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played so admirably by Wieniawski) and the "Troika," called in German "Die blaue augen." Count Vielgorski's, or Wielhorski's, "Buivala," which, though an original melody, has all the national characteristics, has been made the subject of a fantasia by Vieuxtemps. Every one knows the magnificent national hymn by Lvoff, the Director of the Imperial Choir, who has also written numbers of more familiar strains, and who has even supplied the gipsy companies of Moscow with some of their most popular airs. (Here let us be pardoned for breaking once more the thread of our friend's discourse to tell our readers, that after attending any number of Prince Giilitzin's concerts—even if the Prince had his own choir to support him—they would still have a very incomplete notion of the popular music of Russia, as long as they had not heard the Moscow gipsy companies).

Varmalofif, one of the most graceful romance-writers of the day, has also composed or arranged music for the gipsies j and one of their favourite melodies, of which the burden is well-known in England, and which is also introduced in the ballet music of the Spanish dancers (itself full of gipsy characteristics) is signed by Glinka, who, however, can only have harmonised it, for the tune belongs certainly to the gipsies themselves. Various other Russian composers have written for the gipsy troops; and it appears to us that the modern Russian music may be divided into (1) melodies in the style of the old national airs, and (2) melodies founded on, or imitated from, the traditional airs of the gipsies, such as Alabieff's " Nightingale," " He loves me no more," and a dialogue-song, of which the name escapes us, but in which a young man makes all sorts of desperate promises and professions of love to a young girl who laughs at him and rejects him, because, in her character of gipsy, she values nothing so much as her own liberty. Both styles appear quaint to foreign ears ; but the former is distinguished by great simplicity and sadness, the latter by wildness and passion, and by a certain oriental character. Naturally in some of the songs of the present day there is a union of the two styles ; and, as in all European countries, a certain number of airs are published which are imitated more or less from the Italian. But in spite of the influence of the Italian Opera, and of the numerous Italian composers who have visited the country and written for its stage; in spite too of the number of German musical professors who have settled in St. Petersburgh and Moscow, the Russians have certainly a national school of music, as can be shown, not only from their songs, but from the operas of Glinka and Verstovsky.

Of Glinka we need not speak again at present, but as the name of Verstovsky will be new to the great majority of our readers, we may mention (on the authority of the same informant as before) that he is the director of the Moscow Opera, the composer of a great many songs (several of which arc written for the gipsies), and of the music of two serious dramatic works, " Askoldova Mogila" (The Tomb of Askold), and "Gramoboi." Askoldova Mogila is not, and cannot be, esteemed by the Russians in a scientific point of view. The overture is miserably poor; there are no concerted pieces of any importance, nor is j there even an attempt in either of the acts at a regularly constructed Jinale. By a musician, then, Askoldova Mogila j would be at once set aside, that is to say, if judged only by the merits of its composer; but at the same time much of the music is interesting to a foreigner, because it is really national instead of being imitated from the Italian. As the composers for the gipsy troops write music in the gipsy

style, so Verstovsky, in treating a national subject, has given a national colouring to his melodies, even if he lias not in a direct manner laid old Russian airs under contribution, which he sometimes appears to have done. There is a tune in polacca measure for the hero which is cjuite in the style of those sung by the boatmen on the Volga (it must be remembered that polacca or polonaise is a misnomer, as that particular form of melody, like the mazurka, is in special favor with all the Sclavonian nations), and the prima donna has an "Air with Chorus" which is also strikingly national. A large proportion of the melodies in this opera are in a minor key, as are by far the greater part of the old national aire; and the opera also abounds in airs with choral refrains or responses, which is another characteristic of the Russian popular music, whether sung by tho pensnnts, the gipsies, or the Cossack companies. Askoldova Mof/ila, then, is essentially a popular work, and we can understand that the habitues of the Italian Opera and of the St. Petersburgh Philharmonic Concerts have no great opinion of it, though we repeat that it is full of interest for a foreigner.

We cannot take leave of Askoldova Mogila without calling attention to a strange account given of it by Baron Hasthausen in his valuable work on Russia. This learned economist has the eccentricity to state that it reminded him of La Sonnambiila and Der Frcyschiitz. We should have thought that if it recalled one of these operas it could not very well have suggested the other, for there are no points of resemblance between the two. Nor can we understand how the music of Verstovsky could remind any one either of Bellini or of Weber. Verstovsky's last opera of Gramoboi would doubtless appear to Baron Haxthausen a veritable Der FrcyschiUz, for it is founded on a legend (which forms the subject of one of Joukovsky's poems), and involves the sale of a soul to the evil one. The action, as in Askoldova 3Iogila, takes place at Kieff, and the s'm3 of Ruric the Norman again appear. This piece, which was produced in Moscow in 1857, had no success as an opera, and attracted only as a spectacle.

Some of tho very finest Russian music, however (as those of our readers who were present at Prince Galitzins recent concert will readily believe), is that which is executed by the Russian chorus-singers, of which there are numerous companies, organised under Government direction or by private individuals. All the works of Bortniansky and Lvoff are admirably sung by the Imperial Choir at St. Petersburgh, which numbers one hundred and ten of the finest voices imaginable, tho basses and tenors being especially remarkable. The most celebrated choirs at Moscow are those of Philaret the metropolitan and of Prince Galitzin (not the Prince Galitzin of Tamboff, and of St. James's Hall), who has built one of the most beautiful chapels in the city. At the monastery of the Don, a few versts from Moscow, there is also an admirable choir, but composed only of men (and not of men and boys as elsewhere). In addition to the churches, each regiment has its choir, as well as the principal charitable and educational establishments; indeed, it would be difficult to hear choral music more perfectly executed than at the Foundling Hospital of Moscow.

REFERRING to the present competition between the managers of the two Italian Operas in London, and speaking of the advantages resulting irom it to the public, as well as of the zeal manifested by the artists in seconding the efforts of the particular managers with whom they are respectively connected, M. Achille Denis published, in a recent number of the Revue et Gazette des Theatres, some very sensible observations, with which we entirely agrea and which we think it useful to reprint.

"Singers of great talent and of European reputation, stars from our first lyrical theatres, artists who are difficult to manage and very susceptible, condescend to accept in London parts which, we are convinced, nothing in the world would induce them to play in Paris. By what miracle, by what piece of good fortune is it that the English are enabled to applaud Mad. Borghi-Mamo [and Mad. Didicc singing, in the Huguenot*, the part of the page, Utbain, and MM. Gassier and Faure that of SaintBris? The audience of onr Opera will never witness such a thing, which doubtless would surprise, but certainly delight them.

"Such a method of executing master-pieces must enhance the value of the latter, and afford the public a thousand otherwise unknown sources of delight. As far as we are concerned, wo are at- a loss to understand why the sume thing cannot be done in Paris j we do not, above all. understand the reasons which induce a first-class singer to refuse in Paris a second-rate part, which he makes no difficulty of accepting in London. It;is a question of money, we shall be told. This appears to us a mistake. Money docs not always remove the obstacles raised by amour-propre. Wo would willingly make a bet that money considerations would not induce Mad. Borghi-Mamo to undertake, in the Huguenots, the part of Urbain, played by Mad. Dnssy, nor prevail on M. Faure to supply the place of Coulon, in that of Suint-Bris.

"Competition may, we sec, have its advantages, but the fact wc havo such pleasure in mentioning, must prove most irrefutably an opinion we have always maintained, namely, that there are no small parts in a roaster-piece; and that an artist docs not lower himself hy accepting, in a master-piece, a part which is somewhat subordinate to the others. On the day that amour-propre yields to the interests of the great causo of art. wc shall have performances similar to those which the upper classes in England have the privilege of witnessing, and which must slightly humiliate Parisian pride. Tins brings us back to our thesis, which consists in placing the older repertory under t he protection of our firstclass artists, who, at present, disdain and abandon it, in order to devote themselves exclusively to the creation of original parts; who arrange just as they choose the parts they orlcr for themselves, and who snap the chain of great traditions, "which, if they did their dnty, they would preserve unbroken."

A good deal of the foregoing homily might just as well apply to the artists of our London theatres, lyric and dramatic. The most difficult task in the world is to persuade a singer or actor of any standing to fill a subordinate part. Fifty years since the case was different.

fPHE Patrie announced, a few days ago, that preparations -L are being made for erecting la theatre on one side of the Square of the Arts et Metiers, and that it is proposed to introduce into the building all the improvements required by the public—who pay at the doors for the right of enjoying the performances comfortably—to be perfectly safe, to breathe pure air, to see without effort, and to hear easily and well. Thus, for the first time since edifices of this description have been constructed in Paris, this one, which, according to report, will be called the Theatre du Prince Imperial, will be built in conformity with all the rules of good 6ense, and according to the plans best calculated to secure salubrity, ventilation, sonority, a good view of the performances, satisfactory lighting, and room. It is, if wo are rightly informed, an English company who will build the theatre, on the plan of two French engineers, approved of by the Emperor. The Presse says :—

"We are assured that the future theatre of the Cirque-Imperial, now in course of construction on the Quai de la Megisserie and the Place du Chatelct, and which is to be finished in a period of eighteen months, has just been let, by the City of Paris, to M Hostein, at an annual rent of 210,000 francs. Although his patent as manager has only seven years longer to run, it is said that M. Hostein has consented to take the

theatre on the above terms for twenty-one years, and be answerable for the rent during the entire period, whether he is allowed to retain his position as manager or not. As a set-off against his liabilities, he will receive the rents of four shops and suites of apartments, situate at the four angles of the theatre. The neighbouring theatre, intended for a lyrical theatre, has not yet got a tenant. M. Carvalho was inclined to bid for it, when he thought it incumbent on him to send in his resignation as manager."

M. Carvalho has, we think, had enough of theatres.

FESTIVAL OF THE ORPHEONISTES AT THE CRYSTAL PALACE.

London had hardly recovered from the excitement caused by the magnificent display of the Volunteer forces before Her Majesty on Saturday when its inhabitants were called upon to welcome 3000 representatives of that nation against which our armed protest had been registered in so emphatic a manner. Never in the world's history had been so plainly expressed the determination of a country to bo prepared for any emergency that might arise from the ambition of an armed despot; and yet iu every respect as significant of an ardent desire for peace, and a wish to be on good terms with our vivacious neighbours on the other side of the channel, was the enthusiastic reception accorded by some thousands of our countrymen to the French Orpheonistes on Monday last. These great demonstrations, so utterly different in character, are the best possible exponents of the real sentiments of England.

La Societe des Orpheonistes was established by Wilhem about fifteen years ago, but the undertaking languished, and season after season passed away without any great result being obtained. A few years back a man holding the post of organist in a small cathedral town became impressed with the notion that the failure arose, not from the system, but from the lack of energy in carrying out the system, and he immediately gave up his appointment to work -out his ideas. With a knapsack on his back, and a stick in his hand, did this determined individual travel through the departments of France, instituting a branch society in ono town, encouraging a lukewarmness in another, and organising wherever he went. Discouraged by no repulse he continued his exertion, and has been rewarded by an amount of success corresponding to the great sacrifices he made when he first charged himself with the crusade. This man is M. Delaporte, the able Director of the Society.

At present L'Orpheon consists of 800 branch societies, numbering about 40,000 performing members and above 200,000 subscribers and officers.

Early on Monday morning the members of the society began to assemble at Sydenham. Many of them had only just arrived, after having travelled throughout the night, and there appeared to have been a want of order that was not very creditable to those engaged in the direction of this great undertaking. Very curious was it to observe the French tricolor everywhere, and the occupation of the Crystal Palace was a fait accompli. Still more strange was the eagerness with which the visitors examined everything, purchasing more particularly knives, needles, razors, and such articles. Good humour prevailed throughout, an occasional fracas taking place with the waiters about charge, neither party understanding the other.

A few minutes after three the performance commenced with " God save the Queen," in which the greater part of

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the harmonies were now to English ears. Then came the drew from the programme “ La Septuor," from Les Hugueconcert, the programme of which was as follows: . nots, and Mozart's priest chorus, «O Isis," and in place FIRST PART.

thereof substituted "Les Enfants de Paris," and “La Retraite." 1. God save the Queen , Arranged by Camille de Vos. These were much better adapted for displaying the charac2. Overture to “ Zampa," by the Band of Les

teristics of the Orphèonistes than were the above-named Guides . . . Herold

operatic pieces, and the audience appeared to be of our 3. Hymn - Veni Creator

of . . 4. Chant du Bivouac

. . . Besozzi . ,

Kücken

opinion, judging from the tumultuous encore which was ac5. Fantasia on “Giralda," by the d of

corded to each. :. Les Guides . . . .

Adolpbe Adam The “Guides" again played some of their best sélections, 6. Depart du Chasseur . .

and fully sustained their great renown. 7. Scene from Les Huguenots, - the “ Septuor

The Palace was not so full as might have been expected, du Duel " . . . Meyerbeer

the number of visitors being between 11,000 and 12,000. SECOND PART. 1. Air with Variations, by the Band of Les

Thursday plainly showed that the excitement to hear the :

Frenchmen was on the increase, as nearly the whole of the 2. Chorus - Les Enfants de Paris : Chorus - Les Enfants de Paris . .A. Adam

centre transept was filled with stalls which were occupied 3. Chorus - Isis ! . . . . . Mozart

by crowds of fashionables. · It is not necessary for us to 4. Part Song - La Retraito ,

Laurent de Rillé 5. Overture to “ Oberon," by the Band of Les

give the programme in detail, as it is as nearly as possible Guides . : : :

a repetition of the performances of the previous days; but :

Weber 6. Part Song-Le Jour du Seigneur

:
. . Kreutzer
:

the great body of vocalists evinced greater steadiness, and 7.' " France France !” . . . . . A. Thomas consequently earned fresh laurels. The whole selection Most agreeably were we surprised with the performance,

went off with the utmost éclat, and at the termination a it being far better than we had imagined it possibly could

scene similar to that which took place on Monday was have been, and it clearly proved that the French have their

enacted—the audience and the performers alternately salutspeciality in unaccompanied music in almost as great a

ing each other with ringing and hearty cheers. degree as have the German and the English. The pieces

“God save the Queen” and “Partant pour la Syrie," which made the greatest sensation were the Hymn of were played, sung, and shouted, and thus ended one of the Besozzi," " Le Chant du Bivouac,” “ Les Enfants de Paris,"

great events of the season. The Orphèonistes have proved “La Retraite," “Le Jour du Seigneur,” and “France,

that France has a choral school of her own ; for unFrance.". The first four were encored, but all were sung

doubtedly a greater success attended the French part-songs in most admirable style and with an amount of “go* than did the performance of other pieces. This large body, which was very enlivening. “La Retraite” is the best though never having previously met, displayed a régard for specimen of unaccompanied singing with a large number of

discipline that was most creditable to them and to their invoices we have ever heard, the crescendo and the diminuendo

defatigable conductor. being perfect. .

There is to be a farewell performance given to-day The « Septuor" from Les Huguenots. about the ex: (Saturday); and we hear of a dinner to be given, at which ecution of which so much has been said and written, did Sir Joseph Paxton has promised to preside. . not go so well as had been anticipated. The splendid and artistic band of the Guides gave some

RAPHAEL'S “APOLLO AND MARsyAs.”—The writer of the subof their choicest pieces, and agreeably diversified the per.

| joined letter, brother-in-law of Bendemann, the well-known his

| torical painter, is professor of painting at the Royal Academy of formance. Almost all the performers in this justly cele

Dresden. He passed many years in Italy, devoting much time to brated band are distinguislied artistes, and an amount of the study of the o

the study of the great masters, and he is known as a critic on art. refinement is consequently obtained that sets rivalry at He countersigned Director Schnorr's attestation of the authenticity defiance.

of the “ Apollo and Marsyas " in the Dresden Journal of the 30th The programme having been duly gone through, a scene of last December.-" I most gladly accept the pamphlet on your took place that almost baffles description. The whole superb painting by Raphael, which you have had the kindness to audience rose en masse, cheering the performers. The send me, and I thank you very much for it. I will preserve it as latter returned the compliment with right good-will, and a

à memorial of this work, so worthy of its great author, and which,

I am convinced, cannot fail to be very soon classed ainong the succession of demonstrations followed, gaining rather than

number of those which are recognised and attested by all. Accept, losing in strength, when the well-known strains of “God

sir, the 'expression of the high consideration with which I subsave the Queen” were pealed forth from the organ. This scribe myself, Julius Hübner, Dresden, 1860. To Mr. Morris caused a cessation of the greeting, but the moment the Moore." National Anthem was concluded, “ Partant pour la Syrie." | THE ORPHEONISTES. --- The increasing enthusiasm of the public was vociferously demanded, and the Guides gave it amidst has induced the directors of the Crystal Palace to give a farewell the loudest applause from the whole audience.

performance of the Orphèonistes and the Guides this afternoon at Thus ended this eventful day. Success more unequivocal | three o'clock; the programme to comprise all the pieces which was never obtained, and we doubt not that from day to day

have been most favourably received during the three concerts. To the performances will become better and better as the per

make the performance really popular, the usual Saturday admisformers become used to the accoustical proportions of the

sion of two shillings and sixpence only will be charged. Many of

the rifle corps are expected to be present; also many of the combuilding.

petitors entered for the prize shooting at Wimbledon on Monday; The French vocalists met at the specified hour on among them, 150 Swiss riflemen in their picturesqué dresses, who Tuesday morning, and the performance was a decided im

e decided im will arrive this day. Military bands in the grounds, and the disprovement on that of the preceding day. Several of the

play of the great fountains, will constitute an agreeable addition

to the vocal performances. The general impression prevailed that pieces which produced a decided effect on Monday were

the Queen would have been present at one of the concerts; but repeated, and received by the audience with even greater the secretary received a note, in reply to an application, from Sir favour than before. The director very judiciously with- Charles Phipps, stating that the engagements of Her Majesty and

of His Royal Highness would render it impossible for them to be clever and, in some cases, very difficult work, that it passed off with present at the performances."

the utmost éclat, and with Mr. Reeves for its interpreter (independent of its own intrinsic merits), Tam O'Shanter is now a sure

success, even without a pianoforte to represent the orchestra, at - m.. lo. Concerts.

any concert. As to the other portion of the programme, it is impossible to mention them even in detail ; suffice it to say that

Mesdames Parepa, C. Hayes, Artôt, Lemmens-Sherrington, MONDAY POPULAR ConcerTS.-The admirers of Mozart mus- Rieder, Sainton-Dolby, Palmer, Stabbach, Rudersdorff, Goldbergtered in great force at St. James's Hall on Monday last, when the Strozzi, and Kapp Young, and Messrs. Belletti, Perren, and entire programme was devoted to that great master, and ample Thomas, sang a variety of well-known songs, and several new ones was the gratification afforded by the very choice selection, both by Hatton and E. Aguilar, in French, English, and Italian, the vocal and instrumental. To begin with the latter, we had the majority of them being well received, though the audience wisely lovely and always acceptable quintet in A major, in which Mr. declined to encore anything; and it would be almost invidious to Lazarus sustained the clarinet part in such a manner as fully to single any out for special eulogy. M. Sainton and Miss Arabella confirm his position as the highest living professor of his instru- Goddard evoked marks of the heartiest approval by their ment. The violins, tenor, and violoncello, in the hands of Herren irreproachable performance of the slow movement and finale, from Becker and Ries, Mr. Doyle, and Signor Piatti, respectively one | Beethoven's famous Kreutzer sonata, as did also Herr Leopold and all merit the highest praise; indeed, we may safely say tha: de Meyer, in a fantasia of his own composition, and Herr finer playing was never listened to. No less admirably rendered | Ritter, in some graphic and interesting solo pieces composed for the was the sonata in F (with variations) for pianoforte and violin, in occasion by Mr. Howard Glover. Herr Molique also played some which Miss Arabella Goddard and Herr Becker showed themselves of his melodies for the violin with his truly classical purity of tone inspired with the genius of Mozart, and were applauded to the and expression, and, in addition to the talented bénéficiaire, there echo, the lady being also recalled after her absolutely perfect exe- was a perfect brigade of musical generals to direct this vast armée cution of the sonata in B flat major, given for the first time at d'artistes, gathered together for the delectation of his friends. these concerts. The final quartet in G, No. 1, held the majority SACRED HARMONIC SOCIETY. The great attendance a month of the audience in their places till the last, more than repaying ago at the performance of Elijah, induced the announcement of a them for their attention. Mad. de Paez made her first appearance repetition, which took place on Friday the 22nd inst., and at the Monday Popular Concerts with decided success, the applause demands a word or two on account of some new features. The after « Parto, the air from Titus (with clarionet obbligato superbly severe illness of Miss Parepa prevented her appearance; and ploved by Mr. Lazarus), and “Voi che sapete" (Figuro), being Mad. Rudersdorff sang the principal soprano in a manner that Both hearty and deserved. This lady has a very rich quality of leaves room for little but approbation. She has the requisite voice and we hope to hear her again shortly. Herr Hermanns | dramatic capability; and this can be said of but few of her condisplaced an organ of immense capability, singing two airs from temporaries. Her“ Hear ye, Israel," was an unimpeachable TI Seraglio, in the latter of which he was encored. Mr. Sims performance. Mr. Santley's singing of the Prophet decidedly Reeves, despite the slight hoarseness still remaining from his severe gains upon us. It was always sung well; never with sufficient cold, sano as usual in a way that charmed his hearers beyond mea- | histrionic effect. It is in the latter qualification that the improvesure and so exquisite was his delivery of that tender gem of ment is visible. Mr. Patey should remember that when he joins melódy. 4 Dalla sua pace," that nothing less than its repetition in quartett with such artists as Mads. Rudersdorff and Saintonwould satisfy the enthusiastic and delighted audience. The scheme Dolby, and Mr. Sims Reeves, it is unpardonable to attempt to for the Directors' benefit is before us, and comprises an excellent gain notice by singing too loudly. Among the numerous audience selection from the works of Beethoven, Bach, Handel, Haydn, were numbers of the chiefs of the Orphèonistes, who were much Mozart. Mendelssohn, Meyerbeer, Spohr, Schubert, Scarlatti, and delighted with the performance; and, with the characteristic Rossini. (By the way, where is the French night that was pro- impressionability of their race, were raised to rapturous wonder at mised 2 _-the visit of the Orphèonistes would have afforded an ex- | Mr. Sims Reeves' marvellous singing of “ Then shall the cellent opportunity). The executants next Monday (the last righteous," and were greatly moved at Mad. Sainton's “O rest in concert let it be borne in mind) will be Miss Arabella Goddard, the Lord,” which is the climax of pathetic expression. Mr. Charles Hallé, Messrs. Sims Reeves, Sainton, Santley, Goffrie, I. ExeTED

H

A norformanna Doyle, Piatti, &c.

part-songs, by Mr. W. G. Martin, was given on Thursday the 21st, ME HOWARD GLOVER'S CONCERT.-- What may be styled a under the direction of the composer, the gentleman who so recome of the present musical metropolitan season, took place (if honourably officiated in the conductor's desk at the two recent we may use such a phrase) at St. James's Hall, on the after- juvenile choral exhibitions at the Crystal Palace. The chorus. noon of Thursday, when, in spite of the counter attraction of we believe, was forined of Mr. Martin's classes, and numbered the last. Orphèoniste day" at the Crystal Palace, one of the most about one thousand voices. To vary the part-music, Mr. Sims numerous and fashionable audiences ever gathered together in St. | Reeves sang " Adelaida" and a no

| Reeves sang “Adelaida," and a new song by Mr. Balfe, “ I love James's Hall “ assisted" at the monster concert of Mr. Howard you ;” and Miss Arabella Goddard played two popular morceaux Glover all the principal concert artistes of the season, including -- Ascher's fantasia on airs from Dinorah, and Thalberg's “ Last several of the latest arrivals (unknown to the British public) were Rose of Summer." Mr. Sims Reeves created a perfect furore in pressed into the programme, which contained a veritable musical | Mr. Balfe's new song, which was encored with thunders of applause. emburras de richesses. The first part of the concert was devoted We have not for a long while heard a more charming song than

interesting selection of Mr. Howard Glover's works, in: "I love you," and never heard more exquisite singing than that of olding novelty, in the shape of a musical setting to Southey's Mr. Reeves. How the great tenor sings "Adelaida," and how

Old Woman of Berkeley," most admirably sung by Miss Miss Arabella Goddard accompanies him on the pianoforte, we pamo tube rendered ample justice to the ingenious fancies of need not say. The fair pianist created the accustomed sensation

nomnoser whose distinguished musical ability is perhaps even in both her pieces; the Irish fantasia exciting the audience 7:11 more advantageously displayed in his cantata Tam O'Shanter, to absolute enthusiasm, which compelled Miss Goddard to return

hich was on the present occasion, sung for the first time in to the platform and bow, although she declined (as usual) to Tendon bř Mr.'Sims Reeves, for whom it was originally composed. repeat the performance. The execution of the glees, madrigals, Mo Reapes name is always a tower of strength to any composi- and part-songs was for the most part excellent; of some, indeed,

and on the present occasion he fairly surpassed himself, for deserving of the highest praise. We may mention the partnot only did he sing the music with all his wonted power and song “ The Evening Star," ditto “Our Saxon Fathers," both sweetness, but he displayed a fund of genuine bumour, for which

encored prize-glee, “ Meek Twilight," for eight male voices, and even his warmest admirers would not have given him credit. He

part-song, " The Hemlock Tree.” These were all admirably sung, ced the Lowland Scotch dialect admirably, and in fact, and elicited loud applause. In the prize-glee, "The Merry Month tistic in every respect was his performance of this remarkably of June," for soli and chorus, the voices were occasionally unsteady

to

and not always in tune. The exceptions were, however, rare, and the general performance must be pronounced excellent. The attendance was immense.

Thjs London Gi.ee And Madrigal Union.—The 109th and last of the series of these popular entertainments was given last week, in the Royal Gallery of Illustration, before a crowded and enthusiastic audience. The programme included many of the favourite and most successful pieces introduced this season. The encores were numerous. Mr. T. Oliphant (Literary Illustrator), delivered an appropriate farewell address which was received with acclamations. The following were among the observations made by that talented gentleman:—" Unaided by fashion, unheralded by any flourish of trumpets, with the very elements against us for no inconsiderable portion of the time, we have, through your kind and continued support, been enabled to carry out a series of entertainments for a duration almost unprecedented as regards music of the purely English school. We have wished to gain your attention by an appeal to your hearts, trusting to a natural and truthful expression of healthful poetry, combined with corresponding music, and that appeal, we are proud to find, has not been in vain. The programmes have contained upwards of 120 different compositions, and, with respect to their execution, although I may be supposed to be not an unbiassed critic, I can conscientiously say, that, after an experience of forty years in such matters, I have rarely, if ever, heard glees sung in greater perfection. With regard to my portion of the entertainment I will merely add that if in your estimation it has contributed in any way to its success, I am glad to have had it in my power to be of service to my friend Mr. Land, the director, and his talented associates, Miss Eylcs, Miss Wells, Mr. Baxter, Mr. Cummings, and Mr. Lawler."—We anticipate with pleasure the revival of these performances in due course.

Mr. Henry Leslie's Choir.—The sixth and last Concert was given on Tuesday evening, when to the general company was added a number of the leading members of the Orpheonistes, who were invited to the performance by Mr. Henry Leslie. The programme comprised twenty-one pieces, of which no less than six were encored. These were—Mendelssohn's part-song, " Departure;" Goss's glee, "There is beauty on the mountain ;' Pearsall's part-song, "O, who will o'er the downs so free;" Mendelssohn's "Forty-third Psalm;" Edwardcs's madrigal, " In going to my lowly bed;" and Stevens's part-song, "The cloud-capt towers. The Orpheonistes, when they entered the hall, were received with tremendous cheers. At the end of the concert, the Choir sang for the Orpheonistes "Rule Britannia," and again repeated Mendelssohn's rsalm. The Frenchmen then drank Mr. Leslie's health, when Mr. Leslie ieturned thanks; and subsequently that of the ladies of the Choir was given, to which Miss Emily Gresham responded in a neat speech in French.

The English Glee And Madrigal Union.—Third Concert. On Wednesday last a new list from the repertoire of this accomplished "glee party" (whose talents individually are of too high an order for solo music to be neglected by them) was given at Messrs. Collards' Concert Room in Grosvenor Street, which is fast becoming a popular venue. The selection comprised wellknown and always welcome glees and madrigals by Pearsall, Webbe, Ilorsley, Callcott, &c. The address to the capital of Ancient Mexico <n Southey's Mailoc, arranged by Callcott, is an elegant piece of concerted vocal music, and was sung to admiration. Two part-songs by Mr. J. L. Hatton, written for this Union, were also given; one of them, "The Sailor the deck is pacing," being vociferously encored. Mrs. Locke is still indisposed, and the lady sex is represented by Miss Banks alone; how capably and worthily the musical world is well aware.

Miss Susanna Cole's Concert took place on Thursday evening, at St. James's Hall, and was a very spirited affair, Mr. Sims Reeves, Mr. Santley, Miss Palmer, and the London Glee and Madrigal Union being among the vocalists, and Mr. Charles Halle and Herr Becker among the instrumentalists. Miss Cole was more than usually ambitious in selecting the grand scena from Der Freischutz, ' Before my eyes beheld him, for one of her essays. The result, however, justified the attempt, for the young lady sang with so much power and brilliancy as to create

an uproar of applause, which was only appeased by a repetition of the final movement. Miss Cole's other solo was Professor Bennett's "May-dew," a most exquisite song, and so perfectly sung, and so perfectly accompanied on the pianoforte by Mr. Charles Halle, as to elicit a rapturous encore. The ladv also took part in the following pieces:—Curschmann's trio "Ti pre^o," with

quintet,

Miss Palmer and Mr. Sims Reeves; Niedermeyer's
"Pour les attraits," with Miss Augusta Thomsou, Mile. Behrens,
Mr. Tennant, and Mr. Santley; the duet " Quis est homo," from
Rossini's Stabat Hater, with Miss Palmer; and the prayer from
Mose in Ejfitto with all the principals. Air. Sims Reeves sang
Mr. Balfe's new song "I love you," and was tuniultuously
encored; as he was also in Mr. Hatton's song " Sweet love, good
night to thee." Mr. Charles Halle and Herr Becker performed
the Duo Concertante of Osborne and De Beriot, on Giiillamne Tell,
for pianoforte and violin, with brilliant success; Herr Becker,
in addition, a fantasia by Paganini with immense effect; and Mr.
Halle1 played three solos — "Nocturne," by Chopin; Stephen
I Heller's" Wanderstuden;" and one ofjMendelssohn's "Liederohne
'Worte," to the intense enjoyment of the audience.

The Societt For Tub Encouragement or The Fine Abts gave Its fifth Conversazione on the evening of the 21st inst., at the Architectural Gallery, Conduit Street, in addition to the large and splendid collection of drawings and plans forming the Architectural exhibition, several new and eminent works of art were contributed for the occasion. There was also, as usual, a concert of vocal and instrumental music, sustained by Mad. Gilbert, Miss Fosbroke, Mrs. Paget, Mrs. F. Reilly, Mile. Elvira Behrens, Mr. F. Reilly, Mr. Cunningham, Mr. Leonard, and M. Verrr, as singers; and Mr. Alfred Gilbert (piano) and Sir. W. H. Eayres (violin), instrumentalists. The capital performances were Mrs. Paget's " Rocked in the cradle of the deep ;" Mad. Gilbert's "Deh, vieni nontardar;" Sir. Leonard's "Largo al factotum" and Wallace's "Bell-ringer"—each specially applauded; Mendelssohn's two-part song by Mad. Gilbert and Mile. Behrens; and Sir. Hatton's song, "Sweet love, good night to thee," by Mr. Cunningham. Osoorne and De Beriot's duet for piano and violin, on airs from Guillaume Tell, was admirably played by Mr. Alfred Gilbert and Mr. Eayres.

Miss Messent's Annual Concert, on Tuesday evening, at the Hanover Rooms, was a fair specimen of a mid-season benefit entertainment. The lady did not overlook the classical part of her audience, but presented them with Mendelssohn's trio in D minor, for piano, violin, and violoncello, executed by Mr. Charles Halle, Herr Deichmaun, and Herr LideL, a veritable bon-lottht, more particularly as it was so finely performed. Mr. Charles IJnlle added Chopin's " Nocturne" and " Grand Valse," which he played superlatively. Miss Mcssent contributed three solos, Mercadante's "Ah! rainmento a lui d'accanto," new ballad, "Ask not why," composed expressly for her by Herr Francesco Berger, and the Scotch song, "'Twas within a mile of Edinburgh town." Miss Messent sings simple ballads so prettily, that it seems a pity she should not turn her attention more "to them and less to Italian bravuras, which, although she masters with sufficient ease, do not exhibit her talents to so much advantage. Her reading and singing of the Scotch song were most charming. Vocal pieces were supplied by Mad. Catherine Hayes, Mile. Von Kclller, Messrs. Wilbye Cooper, Santley, and Jules Lefort. Messrs. Francesco Berger, George Lake, and W. G. Cnsins, were the conductors.

Mrs. Alexander Newton's Matineb (Collards' Rooms, 28th inst.) provided a host of singers, and some excellent entertainment. The lady herself sang Spohr's "Bird and Maiden," the cavatina, "Qui la voce," from / Purifani, and, with Miss J. Palmer, Mendelssohn's duet, "O wert thou in the cauld blast." Mrs. Newton's brilliant voice and dramatic style were well displayed in Bellini s cavatina, which was received with loud marks of approbation. Among the remaining vocal contributions most worthy of notice were Kucken's song, "I watch each shadow floating," by Miss Palmer; and Balfe's new song, "I love you "— made so popular by Mr. Sims Reeves's singing — given with great effect by MadLaura Baxter. The Brousil family executed some pieces, of which Spohr's Concerto Dramatique, No. 8, Mile. Bertha Brouiu, first

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