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MOLIQUE'S "ABRAHAM."

(To the Editor.)

As the description of the book of Herr Molique's Abraham, which was published at Norwich shortly before the Musical Festival, has been imputed to me by one of the local newspapers; as it has been a good deal quoted; and as one particular passage in it has been dissented from both by yourself and by The Times, I trust you will allow me space for a short explanation, which I think you will find to be needed under the circumstances of the case.

Some time since I was requested by one of the Honorary Secretaries of the Festival Committee to write an analysis of the oratorio of Abraham, after the manner of one which I had done many years ago of the music of Haydn's Creation. This I at once declined, thinking that it would be a piece of presumption on my part, and of unfairness both to the composer and to the public, to criticise music which had never been publicly performed. Being much pressed, however, I consented to do what I could to call attention to the work. It then occurred to me that this would best be done by giving an analysis of the story, as found in the book of words. I accordingly accomplished this task as well as I was able, pointing out what I conceived to be the merits and defects of the book, and stating the evidence upon which my opinions had been founded. Being doubtful whether my paper would suit the object in view, I stated, upon sending it in, that I should not be in the least hurt by its rejection, but that if it were accepted, it must be printed verbatim et literatim. This condition was consented to, and I dismissed the matter from my mind.

Some time after, I was told that objections had been made to several of my remarks upon Abraham, but that if I would consent to the excision of about a line, to which my attention was called, the rest of the paper should stand as I had written it. Though I would rather have had it returned than tinkered with, I acceded to this alteration. Judge, then, of my surprise at finding, when the paper came out, that not only had two or three interpolations been made, but that sixty MS. lines of criticism had been altogether expunged! This quite altered the character of the thing, and rendered it in my eyes worthless. One of the interpolations represents me as believing that the composer of Abraham was also the compiler of the book. Now, I had not the most distant idea that such was the case; if I had, I should have alluded to it in a very different way. I think that the knowledge of our translation of the Bible, shown by the compiler of the book, is something wonderful for a foreigner, and I should certainly have said so. Much as I felt vexed at the treatment which my paper had received, I resolved to submit to it in silence. But when I found, first The Times, and then THE MUSICAL WORLD, mistaking the drift of one passage, clearly for want of the light which would have been thrown upon it by others, which had been suppressed without my knowledge or consent, I thought it time to say a word of expostulation. However, as no man is a judge of what is fitting in his own case, if you think what I have here said to be uncalled for, you are at liberty to suppress it, and I shall trouble you no further on the subject. I only ask you, as an indifferent person, to put yourself for a moment in my place, and to do as you may think you would wish to be done by.—I am, sir, your obedient servant,

Norwich, 1st October, 1860.

THOS. D. EATON.

MOLIQUE'S "ABRAHAM."

From "The Morning Post."

THE great event of the festival has been of course the production of Herr Molique's oratorio of Abraham, and as our notices of that important work have been necessarily brief, we will now offer some further remarks upon it. The opening chorus, "Blessed is the man that trusteth in the Lord," with its short but grand introduction, reveals to us at once the powers of Herr Molique as a musician of the first class. The tenors give out in unison a theme which is immediately after taken up by the full chorus, the words being "Blessed is the man that trusteth in the Lord," the theme originally assigned to the tenors being now partially imitated by the sopranos in the third above. In the construction of music of this description the choice of a motivo is of the first importance. The composer has to aim at simplicity; and although rhythmical accent must be sufficiently marked, closes are to be avoided as much as possible. Thus the connoisseur will observe with pleasure how careful Herr Molique has been in the construction of the subject- -short as it is which opens this chorus, and how surely he calculated upon the profitable use that might subsequently be made of it. There is no modulation, but the

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termination of the theme on the third of the key keeps the ear sufficiently expectant of something to follow. Apparently trifling things like this are of the first importance in the construction of a long continuous piece of music. After a soft and tranquil second part, which reposes chiefly on the dominant harmony, the first motivo reappears, and is conducted through various modulations and forms of free imitation with masterly skill up to the commencement of a spirited quick movement on the words, For he shall be like a tree planted by the rivers of water. His leaf shall not wither, and whatsoever he doeth shall prosper." For this song of rejoicing Herr Molique has written a strict fugue in four parts, with brilliant and beautiful accompaniments in free, florid counterpoint. The subject given out by the basses, and then repeated in the most orthodox fashion in respective succession by tenors, altos, and sopranos, is bold, striking, and simple enough for even unpractised ears to follow and recog nise it through all the mazy convolutions to which it is subjected. The entrance of the answer (a somewhat critical point) is, we need scarcely say, managed in the best possible way. Nobody, we would presume, would expect to find a musician like Herr Molique upon the fatal "bridge," the "pons asinorum," where destitute contrapuntists are apt to seek refuge from the difficulties of their position. No i here is no cobbling together of subject and answer, no" Schusterfleck" (as old Albrechtsberger called such things), but a genuine and natural exhibition of skill, such as we do not always find even in fugues belonging to very celebrated oratorios of the present day, whose famous authors have not entirely despised the "bridge." But the fugue goes on as well as it begins, and through a long and masterly development - charmingly relieved by episodes and accessory ideas- a close, vigorous stretto and an energetic coda, progresses grandly to the final chord.

Immediately after this fine Hymn of Praise, the "action" of the oratorio commences with a tenor solo. The recitant (tenor voice) tells us with appropriate dignity how Abraham has been commanded by the Almighty to depart into the land of Canaan. Abraham now gives vent to his feelings of gratitude and adoration in a smoothly-flowing, fervent, and dignified air in G major, common time. We have spoken already on a former occasion of the great beauty of this song:“Lead me, O Lord, lead me in thy righteousness," and described it as one of the very best solo picces in the oratorio. How charmingly simple and melodious is the first strain; how graceful and interesting the florid accompaniment to the second strain beginning, "I will fear no evil;” how admirable for contrast to the sustained beauties of the first and second strains is the third gang-artige part, where the voice divides melodic phrases with the accompaniments; and how fresh and charming (though the thing is quite simple) is the return to the first subject through the chords of the seventh on B natural, E minor, the seventh on A natural, and the seventh on D natural to the common chord of G. There is certainly nothing at all new in this progression. The manner in which it is employed makes all the effect. The instrumentation, too, for flute, two clarionets, one bassoon, two violas, string basses, and solo violoncello, is throughout original as it is masterly and beautiful. The recitant now describes how "Abraham took Sarah his wife, and Lot his brother, and all their substance, and the souls that they had gotten in Haran, and departed." This leads to a beautiful quartet in B flat for the principal voices," Go in peace, before the Lord is thy way," written in the composer's finest and best manner. The recitant continues, “And into the land of Canaan they came, and the Lord appeared unto Abraham, and said, Unto thy seed will I give this land; and Abraham builded an altar to the Lord, and called upon the name of the Lord." Now Abraham sings a song of thanksgiving in E flat — “Lord, my God, thou hast begun to show thy servant thy mercy," with which the prayers and adoration of his people are associated chiefly as responses to the solo voice, in a highly solemn and impressive manner. This is appropriately broad and grand in style from the first note to the last. It is now eloquently told by the reciting tenor-voice how strife arose between the herdmen of Abraham and those of Lot; and an air, in F, for Abraham, "Let there be no strife, I pray thee," follows, than which nothing could be more appealing or more completely to the purpose. Tender and affectionate, yet happy and confiding in character, it expresses most felicitously all the meaning of the words and situation. Abraham never seems to doubt his brother's love; the often-repeated question, "Are we not brethren?" touches the heart, but there is a sweet and loving undercurrent of feeling expressed by the graceful and bright accompaniments, which appear to reflect the rays of life's morning, when Abraham and his brother were too young for ambition's serious strife, and convinces us that there can be but one answer a very affectionate one-to the question. The conception of this song is poetical as its execution is masterly and beautiful. The following recitative for the tenor voice tells us how the brothers separated. Then comes an air in A minor, also for the tenor voice. The words beginning "Who walketh uprightly, and worketh righteousness," convey only moral reflections, which, how

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ever, are perfectly à propos to the situation. The distinct and richly. varied part-writing, rhythmical structure, and melodic continuity, remind us a little of Sebastian Bach; but the air is, nevertheless, taken as a We are now told, whole, one of the most original pieces in the oratorio. by "an angel," that the word of God came to Abraham in a vision, saying, "Fear not! I am thy shield, and thy exceeding great reward." Abraham says, "Lord God, what wilt Thou give me, seeing I go childless?" "The angel" replies, in the name of the Lord, that Sarah shall bear a son, and that the seed of Abraham shall be numberless as the stars. Here follows a flowing and eminently graceful hymn of adoration in E, for full chorus, "O how great is Thy goodness which Thou hast laid up for them that fear Thee." The plain and largely-phrased subject first assigned to the tenors is next repeated by the sopranos an octave higher. Then a second part, begun by the basses, is continued in imitation by the altos. A tutti in four parts, on the same subject, succeeds. A new theme, though resembling the first in rhythm, is now heard from the tenors on the words, "Thou hast given them their heart's desire." This is imitated throughout in the second above by the altos. Then fragments of the first subject are introduced in close imitation, and the chorus finishes with the leading theme in full harmony, with a few bars as coda. The constantly undulating accompaniment to this chorus is very beautiful, and serves, by its florid character, to set off the plain, stately notes of the vocal subjects to the best possible advantage. A brief and agitated instrumental allegro in C now most expressively announces the arrival of the messenger, who bears the startling news that Lot has been taken prisoner. Abraham instantly determined to rescue his brother, and in a heroic, spirit-stirring recitative calls upon his people to "beat their ploughshares into swords," their "pruning-hooks into spears," and follow him to battle. A grand war song sung in D, with chorus for male voices, "Arise, arise, and let us go by night," sung by Abraham and his adherents, succeeds this exhortation. Then the women offer up their prayers for Abraham's success in a very beautiful chorus in A, "Hear our prayer, O God of our salvation," consisting of a richly harmonical andante, quite ethereal in its purity and crystal clearness, a middle movement più masso, on the words "Lord tread down thine enemies," in which the fertile resources of imitative counterpoint are most advantageously employed; a return to the first object with a different (a figurative) accompaniment and an appropriate coda. We are now told how Abraham armed his trained servants, and pursued the enemy into Dan, and brought back again his brother and his brother's people. Here occurs the noble march in E flat (a masterpiece in its way) of which we spoke in our first notice; and after a brief recitative, in which Abraham fervently expresses his gratitude for the victory which God has permitted him to gain, the first part of the oratorio concludes most worthily with a superb chorus in F, "Praise ye the Lord, and give thanks to him," one of the largest and most scientific pieces in the score. The massively harmonised melody (reminding us a little of Mendelssohn's famous "Thanks be to God; He loveth the thirsty land") that commences the chorus is presently subjected to the process of partial imitation, with constant modulations in all the voices. Then comes a masterly fugue on the words, "His right hand and his holy right arm has gotten him the victory," the vigorous subject of which, started by the tenors, is successively taken up by the altos, sopranos, and basses; and after a series of close imitations on the pedal bass of the dominant of the key, a return to the first subject again in massive harmony, a magnificent peroration displaying summarily the essential features of the entire piece, brings this majestic and exciting chorus (the orchestral accompaniments to which, written throughout in free, florid counterpoint, are quite equal to the rest of the work) to a splendid termination.

The second part opens with a song of thanksgiving and rejoicing in B flat, "I will extol thee, my God, O King !" It consists of an allegretto, in common time, and an allegro moderato in three-four measure, which recals slightly to our mind the "Be not afraid" of Mendelssohn. In a recitative for a tenor voice the promises of God to Abraham that Sarah shall become a "mother of nations" is related. A masterly and beautiful trio for alto, tenor, and bass, in E flat, "Let all those rejoice who put their trust in the Lord" (already described in our first notice), follows. An accompanied recitative for the bass voice now reveals the Almighty's intention to destroy the "cities of the plain" for their iniquity; and his wrath is very grandly and terribly expressed in a chorus in C minor, "I will rise up against them;" the motivo of which is, however, nearly identical with that of a chorus in Mendelssohn's Elijah. After this, Abraham, in accompanied recitative, implores the Lord not to destroy the righteous with the wicked, but to spare the city, "if, peradventure, there be fifty righteous within it." This supplication, pleading at last for mercy even for the sake of ten righteous that might be within the city, and the replies of the angel

(assigned to a soprano voice), are so well managed as to prove that
Herr Molique possesses genuine dramatic feeling and genius for the
picturesque in music, beside the other high qualities for which he has so
long been particularly celebrated. In a recitative for the alto voice it
is now declared that "The Lord looked down from heaven to see if there
were any that did understand and seek God," and Herr Molique has
sought to express the Divine grief that "There was not one that did
good" in a Mendelssohnian but very beautiful and deeply-pathetic
song for a contralto voice, "They kept not the law," in F minor. The
magnificent chorus in B minor, “And the Lord stretched forth His hand
against them," that comes next, was like many other pieces described in
A recitative for the tenor voice next relates that "Sarah bare Abra-
our first notice of "Abraham." It is worthy of the greatest masters.
ham a son," and that "Sarah saw the son of Hagar the Egyptian,
which she had born unto Abraham, mocking;" but Sarah's demand for
the expulsion of Hagar is expressed in a duet in A minor, "Cast out
this bondwoman," a piece of which we have already spoken in terms of
enthusiastic admiration. Here is another proof that Herr Molique can
abso-
"An angel" then declares in recitative the wish of
be a dramatic as well as what Richard Wagner would call an
lute" musician.
the Lord with respect to Hagar, and the unhappy mother of Ishmael is
accordingly cast forth with her child into the wilderness. Here follows
a simple beautiful chorus, "Commit thy way unto the Lord," in which
nothing but common chords are employed; but this we noticed suffi-
ciently on a previous occasion. A tenor recitative, preceded by a short
instrumental movement that admirably illustrates the sufferings of
Hagar in the scorching desert, describes how "the water was spent in
the bottle," and "Hagar cast the child under one of the shrubs," in-
tending to abandon him. This is followed by a very pathetic and
touching air for Hagar in F sharp minor, "Hear my prayer," the melody
of which, however, again betrays the Mendelssohnian influence, to
which Herr Molique appears at times to submit con amore.

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The next recitative relates the mercy of the Almighty to Hagar, and His promises to the forsaken bondwoman respecting her son; and here follows immediately a colossal chorus in D, "Great is the Lord," consisting of an andunte maestaso, in full choral harmony, with florid accompaniments-a particularly fine fugue, with a superb peroration, in which all the resources of fugal counterpoint, imitation, and modern orchestration are employed with the happiest possible effect. To this also we have already called special attention. In a recitative the angel messenger now delivers to Abraham the Divine command to offer his son Isaac as a burnt-offering in the land of Moriah. The grief and desolation of Abraham are here expressed in an air consisting of an andante on the words "My delight is turned into sorrow," un allegro con fuoco, "The Lord has turned his hand against me," and a repetition (after a few connecting bars of recitative on the words, "The joy of my heart is ceased ") of the first, or rather a portion of the first, movement. This air includes many beauties of a high order, but the key of F minor being used throughout gives a certain monotony to the effect. The following aria in A flat for the tenor voice, "Pour out thy heart before the Lord," is a lovely composition, perfectly Mendelssohnian in phraseology. Of this, too, we spoke in our first notice. In a tenor recitative we now hear after a short recitative in dialogue between the father and son, Abraham that Abraham has made due preparation for the sacrifice of Isaac; and The terrible moment is rapidly approaching, and a soprano sings a very touching supplicatory song in G minor, "Lord have mercy upon me." air for Isaac in A minor, "Unto Thee lift I up mine eyes," followed by a recitative, in which Isaac vainly entreats his father to spare him, sustain the deliverance of both father and son from the awful ordeal to which the interest, until at length the voice of the angel messenger proclaims they were exposed, and the scene terminates joyously with a duet in E for Isaac and Abraham, "It is of the Lord's great mercies that we are not consumed," an admirable piece, which we have already described. After a brief recitative, in which Abraham again expresses his gratitude to God, the oratorio ends with a grand chorus of thanksgiving in C, "Great and marvellous are Thy works, Lord Almighty," in which the composer's powers as a contrapuntist are once more exhibited with the happiest effect.

The latter portion of this very fine work is, regarded from a dramatic point of view, perhaps susceptible of improvement. A little more emotion, energy, and characterisation would, we think, be desirable in the great scenes between Abraham and his son, which move somewhat slowly and heavily along, despite the constant excellence of the music. However, that Abraham, as it stands, is the greatest oratorio written since the time of Mendelssohn, we believe no musician will deny; and we sincerely hope that the great success which has attended its production here may lead speedily to a worthy performance of it in the metropolis.

A WATER SERENADE.-At the moment when Mad. Jenny Lind was about to leave Upsala, where she had been staying some time, by the steam packet for Stockholm, a number of students in a small row-boat approached the side of the vessel and began singing a serenade in honour of the celebrated cantatrice. Just as the steamer was about to depart the too enthusiastic admirers of the singer, in their eagerness to catch a last glimpse of her, all rushed to one end of the boat, which instantly capsized and soused the whole party in the water. This involuntary bath, however, did not in the least cool the ardour of the young enthusiasts, who held on by the thwarts of the boat and continued their serenade as if nothing had occurred. One of the students, who could not find room for his grasp, swam alongside the boat and still made use of his vocal powers. The captain at last prevailed upon the students to make their way to the quay, where having arrived, and dripping like water-rats, they raised a terrific "Hurrah " nine times nine for "Jenny Lind," and separated.

HER

ER MAJESTY'S THEATRE.-ROYAL ENGLISH tablishment, its unparalleled acoustic properties, unequalled musical capabilities, and unrivalled lyrical resources, together with the flattering success which attended his late Italian Season, has determined the Lessee to venture on the experiment of producing at Her Majesty's Theatre a series of English Operas, during a certain portion of each year. The Season will commence on Monday, the 8th of October next. As will be seen by the accompanying list, the first vocal and instrumental talent has been secured, and will further be secured, no matter at what expense. The lessec and manager of this vast establishment, not being a vocalist himself, can have no professional jealousies-his only aim, in duty to his patrons and subscribers, will be to put the "right man in the right place." The services of Mr. Sims Reeves are already secured, and negotiations are pending in addition to the following engagements:-Sopranos-Miss Parepa, her first appearance at this theatre; Miss Jenny Bauer, from the Theatre Royal, Drury Lane, her first appearance at this theatre; Miss Allesandri, from the principal theatres in Spain and Italy, her first appearance in this country; and Mad. Lemmens-Sherrington, her first appearance on the stage; contraltos-Miss Laura Baxter and Miss Fanny Huddart; tenors-Mr. Sims Reeves, Mr. Parkinson, Mr. George Perren, Mr. Terrott, and Mr. Swift (from La Pergola, Florence, &c.), his

first appearance at this theatre: baritones-Mr. Rosenthal and Mr. Santley, his first appearance at this theatre; buffo-Mr. George Honey, his first appearance at this theatre; basses-Mr. J. G. Patey, Mr. Bartleman, and Mr. Hermanns. ConductorMr. Charles Hallé; Leader-Mr. H. Blagrove. A new and original opera, composed expressly for this theatre, will be produced on the opening night, Monday, October 8th, entitled ROBIN HOOD, Music by G. A. Macfarren, Libretto by John Oxenford, Esq.; with new scenery under the superintendence of Beverley; in which Mr. Sims Reeves, Mr. George Perren, Mr. George Honey, Mr. J. G. Patey, Mr. Sautley, Mad. Lemmens-Sherrington, &c., will make their appearances; and shortly afterwards will be presented another new and original grand romantic opera, also composed expressly for this theatre, entitled the AMBER WITCH, from the pen of that popular composer, W. V. Wallace; together with other new operas of importance by eminent native composers. The whole of the splendid and unique appointments of Her Majesty's Theatre, both before and behind the curtain, will be made available in giving

effect and comfort to the audience departments. An elegant new dress balcony has been erected, after the most approved Parisian style, combining both convenience and comfort. The scenic department under the superintendence of Mr. William Beverley and assistants'; prompter, Mr. Grua; suggeritore, Signor Fontana costumiers, Miss Dickinson and M. Laureys (de Paris); the machinery, &c., by Mr. Tucker; the properties by Mr. Needham; ballet master, Mons. Massot; acting manager, Mr. Mapleson; stage manager, Mr. Robert Roxby. Particular care and attention has been bestowed on the formation of the Orchestra and Chorus, which will be considerably augmented, the whole having been carefully selected, under the immediate superintendence of Mr. Charles Hallé. This Theatre having hitherto been devoted to the production and performance of Italian Lyric Drama, the lessee (at the suggestion of numerous subscribers and habitues) has been induced to give a few repre

sentations of Italian Operas, which will positively be limited to 30 nights, commencing

on Wednesday, the 10th of October, to be continued three nights weekly, until the 16th of December, alternately with the English Operas. The lessee has, therefore, at an enormous outlay, secured the eminent services of those renowned artistes Mile. Titiens and Sig. Giuglini, together with other principal artistes of celebrity, whose names will be found in the following detailed list of Italian engagements:-Soprani, Mlle. Titiens, Mlle. Vaneri, and Mad. Lemaire; baritoni, Sig. Valsovani and Sig. Gassier; buffo, Sig. Ciampi bassi, Sig. Vialetti and Sig. Castelli; tenori, Sig. Soldi, Sig. Mercuriali, and Sig. Giuglini. Conductor, Sig. Arditi. For the ballet divertissement, Mlle. Morlacchi, &c. The repertoire will be selected from the following favourite operas :-Il Trovatore, Verdi; La Sonnambula, Bellini; Ernani, Verdi Lucrezia Borgia, Donizetti; Don Pasquale, Donizetti; IlBarbiere di Siviglia, Rossini; Gli Ugonotti, Meyerbeer; Lucia di Lammermoor, Donizetti; La Traviata, Verdi; I Puritani, Bellini; Don Giovanni, Mozart; Norma, Bellini; Rigoletto, Verdi; Marta, Flotow; I Vespri Siciliani, Verdi; Oberon, Weber; &c. The above English and Italian arrangements can only be realised at an enormous outlay; Mr. E. T. Smith looks with perfect confidence for adequate remuneration to the support of the nobility, gentry, subscribers, and the public, whose kind and unvarying patronage has enabled him to hold the reins of management through so many seasons at the Theatre Royal, Drury Lane, and especially through his late campaign at Her Majesty's Theatre, profitably and triumphantly. Notwithstanding the vast additional expense necessarily incurred in the engagement of such celebrated singers, besides a double company of artistes for both languages, the prices of admission will be at the same reduced rates, both for the English as well as the Italian performances. The subscription list for the first 60 nights, or 30 English and 30 Italian, at the option of the subscriber, is now ready, and may be seen at the box-office, under the portico of the theatre, which is open daily, from 10 to 6, under the direction of Mr. Nugent, and where boxes, stalls, and places may be secured for any period in any part of the house. The doors will open at half-past 7, and the performances commence at 8 o'clock, on each evening throughout the season. All applications respecting the artistes for public and private concerts in town or country, to be addressed to Mr. Mapleson, the musical agent, at the theatre, or 12 Haymarket. Prices of admission :-Pit stalls, 7s. 6d.; balcony, 5s. ; first circle, 4s.; second circle, 3s. ; upper box circle seats, 2s.; pit, 2s. 6d.; gallery, Is.; gallery side stalls, 1s. 6d. ; gallery stalls, 38. ; private boxes-upper box, half circle, to hold four persons, 10s.; private box, third tier, to hold four persons, £1. Is. ; private box, second tier, to hold four persons, £1. 11s. 6d.; private boxes, first, second, and grand tiers, two guineas, three guineas, and four guineas.

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THE THERE are many apostles of Falsehood, but Truth is in want of disciples. The lies begotten by the apostles of Falsehood upon the bodies of Sophistry and Corruption are so numerous that the heavens are darkened by them. But Truth shines behind, like the sun, and it is for her worshippers to make war against the locust host of lies, and, dispersing them, let the world behold the full glory of the light they have for a while obscured. We, as the humblest of Truth's disciples, shall draw sword in the cause, and fight her battles against her enemies. What we shall say will offend many and hurt some; but Truth is vital to the health of art, and the interests of private individuals are as dust in the balance.

Lord Bacon, the wisest of philosophers, in his golden book, exclaims against the idola that blind the eyes of men's judgments and prevent their beholding Truth naked. The idola are the prejudices which are born of divers parents. It is for those who would behold the face of Truth, and make it glorious to mankind, to wage war against them and destroy them utterly. They are stubborn enemies of progress; the poisonous sophists that distort and vilify. Until they are swept away the mind cannot comprehend a single proposition. Let it be then our task to uproot them from the soil they render sterile; let it be for us to cast them into the fire, until they be consumed and infect the air no more. Like good husbandmen, we must weed the pastures or they will not bear crops.

The art of music is but a type of other arts. Its growth is fostered or stinted by favourable or adverse circumstances. But it is the youngest of the arts. There is yet time yet to save it from corruption. From examples in the history of other arts we may know what to do, and what to eschew. Let us then study them and profit.

First, the professor of music should be brought up in the eternal principles that apply to all art. Next, the taste of the laity should be educated. If an artist do well and yet is not appreciated, it is an injury to art. But, if when he does well and is encouraged, and when he does ill he is admonished, it is a glory for art. To promote this end, for the sake of art, should be the aim of all criticism; but to promote it requires certain learning and endowments that not many critics possess, and, indeed, at the present time, scarcely any. We shall not, by a process of logical ratiocination, enlabour to give the reason of this deficiency,

but shall strive to make it appear as if it were an inevitable consequence of the facts that we adduce, and the observations we shall make upon them.

It will be said that we make over much of music, and magnify its importance. But this will be an error; for, though music, like history, be not a matter of magnificence and memory, like poetry, it is a matter of refinement and aspiration. Shelley has said that "Poets are the unacknowledged legislators of the world." Translate his meaning largely, and he is right; he speaks of all poets, no matter what their medium of expression. Poetry and music address themselves to the intellect through the medium of the ear; painting, sculpture and architecture through the medium of the eye. There is no art that addresses itself to the intellect through the organs of taste, or touch, or smell; therefore are the organs of hearing and seeing the greatest and most magnanimous of the senses; the ear and the eye may be likened to carriers that bear the mind its food and riches; and, according to the manner of the nourishment and clothing, is the health or sickness of the mind. The important office of these carriers cannot be over-estimated; on them depend refinement and wisdom, and according to their burden is a man a barbarian or a civilian in the universal meaning. Therefore Shelley's apothegm should be written in gold, and inscribed upon the Temple of Truth. "Poets are the unacknowledged legislators of the world." These are the words of an oracle. Would the world be better, or worse, had Mozart, Handel, Beethoven, never lived? This question has been often asked, but never answered. We say the world would have been much worse for want of them. For the mind, when contemplating sublime images, is, admonished of its immortality. That which is body can corrupt and perish, but that which is ideal cannot be effaced; its style is not of earth, but of heaven; not of the finite, but the eternal. In listening to the divine music of these mighty poets, we are walking with them in the country of the infinite. Their inspiration is from God, and is a proof that man is not as the cattle; for if man's mind can comprehend what is inspiration, it can embrace the enigma of imperishability. And surely that which makes us feel and know we are immortal is of the highest consequence. Of how great import is it, then, that art should be rid of all that clogs its wings, and prevents its flight upward; that it be not, as the soul in a weak body, or as the fingers on a defective instrument, unable to declare the hand that enforced it! The perfect accomplishments of art are the endeavours of the immortal spirit to fly up to the anima mundi of which it is a part. Spinoza, in forgetting art, left out what would have made his ethics perfect. He overlooked the link that binds the finite to the infinite; for, insomuch as mathematics is tangible and finite, it is inferior to art, which is intangible and infinite. Mathematics is the symbol for all that man can seemingly reduce to elements and know entirely, but art is the symbol of what he desires to know and cannot, being human. One is the earth we tread upon, the other the heaven we aspire to. In one we walk step by step, in the other we traverse boundless space in an instant. Reason has barriers, imagination none.

WE E are glad to see that with our two English opera-houses we are to have several new English operas. The Pyne and Harrison management announces a work by Mr. Balfe, while at Her Majesty's Theatre Mr. Macfarren's Robin Hood is on the eve of production. At the latter establishment, too, Mr. Wallace's Amber Witch is wanted, and will be

brought out, it is said, in a few weeks; and at both theatres the directors are evidently determined to perform as many operas by English composers as they can secure. The plan is such a good one, and so clearly conducive to the interests of the managers, that it may seem superfluous on our part to thank them for adopting it. But the same sort of thing may be said of liberal enterprises of all kinds, and, thanksgiving apart, we may at least be allowed to express our approval of the manner in which Miss Pyne and Mr. Harrison at Covent Garden,'and Mr. E. T. Smith at Her Majesty's Theatre, view their positions as conductors of English opera-houses. The latter, as we have said, promises two new works by native composers for the approaching season, and we find that the former, during the two past seasons at Covent Garden, have produced four (Mr. Balfe's Satanella, Mr. Leslie's Romance, Mr. Mellon's Victorine, and Mr. Wallace's Lurline), besides the English version of Meyerbeer's Dinorah, which was performed infinitely better than any opera of equal difficulty and importance was ever performed on the English stage before. But we took up the pen not in a humour to praise but to condemn. Let all who do well continue to do well; our business to-day is with those who are pursuing an evil path which may lead not only to their own destruction (a catastrophe for which we might be able to console ourselves), but to the destruction, or at least the abasement, of the art which they direct. We mean the art or artistic pursuit known as the Italian Opera, which is not in a fine position anywhere in Europe just now (being supported by one composer who every now and then breaks down), but which in England is gradually being degraded into a spectacle with musical accompaniments. A friend of ours in Paris, who was not ashamed to confess openly his impotency to enjoy dramatic music, used to go frequently to see the Prophète. He said he should go oftener if all the music were left out, except the march (which he acknowledged to be a stirring composition), but as there was no chance of any such omission being made, he continued to attend the Académie from time to time when the Prophète was played, and always came back in raptures about the decorations and processions, and especially about the coronation scene. We have no doubt many persons in London who frequent the Royal Italian Opera go there when one of its magnificent spectacular pieces is being played, for the same reasons that induced our anti-musical friend to visit the Grand Opera in Paris. We do not mean to go the length of saying that they would like Tamberlik's and Mad. Csillag's music left out, but that the scenery and general "setting up" is to them the major attraction. But, on the other hand, are there not, we ask, hundreds and thousands in London to whom the scenery is only so much pasteboard and canvas, who care little or nothing for troops of warriors and monks on the stage, except in so far as they strengthen the choral body, and who would rather sacrifice the whole of the spectacular paraphernalia of the Huguenots, than lose a single phrase of the duet between "Raoul" and "Valentine." éven though "Raoul" were as incorrectly attired as "Valentine" invariably is, and though the whole scene between them took place in a barn. We are not admirers of shabby scenery, still less of anachronistic costumes, but we should listen with delight to the music of such operas as the Cenerentola, the Count Ory, and the Elisir d'Amore, however barely they might be put upon the stage, and the reason why we are not enabled to hear them oftener is, that they present no opportunity for the introduction of spectacle, and that the managers of our principal Italian theatres reserve their energies and their money for spectacular pieces alone. Of course the money question has a

great deal to do with the matter; for, with the enormous sums spent at the Royal Italian Opera on the getting up of any new work taken in hand, it is utterly impossible to bring out more than about one a year. The tailors', carpenters', and painters' bills for the Prophète (for instance) must have been sufficiently large to make Mr. Gye feel somenatural hesitation about producing the Sicilian Vespers. The production of a grand opera in the style of the Académie-Impériale (of which the Royal Italian Opera is in many respects a copy) may be attended with enormous success, but two such triumphs in one season would be the theatre's ruin. If our managers could afford it, they might spend a million on the mise en scène of every opera they represented, and we would not complain. Splendid decorations do not injure an opera very much; they distract the attention from the music for a little while, but are soon forgotten. The evil becomes serious, however, when so much money is lavished on the production of one immense spectacular opera that no other new opera can be given the same season. Moreover, the director, to get back the capital he has invested in it, must continue running his expensive show-piece for such a number of nights that it wearies mere lovers of music. Thus, who was not tired last season of Martha, which was tiresome enough when it was brought out at the Royal Italian Opera three years ago, and which in "supers" and stage finery, must have cost more than would have been needed for the production of three Italian operas, full of beautiful music. There is some trouble, we are aware, in finding new Italian operas just now; but one would like to hear the latest composed by Verdi, if only from curiosity; and it is a curiosity, which, under a reasonable system of management, might easily be gratified. Besides, an old opera by Rossini is always better than a new one by Flotow.

We owe this love for spectacular pieces to the absurd mania for imitating the French, with which our stage has been afflicted, more or less, ever since Charles the Second's reign. In Handel's time we could not establish an Italian opera without giving it the stupid title of "Academy," merely because the French (whose opera just then was in a contemptible condition) had blunderingly given that name to their national lyrical theatre, of which the patent, as we explained in a previous article, was originally granted for an académie, in the sense of accademia or concert. At present everything that is good enough for the Parisians (whose Opera has always been one third a dancing booth and one third a panorama) is thought good enough for us; and the effect of reproducing the costly mise en scène of their favourite works as fast (which is not very fast) as they happen to be brought out, is to render it impossible for our operatic managers to give as many "novelties" as amateurs of music have a right to expect.

theatre in 1858, we have had Martha, Dinorah, and Orfeo. That is to say, at a great Italian theatre, one opera by an Italian composer, two by Germans, and one by a Germanised Russian, in four years. However, we welcome the production of the thoroughly beautiful and comparatively inexpensive Orfeo as a good sign. When the present fails us we must go back to the past; and if Mr. Gye wishes to gain our unqualified approbation he will give us more Orfeos and fewer Marthas.

ELSEWHERE will be found "a rhapsody" (appropriately styled) on the Ninth Symphony (the Choral) of Beethoven. The pen of the writer, Mr. " Aries le Fise Vascher," must have been dipped in sunbeams. We envy him his faculty of composition, which appertains to the "streamy-beamy" style; but we dispute his facts. It is plain from the assertions of Schindler, which have a more solid basis than mere conjecture, as well as from the internal evidence of the work itself, that the introduction of Schiller's Ode to Joy into the Ninth (whereby it became the Choral) Symphony was an afterthought of the composer. Schiller's fine poem is governed by one idea and purpose. The spirit of happiness, joy, universal brotherhood, and love pervades every line of it. It includes no sombre thoughts whatever. The poet never has occasion to say, in allusion to his own work, "But away with these tones; let us have something more joyful." Beethoven merely inserted the words because he was conscious that the predominant qualities of his first three movements were not those of an "Ode to joy."

There is much more real joy and calm happiness in his Eighth Symphony (F major), in the Pastorale, and in a portion of the Seventh (A major), than in the exclusively instrumental movements of the Ninth. The first parts of this, like many other compositions of the same hand, are simply an eloquent expression of the deep and varied emotions by which the writer's soul was agitated. They are noble, magnificent pieces of music; so wonderful, indeed, and gigantic in their proportions-so vast in their design— as to create the necessity for something unusually grand and colossal as a worthy climax to the whole. It was then, probably, when Beethoven, oppressed with the great difficulty of the task he had set himself, was reflecting upon the best means of accomplishing it, that he conceived the happy idea of introducing Schiller's ode, which, with vocal solos and choruses, could scarcely fail to give a novel and extraordinary grand character to the movement, such, in fact, as would render it thoroughly fit to crown the magnificent work. This is our conjecture; but we offer it with submission, and are ready to give it up when we see good We hope the directors of our English operas will not fall cause. We can discover in this symphony no general design into the mistake (which it will be easy and pleasant to which points to Schiller's Ode to Joy. There is no one idea avoid), of spending enormous sums of money upon the de- in a constant and gradual state of development throughcoration of their pieces, otherwise there will soon be an end out; but the workings of the human heart, in alternate joy to two new operas a season, or five in two seasons, which and sorrow, in all its mysterious forebodings, bright imagis the number given by the Pyne and Harrison manage-inings, and dark despondencies, appeal irresistibly in every ment at Covent Garden. Compare this with the number of new works produced at the Royal Italian Opera which is certainly one of the very first lyrical theatres in Europe, but which appears to us to sacrifice a great deal too much to spectacle. Its last new Italian opera, the Traviata, was brought out in 1857, and since the opening of the new

*The Americans of the present day, as ingenious as the English of 1720, call their principal Opera House at New York the Academy of Music.

bar to our warmest sympathies.

The New Philharmonic Society, like Moses and Warren, formerly kept a poet-an æsthetical and critical poet, whose business it was to explain, in touching language, the occult beauties of great works, and to instruct the audience when and why they should applaud. His inspired lucubrations appeared in a little book, with a pretty and perfectly appropriate green cover. This production was industriously circulated amongst the thousands who thronged Exeter

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