true fundamental basses of the primary chords, whether major or minor, the general expression for the ratio of the fundamental bass being 1, that is, a 5th below the dominant, or unit sound. If we extend the diagram as follows, we have merely another view of the " Systems of Sounds" as derived from the theory of harmonics, from which all the results previously shown could have been deduced, though not with the samo simplicity.
It were needless to give further explanation of these here, a comparison of them with the system of sounds, as explained in my previous letters, rendering such unnecessary ; suffice it to say, that herein is exhibited in a very condensed form the true principles of major and minor chords, with their fundamental basses, progressions, &c, and the fallacies derived from harmonic bases, unit bases, &c, under whatever name they may. be given, made apparent. I refer to a few late instances of these in the papers of Mr. D. C. Hewitt, in the Musical World, merely for illustration. He, assuming that the intervals in his equivocal chord B, D, F, Ab, are all minor 3ds, gives their harmonic bases nnder the name of unit sounds (which he evidently mistakes for fundamental basses) ; these sounds as minor 3ds are represented in the " Synopsis of Harmonic Sounds" by the letters B, D, f, and ab, and if wo find the smallest portion of the table containing these sounds, under the restriction that the 4 sides are parallel with those of the table, we find that its positive harmonic base is Cb, which'is the nearest base of all the sounds of the given chord, the other bases which he gives, viz. Eb, Gb, G, Bb.and Db, being only harmonic bases of portions of the chord, «B is evident from the table. In the same way, if we take the real sounds of the chord, represented in the table by the letters B, D, F, Ab, then the nearest positive harmonic base of all these sound* is Db, so that these harmonic bases, looked upon generally as being fundamental basses, or roots of chords, is an absurdity, and the basses, as such, would be ridiculous, a term in which Mr. Hewitt agrees with me as being very applicable. According to tho principles developed in this and somo preceding letters, G is the fundamental bass of this chord, to which are added the sounds F, Ab, having F for the fundamental bass; if to these two be added the negative base of F, Ab, or C, we have the sounds G, F, C, the primary bases, and the essential sounds of the Key of C.
In the series of harmonic sounds in the first portion of this letter, it will be perceived that to some harmonics, as 7, U, 13, &c, there arc not given any representative sounds ; in explanation of this, then, we havo seen that every harmonic, as it enters the series, gives out its harmonics in exactly the samo order and ratios s consequently the series commencing with 7, would be, reckoned from C,
7, 14, 91, 88, 35, 42, 49, 56, &c
Now whatever names we choose to give to the seven sounds of the scale commencing with the sound 7, as above, the sounds 49, 77, 91, &c. would still be unrepresented in the same manner as 7, 11, 13, &c. in the former series, and so on to infinity. So that not only the primo numbers, 7 and upwards, but nlso every integral power of these primes become the origin of other series of harmonics, into which enter all multiples of these primes, but none of which could appear in the first series, evident from the composition of the ratios; the sounds in the last series, if represented literally, would be in the ratio of 7:1 with the similar sounds of the first series, but as the multiplier 7 docs not enter into the composition of consonant ratios, the last series would be always dissonant as compared with the first. In fact, ifwc take unity as a standard of pitch, every primo number is the origin of a scries of harmonics similar hut of a different pitch to that having unity as its origin, or of any sound derived from unity through tho consonant intervals. In illustration of this, suppose a pianoforte or oilier musical instrument tuned so that the sound represented by C should give eight vibrations in a certain time, then, if we further suppose another instrument tuned so that the sound represented by the same C should give seven vibrations in the same time, we should have a representation ol the two scries of sounds, having 1 and 7, or 8 and 7 for their origin; if eight then be the standard pitch, the instrument tuned toC, seven vibrations would be, as a musician would term it, more than a tone flat, and the sounds of tho two instruments would not combine in any harmonious relation whatever. So that these prime numbers, or the powers of these primes, are the originators of series of harmonics which do not combine in any way with those reckoned from unity, or with each other, and are practically considered merely as differences in pitch.
Apologizing for the length to which these remarks have extended,
I am, &c.
W. W. Parkinson.
Cheetham Hill, Manchester,
HER MAJESTY'S THEATRE.
Thb first performance for eleven years of Cimarosa's best-known, if not best, opera, H Matrimonii} Segreto, which took place on Saturday, was a decided success; far greater, indeed, than we anticipated from the rather unfavourable reception it met with in 1849, when revived both at Her Majesty's 'Iheatre and the Royal Italian Opera. The little favour a work once so popular obtained then was the more unaccountable, as the cast at both theatres was extremely attractive; that at the elder house comprising the names of Mesdames Parodi, Giuliani, and Alboni, Signors CaLzolari, L/ablache, andF. Lablache ; at the new house, Mesdames Persiani, Grisi, and Angri, Signors Mario, Tamburini, and Tagliafico. The
opera, nevertheless, ran but a few nights at either place, and may be said thenceforward to have been entirely shelved, as no attempt has been made to reproduce it since. The principal cause of its revival at Her Majesty's Theatre is doubtless to exhibit Signor Ciampi in one of those parts in which he had earned his continental reputation. Tne character of Geronimo is beyond the grasp of ordinary artists; and, indeed, no singer since Lablache excepting Tamburini, had attempted it at all. Signor Ciampi created a highly favourable impression in his new essay, proving himself an artist of rare intelligence and rare endowments. His comedy is a very happy combination of art and instinct; his humour is natural and entirely his own, so that originality may be added to his other qualifications. His make-up of the character is extremely skilful, and throughout the entire performance he never forgets that he is personating an old man. If we iriiss the oily humour of Lablache, which seemed to ooae out at every pore, or the consummate tact of Tamburini, which threw an intense reality about every thing he did, we must remember that Signor Ciampi is at an age when it is impossible, even by the aid of the highest genius, that art could reach maturity. Signor Ciampi is twenty-one years old, at which age, we have no doubt, both Lablache and Tamburini were serving their apprenticeship to singing and acting. Nevertheless, estimating the new buffo's performance irrespective of all such considerations, we must allow it to have very great merit. The audience, indeed, seemed strongly of our opinion, since they applauded Signor Ciampi to the echo in every scene. AVith so powerful and splendid an organ we shall loot by-and-bye for finer vocal results. Signor Ciampi, in singing, should adhere more to the notes, and speak less. The frequent use of the parlante, however agreeable to Italian ears, is not liked by English audiences, more especially in good music. With this exception we can praise the new Gerouimo's singing unreservedly. Ho possesses the true instinct for time and rhythm, and in that respect invariably satisfies the most scrupulous ear, and is always just in his intonation.
The Count Robinson of Signor Everardi is entitled to unqualified commendation. It is, indeed, the nearest approach in singing and acting to the masterly performance of Tamburini, which, in the olden time, was wont to divide the applause with Lablachc's Geronimo. Signor Everardi looks the part, too, to perfection, and dresses it admirably, so that the illusion is complete.
Mad. Alboni's Fidalma was perhaps the best-acted part in the piece. There is certainly not much to do in the character, but what there was to do, or, more properly, what was suggested, was carried out with incomparable comic appreciation. The great artist, indeed, may be said to have created Fidalma. How Mad. Alboni sings the purely legitimate music of Cimarosa can best be conceived by remembering what she achieves in the Barbierr and Cenerentola.
Signor Giuglini sings the sweet tender music of Paolino most admirably. The charming air "Pria che spunti in ciel "—one of Rubini's (and Sims Reeves's) most perfect achievements—was given on Saturday with so much grace and sensibility, and finished so exquisitely, as to elicit a warm encore. Signor Giuglini, however, merely reappeared and bowed. In the whole of the last scene, which takes place in the dark, and in which the voices are subdued to a pianissimo, his singing was inimitable, and made us think—we know not why—how wonderfully he would sing the music of Conte Ory in Rossini's opera—still more delicious music than that of Cimarosa.
The parts of Carolina and Elisetta, by Miles. Lotti and Vaneri, should, we think, have been interchanged. Mile. Lotti throws too much of the vixen, we fancy, into the character of Paolino's wife, who ought to be represented ns the gentler of the two sisters; while Mile. Vaneri hardly indicates sufficient boldness and vigour for Elisetta, the would-be countess, who browbeats her younger sister. Perhaps this effect is partly produced by the greater resonance of Mile. Lotti's voice.
The band, conducted by Mr. Benedict, was admirable throughout; and the opera, in spite of its want of choruses, scenic effects, or any special interest iii the plot, was a genuine success.
One thing is entitled to particular notice—the propriety of the dresses, for which Mr. E. T. Smith's costumier should be publicly thanked. The old custom was, to dress all the
except Geronimo, after the modern fashion—an anachronism as well as absurdity—and to allow the old merchant to attire himself according to the period of Queen Anne, or the first George. Happily, now all is rectified at Her Majesty's Theatre; and the characters without exception appear costumed after the manner of the last century.
The Matrimonio Segreto has not been repeated, nor even reannounced; why, we cannot say. All we know is, that it is worth repetition.
ROYAL ITALIAN OPERA.
Tub Huguenots was repeated on Saturday, when Her Majesty and the Prince Consort were present.
On Tuesday Martha was given for the second time, and obtained a second triumph for Mario and Mad. Pence
The performance of Gluck's Orfeo e Eurydice, on Wednesday evening, which had furnished a topic of conversation to musicians for weeks previously, did not attract a large attendance of the general public. Nevertheless, almost every connoisseur in London was present, and excitement and curiosity were carried to an unusually high pitch. It had been announced that Orfeo e Eurydice would be " illustrated by costume, scenery, and decoration," whence, naturally, it was inferred that Gluck's great lyric work would no t be presented in a dramatic form, but as a pictorial concert entertainment. It turned out, however, that the announcement was supererogatory, since Orfeo was given as nn opera proper, with all the accessories of stage effect and action. The advertisements, therefore, intimated more than was required. The director was determined that the old German master should not suffer for want of attention. The cast of the principal personages was perhaps as strong as it could be made in the present time. Mad. Csillag* sustained the part of Orpheus, Mad. Penco that of Eurydice, Mad. Miolan-Carvalho that of the Happy Shade (LOmbra Felice) and Mad. Nantier-Didiee L'Amore. Nearly the entire weight of the performance falls upon Orfeo, who is rarely absent from the scene. Mad. Csillag, however, to her other estimable qualities, adds that of great sustaining power, which enables her to go through the longest and most exciting opera unfatigued. In such a part as Orfeo this is absolutely requisite, and without it the best powers, natural and acquired, would be of little avail. Mad. Csillag, as she had already demonstrated in Fidclio, possesses amazing energy, and has the finest tragic instincts. Her intensity and passion in Beethoven's heroine could hardly be surpassed, and these qualifications were again exhibited in Gluck s opera. Her greatest effects were produced in the grand bravura, "La speme in sen ritorna," and in the scene with Eurydice, in which, after his wife is a second time snatched from him by death, just as he had recovered her from Hades — a scene of wondrous beauty, somewhat spun out, notwithstanding — Orpheus sings the well-known air, "Che faro senza Eurydice." On both occasions Mad. Csillag proved herself no less a consummate vocalist than tragadienne, and was overwhelmed with applause. We might cite many other points in her performance, but the above suffices to indicate in what estimation we hold Mad. Csillag, and what were the feelings entertained by the public of her very rare merits.
The other characters, comparatively subordinate, were most ably supported. Mad. Penco's Eurydice was thoroughly artistic. Even her death was remarkable for the natural manner in which it was accomplished. Her vocal displays were restricted to the long (somewhat too long) duet with Orpheus, when Eurydice issues with him from the infernal regions, of which she made the most. Mad. Carvalho gave the single air of The Happy Shade, "Questo prato sempre ameno"—a pastoral of infinite beauty — with great charm of voice; and Mad. Nantier-Didiec, by her singing, dress, and manner, gave due effect to the impersonation of the God Cupid, who, in the end, is the means of rendering the lovers happy, whereby the author of the libretto is at odds with Heathen Mythology.
The scenery, more especially the view of Elysium, is very beautiful. The ballet of the Happy Shades was received with unbounded applause. Of a very different character is that of the
Furies in the opening of the second act; which, if not so attractive, is far more vigorous and picturesque. We may take another opportunity of speaking of the music. At present we must content ourselves with recording the entire success of the revival of an undoubted master-piece; and trust that the performances of Iphigenia in Tnuris, at St. James's Hall, and Orfeo e Eurydice at the Royal Italian Opera, may be productive of genuine re?ults. The success of Orfeo, as we have said, was decided. The chi rus, band, and conductor, all contributed largely to the triumph. The opera is to be repeated this evening.
On Thursday, the first performance of Norma this season, and the last appearance but one of Mad. Grisi in the part she has made so peculiarly her own, with the additional attraction of the second act of Fra Diavolo, drew together one of the most crowded and fashionable audiences ever assembled in this theatre. Every part of the house was filled to overflowing, and scores of "La Diva's" admirers were disappointed in not being able to procure even standing room. The Queen and suite occupied the royal box, and the whole performances elicited a series of "ovations," for, evidently affected by the brilliancy of the audience and their enthusiastic reception of her, Mad. Grisi exerted herself with even more than her wonted fire, and "barring" the natural vocal deficiencies, the entire personation of the erring Druidess was one of the most effective we ever witnessed, even in the palmiest days of the great queen of Italian song. Mad. Corbari, as Adalgisa, her old and best part, was nothing inferior to the most graceful Adalgisa of her earlier days, while Signors Neri-Baraldi and Tagliafico, in place of Signor Gardoni and M. Zelger, were admirable as Pollio and Oroveso. In fact Pollio is decidedly Signor Neri-Baraldi's best performance, and Signor Tagliafico only wants weight to make a most impressive high priest of the Druids. As usual, the chorus, scenery, dresses, and appointments were perfect, and the brass band better in tune than usual. The applause during the performance was most enthusiastic and spontaneous, and both at the termination of the first act and of the opera, Grisi was recalled and applauded with that peculiarly hearty warmth which she seems to obtain more spontaneously than any other artiste before the public.
The second act of Auber's sparkling chef d"oeuvre, with the brilliant vocalism of Mad. Miolan-Carvalho, the humours of Signor Ronconi, M. Zelger, and Signor Tagliafico, and the graceful singing of the serenade, "Young Agnes," by Signor Gardoni, brought the evening's entertainment to a most satisfactory conclusion.
The Prophete, long expected, is at last promised, and Signor Tamberlik is announced to make his first appearance this year as Jean of Leyden.
MOZART—CHILD AND MAN.
•The Same to the Same.
Milan, Nov. 21, 1772.
We are, heaven be thanked, as well and lively as fishes in water; for during the last week it has rained frightfully. To day is the anniversary of our marriage. It is now, if I mistake not, fivc-and-twenty years ago since we had the happy idea of getting married, to say nothing of the years wo thought about it beforehand; good things require time.
The "primo uomo" M. rlnuzzini has arrived. The work goes on increasing. We shall have also our little comedies to go through, as is justly expected when theatrical affairs are in question j but snch things arc more trifles. The figs which Wolfgang carried away with him from Salzburg were as miraculous as the loaves and fishes in the Gospel; they have lasted until now.
Yes! yes I we have a mighty deal to do; when wo arc not working there are still all sorts of arrangements to see to.
P.S.from Wolfgang.—I thank you, clear sister, you know for what. I cannot write to M. de Heffner. If you see him make him read these lines; I beg him to remain content therewith for the present.
I bear no grudge against that rare friend for not having answered
- The Musical World. ants bas
me. As soon as he has more tine, he will find a time, no doubt,
199911 4011 Ten Vuo
r e , ,, E although I doubt, to answer me punctually.
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ADVERTISEMENTS are received until Three o'clock. on Friday Afteri nter Milan, Dec. 5, 1772.
noon, and must be paid for when delivered, nima bus angel My bad pen does not prevent our being in good health. Yesterday a. Three lines (about 30 words) ... 2s. Gutih only did the De Amicis arrive. The poor tenor, Cardoni, has fallen so **. Cerms 1 Every additional line (10 words) sick that he cannot come. They have sent for some one to take his
je ni baqolava place to Turin and to Bologna. He must be not only a good singer,
Fotoga but a good actor, with an imposing appearance, to represent with honour the character of Sylla. These are the two principal causes which have
Ylm199009 doit retarded the composition of the opera. Now it will proceed at a sound pace.
I LONDON: SATURDAY, JUNE 80, 1860.14 !!! P.S. from Wolfgang.-Fourteen pieces more to do, and I shall have finished. It is true that the duo and the trio may count for four pieces.
as y ait ,'%; p 1 ti Dullin Can't possibly 'write you at any length, for I know nothing - first TT does not fall to the lot of everybody to traverse the reason ; second reason, I don't know what I am writing, my head is so
desert, still less to go to Corinth. Even the learned
desert still less to co full of the opera; I am in danger of sending you an air instead of words. I have learned a new game here which is called Mercante in
seldom visit that classic city ; but, as Horace says, "those fiera. We will play it as soon as I come back., I have also learned of who do, return poets,” Now, however, all Paris will be able a lady a new tongue which is easy to speak, difficult to write, but useful at least to see Babylon in a week or two. Rossini's Seminevertheless. But it is a little-childish, although excellent for Salzburg. | ramide (the book adapted to the French stage by M. Méry) My compliments to our pretty Nandi and to our canary, for those two
is to be revived at the Opera. Se Tullners creatures and yourself form the most, innocent part of the household. Your chapel master Fischietti will, no doubt, soon begin working at his
The scenery will be a succession of chefs-d'ouvre, artistic opera buffa—that is to say in Germany, at his foolish opera. - 's
and scientific. The scenic artists, under the direction of
M. Flandin, who has visited all the countries of Ancient i pro priisr (To be continued). "; 1 of
Assyria, Babylon, and Nineveh, and of Shaperer, who brought home most of the Assyrian collection in the
Louvre, have reconstructed ancient, Babylon. .
It is as is pro " 11 Lbertisements. Hobortiseminte si!"
though the Champollions, the De Sauleys, the Longpériers, who decipher with fluency the cuneiform characters and
other hieroglyphics, bad succeeded in restoring Babylon by ER MAJESTY'S THEATRE - This Evening
the help of a handfull of stones, just as, through a sequence (Saturday, June 30), will be performed, with new and elegant scenery, dresses, of analogies, suggested by the configuration of a dry bone, machinery, and appointments, which will present features of special Interest, Weber's grand romantic Opera of OBERON, with the following powerful cast :-Reiza, Mile,
or a fissure in a rock, Cuvier used to reconstruet antediluTITIENS ; Fatima," Mad. ALBONI; Puck, Mad. LEMAIRE ; Mermaid, Mile. VANERI ; vian monsters. It would almost seem that the most reSir Hugo, Signor MONGINI ; Oberon, Signor BELART; Scherisman, Signor EVERARDI; Babiken, Signor GASSIER. The whole produced under the superintendence of J. R.
nowned artists had braved the fatigues and dangers of PLANCHE, Esq., author of the libretto (hy whom several changes and modifications have travelling, through distant, and unexplored countries, that been made), and Mr. R. ROXBY., The Recitatives by Mr. BENEDICT, pupil of the com, poser of this great work, wbo will direct the Orchestra. Pit Tickets, 8s. Ed. : Gallery the most fertile, industrious, and clear-sighted critics Stalls. 58.: Gallery, 38., to be obtained at the Box office of the Theatre (under the Portico), which is open daily from 10 to 6, and on the evenings of performance until
had unravelled the history and the arts of Asia, by the aid the end of the Opera.
of Bactrian medals, &c., only to enable the management of
the French Opera to offer the Parisian public ia spectacle TER MAJESTY'S THEATRE. - Grand Volunteer perfectly unique, the first, and probably the last, of its kind.
Night. Under the immediate Patronage of Her Most Gracious Majesty the Everything, we are told, has been consulted, searched, Queen and His Royal Highness the Prince Consort Grand REPRESENTATION in BEHALF of the FUNDS of the NATIONAL RIFLE ASSOCIATION. The Council of the National Rifle Association have the honour to announce that Mr. E. T. SMITH having most liberally placed the above Theatre, together with the whole of the 1
views, monuments, and ruins brought over, first iby M. Artistes engaged, gratuitously at the service of the Council of the National Rifle Assos! ciation, a GRAND PERFORMANCE will take place on Monday next, July 2, under
Flandin, and then by Lottin : the superb ruins, the grand the immediate patronage of Her Majesty the Queen and his Royal Highness the Prince and free aspect of nature, which shines forth in solitude, Consort, when will be performed the First Act of NORMA. Polonini, Signor MONGINI : Flavio. Signor SOLDI; Oroveso, Signor VIALETTI; Adalgisa, Myle. VANERI ; and
and constitutes a series of magnificent spectacles, with no
und COUSIŲUVOS SOL Norma. Mīle. TITIKN3. Conductor, Mr. BeNEDICT. After which a Grand Pas de Deux by Mlle. CLAUDINA Cucchi and M. DORAND (being their last appearance this!
other witnesses than Heaven and the savage beasts.r. season). To be followed by the Third Act of OTELLO. Otello, Signor MONGINI; The first act is to represent Babylon as that famous city lago, Signor EVERARDI ; and Desdemona, Mads BORGHI. MAMO. After which the Third Act of LES HUGUENOTS. Raoul, Signor GIUGLINI ; N Conte St. Bris, Signor
was in the year 1916 B.C. The colossal canvasses of our GASSIER ; It Conte di Nevera, Signor EVERARDI; and Valentina, Mle. TITIENS. 1 English Martin are nothing in comparison. 'Piranes, in his Conductor. Signor ARDIT. To conclude with Rossini's Opera of IL BARBIERE DI SIVIGLIA. Conte Almaviva, Signor BELART ; Dr. Bartolo, Signor CIAMPI Figaro, Signor GASSIER : Don Basilio, Signor VIALETTI ; Berta, Mhe. DELL'ANÉSE; and Rosina. Mad. ALBONI, who will sing in the lesson scene Rode's Air, with Variations. I Conductor. Siguor ARDITI. Pit Tickets, 8s. 60. ; Gallery Stalls, 5s.; Gallery, 38. : to be obtained at the Office of the National Rifle Association, 11 Pall Mall East: Mitchell's Roval Library, Old Bond Street, Sams's, Regent Street; Hammond's, Cramer and That of the third aet will present a erypt of immense Beale's, Regent Street ; and at the Box-office of the Theatre, which is open daily from 10 to 6.
depth, in which the painter, it is said, has realised the most
vivid idea of unfathomable darkness. Here the sepulchres ROYAL ITALIAN OPERA, COVENT GARDEN, of the Assyrian Kings are erécted.' The Tomb of Ninus
I LE PROPHETE. - Signor TANDERLIK. — Meyerbeer's Grand Opera LE L is also, if report speaks truth, a master-piece of pictorial
the Italian Opera, the ghost of Ninus, dressed in a sheet, together with full particulars, will be published in the course of a few days.
issue from an ordinary gateway, just like an ordinary
a d mortal, have naturally smiled at the absurdity. At the TRENCH PLAYS. ST. JAMES'S" THEATRE. | French Opera this apparition will be sombre and awful ;
T Every Evening. Mlle. Fix, Sociétaire do la Comédié Française, Mlle. MARIE the ghost of Ninus, illuminated by a strange light, will ap-
pear at the summit of a Babylonian Aight of steps, and
vanish into space, with a boldness worthy of the architects who conceived the notion of constructing Babel.
The costumes are to be unexampled for accuracy and richness. With respect to accuracy, the artists possess authentic models at the Museum, in the statues of Assyrian kings and priests, with faces buried in heavy tresses, beards delicately plaited, falling in squares upon their breasts, enveloped in rich mantles, with hierarchal designs arranged m the shape of fans, with tiaras, radiated crowns and arms,—conveying, in a word, the most precious information concerning the dress, insignia, and weapons of the ancient Asiatics. Thus will old Babylon be resuscitated.
Great embarrassment was felt about the dance-music in Semiramide. The manager was naturally desirous not to interpolate any other music in the immortal master's work. At length, however, thanks to M. Bordeze, they succeeded in finding a cantata with dance-music, composed by Rossini himself for Mlle^ Colbrand, his first wife, in 1818, on the occasion of a fete given at Naples, in honour of the restoration of the Bourbons, whose dynasty would appear at this very moment in such imminent peril.
Sig. Carafa (composer of Le Valet de Chambre, Mazaniello, and other operas, and an intimate friend of Rossini's) has added recitatives. It was impossible to procure a complete score of Semiramide. When Rossini wrote it, it was not the custom in Italy to engrave music, and the copyist of the theatre furnished Bcores to such theatres as required them. These, generally the handiwork of non-musicians, were exceedingly incorrect, and, moreover, almost invariably incomplete* Most of the theatres, possessing scanty orchestras, from motives of economy, gave orders for so many parts as they had instruments to play from. The quartet of string was more attentively copied than the wind, but all the rest was more or less defective. According to Rossini, even at the Theatre-Italien they never possessed the score as be composed it. To obtain it for the Opera, it was necessary to engage in researches as long as they were beset with difficulty, and to consult the libraries of several theatres in Italy. At last, however, the management succeeded in obtaining a tolerably complete version of the master's work.
On the first representation of Semiramide, Galli, who played Assur, overcome by the emotion he experienced, sang persistently sharp. He was quite aware of his fault, but had not sufficient self-possession to correct it. Consequently, at the fall of the curtain, he endeavoured to evade the composer, who he know to be on the stage. Rossini, however, catching sight of Galli, ran up to him with open arms, and exclaimed: —" Vieni, porco, let me embrace you! You have sung admirably out of tune all the evening."
About the well-known overture., a Belgian critic relates the following :—
The first allegro of the overture is a master-piece of vigor, gaiety, and freshness. Rossini has selected the motive of this allegro for — what do you think, reader ? — for the funeral march to bo played at his own burial. This is highly philosophical. The master sees himself in his coffin, and yet remembers his brilliant youth ; he takes one of the most sparkling inspirations of that happy period, veils it in the sombre crape of monrning, and turns it into a funeral dirge, ns if he wished to charge youth itself with the task of bewailing bis death. The funeral march thus manufactured exhibits a power, grandeur, and desolation of which nothing can convey an idea. It seems as though we heard the weeping and wailing of an immense city — of a modern Babylon; as though the souls of the illustrious composer's operas had come, with ttan and groans, to lead him to his last home.
Credat Judatus! that is if Judseus pleases. For our own parts we don't believe the Belgian critic. But to return to
Semiramide. The production of this master-piece at the Paris Opera will be an event in the artistic world. The management have bestowed the greatest care on all the details of mise-en-scine, costumes, orchestra, and general execution. Such perfection as a whole will, it is said, have rarely been witnessed. The difficulty seems to us to rest with the singers. If the sisters Marchisio have not been over-praised, they are first-class artists. At rehearsals they have won general and unreserved approval. The sequel remains to be seen.
SOME proofs have been forwarded to us of a forthcoming work, entitled "The Russians at Home; Sketches of Literature and Society in Moscow and St. Petersburgh." For what purpose they were sent to us we cannot say; probably for no purpose at all but by mistake, and in lieu of certain Musical World proofs which have not reached us this week. But these misdirected sheets are welcome, inasmuch as they contain what an esteemed writer in the Sunday Times would call "informatory" remarks on modern Russian music, a subject which, between the Russian concert of last -week and the Russian concert of the week to come, must certainly be considered a Vordre dujour. We do not apologize for printing in the Musical World what the author of the "Russians at Home— Sketches, &c." doubtless intended should first meet the public eye in the pages of his book (of which, by the way, he can send us a copy when it is ready, accompanied by an advertisement); and wo are of opinion that we have already sufficiently repaid him for the little we intend to borrow from his chapter on Russian music, by simply mentioning that his " Sketches, &c." contain such a chapter.
"Russia," says our unknown friend, "may be expected to produce some good operas." (So may Nova Zembla, if any one chooses to entertain such an expectation.) "The people," he adds, "are passionately fond of music, and the Government encourages it" (which we also knew). "The Russians," he continues, "appreciate good singing, and have produced some excellent vocalists" (why does he not mention, by way of instance, IvanofF, late of Her Majesty's Theatre ?); "while their national music, for character and true melody, is on the whole superior to that of any other nation in Europe." (Cries of "Oh!" from the author of "Popular English Music of the Olden Time.")
The writer (whom we will not interrupt again even for the sake of instructing him) goes on to give an account of the number of foreign musicians who at various times have visited Russia, and assures us that the music of the Russian Church has been praised by Paesiello, who lived for some years in St . Petersburgh. Boieldieu, who wrote several operas for the Russian stage (during the reign of Catherine), has also expressed his admiration of the Russian Church music, and especially of Bortniansky's contributions to it. Clementi, the pianist, is another of those eminent musicians who have always been welcomed in Russia. He was accompanied there by his pupil, John Field, who, when he was not playing the piano, was always drinking champagne, and who died of the latter in Moscow.
The modern Russian composers (according to the author of the misdirected proofs) write a great deal more vocal than instrumental music. Their songs are very beautiful, and the best of them have a decided national character. Several Russian airs have been appropriated by German composers, who have had German words written to them; for instance, the " Red Sarafan " (the first of the melodies