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"The Harp of Wales' (sung for the first time) is a very graceful song, admirably adapted for Mr. Sims Reeves, and sung by the distinguished tenor with a refinement of expression which produced a magical effect on the audience, and raised demands for repetition which were not to be denied."-Daily Telegraph.

"The Harp of Wales,' beautifully sung by Mr. Sims Reeves, was unanimously redemanded."-Morning Post.

"The other new sung for the first time by Mr. Sims Reeves. is

G.

"OBERON,"

B. ALLEN'S New FANTASIA on composed expressly for and dedicated to Miss ARABELLA GODDARD, is now published, price 5s. by Duncan Davison and Co. 244 Regent Street, W.

"I NEVER KNEW HOW DEAR THOU WERT."

New Song, by H. K. MORLEY, composed expressly for and sung by Miss LASCELLES (the Poetry by CATHERINE WARFIELD) is just published, price 2s. 6d., by Duncan Davison and Co. 244 Regent Street, W.

ELLIOT GALER'S NEW SONGS, composed expressly

for him by W. MEYER LUTZ, are just published, viz. :-" Under the Linden Tree" and " Merry little Maud," price 2s. 6d. each, by Duncan Davison and Co. 244 Regent Street, W.

“I WOULD I WERE A BUTTERFLY," by A.

SCHLOESSER, sung with immense applause by Mad. LEMMENS-SHERRINGTON,

is published, price 2s. 6d. by Duncan Davison & Co. 244 Regent Street, W.

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OOD NIGHT," New Song by A. REICHARDT, and German Words, and a Portrait of Herr Reichardt, price 2s. 6d. by Duncan Davison & Co. 244 Regent Street, W.

FOURTH MARCHE AUX FLAM

the harp or Wales, and is a lovely and expressive inclody. It was enthusiastically MEEBEER'S Fling March"), composed in honour of the Marriage of

encored."-Daily News.

"Mr. Richards did honour to his fatherland by introducing a new song,

The Harp

of Wales,' which is sure to become a favourite of the Cymri, who are justly proud of their bards. So admirably was this sung by Mr. Sims Reeves, that an encore was inevitable, and the ballad was as warmly applauded the second time as the first."Musical World.

London: DUNCAN DAVISON & Co., Dépôt Géneral de la Maison Brandus, de Paris; 244 Regent Street, corner of Little Argyll Street, where may be obtained"THE SULIOTE WAR SONG," sung by Mr. Santley, price 3s. "THE BLIND MAN & SUMMER," sung by Miss Palmer, price 2s. 6d.

66 ETHEL," Romance for the Pianoforte, price 2s.

LEOPOLD," Mazurka Favourite, price 2s.

Composed by Brinley Richards

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KULLAR LES ARPEGES.-This celebrated piece,

played by Mr. Charles Hallé with immense success, is published by Ashdown and Parry, 18 Hanover Square, London.

GOOD NIGHT," by I. LIEBICH.

Reichardt's

charming Wiegenlied (Cradle Song), transcribed for the Pianoforte by I. Liebech (forming No. 2 of Two Popular Melodies for the Pianoforte, by the above author), is now published, price 2s., by Duncan Davison & Co., 244 Regent Street, W.

GOOD NIGHT," by R. ANDREWS. Reichardt's

charming Wiegenlied (Cradle Song), transcribed for the Pianoforte by the above popular author, is now published, price 2s., by Duncan Davison & Co., 244 Regent Street, W., where R. ANDREWS'S transcription for the Pianoforte of "THOU ART SO NEAR AND YET SO FAR" (Reichardt) may be obtained, price 2s.

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NEW

EW SONGS by BALFE.-"I LOVE YOU," sung Mr. SIMS REEVES with such immense success at Mr. Martin's (Exeter Hall), Mr. Lindsay Sloper's, and Miss Susannah_Cole's Concerts (St. James's Hall), and at Mr. Balfe's benefit concert at the Royal Surrey Gardens before 10,000 persons, 3s.; as well as Balfe's two charming Ballads, "Oh! take me to they heart again," 2s., sung by Miss KATE RANO (mezzo soprano) at Mad. de Vaucheran's Concert; and "I'm not in love, remember,' 2s. 6d., sung by Mile. SEDLATZEK at the fashionable Concerts at Campden House, are published by Duncan Davison and Co. 244 Regent Street, corner of Little Argyll Street, W.

"I LOVE YOU." By EMILE BERGER.

SIMS REEVES'

popular Ballad, composed expressly for him by Balfe, arranged for the Pianoforte by the above popular author, is now published, price 3s., by Duncan Davison & Co. 244 Regent Street, W.

"I LOVE YOU."

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ILBYE COOPER'S NEW SONG, "The Meadow Gate," composed expressly for him by GEORGE B. ALLEN, is now published, price 2s. 6d. by Duncan Davison and Co. 244 Regent Street, W.

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EW SONGS by EMANUEL AGUILAR.-"SYMand "IN A WOOD ON A WINDY DAY," poetry by ACTON BELL, dedicated to Miss GRACE LINDO, price 3s., are now published by Duncan Davison & Co., 244 Regent Street, W.

"These songs, written by the younger sisters of Charlotte Brontë (Currer Bell, author of Jane Eyre,') have been clothed by Mr. Aguilar in beautiful and expressive music. Sympathy is full of tranquil tenderness; In a Wood on a Windy Day paints the agitated and exulting mood often engendered by the stormy aspects of nature-the wind roaring among the branches and scattering the withered leaves, or the dashing of the billows on the sea-beach. Mr. Aguilar has heightened the effect of this last song by the picturesque character of his pianoforte accompaniment."-Daily News. "In a Wood on a Windy Day," was sung by Miss Grace Lindo with great success at Mr. Aguilar's Concert, Hanover Square Rooms.

REUTZER'S 40 STUDIES for VIOLIN, 1s. 6d.; Beriot's 7 Airs, with Variations, for Violin, 1s.; Boosey's 100 Exercises and Studies by all the great Masters, for the Violin, 1s.; Boosey's Violin Tutor, 24 pages, large Boosey & Son, Holles Street.

ze.

LOCH KATRINE WALTZ, on Scotch Airs, and KIL

LARNEY WALTZ, on Irish Airs. By LAURENT. Both Illustrated. Price 3s. each. Boosey & Sons, Holles Street.

MA

ARGARETTA WALTZ, on Balfe's Celebrated Song. By LAURENT. Beautifully illustrated in colours by BRANDARD. Companion to the MAUD and BELOVED STAR WALTZES. Boosey & Sons, Holles Street.

THE

HE MAZURKAS of CHOPIN, edited by J. W. DAVISON, complete in One large Volume, music size (100 pages), with Preface by the Editor, and Portrait of Chopin, price 88., or superbly bound in crimson cloth, gilt edges, price 10s. 6d.; Rossini's Stabat Mater, for Pianoforte, by Smart, complete, 3s.; Mozart's Twelfth Mass, do. 3s.; Moore's Irish Melodies, for Pianoforte, by Nordmann, 2s. 6d. ; Mendelssohn's Songs without Words, complete, with Portrait and Introduction by J. W. Davison, cloth, 7s. 6d.; Meyerbeer's Dinorah, complete, for Pianoforte Solo, 7s. 6d. ; the Juvenile Pianoforte Album, 12 pieces, illustrated and bound, 3s. 6d. ; the Operatic Album, 100 gems from the newest Operas, for Pianoforte, in cloth, 128.; Boosey's 100 Reels and Country Dances, for Pianoforte, 2s. 6d. ; Boosey's 100 Waltzes, by Strauss, Lanner and Labitzky, for Piano, 3s.; Czerny's Etude de la Velocité, 2s. 6d.; Czerny's 101 Exercises, 23.; Boosey's Part-Song Miscellany, 18 Original Compositions, handsomely bound, 5s.; the Harmonium Museum, 100 Sacred and Secular Subjects for Harmonium, with Instructions, 7s. 6d.; Engel's Harmonium Operatic Album, 60 Gems for Harmonlum, 7s. 6d.; Christy's Minstrels' Album, 24 Songs in One Book, 2s. 6d. ; the Verdi Album, 25 Songs, in English and Italian, 4s.; Dinorah, for Voice and Piano, complete, 12s. Boosey & Sons, Holles Street.

REEVES THE

SIMS By I. LIEBICH. popular Ballad, composed expressly for him by Balfe, transcribed for the Pianoforte by I. Liebich, is now published, price 2s. (forming No. 1 of Two Popular Melodies for the Pianoforte by the above author), by Duncan Davison & Co., 244 Regent Street, W.

HE MUTUAL LIFE ASSURANCE SOCIETY, 39 King Street, Cheapside, E.C.-A.D. 1834.-The TWENTY-SIXTH ANNUAL REPORT, Cash Account, Balance Sheet, &c., are now ready, and may be had on written or personal application. CHARLES INGALL, Actuary.

NORWICH MUSICAL FESTIVAL.

(From our own Correspondents.)

Tuesday, Sept. 18.-Of all cathedral cities we should have considered Norwich the least likely to support a triennial musical festival, and such a festival as that of A.D. 1860. The united choirs of Gloucester, Worcester, and Hereford have an annual meeting, but the Norwich festival is strictly triennial, and it might have been thought that the increasing thirst after music would have induced the good folk of the eastern counties to travel to London in the intermediate years, the railway communication being convenient, and so have left no appetite for the good things put forward by the promoters of the meeting. However, the present festival offers so many attractions, in the shape of creative and executive art, that the ancient city may fairly compete with London itself. Two works new to the world are to be performed, and one new to Norwich, and the best attainable artists have been engaged for the oratorios and concerts. Success, therefore, is deserved, and we hope to be able to chronicle a complete triumph. Norwich labours under some disadvantages with regard to its festival. The great charm of such events consists in the oratorios being performed in a sacred edifice, where the necessary quietude of the audience, together with the hallowed associations of the building, disposes the mind to an attention which can never be bestowed in a concert-room. Norwich has a cathedral, a noble building, eminently calculated for such performances, but the representation of oratorios is interdicted by the diocesan authorities, we suppose, as a desecration. Without entering into a discussion of this veto, we may congratulate Norwich on having so good a room to fall back upon as St. Andrew's Hall, in which the festivals are held. This building accommodates about the same number as Exeter Hall, so that it is not a mere makeshift.

The Norwich festival differs from those given in the western cathedral cities in the fact of there being no collection at the doors after the morning performances. It therefore argues much for the spirit of the place that since the first festival was held (in 1824) a profit of £8,270. 2s. 9d. has been realised in favour of various local charities.

was not equal to what was anticipated. The patrons' gallery and
area were full, but the galleries not. In earlier festivals there
have been as many as 2,300 persons in the hall; but of late years,
whether the orchestra occupies more space, or from what other
cause, the committee seem unable to accommodate so large an
audience. This no doubt makes a considerable difference in the
general receipts, as the later evenings and the Messiah are always
the most crowded. The Creation went off bright and sparkling,
from beginning to end. Mad. Novello, Mr. Sims Reeves, Mr. and
Mrs. Weiss, Mr. Santley, Mr. Wilbye Cooper, all sang their
allotted parts with their accustomed excellence. The band was
admirable, and the chorus almost faultless.
Wednesday, September 19.-The festival proper has been inau-
gurated brilliantly. At the first miscellaneous concert last night,
most of the executants were in capital "condition," and the pro-
gramme combined sufficient novelty with a good selection of pieces
that have been tried and not found wanting. Viewed from a
business aspect, the success was not so brilliant. The hall
was well filled, but not crowded. On the other hand, the de-
mand for tickets for this evening and for Friday's Messiah has
so far exceeded the supply that the committee have erected an
extra gallery above the seats reserved for "patrons" at the east
end of the hall. This gallery is a substantial structure supported
on iron columns. As it is situated immediately opposite the
orchestra, its occupants will be placed on ne peut mieux, both for
seeing and hearing. The interest excited by this evening's per-
formance, and by that of Friday morning, affords another instance
of the affection for familiar works and the prejudice against those
unknown which distinguishes us from all other nations. Last
night's concert derived special interest from the production of an
opera which, written eighty-three years ago, is so aged and for-
gotten that it is quite new; to-morrow is to be made memorable
by the first public trial of a new cantata; but people seem rather
to avoid these attractions in order to make sure of to-night,
which is remarkable for nothing but the May Queen. Dr.
Bennett's cantata cannot be called old, as it has only been two
years before the world; but its merits received such immediate
acknowledgment that it has already become a classic," and,
therefore, comes into the category of received works. Of course
we always affirm that it is our national fidelity and steadfastness
which makes us listen with devout attention to acknowledged
masterpieces. Still we have heard foreigners assert that it is to
our ineradicable shopkeeping propensities that this peculiarity is
to be ascribed; in other words, that we are prudent even in our
pleasures, and, en vraie nation boutiquière, prefer taking our money
on a sure card, investing our superfluous cash in a certainty
rather than in a speculation. But, whatever, the reason, such is
the fact, and, as long as it continues to be so, we must not com-
plain if the compilers of programmes lay this truth to heart. We
are, however, quite at liberty to praise when we find bold depar-
tures from this safe but unsatisfactory principle; and in this respect
Norwich merits honourable distinction. The concert last night was
rendered particularly interesting by a selection from Armida. We
have watched with attention the increasing interest which the
works of Gluck inspire. Even if it be a mere fashion it is one
that cannot fail to bring good results. Our readers will remem-
ber the success of Orfeo at Covent Garden this summer, and also
that of Iphigenia at St. James's Hall, which surprised most
listeners into a confession that to them Gluck had been until then
unknown. The general appreciation of his labours has embold-
ened Mr. Charles Hallé to announce the performance of a third
opera of the same master at Manchester. A selection from
this arrangement of Armida was performed last night. All dra-

66

Notwithstanding the revolutions which the railways have created, not alone in travelling, but in the habits of society in general, and its amusements, festivals in this, as in a few places of larger population, continue to exist, although apprehension has arisen that their existence might be shortened by the facilities which the public enjoy in reaching London. There, in the season, every singer of note is found, and performances in some respects equalling those of the provincial festivals can be heard, to satisfy the most enthusiastic amateur, and at a less cost. As excellence is absolutely necessary in these days, and as the demand for the best artists, vocal and instrumental, is much greater than when festivals were first established, the difficulty is so to concentrate these and other requisites, as to enable its managers to realise a fair profit for the charities. Of late, Norwich festivals cannot be said to have answered from a commercial point of view; but a much stronger appeal than usual is now made to the public aid, through official sources and otherwise. We take no notice of the preliminary rehearsals, for the simple reason that, however good in themselves, they do not enable a sound judgment to be formed of a new work. The most careful rehearsal, from the absence of the principal instrumentalists, must be imperfect. There are those who may recollect the excessive labour attendant on the rehearsals of former days. Now it seems as if, even in a new work, such is the perfection instrumentalists have attained, that rarely indeed are frequent repetitions required. And well it is so, for with the quantity of music now crammed into the per-matic compositions lose effect when removed from the stage, but formances, the rehearsals would scarce finish ere the concert began.

On Monday evening the festival (or rather prelude to the festival) commenced by a sort of bye concert, at a cheaper ratefive shillings the area, ten shillings and sixpence to patrons' gallery -enabling those who cannot afford high prices to partake in the musical treat of the week. The selection was that universal favourite, the Creation. No better choice could have been made, if only because it gave the audience an opportunity of hearing all the English vocalists. The attendance, although fair, about 1,000,

of all composers Gluck suffers most. His intense desire to be dramatic led him into that famous warfare, which the mention of his name invariably calls up. But after all, tacitly or openly, this rivalry between art moulded on art and art founded on nature, has been going on since art first began. It is instanced as plainly in Palissy the potter, and Rosetti the painter, as in Gluck the musician. Without comparing the intellectual powers of the two, we may suggest the resemblance between Gluck and Wagner, not only in the ideas that animate, but also in the self-assertion that characterises both. If Wagner's present venture in France prove

a success, the resemblance will be rendered still more striking. After all, Wagner seems to aim at the same object by a noisy revolution which Meyerbeer, for many years, has been striving to effect by gradual reformation. In each succeeding work we see Meyerbeer discarding more and more the formal artifices of his predecessors, in order to make his compositions more thoroughly dramatic; and the theory which Wagner preaches, as if it were a new evangel of which he is the apostle, is little else than a réchauffé of Gluck's creed-an amplification of the suggestion thrown out by Mad. Dudevant (Georges Sand) in the letter on Les Huguenots, addressed to Meyerbeer some fifteen years ago. From the introductory matter to the new edition of Armida, edited by Mr. C. Hallé, we extract the following:

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“In the original French opera-book Armida is designated as a Drame Héroique. It might more correctly be styled a romantic rather than heroic legend, setting forth in picturesque contrast the strife betwixt sensual pleasure and courageous duty. The story is as old as Christianity. It was shadowed out in the early mysteries, where the Goddess Venus and her seduction of chaste and noble warriors figured. Again and again has the same combination appeared under different costumes and disguises. It is one of the very few inventions which exist in the world of fiction, and is possibly the first Christian legend which in drama was allowed to take a place of interest, reputed as equal to that attaching itself to the marvels of pagan mythology."

Here, again, we might call attention to the similarity of subject between Armida and Tannhäuser, in which Venus, like Gluck's Enchantress, holds her knight in silken toils, and which depicts the struggle between love and duty. To go further, might we not point to the duet in the fourth act of the Huguenots, where the subject is humanised and elevated? The scenes selected last night, from the second and third acts, form a tolerably complete story. They comprised a duet (Mad. Clara Novello and Mr. Santley), in which Armida concerts with Hidraot the destruction of Roland; an air for Roland in the enchanted garden, which suggests by its soothing character the gradual influence of the magic scene upon the knight, until he is lulled to sleep (sung to absolute perfection by Mr. Sims Reeves)—a strain of delicious melody that haunts the memory long after its notes have died away; a scena, showing Armida herself, vanquished by love, lamenting her weakness, and then bursting out into an invocation to Hate-as grand and dramatic a composition as can well be imagined (finely declaimed by Mad. Novello); an air with chorus, "Love shall no longer reign," in which Hate promises deadly opposition to her rival (extremely well delivered by Mad. Weiss); and a recitative, in which Armida bewails her passion. Here the selection terminated, but it might have very well been carried on to the end of the opera. We should then have learnt that two companion knights of Roland, after successfully resisting the fascinations of the enchanted garden, finally rescue him from the "silken dalliance" into which he has subsided, and honour and duty triumph. We repeat that Gluck's music loses infinitely in the concert-room, and is proportionately ineffective in detached pieces; but if the great composer was so powerfully dramatic when dealing with the unsubstantial creatures of romance, what would he have been if he had taken humanity for his theme?

Armida was not the only novelty. A soprano solo, "To please and then instruct mankind," sung by Mad. Weiss, and a bass solo, for Mr. Weiss, with chorus, "In pæans loud," from a cantata enti tled Hypatia, were by Mr. J. F. Îill, chorus master of the festival. Mr. H. H. Pierson, whose oratorio, Jerusalem, was performed here some eight years ago, was also represented by an accompanied part song, to Campbell's "Ye mariners of England." The chorus gave this con amore, and the enthusiastic encore it elicited must be attributed rather to its energetic execution by 260 fresh and admirably trained voices than to any other cause. Mlle. Titiens made her first appearance in Norwich, and received a cord ial welcome. There is little scope for effect in the soprano part of "A te o cara," but the brilliancy of the Hungarian lady's voice produced almost as much effect on the audience as the delicious warbling by Signor Giuglini in the opening solo, one of the most exquisite melodies that ever emanated from the most plaintively melodious of composers. The audience had already unsuccessfully endeavoured to get several pieces repeated, but in this case the encore was too enthusiastic to be denied. Mlle. Titiens surprised her audience beyond measure in "Casta Diva," and her

grand delivery of the majestic melody of the largo, as well as her energetic execution of the cabaletta, were worthy of the applause she excited. The audience could not have exhibited greater warmth even if they had known that Mlle. Titiens was suffering from such severe indisposition as would have justified her in not appearing at all. Mad. Borghi-Mamo's success was scarcely less decided. She was heard to most advantage in the air from the Donna del Lago, "Oh quante lagrime," although she produced a marked effect in the Neapolitan barcarole, "Santa Lucia." Mad. Novello was much applauded in the charming aria of Benedict and De Beriot," Prendi per me." Miss Palmer sang with passionate earnestness Mr. J. W. Davison's setting of Shelley's song, "Swifter far than summer flight,”—an exquisite illustration of one of the most perfect gems by the most purely poetical of all poets, and breathing the very spirit of the original "Lament," with all its delicate and tender grace; and Herr Molique's melodious ballad, "When the moon is brightly shining," was sung with the utmost refinement of expression by Mr. Sims Reeves, the effect in both the latter instances being heightened by Mr. Benedict's perfect accompaniment on the pianoforte. The instrumental performances were by no means inferior to the vocal. Miss Arabella Goddard has helped so much to popularise Mendelssohn's G minor concerto, that we need only repeat for the hundredth time that the fair pianiste's execution is not merely mechanically irreproachable, but that it exhibits how thoroughly the performer is imbued with the intentions of the composer. The slow movement, with its lovely violoncello accompaniment, and the finale, with its exuberance of joyful energy, were both played to perfection. The same words will apply with as much force to Signor Piatti's incomparable performance of his own fantasia on airs from symphony in C minor, and the overtures to Masaniello and Zampa, Linda di Chamouni. The orchestral pieces consisted of Beethoven's both of which were given to perfection under the skilful guidance of Mr. Benedict. The mayor was present in the patrons' gallery with belt, sword, mace, and all the insignia of state, in pursuance of the following praiseworthy resolution:

6

"At a meeting of the council of the body corporate of the mayor, aldermen, and citizens of the city of Norwich, held on the 5th day of September, 1860, it was moved by Sir William Foster, Bart., seconded by John Godwin Johnson, Esq., and resolved unanimously: That this council, considering that the love of music which distinguishes this city is a subject of just pride, and that the triennial festivals are the fruit and reward of long devotedness to this ennobling pursuit, earnestly calls upon the citizens by themselves, and through their friends and connections, to promote in every way in their power the success of an enterprise which reflects so much credit on all concerned; being assured that such encouragement to local talent, an assistance to deserving charities, and a success would be a gain for music and lovers of music everywhere, an especially gratifying to all who wish well to this ancient city. And, to exhibit practically the interest which the corporation takes in the forthcoming festival, a committee was appointed to co-operate with the committee of management, and to afford it all possible support and assistance.'

"At a meeting of the committee of council, held the 11th day of September instant, it was unanimously resolved: 1. That it would be the best possible proof of the hearty good feeling of the citizens towards the festival, and a great encouragement to the committee of management and the choral society, were the corporation, with their ladies and friends, to attend the first miscellaneous concert on Tuesday evening.' 2. That the mayor be requested to invite the members of the corporation, and at the same time, the sheriffs, magistrates, and other leading citizens, to concur in this demonstration of the best wishes of the city for the success of this noble enterprise.' “J. HENRY TILLETT, Mayor.

"Guildhall, 11th September, 1860." The italics are not our own. Thursday, Sept. 20. The success of the festival is now no longer a matter of speculation, but a certainty. The bright weather continuing of course exercises a favourable influence; but, on the other hand, the attractions of the programme are so many and so great that no wonder the tickets for admission, both at the morning and evening performances, should be purchased with avidity. The splendid edifice in which the concerts are held is of itself sufficient to attract visitors; and its acoustical properties being no less remarkable than its architectural beauties,

the beau idéal of a music-hall is realised. In short, whether as an arena for civic assemblies, or as a place of public entertainment, St. Andrew's Hall is unrivalled in England: at once ornamental and useful, it is a monument of which the city may be proud, and a receptacle the value of which can hardly be over-estimated by the inhabitants. When lighted up at night its appearance is dazzling, while the ecclesiastical style of its architecture, both interior and exterior, materially aids the illusion at the oratorio performances in the morning. All day long the approaches to St. Andrew's Hall are crowded; so that but for the excellent arrangements of the police it would be somewhat difficult for visitors (especially at night) to gain access to the building. The good people of Norwich, who at the beginning of the week could not be kept indoors by the very inclement weather, were not likely to be debarred from exercising their curiosity in the open air when "the rain was over and gone," the sky was unclouded overhead, and the comfortable sun shed light and warmth on every object.

The Dettingen Te Deum, and the Last Judgment, both superbly given, would merit a column of description; nevertheless, they must be passed over with a word. The singers in the Te Deum were Mad. Weiss and Miss Palmer, Messrs. Sims Reeves and Weiss; the principal trumpet part in the bass solo with chorus, "Thou art the King of Glory" (Mr. Weiss), being executed by Mr. T. Harper with as much truth of intonation as though he had been playing easy passages on the easiest of instruments, instead of passages more difficult than any elsewhere met with, even in the scores of Handel, who wrote not seldom so perplexingly for the trumpet as to incline many to the belief that it was in his time a different kind of instrument from the one subsequently employed. Of singers so well known as those we have named, in a work so familiar as the Dettingen Te Deum, it is requisite to say no more than that they did their best, and that better could not have been desired. The Last Judgment-in which Mad. Novello took the soprano music, and Mr. Sims Reeves sang the tenor part for the first time (so admirably, by the way, that the lovers of Spohr's music earnestly hope it may not be for the last)-made as deep an impression as at any performance of the same great work we are able to recall. The Norwich amateurs have an affection for this oratorio, which first introduced Spohr to their notice, at the festival of 1830, on Friday, the 24th of September, when Sir George Smart was conductor, Mad. Stockhausen and Mrs. Knyvett, Master Phillips, Messrs. Braham (the elder), Vaughan, Terrail, and Edward Taylor (the Gresham Musical Professor), were the singers, and Mori, Wagstaff, Lindley, Dragonetti, Nicholson, Grattan Cooke, Willmann, Powell, Mackintosh, Platt, Harper, Chipp, &c. (all eminent performers, of whom only two are now living) among the members of the orchestra. The alto part (allotted yesterday to Miss Palmer) was intrusted to a gentleman-a counter-tenor (Mr. Terrail, so well remembered at glee parties and other convivial meetings). We doubt, however, if, with all this array of names, the Last Judgment was nearly so well rendered as on the occasion under notice -30 years later. What used to pass muster then would hardly be accepted now without a protest; and with respect to singers, Mad. Novello and Mr. Sims Reeves are not bad substitutes for Mad. Stockhausen and the elder Braham; the rich contralto of the clever and improving Miss Palmer is assuredly preferable to the shrill tones of a counter-tenor; while, for sacred music, a more satisfactory barytone-bass in every sense than Mr. Santley could not be singled out. On the vast improvements made by our choristers and orchestral players during the last quarter of a century it is unnecessary to insist. The choruses were without exception finely sung (even "Destroyed is Babylon" being as steady in time and tune as it is too frequently the opposite), and the instrumental preludes to the 1st and 2d parts of the oratorio were performed by the band in such a manner as to display their manifold and exquisite beauties in the most thoroughly effective light. The new oratorio has been tested and come forth from the ordeal triumphantly. If not absolutely a great work, it is in every sense the work of a great musician, and has raised its composer, high as he has always been previously rated, a step higher than he stood before. It shows him a master of the choir as well as of the orchestra, capable of dealing with a lofty Scriptural

subject, and able to sustain himself on the point of elevated expression indispensable to its proper treatment, besides possessing that thorough familiarity with technical resources which allows the application of those elaborate contrivances in which the greatest masters of the art have delighted to exercise their ingenuity and show their power. All we can add now is, that the oratorio (solo-singers-Mad. Novello, Mad. Weiss, Miss Palmer; Messrs. Sims Reeves, Wilbye Cooper, Santley, and Belletti) was performed under the direction of Herr Molique himself, who was enthusiastically received on appearing in the orchestra, and as enthusiastically applauded at the end of his work. Two pieces were redemanded and repeated, at the request of the Mayor of Norwich (the Lord-Lieutenant, strange to say, not being present on this occasion). To conclude, musical Norwich has added another laurel to its already goodly wreath, and done honour to itself in honouring one who has shown himself so worthy of distinction.

Friday, Sept. 21.-Abraham, by general admission, is not merely a success, but a legitimate success. Those who previously knew anything of the composer, and recognised in him one of the foreigners whose residence among us exercises the most salutary influence, whose example and teaching produce in an equal measure valuable results, and whose earnest devotion to art in its purest and highest signification have won them places among the ranks of music's chosen expositors, were not surprised to find in Herr Molique the author of a work so lofty in design and so masterly in execution. Others less intimately acquainted with the current history of art-progress, and to whom his name was comparatively unfamiliar, or at best only known as that of an eminent performer and composer for the violin, were probably taken aback by this evidence of a new and unexpected talent. Both sides, however, were ready to acknowledge the unusual merit of Abraham, and to hail it unreservedly as the best specimen of oratorio writing since Elijah. This was felt more and more strongly as number succeeded number, yesterday, in St. Andrew's Hall; and the grand chorus which terminates the first part left no further doubt on the matter. A second part was to follow, it is true; but no one anticipated any falling off; on the contrary, people felt sure of the rest, and looked forward to experience still increasing satisfaction. Conscious that for more than an hour a genuine master had been ministering to their entertainment, they were content to allow that master to conduct them where he listed, persuaded that he enjoyed alike the power to edify and the gift to please. Halévy, the French composer, observing with anxiety the silence of his instructor, Cherubini, while some trivial flatterers were extolling, in unmeasured terms, the beauties of La Juive, addressed the moody, if not morose, Italian as follows: "Maitre! vous ne me dites rien ?" Puisque tu ne m'as rien dit," was the brief and significant retort of Cherubini. But when, at the end of the first and second parts of Abraham, Herr Molique turned towards the conglomerate of Cherubinis, who, in the shape of the crowded audience of St. Andrew's Hall, sat there to pronounce judgment according to the dictates of the impressions they had received, they left him no time to put the Halévyan query. He had really said so much to them, and which they had so thoroughly appreciated, that spontaneously, and without giving a moment to consideration, they recorded a unanimous verdict in his favour. The members of the orchestra and chorus-not anticipating the decision of the public, as is too frequently the unwarranted and anomalous practice-merely echoed it; but echoed it with such hearty acclamations as allowed no question of their unqualified approval.

66

The book of Abraham (prepared, as we are informed, by the composer) is modelled after that of Elijah (the compilation, as all the world knows, of Mendelssohn himself). The text of every piece consists of some extract from Sacred Writ, appropriate to the matter in hand. To this an objection has been made, specious enough, but which, if enforced, would greatly restrict the domain of the oratorio. Here it is, nevertheless :

"The merits of Elijah are due to the composer having followed the bent of a dramatic genius. The absence of Scripture phraseology would have detracted nothing from these merits. When the sacred text happens to accommodate itself naturally and gracefully to the subject, a beauty is gained by its use. But to force the union is to injure both.

Neither can it be pleaded that truth supplies the place of discarded fiction. To put the words of one man into the mouth of another-to apply to one event what was said of another, to destroy old associations by the substitution of new-may be perfectly justifiable, may even be advantageous, but surely it is not adherence to truth."

That Mendelssohn's dramatic genius was not greater than his genius as a religious composer, his psalms (one of the most beautiful of which was performed immediately after Abraham, yesterday), together with many sublime passages in St. Paul and Elijah, amply demonstrate. Take away from those masterpieces such devotional pieces as, "But the Lord is mindful of His own," "Cast thy burden upon the Lord," " He that shall endure to the end," &c., and they would be shorn of half their beauties. It is, indeed, this "interfusion of styles" contemned by the writer of the above sentences, which has enabled not only Mendelssohn but Handel himself to obtain some of the noblest results of which the oratorio is capable. That there exists, properly speaking, only one "sacred oratorio," is, we believe, admitted; and even the Messiah presents instances of quasi dramatic treatment which would almost lay it open to the same critical objection. It should be borne in mind, moreover, that an oratorio is not an anthem; and, indeed, an anthem nearly three hours long would be a tedious affair, calculated rather to fatigue than to elevate. Even in their psalms the great composers have endeavoured to gain variety through the medium of a descriptive colouring bordering on dramatic expression, wherever the text offered a suggestion that could serve their turn. Besides, an oratorio—even a sacred oratorio, like the Messiah-is a very different thing from an act of worship, and originated from an entirely different point of view. Herr Molique, then, in our opinion, was perfectly justified in resorting to the form he has adopted. He has made none of his characters do anything for which the Book of Genesis is not warrant, nor say anything that they might not reasonably be presumed to have said (taking the incidents of Genesis as groundwork) under the circumstances. The citations from the Prophets, the Psalms, Deuteronomy, Judges, Lamentations, Job, and the Revelations are all to the purpose; and by their employment the composer has secured an element of contrast that would otherwise be wanting to his oratorio. How Herr Molique has put the materials of his plot together was shown yesterday.

About the music of Abraham a few scattered observations must at present suffice. A work of serious and elaborate character, which must have cost the author so many days and nights of earnest reflection, of both mental and physical labour, should not be dismissed as if it were merely an ephemeral production. The high opinion which a single hearing has warranted us in pronouncing is not destined, we feel assured, to be weakened by closer familiarity, but is rather likely to be fortified by the discovery of beauties which, not being immediately on the surface, reveal themselves less readily at first. Herr Molique has evidently

written not so much with a view of exciting pleasurable emotions or eliciting momentary admiration by the production of separate and what are denominated "striking" effects as with that of producing a work complete as a whole and symmetrical in all its parts. He has succeeded, and, though at times deeply influenced by the example of Mendelssohn (the extraordinary fascination of whose manner, as developed in the oratorios of St. Paul and Elijah, it seems impossible to resist), so deeply, indeed, as occasionally to paraphrase and copy (we have not said plagiarise) some of that composer's most salient characteristics, he more than once approaches the solemn dignity of Handel, emulates the grace and ingenuity of Mozart, and even attains the cheerful and healthy vigour of Haydn. These compound elements make up an individuality which may fairly lay claim to be denominated "Molique," and are handled with such wonderful facility and cleverness that it is impossible at any moment to confound them with the pale reflections and attenuated parodies of recognised masters in which modern art unhappily abounds-most especially among the direct followers of Mendelssohn and Spohr (the last-named a model, by the way, for whom the strong partiality once evinced by the composer of Abraham seems to be now virtually extinguished). Always strong, often elevated, in his choruses; forcible in his narrational and declamatory recitatives, expressive and melodious in his airs and vocal concerted pieces, Herr Molique adds to these

desirable qualifications, a thorough knowledge of contrapuntal contrivance (witness the admirable clearness of his fugues and imitative passages), which he is enabled to exhibit with the greater felicity, inasmuch as he is a master of all the resources of orchestral colouring, and employs them not only with invariable freedom, but with consummate judgment, the rich and elaborate instrumentation of his grand choruses and more important pieces being not more remarkable than his sober and delicate scoring of the recitatives and solo airs.

The performance of this fine work, though unequal in merit, was in many respects surpassingly good. The solo soprano music was done great justice to by Mad. Clara Novello and Mad. Weiss. Miss Palmer, as the contralto, sang with even more than her usual excellence, and as much may be said for Mr. Santley, who had a very arduous part to perform, and acquitted himself most honourably. To Mr. Wilbye Cooper, too, great praise is due for his tasteful and musicianly rendering of a part of the solo tenor music; and Signor Belletti should be highly extolled, if only because, like a genuine artist, he accepted a very small part, for the sake of strengthening the "cast" of the oratorio. Mr. Sims Reeves, too, had but little to do, but that little included one of the most impressive songs in the oratorio, which he sang so magnificently as to carry off the chief honours of the performance. The band and chorus, under the direction of Herr Molique, were highly satisfactory. (To be concluded in our next number.)

Inpromptu Parody on "Sweet Love, Good Night," as sung by Sims Reeves on Wednesday Evening at the NORWICH FESTIVAL. By a Martyr in the Patrons' Gallery.

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The husband leaves his easy chair
With sad and sleepy eye;
He thinks upon his pot of beer,
And heaves the bitter sigh.
But, ah! he feels not half the woe
That now is felt by me,
Whene'er I hear the muffs below,
Sims Reeves! encoring thee.

The husband views his pipe of clay,
With calm it fills his heart;

It soothes his mind to see away
Each circling puff depart.

Then let me blow at home the cloud
That brings such peace to me,
Nor never hear another crowd,

Sims Reeves! encoring thee.

A. A. V.

Hall, Norwich, after the second concert of the festival on [The above luminous effusion was picked up in St. Andrew's Wednesday evening.-ED.]

THE ACCIDENT TO MR. H. Saker. -The accident at the

Princess's Theatre has resulted in a more serious injury to Mr. H. Saker than was at first anticipated. We are enabled to state he is now out of danger, but he will not be able to resume his professional duties for some weeks.

THE "ERA" versus THE "ATHENÆUM."- Some weeks ago we recorded in these columns the announcement of an engagement having been made by Mr. E. T. Smith, the lessee of Her Majesty's Theatre, which secured the valuable services of Signor Mario at that establishment, at the same time that it would lead to Mad. Grisi taking her farewell of the lyric stage, on the boards where she first made her debut in the metropolis. A contradiction of this statement having appeared in some of our contemporaries, who assume to be well informed on operatic matters, exactly as we originally reported it, and that the subscribers to Her we take this opportunity of again assuring our readers that the fact is Majesty's next season will have the opportunity of hearing both the above-named artistes, and that the positive farewell of the "great Grisi" will take place on that stage. It is to be regretted that those who profess to enlighten the public with reference to the movements of the musical and dramatic world, do not refer for authentic information to our pages, wherein only the earliest intelligence of such matters is to be found.

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