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securing it for himself—at the very moment when Perrin and Cambert were about to bring out their Ariane, of which the representation was stopped. The success of Lulli's intrigue drove Cambert to London, where he was received with much favor by Charles II., and appointed director of the] court music, an office which he retained until his death.

Lulli had previously composed music for ballets, and for the songs and interludes of Moliere's comedies, but his first regular opera, produced in conjunction with Quinault— being the seventh produced on the French stage, was Cadmus and Hennione (1673).

The life of the fortunate, unscrupulous, but really talented scullion, to whom is falsely attributed the honour of having founded the opera in France, has often been narrated, and for the most part very inaccurately. Every one knows that ho arrived from Italy to enter the service of Mad. de Montpensier; some are aware of the offence for which he was degraded by that lady to the post of scullion, and which we can no moro mention than we can publish the original of the needlessly elaborate reply attributed to Cambronne at Waterloo*; and a few may have read that it was only through the influence of Mad. de Montcspan that he was saved from a shameful and horrible death on the Place de Greve, where Lulli's accomplice was actually burned, and his ashes thrown to the winds. The 6tory of Lulli's obtaining letters of nobility through the excellence of his buffoonery in the part of the Muphti iu the "Bourgeois Gentilhomme, has often been told. This was in 1670, but once a noble, and director of the Royal Academy of Music, he showed but little disposition to contribute to the diversion of others, even by the exercise of his legitimate art. Not only did he refuse to play the violin, but he would not even have one in his house. To evercome Lulli's repugnance in this respect, Marshal de Gramont hit upon a very ingenious plan. He used to make one of his servants play the violin in Lulli's presence, upou which the highly susceptible musician would snatch tho instrument from the varlet's hands, and restore the murdered melody to life and beauty. Then excited by the pleasure of producing music, he forgot all around him, and continued to play to the delight of the marshal.

Lulli must have had sad trouble with his orchestra, for in his time a violinist was looked upon as merely an adjunct to a dancing-master. There was a King of the Fiddles, without whose permission no catgut could bo scraped ; but in selling his licenses to dancing-masters and the musicians of ball-rooms, tho ruler of the bows does not appear to have required any proof of capacity from the purchasers. Even the simple expedient of shifting was unknown to Lulli's violinists, and for years after his death to reach the C above the line was a notable feat. Tho pit quite understood the difficulty, and when tho dreaded demanchement had to be accomplished, would indulge in sarcastic shouts of "gare I'nt! gare I'ut!"

Strange tales are told of the members of Lulli's company. Dumeuil, the tenor, used to steal jewcllory from the soprano and contralto of the troop, and to get intoxicated with the baritone. This eccentric virtuoso is said to have drunk six bottles of champagne every night ho performed, and to have improved gradually until about the fifth. Dumenil, after one of his voyages to England, which he visited several times, lost his voice. Then, seeing no reason why

• Cambronne is said to have been very much annoyed at the invention of " La garde meurt et no so rend pas ;" and with reason,) for Jic didn't die, and he did surrender.

he should moderate his intemperance at all, he gave himself up unrestrainedly to drinking and died.

Mile. Desmatins, the original representative of Amide, was chiefly celebrated for her love of good living, her corpulence, and her bad grammar. She it was who wrote the celebrated letter communicating to a friend the death of her child, "Notre anfan ai maure, vien de boneure, k mien ai de te voire." Mile. Desmatins took so much pleasure in representing royal personages that she assumed the (theatrical) costume and demeanour of a queen in her own household; sat on a throne and made her attendants serve her on their knees. Another vocalist, Marthe Le Zochois, accused of grave flirtation with a bassoon, justified herself by showing a promise of marriage which the gallant instrumentalist had written on the back of an ace of spades.

The opera singers of this period were not particularly well paid, and history relates that Miles. Aubry and Verdier, being engaged for the same line of business, had to live in the same room, and sleep in the bed.

Marthe Lo Zochois was fond of giving advice to her companions. "Inspire yourself with the situation," she said to Desmatins, who had to represent Medea abandoned by Jason; "fancy yourself in the poor woman's place. If you were deserted by a lover whom you adored," added Marthe, thinking, no doubt, of the bassoon, what should you do?"

"I should look out for another," replied the ingenuous girl. ^ .

But by far the most distinguished operatic actress of thisperiod was Mile. deMaupin,uow better known throughTheophile Gauthier's scandalous but brilliant and vigorously written romance, than by her actual adventures and exploits, which, however, were sufficiently remarkable. Mile, de Maupin was in many respects the Lola Montes of her day, but with more beauty, more talent, more power, and more daring. When she appeared as Minerva in Lulli's Cadmus,and, taking off her helmet to the public, showed her lovely light-brown hair, which hung in luxuriant tresses over her shoulders, the audience were in ecstacies of delight. With less talent, and less powers of fascination, she would infallibly have been executed for the numerous fatal duels in which she took part, and might even have been burnt alive for invading the sanctity of a convent at Avignon, to say nothing of her attempt to set fire to it. Perhaps it would be more correct to say that Lola Montes was the Mile. Maupin of her day; a Maupin of constitutional monarchy, and of » century which is moderate in its passions and its vices as in other things.

But what has Mile, do Maupip to do with tho 8th of September 1860? Merely this, that thinking of the Royal English Opera which is to open in October, our ideas reverted to the Royal Italian Opera which closed in August

One of the most interesting and one of the latest works represented at the Royal Italian Opera was Gluck's Or/to, and the reader has already seen how tho Orfeo of Glnck takes us back to Rameau, Lulli, and the earliest days of the musical drama. We might have given this explanation beforehand. Perhaps the reader will be kind enough to accept it now?

Her Majesty's Theatre.—The English operatic performances at this establishment commence on the 8th of October with Mr. Macfarren's Robin Hood — according to all accounts a masterpiece. It is now positively decided that on, the alternate nights (up to Christmas) Italian operas wi" be presented, Mile. Titiens (already in London) pri"0 donna, Signor Giuglini primo tenore.

MORE 'APROPOS OF THE NORWICH FESTIVAL.

The Last Judgment.

Die Letzien Dinge (The Laxt Things), the earliest of Spohr's threo oratorios, was composed about tlio year 1825. It was first produced before an English audience at the Norwich Musical Festival, on Friday, the 24th of September, 1830, under the title of The Last Judgment, and received with the greatest possible favour. Professor Taylor, in his preface to the English edition of Spohr's second oratorio, Calvary, says : —

"I know there arc many persons who will regard the subject of this oratorio as an improper exercise for the musician's art. With every respect for an opinion conscientiously adopted and avowed, I venture to dissent from it. The arts have been tributary to the service of religion in all ages of the Jewish and Christian churches j and of these, none is more calculated to enkindle the flame of devotion, to elevate the spirit, or to touch the heart, than Music. Our immortal bard invoked the ' mixed power' of 'voice and verse,' in order to 'present to our high-raised phantasy

* 'That undisturbed long of pure concent.

Aye sung before the sapphire-coloured throne

To Him that sits thereon,

, With saintly shout and solemn jubilee.'

u If there he truth as well as poetry in this sentiment, then are the musician and the poet deserving of honour in proportion as they labour to accomplish the high and holy purposo to which it points; in proportion as they succeed in carrying the mind out of the walks of every-dny life, in order to raise it into a purer element, and breathe into it a profounder and more pious emotion.

*' There are minds over which no combination of sounds united to kindred words has the power to exercise any influence; but I think it impossible for any who aro capable of being thus moved, to hear such a composition as the present without responding to that powerful appeal which it makes, not to the senses only, but through them to the heart. The truly devotional spirit, the really grateful heart, loves to dedicate those gifts, with which its Maker has especially endowed it, to His glory. The impulse of one is to rear to His honour the stately temple ; the inward prompting of another* bids him dedicate to Hts praise tho boldest flights of poetic inspiration ; whilst a third aspires to * celebrate In glorious and lofty hymns the throne, and equipage of God's nlmightiness; what He works, and what He suffers to be wrought, with high providence in His church ; to sing victorious agonies of martyrs and saints, and the deeds and triumphs of His servants.' The last is the end here proposed. I have only to hope that its purpose will be aecom • plished, and that while it affords to the musician the conviction that the springs of his heart are perpetually gushing out afresh, and its waters ever flowing, it will servo the purpose for which it was especially designed, by awakening the devotion and cherishing the hopes of the Christian."

The May Queen.

This pastoral was produced with complete and unqualified success at the Leeds Musical Festival in September, 1838. The overture is a very beautiful composition, and this charming work displays a marvellous combination of simplicity and ingenuity. The persons represented are the Queen of England, the May Queen and her lover, and a nobleman disguised as Robin Hood. The story is simple enough. The Queen of the May, elated with her May-day dignity, teazes her faithful swain by her indifi'erence, and by her semi-encouragement of the advances of the Greenwood King. An attempted kiss on the part of the latter arouses very naturally the ire of the true lover, who proceeds to a pugilistic punishment of the oirender. A flourish of trumpets, and the Queen appears amid "pageant music." She soon arrives at the true state of matters, reproves the interloper for trifling with the affections of the May Queen, and commands the latter to wed her lover at morn The chorus is very happily introduced — first singing in praise of May, then in praise of the May Queen, afterwards in the pageant music, and finally in the concluding piece — "A blessing on the bridal — a blessing on the Queen. The first two of these are the most striking. "Wake .with a' smile" is a most exquisite piece of modern music, in the truly rural style; ',and the preservation of the tonic pedal through the harmonious device and melodic abundance is highly clever. The May-pole chorus, "With a laugh as we go round," is well constructed, and is plentifully tuneful; it is immediately followed ~by a solo from the May Queen, the chorus resuming their burden,

"Was never such a May-day," at the close of each verse. Each of the persons represented has a solo except the Queen. The lover (a tenor, of course) leads with a languishing and desponding air, "Oh 1 meadow clad in early green;" and subsequently Robin Hood has a very spirited song, "'Tis jolly to hunt in the bright moonlight;" a duet for the May Queen and her lover, "Can I not find thee a warrant for changing?" and a trio for the same persons and Robin Hood, "The hawthorn in the glade," are exceedingly beautiful. A most charming simplicity pervades every morqeau referred to, and at the same time, as before hinted, there is no lack of novelty in harmony, or ingenuity in construction. The thoroughly dramatic character of the pastoral is also deserving of especial notice. Tho dialogue is made to lead immediately into each set piece, so that the action, slight as it is, is never impeded, and interest is kept thoroughly alive. The credit of this is due to Mr. Chorley, who composed the poem. The parts will be distributed:—Tlie May Queen, Mad. Clara Novello; Queen, Miss Palmer; Lover, Mr. Sims Reeves; Robin Hood, Mr. Weiss; and no doubt will be admirably sustained.

Norwich Festival Chakities.—As a kind of appendix to the sketch of performers and performances at the festiv al, we find an account of the sums of money given by the festival committee to the following charities :—Norfolk and 'Norwich Hospital, the West Norfolk and Lynn Hospital, the Yarmouth Dispensary, the Eye Infirmary, the Blind Hospital, the Sick Poor Society, Lying-in Charity, District Visiting Society, Shipwrecked Mariner's Association, and the Jenny Lind Infirmary. The total sum received and paid over to the respective institutions is £8,270. 2s. 9d., of which i.5,568. Is. 9d. has been paid to the Norfolk and Norwich Hospital. What would have been the result had these been annual concerts, got up by private individuals, long ago urged as a substitute, may easily be imagined. The public will see from the above that a very substantial portion of the price charged for admission has found its way into the hands of the local treasurers of our benevolent societies, and thus music has lent a very effective helping hund to charity.

NEW THEATRE AT LEEDS. [we have been requested to publish the following prospectus. En.] The legitimate entertainments of the stage are recognised as an indispensable means of conveying instruction and amusement of the highest clasB, in every part of Europe where civilisation and refined tastes prevail.

In this country theatres are found in most large towns, but all experience has proved that their success depends upon respectable management, able und efficient acting, and the proper adaptation of tho buildings in which tho performances take place.

On the other hand, wherever theatres are not so managed, and are not conducted in well-selected localities, with all the means and adaptations required for displaying the beauties and powers of our best dramatic and lyric authors, experience has proved that amusements of this nature will nevertheless abound in spite of every discouragoment; hut that under such circumstances they greatly degenerate, arc found in obscure localities, are marked by a vitiated and impuro taste, and therefore cannot conduce to the successful representations of those sublime inspirations which have immortalised their authors, and which are calculated to cultivate not only a refined taste, but an elevated tone of moral sentiment.

The town of Leeds is at this moment without a theatre possessed of those agencies nnd attractions which command success.

It is^undcr the influenco of feelings of this nature that a number of influential gentlemen in Leeds have met and aro co-operating together to elovato the town in this respect to a position equal to other largo towns Jin England, by erecting a Theatre in some appropriate and ccntralji locality, capable of giving accommodation of the highest class, both to the performers and the audience.

They feel fully convinced that if such an institution were once established, it would receive such support as would enable tho management to organise and sustain a highly efficient permanent company, and to obtain frequent assistance from actors and artists of the first reputation.

In the assurance that these results will follow from a careful and iudicious selection of a site, and the erection of a new Theatre, combining all tho improvements of tho day, a committee has been appointed who have by careful inquiries and estimates satisfied themselves that snch a building, with all requisite fittings, scenery, and decorations, may bo provided at a cost of, at the utmost, £l 5,000, which sum it is proposed to raise in shares of £10 each. When the requisite amount shall have been subscribed, a meeting of the subscribers will be called with the object of making such arrangements as may be best adapted to carry the project into execution, having regoTd to the interosts both of the public and of the shareholders.

In order to meet the general objection to joint stock companies, it is intended that the buildings and other property shall be vested by deod in trustees to be elected by the shareholders upon the same principle as the Exchange and other public buildings in Leods. This will be a complete guarantee to the shareholders not only against any further liability or responsibility beyond tho amount of their respective shares, but for the proper management and conduct of the theatre, as it is intended that the trustees thus selected shall have the sole power of selecting the manager and granting leases upon such conditions as they may think proper and advisable.

Already many gentlemen (including some of the principal inhabitants of this neighbourhood) have subscribed towards the undertaking, and thus upwards of £3500 have already been assured. It is, therefore, clear that a vigorous effort at the present moment will secure the success of the project, and will at once supply this important desideratum, and add another to those numerous public buildings which adorn our native town.

The committee therefore appeal for support to the well-tried public spirit of Leeds in the full assurance that the appeal will not bo made in vain.

P. Fairbaihn, Chairman of tho Committee.

Baden-baden.'— At Baden-Baden the performances are on a grand scale. M. Benazet spares no money to make his Festival attractive: and gives carte blanche to M. Berlioz for rehearsals; anil with such singers as Mdmes. Viardot and Miolan-Carvalho, and M. Roger, and such players as MM. Yieuxtemps and Jacquard, the result could hardly fail to be what it was, one of the most superb and interesting concerts of which we have recollection. We must speak first of the music. The first overture to Lcs Francs-Juges, by M. Berlioz, was new to us,— one of its writer's best works, since the melodic phrases therein are longer, and in their treatment are less traversed and obliterated by extraneous embroideries, than is the case with much other music from the same pen. Were this overture revised, it might be made one to rank amongst the highest works of its kind. The instrumentation is ingenious and splendid. The chorus—Sylph Dance and Dream from Faust—we have long rated to be one of the happiest inspirations of M. Berlioz: the melody is charming, and but for a bizarre outbreak towards the close, the conduct of the movement, however intricate and rich in detail, is clear; as also the Dance in accelerated tempo, which follows the chorus—so deliciously instrumented. It should be a grave lesson to all lovers of art, that one whose aspirations are obviously so noble, and whose talent has one phase so original as M. Berlioz, should, till now, have been able to reap so limited a success, and that dependent on such exceptional resources as a M. Benazet—or other despot emperor—can alone furnish. He might have been "the musician of the future," — as it is, we can hardly fancy his music surviving when his own energy and resolution, and the prestige which a man of intellect must always command, shall have passed away. At this remarkable concert Mad. Viardot took the crowded audience by storm in her great scenes from Orphee, executing them with incomparable expression and brilliancy. This superb music, we repeat, is as yet unheard in London: and that such an artist, in her prime, whose performance of the character is one of the most notable things of our musical century, should have been overlooked for one so unequal to the task as Mad. Czillag must be signalised as a selfinjurious piece of managerial perversity; as though the object had been to deny Gluck a chance of entrance within our borders. Mad. Miolan-Carvalho was encored in a re-arrangement, by M. Gounod, of Bach s first Prelude, to which a vocal and an orchestral part have been added. M. Vieuxtemps is playing as splendidly as ever, but his concerto-music is intensely tiresome; shallow,

pompous, and perpetually balking expectation; music to which every remark made on M. LitolfFs compositions applies with extra' force. The chorus was excellent; the soprano voices singularly sweet and fresh. On the whole, we never attended a more interesting concert.

Wiesbaden.—This is the time of show-concerts at the German baths, somewhat presumptuously called "Festivals"—in reality, so many speculations of those who undertake to provide for the diversion of the guests, and who cater " stars" of first, second, or third magnitude, affording them such opportunities of shining as they find too rarely. Thus, at Wiesbaden the other day, a Litolff Festival gave us a fair chance of appreciating the talent of a conposer who has in some measure been successful of late years in Germany, and who has received much praise from the pens of critics whose praise carries with it authority. Three movement! of one pianoforte concerto, two movements of another, two movements of a violin concerto, an overture for full orchestra, and a liberal operatic- selection, are sufficient to justify persons habituated to listen in forming some notion of what the average powers of their composer may be. After the elaborate panegyrics of which M. Litolff and his music have been the theme, the statement of such impressions as must be here offered will seem harsh, grudging, unsympathetic. But, to our thinking, he does not fill a place or a corner of his own in the world of living composers. So much as belongs to a group—call it not a 6eliool—of writers whose ambitions are very large, who have no perverse desire to be iconoclastic or irregular, but whose works, though carefully made, tall to the ground because of their ample platitude, and because their enterprise, when looked into, proves only seeming. There is no need for the moment to name those who may thus be M. Litolff as a composer. In the allegro of symphonique performed by him at Wiesbaden, there are so many surprises, stoppings short, languid episodeB, under a false idea of expression, as entirely to destroy the character of an allegro movement, and to throw out the average listener, who desires form, he it ever so freely dressed and disguised. Some invention is to be recognised in the florid passages for the pianoforte. The orchestra is well trent/vl; but the perpetual notion of brewing a crescendo seems to have been present to the writer, and somehow the brcwage, perpetually interrupted, becomes inevitably vapid. The second movement of this concerto, an andante religioso, is in every respect better,—an excellent andante for a modern concerto, with a molody free and flowing, if not very new,—a rich instrumentation, and a gracefully effective employment of the prrorfpal player. In the scherzo (qnare, last movement ?) a pretty cigmbar phrase is hunted to death,—occurring as it does some thirty times, in all manner of keys. "Whipped to death" might have been said, since among other piquancies of orchestration, the use of the violins (if our ears told right) gave reviving sprightlincss to what would else have been stale aud threadbare. There may possibly be a finale to this curiously elaborate composition. As a player, Herr Litolff has neitbtr advanced nor receded from the position taken by him years agOi when he was in London together with Dr. Liszt. There is dash,there is volubility, — there is an apparent determination to S*1"1 Olympus (only the achievement is not done), — there is lit«e charm. Meritorious, ponderous, not to be sat through a second time, — such, in brief, are our impressions of Herr LitolfTs raiwcTo attempt to analyse, even so slightly as has been done, his W* other jnorceaux of Lis programme would tempt us into tautologyThere are happy effects here and there,— there is considers!* cleverness, — there is a discouraging absence of idea, — there s > false notion predominant of grandeur and interest, being secured by parenthesis, not continuity. A word or two more nave to« said concerning this Wiesbaden Concert. The violin concert" was entrusted to a young boy (named Auer), who is a capital Wj handling his instrument without hesitation, strictly in tune,*1" showing that instinct for measurement of tempo which nothing i«j teach or regulate, but which is one of the signs of a grand and noble artist to come. Herr Formes sang the very en" lr* Die Zauberflbte in which he grasped as a new comer his Enghsh public; but his voice is "over and gone," — method he neyff possessed, — what remains being a striking presence and iinprsM manner. Endowments so superb as his, with passing flashes ■ instinct for what is high, and true, and liberal, and poetical, have never in our experience been so mercilessly flung to the winds by their possessor as in his case. Grander natural means were rarely given to man; in saying this we only except Lablache.—{Foreign Correspondence of the "Athen<eum.")

A- Musical Elbnch.—The German admirers of Herr Wagner are considerably puzzled just now to know what to do about the consistency of the author of Oper wid Drama, — the man who denounced all concession as so much claptrap, and everything that pleased the ear as blasphemy against the holiness of Art,—having heard that, in order to adapt his work to the Grand Opera of Paris, Herr Wagner has consented to the interpolation of a ballet, for which he has written the music. Why will those who create lay down principles in their prefaces, and recommend their noble selves by abusing their predecessors and contemporaries? When was there ever a more specious and] convincing document than Gluck's preface to Aleeste, in which repetition was denounced as among other meretricious arts to please the public at the expense of truth. Yet in this very Aleeste there are as many examples of da capo quite as superfluous, save to shqw the singer per se, as in the operas by Hasse, Lampugnani, and other of the light and gay Italians whom Gluck professed to mow down. Thus, after Herr Wagner's Spartan and self-asserting diatribe, this quiet acquiescence in attempting to popularise a composition which might else offer too little to satisfy the sprightly and dance-loving public of Paris is indeed instructive, by way of warning to all theoryspinners, self-praisers and haranguers, if the rumour be correct. As historians bit by bit of the smartest controversy which has occurred in music since that betwixt Gluck and Picciui, we cannot overlook the rumour, nor the chagrin which it has caused among the sincere disciples of a prophet who is supposed to be yielding to "French influence."

s=oi ; i

St. James's Theatre.—The "summer" performances at the most western of theatres takes this week a tragic direction, in consequence of the engagement of Mr. Barry Sullivan, who has just returned from America. As on the occasion when some years ago he made his first appearance before the London public, he has chosen Hamlet for the inauguration of his career. All the qualities that have rendered his memory estimable in the minds of playgoers he retains to their full extent. He is a careful, correct, and pcrspicnons declaimer, turning to good account his natural advantages of Voice and figure, and ho is, moreover, thoroughly versed in the routine of the part, which he has evidently studied with laudable assiduity. Though he makes no particular attempt to startlo his audience, he is neither tame nor listless, and all that he does is well considered and quite to the purpose. A numerous audience witnessed his performance of Hamlet, and greeted him* with a hearty welcome.

Astlet's Amphitheatre.— Under the management of Mr. Batty the old equestrian theatre promises to recover its ancient popularity. Mazeppa, always attractive from time immemorial, has been revived with new scenery and appointments, and draws audiences numerous far above the average. The scenes in the circle arc all of them first-rate in their kind, Mademoiselle de Berg, the chief female equestrian, being at once remarkable for her gracefulness and courage. An entirely novel feat performed by this lady is a leap through a mail coach, which occupies the place usually assigned to hoops and banners. Of course, the coach is constructed of paper, but, although its material is frail, it has the three mcastires proper to solidity, and the sight of it is sufficient to baulk any but the most daring artist. Generally a spirit of thorough renovation pervades Mr. Batty's management. Astley's is so essentially a theatre of old associations that a lessee may easily be tempted to let it rest on its traditional fame alone, without essaying to provide it with the attractions familiar at other establishments. But Mr. Batty still adheres to the principle by which he was regulated when, previous to bis opening last Easter, he had the house freshly decorated in every part. His dramas are admirably put upon the stage; tho personages in the ring, whether equestrian or grotesque, are all costumed in tasteful fashion, and on each succeeding night look as smart as though it was the first occasion of their appearance Altogether there is not a cleaner, brighter, and more commodious house in London than the timehonoured edifice at the foot of Westminster Bridge. tj

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MUSIC FOR THE AUTUMN AND'WINTER.

Sir,'—Everybody is delighted with the Floral Hall Concerts. They have come at a most acceptable time, are given in a building admirably adapted for the purpose, and Mr. Alfred Mellon has exactly hit upon the kind of musical entortainment, calculated now-a-day to satisfy all. Mozart and Haydn, and Beethoven, Mendelssohn, and Rossini may safely be given as the staple of the feast, provided a fair proportion of the pieces be vocai. The next six months will be the opera season of the class who frequent promenade concerts ; — a very large proportion of the music-loving public, who either cannot afford the expensive enjoyment of Italian opera, or who will support the English from a desire to see tho noble art advance amongst their countrymen. Should not the success at the popular concerts of the music of the great masters, suggest the desirability of substituting a performance occasionally of the operas of Mozart, Rossini, &c, in English in place of the interminable repetition of the native ones, which, excellent as one or two are, cannot be listened to for the 116tb, 116th, and 117th times without tiring? If onr best English singers be employed, we can do without one Italian Opera and have a genuine National one instead. A great Italian company was named for Her Majesty's Theatre for last season —let me give not a bad English one for the next: to wit—Miss Louisa Byne, Miss Parepa, and Miss A Whitty, Mrs. Baxter and Miss Filling, Mr. Sims Reeves, Mr. Swift, and Mr. Wilbye Cooper, Mr. Santley and Mr. Weiss.

Begging that you and Mr. E. T. Smith will take these matters into serious consideration, I subscribe myself,

Your obedient servant,

A Voice From Tub Promenade.

Floral Hall, Tuesday Evening.

THE YORK ORGAN. [the following, ■which appeared in a musical journal upwards of twenty years ago, will be read with interest by such of our subscribers as sedulously treasure up all that relates to the history and progress of organ building in this country. Dr. Monk himself, the present able and conscientious director of musical affairs in York Minster, may probably derive some slight gratification from its perusal. Ed.]

Hirx And Others, r. The Dean And Chapter Of York. The written and oft-repeated testimony of the York organist, ill favour of the new, instrument, closed our first notice of this trial.

The plaintiffs called Sir Robert Smirke, Mr. Gauntlett, MrLincoln, and a numerous band of agents and workmen. Sir Robert Smirke, it appeared, was engaged by the Dean and Chapter to superintend the restoration of the Minster, and in that situation forwarded a plan to the plaintiffs in which was delineated the position and disposition of the organ between the double screen walls of the choir and the side aisles. Subsequently he received orders to draw out a second plan, which totally differed from his former draft: he delivered this to the plaintiffs in .Tune 1831, about fifteen months after the plaintiffs had been supplied with the other. The organ was built according to the second plan. The plaintiffs' workmen proved that during the whole of these fifteen months the work was proceeded with, and that by this alteration alone nearly the whole of the labour and material had been rendered useless. The expense was estimated at £1500 or £1600. Dr. Cockburn, the dean, is described to have been very troublesome, and the vagaries he indulged respecting the situation of the organ with the arch under it, the heights of the swell-box, the position of the 32-feet pipes, caused great additional labour and loss of time. Neither was he inclined to listen to the suggestions of Dr. Cainidge, of whom he said "the doctor fancies my cathedral to be a case lor his organ." The expense of the organ was sworn to be about £6000, of which more than £2000 was incurred by alterations and delays, caused by the parties connected with the cathedral.

Mr. H. C. Lincoln, organ builder to His Majesty, proved he had carefully gone over the instrument, which was described as "a monster organ." In his opinion the machinery and construetion were admirable, and not possible to be improved upon. It was the largest organ witness had ever seen. f>r>" 1"1 r»!»Uy could not form an estimate of its cost, neither would Uc c Uuoao to be tied down to a contract in the construction of an instrument so large and peculiar as to its situation, a part of which could not be erected without enormous expense. The builder has certainly spared no expense or exertion to render his work perfect. The Organ Wkiohs About Ninety Tons; witness could put no price upon such an instrument, and no man in the kingdom could do so. By comparison with the amount witness received for the Brighton organ (that in His Majesty's Pavilion) witness conceives the plaintiffs' demand very reasonable.

Mr. Gauntlett had seen that portion of the orgnn which had been constructed according to the first plan of Sir Robert Smirke, and had also seen, tried, and examined the York organ as it now is. It is now as to its conformation totally a different organ. In magnitude and mechanism it is unquestionably without rival in this country or any other. The effect of the perfale is astounding, although witness has heard a more brilliant quality of tone than that produced from the manuals.* The mechanism is very beautiful and complete, particularly the movement relative to the wind, which is perfectly unique in its construction and effect. Would consider any departure from the builder's original draft as involving a very serious expense in an instrument so large and complicated in its details. The reverend defendants called their organist and organ tuner; also a provincial organ builder who had repaired the old organ, and a London builder who had not seen the new one. Also a parish organist who had been engaged formerly in trade as a dealer in barometers. Dr. Camidge proved that the old organ had originally cost £1800 and had been repaired at an expense of £1200 more. Considers the organ as complete as possible, and should take it altogether as the finest in the world; witness certainly never heard such an organ, and considers it full a third larger than Birmingham. The scale of the pipes are as large as the room would allow. Considers £2500 a very fair price for the organ as it stands at present: but witness on being shown his own letter to Lumlcy Saville, in which he writes, "I firmly believe that the labour and material will require the whole sum,' retracts that opinion and could not consider it a remunerating price. Witness considers the plaintiffs executed the work very amply, and thinks if they had proceeded as on a close contract, plaintiffs might have screwed him in the work. Says

* The reason (says a contemporary critic) is obvious. Dr. Camidge has multiplied the unison Hops (diapasons and reeds), but forgotten to do the same with the compound stops. The old organ was built by Blyth, in 1803, and subsequently repaired and enlarged at a total expense of £2,000. Here is a list of the stops:—

OtlEAT ORGAN.

Open Diapason (3 ranks)

Stopped Diapason

Principal

Twelfth

Fifteenth

Nazaral

Sesquialtra (3 ranks)
Furniture (3 ranks)
Cornet (5 ranks)
Trumpet
Clarion

cnom Organ. Dulciana

Stopped Diapason
Principal
Flute
Fifteenth

Cremona or Bassoon

SWELL ORGAN.

Open Diapason
Dulciana
Stopped Diapason
Principal
Trumpet
Oboe

Sesquialtra (4 ranks) In this organ arc thirteen unison stops; and compound stops making fifteen ranks, besides a twelfth and nazaral. In the present organ there arc only nineteen ranks of compound stops (five of which are in the swell) to stand up against twenty-three unison stops (namely, fourteen diapason, and nine unison, reeds). Let our readers balance the weight of a modern diapason with that of Blyth's scale, and the result must be as clear as a sunbeam. Dr. Camidge should add clarions, octave clarions, twelfths, larigots, tierces, and mixtures almost ad libitum. It may be remarked that the list of stops given to the York organ, in "Bellerby's York Guide," is most inaccurate, and not at all to bo relied upon. Wc allude to the edition of 1832,

the Dean was "rough and rude" to the plaintiff Hill, and admits him to have been hasty and grumbling that the organ was not erected at an earlier period.

Ward, a country organ builder, deposed to repairing the old organ, and his astonishment at the new. Considered it impossible to make the large pipes speak when he first saw them. The York organ, witness thinks, is as fine a piece of mechanism as any workman could turn out.

Other unimportant testimony was adduced to which it is unnecessary to refer. The verdict gives the plaintiffs nearly £4000. They are supposed to lose about £1500 or £2000 by the transaction.

Mr. Sims Beeves is climbing mountains, and regaining health and strength, in the Swiss Oberland.

Mr. .Tonx Oxen-ford has completed a translation of Clapisson's opera, La Heine Topaze, and is already engaged on another (wc trust a better), both intended for Mr. E. T. Smith, an ecclectic, if there ever was one.

Worcester Festival. — There is to be one novelty at the Worcester Festival, which takes place, be it recollected, the week after next, — this is, "The Erf-King's Daughter," a ballad, or cantata, by Herr Gade. This should recommend the concert at which it will be given to all who are tired of scraps, tawdry ballads, and thirty-times-told opera songs, with the opera dresses and scenery left out.

Epptng {From a Correspondent'). — On Thursday evening, August 30th, a highly successful concert was given here, in aid of the funds for the completion of the Epping and Sheydon Gamon National Schools. The programme was of a superior kind; tie first part sacred, the second secular, and was entrusted to the following artistes:— Mad. Weiss, Mail. Gilbert, Miss Fata"?, Mr. AYilbye Cooper, and Mr. Weiss; at the pianoforte Mr. Alfred Gilbert. Through the exertions of the Rev. J. Tuck and Mrs. Tuck, the room was filled by the elite of the neighbourhood,who

tcntinod tHeir piHttifiaatinn hy numerous encores and lly retaining

their seats until the very last note of the concert.

Belfast.(From our own Correspondent.)—At the co of the Rev. Dr. Dorian, the coadjutor Roman Catholic Bishop of Belfast, the following programme was performed at St. Malachfi in an excellent manner by Mr. R. Sutton Swahy and the choir under his command : —

Peni Creator, Gregorian; Kyrie, Gloria, and Credo, Haydn; Sanctiu, Mozart; Tantum Ergo, Spanish; Agnus Dei, Cramsie; Te Deum, Webb; Overture, Athaliah, Ilandel; Offtrtoirt (No. 5), L. WC-ly j Larghctto, in F (Symphony), Haydn; Fugue, J. & B«h i March, David, C. Horsley.

The soloists were Mrs. Ling and Mr. Cramsie, who acquitted themselves most creditably. Mr. Swahv deserves great praise for the marked improvement in the choir since it has been under himanagement.

Operatic Music In Germany. — There is no noveltr in German dramatic music to be heard of. At Frankfort they tare been playing Der Vampyr (with an ovation to Herr Marschnc.-. who is said to have designs on the Grand Opera at Paris, and for the moment is sojourning^ in the free town) and Der Freittlte; at Carlsruhe, Mozart's Titus, without one singer adequate to the music. There, it may be recollected, Herr W agner's Trifta* to be produced last year. It was put in rehearsal; but after mwy weeks of laborious study, was abandoned as too uncouth—tw little like music to be endured — or learnt. His day, we believe, and, for the interests of art, hope, is done in his own country. Whether he will revolutionise Paris, under imperial protection, remains to be seen. In the theatrical line, Fraulein Gossmanri.» comic actress, is turning the heads of young and old in Frankfort by her lively performances.

Agencies.—Our intention of offering a few remarks on some of the morals and manners of musical administration has not bee0 laid aside, though its fulfilment was deferred to a time when B'1 possible personality could be connected with what was said' Pa reason is, the universally reported increase of a system of iridiree*

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